{ "meta": { "language": "en", "generated": "2026-02-23 16:10:50" }, "nodes": { "element_2": { "type": "element", "label": "Oral heritage of Gelede", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00365-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00365-HUG.jpg" }, "description": "The Gelede is performed by the Yoruba-Nago community that is spread over Benin, Nigeria and Togo. For more than a century, this ceremony has been performed to pay tribute to the primordial mother Iy\u00e0 Nl\u00e0 and to the role women play in the process of social organization and development of Yoruba society.

The Gelede takes place every year after the harvests, at important events and during drought or epidemics and is characterized by carved masks, dances and chants, sung in the Yoruba language and retracing the history and myths of the Yoruba-Nago people. The ceremony usually takes place at night on a public square and the dancers prepare in a nearby house. The singers and the drummers are the first to appear. They are accompanied by an orchestra and followed by the masked dancers wearing splendid costumes. There is a great deal of preparatory craftwork involved, especially mask carving and costume making. The performances convey an oral heritage that blends epic and lyric verses, which employ a good deal of irony and mockery, supported by satirical masks. Figures of animals are often used, such as the serpent, a symbol of power, or the bird, the messenger of the \u201cmothers\u201d. The community is divided into groups of men and women led by a male and a female head. It is the only known masked society, which is also governed by women. Although the Gelede has nowadays adapted to a more patriarchal society, the oral heritage and dances can be considered as a testimony of the former matriarchal order.

Technical development is resulting in a gradual loss of traditional know-how, and tourism is jeopardizing the Gelede by turning it into a folklore product. Nevertheless, the Gelede community shows great awareness of the value of their intangible heritage, which is reflected in the efforts put into the preparation work and in the growing number of participants.", "list": "RL", "year": 2008, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/oral-heritage-of-gelede-00002", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00015-BIG.jpg", "copyright": " UNESCO\/Yoshihiro Higuchi", "title": "The Gelede ceremony, held in honour of the primordial mother Iy\u00e0 Nl\u00e0, is directed by women, reflecting their important role in Yoruba life. After weeks of preparations, singers and drummers open the night-time ceremony, followed by an orchestra and masked dancers wearing\r\nsplendid costumes." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00151-BIG.jpg", "copyright": "UNESCO\/Yves Parfait Koffi", "title": "The Gelede ceremony, held in honour of the primordial mother Iy\u00e0 Nl\u00e0, is directed by women, reflecting their important role in Yoruba life. After weeks of preparations, singers and drummers open the night-time ceremony, followed by an orchestra and masked dancers wearing\r\nsplendid costumes." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00362-BIG.jpg", "copyright": "UNESCO\/Yves Parfait Koffi", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00363-BIG.jpg", "copyright": "UNESCO\/Yves Parfait Koffi", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00364-BIG.jpg", "copyright": "UNESCO\/Yves Parfait Koffi", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00365-BIG.jpg", "copyright": "UNESCO\/Yves Parfait Koffi", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00366-BIG.jpg", "copyright": "UNESCO\/Yves Parfait Koffi", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00368-BIG.jpg", "copyright": "UNESCO\/Yves Parfait Koffi", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00370-BIG.jpg", "copyright": "UNESCO\/Yves Parfait Koffi", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00371-BIG.jpg", "copyright": " UNESCO\/ Yoshihiro Higuchi", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ycSMt0bjE1c", "copyright": "", "title": "Sauvegarde et protection" }, { "url": "https:\/\/www.youtube.com\/watch?v=PsqWRtFWdMo", "copyright": "", "title": "Sauvegarde et protection" }, { "url": "https:\/\/www.youtube.com\/watch?v=2a5Fq0pkBIM", "copyright": "", "title": "Sauvegarde et protection" } ], "sustainability": "" } }, "element_3": { "type": "element", "label": "Carnival of Oruro", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10741-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10741-HUG.jpg" }, "description": "The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.

The Carnival, which takes place every year, lasts ten days and gives rise to a panoply of popular arts expressed in masks, textiles and embroidery. The main event in the Carnival is the procession or entrada. During the ceremony, the dancers walk the four kilometres of the processional route and repeat the journey for a full twenty hours without interruption. More than 28,000 dancers and 10,000 musicians organized in about 50 groups take part in the procession which still shows many features dating back to medieval mystery plays.

The decline of traditional mining and agriculture is threatening the Oruro population, as is the desertification of the Andean high plateau, which is leading to massive emigration. Urbanization has given rise to acculturation as well as a growing generation gap. There is also uncontrolled financial exploitation of this Carnival.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/carnival-of-oruro-00003", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10741-BIG.jpg", "copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "title": "Careta de 'Diablo' donde se apresia la habilidad, creatividad y enorme riqueza de la artesan\u00eda nacional" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10751-BIG.jpg", "copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "title": "Figura del 'Moreno' en la Danza de la Morenada, que representa el esclavo negro que trabajaba en el Potos\u00ed colonial, donde eran comprados por los mineros para reemplazar a los mitayos ind\u00edgenas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10756-BIG.jpg", "copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "title": "Figura del var\u00f3n zapo\u00f1ero en la danza de los Zampo\u00f1eros" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10758-BIG.jpg", "copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "title": "Careta de Moreno donde se aprecia la enorme riqueza de la artesan\u00eda nacional" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10762-BIG.jpg", "copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "title": "Figura infantil representando a este baile de mucho ritmo y alegr\u00eda. Su vestimenta se fue adecuando a la modernidad, con ciertos estilismos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10770-BIG.jpg", "copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "title": "Careta de Moreno" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10773-BIG.jpg", "copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "title": "Figura del gu\u00eda var\u00f3n o conductor del grupo de la danza del 'Suri Sicuri'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10774-BIG.jpg", "copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "title": "Fila de luciferes de la danza de la Diablada" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10775-BIG.jpg", "copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "title": "Figura del brujo que representa a los curanderos de los Tobas originarios del chaco y la amazonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10776-BIG.jpg", "copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "title": "Zapo\u00f1ero compnente dentro del conjunto que musicaliza la danza de los wititis" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=T2Atbi4oQu4", "copyright": "", "title": "Carnival of Oruro" }, { "url": "https:\/\/www.youtube.com\/watch?v=yjPdrgfpxrs", "copyright": "", "title": "Carnival of Oruro" }, { "url": "https:\/\/www.youtube.com\/watch?v=FzHQ-aP--j8", "copyright": "", "title": "Carnival of Oruro" } ], "sustainability": "" } }, "element_4": { "type": "element", "label": "Kun Qu opera", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00861-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00861-HUG.jpg" }, "description": "Kun Qu Opera developed under the Ming dynasty (fourteenth to seventeenth centuries) in the city of Kunshan, situated in the region of Suzhou in southeast China. With its roots in popular theatre, the repertory of songs evolved into a major theatrical form. Kun Qu is one of the oldest forms of Chinese opera still performed today.

It is characterized by its dynamic structure and melody (kunqiang) and classic pieces such as the Peony Pavilion and the Hall of Longevity. It combines song and recital as well as a complex system of choreographic techniques, acrobatics and symbolic gestures. The opera features a young male lead, a female lead, an old man and various comic roles, all dressed in traditional costumes. Kun Qu songs are accompanied by a bamboo flute, a small drum, wooden clappers, gongs and cymbals, all used to punctuate actions and emotions on stage. Renowned for the virtuosity of its rhythmic patterns (changqiang), Kun Qu opera has had a considerable influence or more recent forms of Chinese opera, such as the Sichuan or Beijing opera.

The opera has suffered a gradual decline since the eighteenth century because of the high-level technical knowledge it also requires from its audience. Of the 400 arias regularly sung in opera performances in the mid-twentieth century, only a few dozen continue to be performed. The Kun Qu opera survived through the efforts of dedicated connoisseurs and various supporters who seek to attract the interest of a new generation of performers.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kun-qu-opera-00004", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00160-BIG.jpg", "copyright": "Chinese Academy of Art", "title": "Rooted in popular theatre, Kun Qu influenced many other forms of Chinese opera. It is characterized by a dynamic structure, rhythmic patterns, typical melodies and complex choreography combining acrobatics and symbolic gestures. Kun Qu is considered the oldest form of Chinese opera still performed." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00810-BIG.jpg", "copyright": " Chinese Academy of Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00811-BIG.jpg", "copyright": " Chinese Academy of Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00812-BIG.jpg", "copyright": " Chinese Academy of Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00813-BIG.jpg", "copyright": " Chinese Academy of Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00861-BIG.jpg", "copyright": " Chinese Academy of Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11242-BIG.jpg", "copyright": " Chinese Academy of Arts", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=auUB0q0QUt8", "copyright": "", "title": "Kun Qu opera" }, { "url": "https:\/\/www.youtube.com\/watch?v=-l0H85i5RzE", "copyright": "", "title": "Kun Qu opera" }, { "url": "https:\/\/www.youtube.com\/watch?v=nEslXseU3TI", "copyright": "", "title": "Kun Qu opera" } ], "sustainability": "" } }, "element_5": { "type": "element", "label": "Gbofe of Afounkaha, the music of the transverse trumps of the Tagbana community", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00390-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00390-HUG.jpg" }, "description": "The Gbofe is mainly performed in the village of Afounkaha in the Tagbana community. The term Gbofe is used both for the transverse horns and for the performance as a whole, which encompasses music, song and dance. The Gbofe horns are made of roots covered by cowhide. Six of these horns are used together, ranging in length from 50 to 70 centimetres. They emit a range of sounds \u201creproducing\u201d the words of the Tagbana language. These words are then \u201ctranslated\u201c by female choirs. The music of the horns and the singing are accompanied by drummers who beat time and give the Gbofe its structure. The Gbofe is played at rituals and traditional ceremonies, and the messages conveyed vary according to the circumstances: praise, love, satire, mourning, moral or educational messages. The Gbofe played an important role by conferring respect towards the holders of the tradition, and by conveying a sense of identity on the communities. The various Gbofe performers follow an apprenticeship. While the know-how is most often passed down from father to son, young talents can also join in the training sessions.

The practice of Gbofe has ceased to exist in various regions of C\u00f4te d\u2019Ivoire due to war, rural exodus and industrialization. Although it has been reintroduced in some communities, it is today in danger of disappearing. The young are less and less aware of this tradition.This is leading to a considerable reduction in the number of people who possess the knowledge of the rituals and the skills to make the instruments, along with a similar decline in the number of those mastering the art and techniques of the dance, songs and music.
", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gbofe-of-afounkaha-the-music-of-the-transverse-trumps-of-the-tagbana-community-00005", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00031-BIG.jpg", "copyright": "Ang\u00e9line Yegnan \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00166-BIG.jpg", "copyright": " Ang\u00e9line Yegnan \/ UNESCO", "title": "The Gbofe horns, made of long roots covered by cowhide, reproduce the words of the Tagbana language. Female choirs, accompanied by drummers, respond to the calling of the horns. Mainly performed in the village of Afounkaha, the Gbofe is part of collective rituals and traditional ceremonies." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00281-BIG.jpg", "copyright": " Ang\u00e9line Yegnan \/ UNESCO", "title": "Trump players, percussionists and dancers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00388-BIG.jpg", "copyright": " Ang\u00e9line Yegnan \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00389-BIG.jpg", "copyright": " Ang\u00e9line Yegnan \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00390-BIG.jpg", "copyright": " Ang\u00e9line Yegnan \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00391-BIG.jpg", "copyright": " Ang\u00e9line Yegnan \/ UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=C8-Y6HdnQlk", "copyright": "", "title": "Gbofe of Afounkaha, the music of the transverse trumps of the Tagbana community" }, { "url": "https:\/\/www.youtube.com\/watch?v=WrflsuPiZRw", "copyright": "", "title": "Gbofe of Afounkaha, the music of the transverse trumps of the Tagbana community" }, { "url": "https:\/\/www.youtube.com\/watch?v=IFoho4oD7Ic", "copyright": "", "title": "Gbofe of Afounkaha, the music of the transverse trumps of the Tagbana community" } ], "sustainability": "" } }, "element_6": { "type": "element", "label": "Cultural space of the Brotherhood of the Holy Spirit of the Congos of Villa Mella", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00034-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00034-HUG.jpg" }, "description": "The Brotherhood of the Holy Spirit of the Congos of Villa Mella is distinguished in the fields of music, dance and popular festivities. The Brotherhood musicians play instruments called congos. These congos, the origin of which is attributed to the Holy Spirit, are hand-drums. The Brotherhood, which is nowadays open to all without distinction of sex or origin, was founded in the sixteenth century by African slaves and people of mixed origin. For historical reasons, the Brotherhood is an important part of the cultural identity of its members and of the region as a whole.

The Festival of the Holy Spirit, celebrated at Pentecost, features prayers, dances and singing, accompanied by the music of the congos and a procession carrying the dove representing the Holy Spirit. This occurs at the wake, during the procession to the cemetery and on the ninth day of mourning, when prayers are recited in front of a three-tiered catafalque carrying a doll representing the dead. At the Banko ceremony, three years after the death, the same catafalque is prepared and the living take leave of the deceased, who then becomes an ancestor. On this occasion, all the guests dance to the music of the congos.

The permanence of the Brotherhood has been threatened by the lack of interest shown by the elite in cultures of African and mixed origin. Today, the acceleration of urban growth, migration, unemployment and the standardization of values is reinforcing prejudices and the lack of understanding of the Brotherhood.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-space-of-the-brotherhood-of-the-holy-spirit-of-the-congos-of-villa-mella-00006", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00034-BIG.jpg", "copyright": " Museo de Hombre Dominicano", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00171-BIG.jpg", "copyright": "Museo de Hombre Dominicano", "title": "The brotherhood, founded in the sixteenth century by slaves of African origin, is today open to all without distinction of sex or ethnic origin. It is known for its musicians playing a particular hand drum, named Congo, a vital element of the festival of the Holy Spirit, celebrated at Pentecost." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00550-BIG.jpg", "copyright": "Museo de Hombre Dominicano", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=-9pFxX96M6w", "copyright": "", "title": "Cultural space of the Brotherhood of the Holy Spirit of the Congos of Villa Mella" }, { "url": "https:\/\/www.youtube.com\/watch?v=Wl4GLxM489k", "copyright": "", "title": "Cultural space of the Brotherhood of the Holy Spirit of the Congos of Villa Mella" }, { "url": "https:\/\/www.youtube.com\/watch?v=Y4TqjCZfHso", "copyright": "", "title": "Cultural space of the Brotherhood of the Holy Spirit of the Congos of Villa Mella" } ], "sustainability": "" } }, "element_7": { "type": "element", "label": "Oral heritage and cultural manifestations of the Z\u00e1para people", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00553-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00553-HUG.jpg" }, "description": "The Z\u00e1para people live in a part of the Amazon jungle straddling Ecuador and Peru. The Z\u00e1para developed in what is one of the most bio-diverse areas in the world and are the last representatives of an ethno-linguistic group that included many other populations before the Spanish conquest. In the heart of Amazonia, they have elaborated an oral culture that is particularly rich as regards their understanding of the natural environment. This is demonstrated by the abundance of their vocabulary for the flora and fauna and by their medicinal practices and knowledge of the medicinal plants of the forest. This cultural heritage is expressed through their myths,rituals, artistic practices and language. Their language is the depository of traditional knowledge and of oral tradition and constitutes the memory of the people and the region.

Four centuries of history, marked by the Spanish conquest, slavery, epidemics, forced conversions, wars and deforestation, have driven the Z\u00e1para people to near extinction. Despite these numerous threats, they have managed to preserve their ancestral knowledge. Intermarriage with Mestizos and other indigenous peoples (Quechua) has been especially instrumental in enabling the people to survive. But this dispersion has also resulted in a partial loss of their identity.

The current situation of the Z\u00e1para people is critical, and today they are in very serious danger of disappearing altogether. In 2001, their population numbered no more than 300 (200 in Ecuador and 100 in Peru), of whom only five, all aged over 70, still speak the Z\u00e1para language.", "list": "RL", "year": 2008, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/oral-heritage-and-cultural-manifestations-of-the-zapara-people-00007", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00551-BIG.jpg", "copyright": "Anne-Gael Bilhaut\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00552-BIG.jpg", "copyright": "Anne-Gael Bilhaut\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00553-BIG.jpg", "copyright": "Anne-Gael Bilhaut\/UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=jWityDDExqk", "copyright": "Anazzpa 2001", "title": "Oral heritage and cultural manifestations of the Z\u00e1para people" }, { "url": "https:\/\/www.youtube.com\/watch?v=trlWIANKJHg", "copyright": "Anazzpa 2001", "title": "Oral heritage and cultural manifestations of the Z\u00e1para people" }, { "url": "https:\/\/www.youtube.com\/watch?v=t1Reb3xUjLw", "copyright": "Anazzpa 2001", "title": "Oral heritage and cultural manifestations of the Z\u00e1para people" } ], "sustainability": "" } }, "element_8": { "type": "element", "label": "Georgian polyphonic singing", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00838-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00838-HUG.jpg" }, "description": "Popular singing has a highly valued place in Georgian culture. Polyphonic singing, in the Georgian language, is a secular tradition in a country whose language and culture have often been oppressed by invaders. There are three types of polyphony in Georgia: complex polyphony, which is common in Svaneti; polyphonic dialogue over a bass background, prevalent in the Kakheti region in Eastern Georgia; and contrasted polyphony with three partially improvised sung parts, characteristic of western Georgia. The Chakrulo song, which is sung at ceremonies and festivals and belongs to the first category, is distinguished by its use of metaphor and its yodel, the krimanchuli and a \u201ccockerel\u2019s crow\u201d, performed by a male falsetto singer. Some of these songs are linked to the cult of the grapevine and many date back to the eighth century. The songs traditionally pervaded all areas of everyday life, ranging from work in the fields (the Naduri, which incorporates the sounds of physical effort into the music) to songs to curing of illnesses and to Christmas Carols (Alilo). Byzantine liturgical hymns also incorporated the Georgian polyphonic tradition to such an extent that they became a significant expression of it.

Having previously suffered the drawbacks of socialist cultural policies, traditional Georgian music is now threatened by rural exodus as well as by the increasing success of pop music. In many archives one finds recordings of polyphonic songs from the beginning of the twentieth century; these recordings are, however, not secure enough to guarantee the long-term preservation.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/georgian-polyphonic-singing-00008", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00176-BIG.jpg", "copyright": "Research Center of Traditional Poliphony", "title": "Polyphonic singing is a popular tradition that used to pervade all areas of everyday life in Georgia, ranging from field work to songs for curing illnesses and Christmas carols. There are three types of polyphony in Georgia, each performed in a different region." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00838-BIG.jpg", "copyright": "Research Center of Traditional Polyphony", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00844-BIG.jpg", "copyright": "Research Center of Traditional Polyphony", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00845-BIG.jpg", "copyright": "UNESCO\/Anahit Minasyan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11220-BIG.jpg", "copyright": "Anzor Erkomaishvili", "title": "Folk ensemble 'Rustavi'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11221-BIG.jpg", "copyright": "Research Center of Traditional Poliphony", "title": "Polyphonic singing is a popular tradition that used to pervade all areas of everyday life in Georgia, ranging from field work to songs for curing illnesses and Christmas carols. There are three types of polyphony in Georgia, each performed in a different region." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=rg8xrdbnH8E", "copyright": "", "title": "\u2018Rustavi\u2019 Ensemble" }, { "url": "https:\/\/www.youtube.com\/watch?v=j4bGuJteQIo", "copyright": "", "title": "\u2018Rustavi\u2019 Ensemble" }, { "url": "https:\/\/www.youtube.com\/watch?v=QINPwslVHJM", "copyright": "", "title": "\u2018Rustavi\u2019 Ensemble" } ], "sustainability": "" } }, "element_9": { "type": "element", "label": "Cultural space of Sosso-Bala", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00178-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00178-HUG.jpg" }, "description": "The sacred balafon instrument, known as the Sosso- Bala, has been perceived as the symbol of the freedom and cohesion of the Mandingue community, which is spread across a territory that once belonged to the Empire of Mali. Originally owned and played by King Sumaoro Kant\u00e9, who succeeded to the Sosso throne in the early thirteenth century, the balafon has transmitted epic poems down through the centuries, principally the Sunjata epic that comprises hymns to the glory of the builder of the Mali Empire.

The instrument is a type of xylophone of about 1.5 metres in length, made of 20 slats carefully cut into different lengths and under each of which are fixed several calabashes. According to written and oral histories, the balafon was either manufactured by the king himself or given to him by a jinni (genie). The original Sosso-Bala is preserved in a round mud hut with other sacred and historical objects in the village of Nyagassola in northern Guinea, an area occupied by the D\u00f6kala family, the Kouyat\u00e9 griots of Nyagassola. The Balatigui, the patriarch of the D\u00f6kala family, is the guardian of the instrument. He is the only one who is allowed to play the Sosso-Bala on important occasions, such as the festival of the Muslim New Year and at burials. It is also the Balatigui who is responsible for teaching the balafon to children from the age of seven upwards.

The progressive reduction in the number of pupils due to rural exodus is regarded as one of the main threats to the continuity of this musical tradition. Additional factors include the fragility of the infrastructure and the difficult living conditions in Nyagassola. However, the Balatigui and other members of D\u00f6kala family, who still hold an important position in Mandingue society, have committed themselves to transmitting their knowledge and skills to future practitioners.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-space-of-sosso-bala-00009", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00041-BIG.jpg", "copyright": " Philippe Bordas \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00178-BIG.jpg", "copyright": "Philippe Bordas \/ UNESCO", "title": "A sacred symbol of freedom and identity of the Manding community, the Sosso-bala is a wooden xylophone or balafon played on occasions such as the Muslim New Year and burials. The master players, holding an important position in Manding society, teach children as young as seven." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00518-BIG.jpg", "copyright": " Philippe Bordas \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00519-BIG.jpg", "copyright": " Philippe Bordas \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00520-BIG.jpg", "copyright": " Philippe Bordas \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00521-BIG.jpg", "copyright": " Philippe Bordas \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00522-BIG.jpg", "copyright": " Philippe Bordas \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00523-BIG.jpg", "copyright": " Philippe Bordas \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00524-BIG.jpg", "copyright": " Philippe Bordas \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00525-BIG.jpg", "copyright": " Philippe Bordas \/ UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=27Bo2_e_bVk", "copyright": "", "title": "Cultural space of Sosso-Bala" }, { "url": "https:\/\/www.youtube.com\/watch?v=kHV6zm6FHa8", "copyright": "", "title": "Cultural space of Sosso-Bala" }, { "url": "https:\/\/www.youtube.com\/watch?v=L3PfssnqUzI", "copyright": "", "title": "Cultural space of Sosso-Bala" } ], "sustainability": "" } }, "element_10": { "type": "element", "label": "Kutiyattam, Sanskrit theatre", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00042-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00042-HUG.jpg" }, "description": "Kutiyattam, Sanskrit theatre, which is practised in the province of Kerala, is one of India\u2019s oldest living theatrical traditions. Originating more than 2,000 years ago, Kutiyattam represents a synthesis of Sanskrit classicism and reflects the local traditions of Kerala. In its stylized and codified theatrical language, neta abhinaya (eye expression) and hasta abhinaya (the language of gestures) are prominent. They focus on the thoughts and feelings of the main character. Actors undergo ten to fifteen years of rigorous training to become fully-fledged performers with sophisticated breathing control and subtle muscle shifts of the face and body. The actor\u2019s art lies in elaborating a situation or episode in all its detail. Therefore, a single act may take days to perform and a complete performance may last up to 40 days.

Kutiyattam is traditionally performed in theatres called Kuttampalams, which are located in Hindu temples. Access to performances was originally restricted owing to their sacred nature, but the plays have progressively opened up to larger audiences. Yet the actor\u2019s role retains a sacred dimension, as attested by purification rituals and the placing of an oil lamp on stage during the performance symbolizing a divine presence. The male actors hand down to their trainees detailed performance manuals, which, until recent times, remained the exclusive and secret property of selected families.

With the collapse of patronage along with the feudal order in the nineteenth century, the families who held the secrets to the acting techniques experienced serious difficulties. After a revival in the early twentieth century, Kutiyattam is once again facing a lack of funding, leading to a severe crisis in the profession. In the face of this situation, the different bodies responsible for handing down the tradition have come together to join efforts in order to ensure the continuity of this Sanskrit theatre.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kutiyattam-sanskrit-theatre-00010", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00042-BIG.jpg", "copyright": " Margi Kathakali and Kutiyattam School", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00179-BIG.jpg", "copyright": "Natanakairali \/ UNESCO", "title": "Practised in Kerela Province, Kutiyattam is one of India\u2019s oldest theatrical traditions and represents a synthesis of classicism and local traditions. Colourful costumes, masks and make-up add to the language of gestures, body movements and eye expressions that characterize this highly stylized performance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00570-BIG.jpg", "copyright": "Natanakairali \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00571-BIG.jpg", "copyright": "Natanakairali \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00572-BIG.jpg", "copyright": "Sangeet Natak Akademi \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00573-BIG.jpg", "copyright": "Margi Kathakali and Kutiyattam school \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00574-BIG.jpg", "copyright": "Margi Kathakali and Kutiyattam school \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00575-BIG.jpg", "copyright": "Natanakairali \/ UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00579-BIG.jpg", "copyright": "UNESCO\/Moe Chiba", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00580-BIG.jpg", "copyright": "UNESCO\/Moe Chiba", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=sHGfu-wdVfw", "copyright": "", "title": "Kutiyattam, Sanskrit theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=IRfXUTnKB1o", "copyright": "", "title": "Kutiyattam, Sanskrit theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=oZE0w1Q9Aag", "copyright": "", "title": "Kutiyattam, Sanskrit theatre" } ], "sustainability": "" } }, "element_11": { "type": "element", "label": "Opera dei Pupi, Sicilian puppet theatre", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00185-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00185-HUG.jpg" }, "description": "The puppet theatre known as the Opera dei Pupi emerged in Sicily at the beginning of the nineteenth century and enjoyed great success among the island\u2019s working classes. The puppeteers told stories based on medieval chivalric literature and other sources, such as Italian poems of the Renaissance, the lives of saints and tales of notorious bandits. The dialogues in these performances were largely improvised by the puppeteers. The two main Sicilian puppet schools in Palermo and Catania were distinguished principally by the size and shape of the puppets, the operating techniques and the variety of colourful stage backdrops.

These theatres were often family-run businesses; the carving, painting and construction of the puppets, renowned for their intense expressions, were carried out by craftspeople employing traditional methods. The puppeteers constantly endeavoured to outdo each other with their shows, and they exerted great influence over their audience. In the past, these performances took place over several evenings and provided opportunities for social gatherings.

The economic and social upheavals caused by the extraordinary economic boom of the 1950s had a considerable effect on the tradition, threatening its very foundations. At that time, similar forms of theatre in other parts of Italy disappeared, some of them to re-emerge some twenty years later. The Opera dei Pupi is the only example of an uninterrupted tradition of this kind of theatre. Owing to current economic difficulties puppeteers can no longer make a living from their art, prompting them to turn to more lucrative professions. Tourism has contributed to reducing the quality of performances, which were previously aimed at a local audience only.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/opera-dei-pupi-sicilian-puppet-theatre-00011", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00185-BIG.jpg", "copyright": "Giacome Cuticchio\/UNESCO", "title": "Mainly based in Palermo and Catania, the Opera dei Pupi had its heyday in the nineteenth and early twentieth century. The puppeteers show great mastery in bringing characters of medieval chivalric epics alive. A few family-run theatres survive, thanks to safeguarding activities that started a century ago." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00566-BIG.jpg", "copyright": "Patrick Delance\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00567-BIG.jpg", "copyright": "Giacome Cuticchio\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00568-BIG.jpg", "copyright": "Achille Le Pera\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00569-BIG.jpg", "copyright": "Achille Le Pera\/UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=5Ql7DxcWILE", "copyright": "", "title": "Opera dei Pupi, Sicilian puppet theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=2ynuOLZWN7E", "copyright": "", "title": "Opera dei Pupi, Sicilian puppet theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=72m9_W1C9H4", "copyright": "", "title": "Opera dei Pupi, Sicilian puppet theatre" } ], "sustainability": "" } }, "element_12": { "type": "element", "label": "N\u00f4gaku theatre", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00188-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00188-HUG.jpg" }, "description": "N\u00f4gaku theatre had its heyday in the fourteenth and fifteenth centuries, but actually originated in the eighth century when the Sangaku was transmitted from China to Japan. At the time, the term Sangaku referred to various types of performance featuring acrobats, song and dance as well as comic sketches. Its subsequent adaption to Japanese society led to its assimilation of other traditional art forms. Today, N\u00f4gaku is the principal form of Japanese theatre and has influenced the puppet theatre as well as Kabuki.

Often based on tales from traditional literature, N\u00f4gaku theatre integrates masks, costumes and various props in a dance-based performance. Moreover, this theatre requires highly trained actors and musicians. N\u00f4gaku encompasses two types of theatre: Noh and Ky\u00f4gen, which are performed in the same space. The stage projects into the audience and is linked by a walkway to a \u201chall of mirrors\u201d backstage. In Noh, emotions are represented by stylised conventional gestures. The hero is often a supernatural being who takes on human form to narrate a story. The distinctive masks for which Noh is renowned are used for the roles of ghosts, women, children and old people. Ky\u00f4gen, on the other hand, relies less on the use of masks and is derived from the humorous plays of the Sangaku, as reflected in its comic dialogue. The text is written in ancient language and vividly describes the ordinary people of the twelfth to sixteenth centuries.

In 1957 the Japanese Government designated N\u00f4gaku as an Important Intangible Cultural Property, which affords a degree of legal protection to the tradition as well as its most accomplished practitioners. The National Noh Theatre was founded in 1983 and stages regular performances. It also organizes courses to train actors in the leading roles of the N\u00f4gaku.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nogaku-theatre-00012", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00188-BIG.jpg", "copyright": "National Noh Theatre", "title": "N\u00f4gaku plays vividly depict supernatural beings and ordinary people centuries ago, distinguished through various masks used for the roles of ghosts, heroes, men and women, children and old people. The principal form of Japanese theatre, N\u00f4gaku has influenced puppet theatre as well as Kabuki." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00292-BIG.jpg", "copyright": " National Noh Theatre", "title": "N\u00f4gaku theater costum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00293-BIG.jpg", "copyright": " National Noh Theatre", "title": "N\u00f4 theater mask - Hannya" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00294-BIG.jpg", "copyright": " National Noh Theatre", "title": "N\u00f4 performance - Akata" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00295-BIG.jpg", "copyright": " National Noh Theatre", "title": "N\u00f4 performance - Okina" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00296-BIG.jpg", "copyright": " National Noh Theatre", "title": "N\u00f4 perfomance - Obasute" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00297-BIG.jpg", "copyright": " National Noh Theatre", "title": "N\u00f4 theater mask - Onnazaru" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00298-BIG.jpg", "copyright": " National Noh Theatre", "title": "N\u00f4 theater mask - Ko omote" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00299-BIG.jpg", "copyright": " National Noh Theatre", "title": "N\u00f4 theater mask - Hakusiki jo" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=lBl6FGVuFQo", "copyright": "", "title": "N\u00f4gaku theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=NjK7_8-gJZc", "copyright": "", "title": "N\u00f4gaku theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=-UPfoDkVhyY", "copyright": "", "title": "N\u00f4gaku theatre" } ], "sustainability": "" } }, "element_13": { "type": "element", "label": "Cross-crafting and its symbolism", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05667-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05667-HUG.jpg" }, "description": "Supported by Latvia<\/b>
Cross-crafting refers to a widespread tradition of making crosses and altars, as well as the consecration of these crosses and the rituals associated with them. The carved oak crosses are linked to Catholic ceremonies and harvest celebrations. Once the cross is consecrated by a priest, it acquires an inalienable sacred significance. They became the symbol of national and religious identity with its incorporation into the orthodox Russian Empire in the nineteenth century. Their symbolic role was reinforced under the Soviet regime, despite the fact that the crosses were officially banned.

The crosses measure between one and five metres high and are often adorned with a small roof, floral or geometric decorations, and occasionally bear small statues. Statues of the Virgin Mary and various saints are often called upon to aid people in distress. The crosses are placed on roadsides, at the entrance to villages, near monuments and in cemeteries. A range of types of offerings are made, especially items of food, rosaries, money or coloured scarves (for a wedding, for example) or aprons, asking for fertility. The crosses are also an important meeting place in a village and a symbol of the unity of the community.

Today, as in the past, cross crafting is not taught in any school but is handed down through non-formal education. The most serious threat to cross-crafting is rural exodus and the uniformity brought about by the influence of mass media. Although the upkeep of the crosses is ensured by the parishes, more support is needed.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cross-crafting-and-its-symbolism-00013", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00891-BIG.jpg", "copyright": "Lithuania Folk Culture Center", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05667-BIG.jpg", "copyright": "Ram\u016bnas Virkutis\/Lithuanian Folk Culture Centre, 2004", "title": "Pillared shrine by Vincas Svirskis. Turn of the 20th c. Ibutonys village, Panev\u0117\u017eys distr." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05668-BIG.jpg", "copyright": "Ram\u016bnas Virkutis\/Lithuanian Folk Culture Centre, 2004", "title": "Shrine in the tree. 1882. Ma\u010diukai wood, Plung\u0117 distr." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05669-BIG.jpg", "copyright": "Ram\u016bnas Virkutis\/Lithuanian Folk Culture Centre, 2000", "title": "Pillared shrine. 1953. 1. Kon\u010dius countryhouse, Purvai\u010diai village, Plung\u0117 distr." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05670-BIG.jpg", "copyright": "Ram\u016bnas Virkutis\/Lithuanian Folk Culture Centre, 2002", "title": "Pillar type cross. Sv\u0117dasai village, Anyk\u0161\u010diai distr." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05671-BIG.jpg", "copyright": "Ram\u016bnas Virkutis\/Lithuanian Folk Culture Centre, 2002", "title": "Hill of Crosses. Me\u0161kui\u010diai mound, \u0160iauliai distr." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05672-BIG.jpg", "copyright": "Ram\u016bnas Virkutis\/Lithuanian Folk Culture Centre, 2003", "title": "Pillared shrine with St.Florian statue. Plateliai village, Plung\u0117 distr." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05673-BIG.jpg", "copyright": "Ram\u016bnas Virkutis\/Lithuanian Folk Culture Centre, 2004", "title": "The craftsman (Pranas Kazi\u016bnas) crafting a cross in the open air museum in Rum\u0161i\u0161k\u0117s." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11174-BIG.jpg", "copyright": "UNESCO\/Anahit Minasyan", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=UH8JNgd4RKw", "copyright": "Al? Po?iulpait? \/ Egidijus Va\u0161kevi?ius \/ Lithuanian Folk Culture Centre", "title": "The cross in calendar holidays" }, { "url": "https:\/\/www.youtube.com\/watch?v=uDEWJKx-n0E", "copyright": "Al? Po?iulpait? \/ Egidijus Va\u0161kevi?ius \/ Lithuanian Folk Culture Centre", "title": "The cross in calendar holidays" }, { "url": "https:\/\/www.youtube.com\/watch?v=-Ev9RsVKMEA", "copyright": "Al? Po?iulpait? \/ Egidijus Va\u0161kevi?ius \/ Lithuanian Folk Culture Centre", "title": "The cross in calendar holidays" } ], "sustainability": "" } }, "element_14": { "type": "element", "label": "Cultural space of Jemaa el-Fna Square", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00862-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00862-HUG.jpg" }, "description": "The Jemaa el-Fna Square is one of the main cultural spaces in Marrakesh and has become one of the symbols of the city since its foundation in the eleventh century. It represents a unique concentration of popular Moroccan cultural traditions performed through musical, religious and artistic expressions.

Located at the entrance of the Medina, this triangular square, which is surrounded by restaurants, stands and public buildings, provides everyday commercial activities and various forms of entertainment. It is a meeting point for both the local population and people from elsewhere. All through the day, and well into the night, a variety of services are offered, such as dental care, traditional medicine, fortune-telling, preaching, and henna tattooing; water-carrying, fruit and traditional food may be bought. In addition, one can enjoy many performances by storytellers, poets, snake-charmers, Berber musicians (mazighen), Gnaoua dancers and senthir (hajouj) players. The oral expressions would be continually renewed by bards (imayazen), who used to travel through Berber territories. They continue to combine speech and gesture to teach, entertain and charm the audience. Adapting their art to contemporary contexts, they now improvise on an outline of an ancient text, making their recital accessible to a wider audience.

The Jemaa el-Fna Square is a major place of cultural exchange and has enjoyed protection as part of Morocco\u2019s artistic heritage since 1922. However, urbanization, in particular real estate speculation and the development of the road infrastructure, are seen as serious threats to the cultural space itself. While Jemaa el-Fna Square enjoys great popularity, the cultural practices may suffer acculturation, also caused by widespread tourism.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-space-of-jemaa-el-fna-square-00014", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00620-BIG.jpg", "copyright": "Ahmed Ben Isma\u00efl", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00862-BIG.jpg", "copyright": "UNESCO \/ Jane Wright", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00863-BIG.jpg", "copyright": "UNESCO \/ Jane Wright", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00864-BIG.jpg", "copyright": "UNESCO \/ Jane Wright", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00865-BIG.jpg", "copyright": "UNESCO \/ Jane Wright", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00867-BIG.jpg", "copyright": "UNESCO \/ Jane Wright", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00868-BIG.jpg", "copyright": "UNESCO \/ Jane Wright", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00869-BIG.jpg", "copyright": "UNESCO \/ Jane Wright", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00870-BIG.jpg", "copyright": "UNESCO \/ Jane Wright", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=vxlAvg3UdOI", "copyright": "", "title": "Cultural space of Jemaa el-Fna Square" }, { "url": "https:\/\/www.youtube.com\/watch?v=W1pVNe1dqdQ", "copyright": "", "title": "Cultural space of Jemaa el-Fna Square" }, { "url": "https:\/\/www.youtube.com\/watch?v=nygSUAwYRYk", "copyright": "", "title": "Cultural space of Jemaa el-Fna Square" } ], "sustainability": "The Jemaa el-Fna Square is a vibrant cultural space in Marrakesh where performing artists, narrators, and merchants go to share the rich intangible culture of Morocco. Situated near the Medina, this public square offers entertainment, food, and goods for both local audiences and visitors. A symbol of the city since the 11th century, the square continues to thrive as a hub of creativity and inclusive diversity, contributing to urban sustainability. This element also links to SDG #16: Peace, Justice and Strong Institutions." } }, "element_15": { "type": "element", "label": "Hudhud chants of the Ifugao", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05675-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05675-HUG.jpg" }, "description": "The Hudhud consists of narrative chants traditionally performed by the Ifugao community, which is well known for its rice terraces extending over the highlands of the northern island of the Philippine archipelago. It is practised during the rice sowing season, at harvest time and at funeral wakes and rituals. Thought to have originated before the seventh century, the Hudhud comprises more than 200 chants, each divided into 40 episodes. A complete recitation may last several days.

Since the Ifugao\u2019s culture is matrilineal, the wife generally takes the main part in the chants, and her brother occupies a higher position than her husband. The language of the stories abounds in figurative expressions and repetitions and employs metonymy, metaphor and onomatopoeia, rendering transcription very difficult. Thus, there are very few written expressions of this tradition. The chant tells about ancestral heroes, customary law, religious beliefs and traditional practices, and reflects the importance of rice cultivation. The narrators, mainly elderly women, hold a key position in the community, both as historians and preachers. The Hudhud epic is chanted alternately by the first narrator and a choir, employing a single melody for all the verses.

The conversion of the Ifugao to Catholicism has weakened their traditional culture. Furthermore, the Hudhud is linked to the manual harvesting of rice, which is now mechanized. Although the rice terraces are listed as a World Heritage Site, the number of growers has been in constant decline.The few remaining narrators, who are already very old, need to be supported in their efforts to transmit their knowledge and to raise awareness among young people.
", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/hudhud-chants-of-the-ifugao-00015", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05674-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2008", "title": "Chanting of the hudhud during harvest in Brgy. Haliap, Municipality of Asipulo, Ifugao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05675-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2008", "title": "Chanting of the hudhud during harvest in Brgy. Haliap, Municipality of Asipulo, Ifugao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05676-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2008", "title": "Chanting of the hudhud during harvest in Brgy. Haliap, Municipality of Asipulo, Ifugao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05677-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2008", "title": "Chanting of the hudhud during harvest in Brgy. Haliap, Municipality of Asipulo, Ifugao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05678-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2008", "title": "Chanting of the hudhud during harvest in Brgy. Haliap, Municipality of Asipulo, Ifugao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05679-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC", "title": "Chanting of the hudhud during harvest in Brgy. Haliap, Municipality of Asipulo, Ifugao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05680-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2008", "title": "Chanting of the hudhud during harvest in Brgy. Haliap, Municipality of Asipulo, Ifugao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05681-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2008", "title": "Chanting of the hudhud during harvest in Brgy. Haliap, Municipality of Asipulo, Ifugao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05682-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2008", "title": "Chanting of the hudhud during harvest in Brgy. Haliap, Municipality of Asipulo, Ifugao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05683-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2008", "title": "Chanting of the hudhud during harvest in Brgy. Haliap, Municipality of Asipulo, Ifugao" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=qDImhwTKMOk", "copyright": "", "title": "Hudhud chants of the Ifugao" }, { "url": "https:\/\/www.youtube.com\/watch?v=Alqi51P508A", "copyright": "", "title": "Hudhud chants of the Ifugao" }, { "url": "https:\/\/www.youtube.com\/watch?v=HwsEiL78s0M", "copyright": "", "title": "Hudhud chants of the Ifugao" } ], "sustainability": "" } }, "element_16": { "type": "element", "label": "Royal ancestral ritual in the Jongmyo shrine and its music", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05568-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05568-HUG.jpg" }, "description": "The Jongmyo Shrine in Seoul is the setting for a Confucian ritual dedicated to the ancestors of the Joseon dynasty (14th to the 19th century) that encompasses song, dance and music. The ritual is practised once a year on the first Sunday in May and is organized by the descendants of the royal family. It offers a unique example of a Confucian ritual, which is no longer celebrated in China. The tradition is inspired by classical Chinese texts concerning the cult of ancestors and the notion of filial piety. It also includes a prayer for the eternal peace of the ancestors\u2019 spirits in a shrine conceived as their spiritual resting place.

The order of the ceremony was defined in the fifteenth century and most elements have remained unchanged until today. During the rite, the priests, dressed in ritual costume with a crown for the king and diadems for the others, make offerings of food and wine in ritual vessels. The Jongmyo Jerye is music played to accompany the rituals and is performed on traditional instruments, such as gongs, bells, lutes, zithers and flutes.
The dances are performed by 64 dancers in 8 lines representing the opposing yet complementary forces of Yin and Yang as set out in the Confucian texts.The Munmu dance, accompanied by the harmonious and soothing Botaepyong music, is characterized by a first step to the left. While the Munmu dance symbolizes the force of the Yang, the Mumu dance, accompanied by Jeongdaeeop music and characterized by a movement to the right, represents the force of the Yin.

The ancestral ritual is nowadays often considered to be devoid of meaning, especially in the context of the growing importance of Christianity. However, the ritual and its music are protected through the National List of Intangible Heritage and the 1982 Law for the Protection of Cultural Property. ", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/royal-ancestral-ritual-in-the-jongmyo-shrine-and-its-music-00016", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05530-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2008", "title": "Offspring of the Royal Family" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05536-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2008", "title": "Ritual table" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05546-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2008", "title": "Officiants making bows" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05554-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2008", "title": "Burning ceremonial papers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05562-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2008", "title": "Ritual music, Jongmyo jeryeak" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05565-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2008", "title": "Civil dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05568-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage", "title": "Civil dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05571-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2008", "title": "Military dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05574-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2008", "title": "Military dance" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=e-GZhGh7V9Y", "copyright": "", "title": "Royal ancestral ritual in the Jongmyo shrine and its music" }, { "url": "https:\/\/www.youtube.com\/watch?v=lxq3D-LJkCs", "copyright": "", "title": "Royal ancestral ritual in the Jongmyo shrine and its music" }, { "url": "https:\/\/www.youtube.com\/watch?v=gaErBrd4_fM", "copyright": "", "title": "Royal ancestral ritual in the Jongmyo shrine and its music" } ], "sustainability": "" } }, "element_17": { "type": "element", "label": "Cultural space and oral culture of the Semeiskie", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00640-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00640-HUG.jpg" }, "description": "The Semeiskie communities are formed by a group of so-called \u201cOld Believers\u201d, a confessional community originating from the time of the Instigation of the Russian Orthodox Church in the seventeenth century.Their history is marked by repression and exile. During the reign of Catherine the Great, believers in the \u201cold system\u201d from various regions of Russia had to move to the Transbaikal region in Siberia, where they still live today. In this remote area, they have preserved elements of their respective culture, forming a distinct group identity.

The cultural space of the Semeiskie, east of Lake Baikal, represents a remnant of cultural expressions from pre-seventeenth century Russia. The community, totalling around 200,000 persons, speaks a south Russian dialect featuring borrowings from Bielorussian, Ukrainian and Bouryat. The Semeiskie still practised ancient orthodox rituals and perpetuate everyday activities mainly based on the cult of the family - the term Semeskie refers to \u201cthose who live as a family\u201d - and strong moral principles. They are also characterized by their traditional dress, handicrafts, dwellings, paintings, ornaments and food as well as their music. Also noteworthy are their polyphonic choirs, which perform traditional songs at family celebrations and popular festivals. These songs are known as \u201cdrawl\u201d singing and are rooted in the Russian liturgical music of the Middle Ages.

Marginalized until the end of the Soviet period, the communities have had to adapt to the socio-economic transformation, including pressures from new technologies that are tending to standardize a number of elements of this culture. The population of \u201cOld Believers\u201d, regarded as the custodians of the traditions, is in constant decline. However, a real willingness to protect this heritage is shown by various initiatives, in particular the creation of the Semeiskie Cultural Centre in the village of Tarbagatay.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-space-and-oral-culture-of-the-semeiskie-00017", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00141-BIG.jpg", "copyright": "Russian State House of the People Creativity, Ministry of Culture", "title": "Living in the Transbaikal region in Siberia, the Semeiskie communities have preserved ancient orthodox rituals, various handicrafts and traditional songs and dances. Recent initiatives including the creation of the Semeiskie Cultural Centre have contributed to the revitalization of these traditions in the post-Soviet era." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00638-BIG.jpg", "copyright": "Russian State House of the People Creativity, Ministry of Culture", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00639-BIG.jpg", "copyright": "Russian State House of the People Creativity, Ministry of Culture", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00640-BIG.jpg", "copyright": "Russian State House of the People Creativity, Ministry of Culture", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Qq8zDnzkHfA", "copyright": "", "title": "Cultural space and oral culture of the Semeiskie" }, { "url": "https:\/\/www.youtube.com\/watch?v=IrOnQMyJIU8", "copyright": "", "title": "Cultural space and oral culture of the Semeiskie" }, { "url": "https:\/\/www.youtube.com\/watch?v=P0089yHWijg", "copyright": "", "title": "Cultural space and oral culture of the Semeiskie" } ], "sustainability": "" } }, "element_18": { "type": "element", "label": "Mystery play of Elche", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05421-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05421-HUG.jpg" }, "description": "The mystery play of Elche is a sacred musical drama of the death, the passage into heaven (known as the Assumption) and the crowning of the Virgin Mary. Since the mid-fifteenth century it has been performed in the Basilica of Santa Maria and in the streets of the old city of Elche, situated in the region of Valencia. It is a living testimony of European religious theatre of the Middle Ages and of the cult of the Virgin.

This theatrical performance, which is entirely sung, comprises two acts, performed on 14 and 15 August. These depict the death and crowning of the Virgin in a series of scenes and related paintings: the death of Mary, the night procession that is followed by hundreds of participants carrying candles, the morning procession, the afternoon funeral procession in the streets of Elche, and the enactment of the burial, Assumption and coronation in the Basilica. The texts are in Valencian, the local form of Catalan, with certain sections in Latin.The stage has two levels: the horizontal \u201cterrestrial\u201d stage and the vertical \u201ccelestial\u201d stage, characteristic of the medieval mystery play. Ancient aerial machinery is used to enhance the spectacle by means of special effects.

More than 300 volunteers take part in the performance each year as actors, singers, stage directors, stagehands, tailors and stewards, as well as in the preparations that last throughout the year.This tradition, which attracts the entire population of the town, is closely linked to the cultural and linguistic identity of the inhabitants of the region.The mystery play of Elche was designated a \u201cNational Monument\u201d in 1931 and is protected by several laws aimed at safeguarding cultural heritage.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mystery-play-of-elche-00018", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05420-BIG.jpg", "copyright": "Patronat del Misteri d'Elx, 2009", "title": "The Mystery Play of Elche. Rehearsal previous to the \r\nextraordinary performance of 1 November." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05421-BIG.jpg", "copyright": "Patronat del Misteri d'Elx, 2009", "title": "The Mystery Play of Elche. Rehearsal previous to the \r\nextraordinary performance of 1 November." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05422-BIG.jpg", "copyright": "Patronat del Misteri d'Elx, 2009", "title": "The Mystery Play of Elche. Rehearsal previous to the \r\nextraordinary performance of 1 November." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05423-BIG.jpg", "copyright": "Patronat del Misteri d'Elx, 2009", "title": "The Mystery Play of Elche. Rehearsal previous to the \r\nextraordinary performance of 1 November." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05424-BIG.jpg", "copyright": "Patronat del Misteri d'Elx, 2009", "title": "The Mystery Play of Elche. Rehearsal previous to the \r\nextraordinary performance of 1 November." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05425-BIG.jpg", "copyright": "Patronat del Misteri d'Elx, 2009", "title": "The Mystery Play of Elche. Rehearsal previous to the \r\nextraordinary performance of 1 November." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05426-BIG.jpg", "copyright": "Patronat del Misteri d'Elx, 2009", "title": "The Mystery Play of Elche. Rehearsal previous to the \r\nextraordinary performance of 1 November." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05427-BIG.jpg", "copyright": "Patronat del Misteri d'Elx, 2009", "title": "The Mystery Play of Elche. Rehearsal previous to the \r\nextraordinary performance of 1 November." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05428-BIG.jpg", "copyright": "Patronat del Misteri d'Elx, 2009", "title": "The Mystery Play of Elche. Rehearsal previous to the \r\nextraordinary performance of 1 November." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05429-BIG.jpg", "copyright": "Patronat del Misteri d'Elx, 2009", "title": "The Mystery Play of Elche. Extraordinary performance of 1 November." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=bj34GC4giGM", "copyright": "", "title": "Mystery play of Elche" }, { "url": "https:\/\/www.youtube.com\/watch?v=HJXSiHRH00c", "copyright": "", "title": "Mystery play of Elche" }, { "url": "https:\/\/www.youtube.com\/watch?v=zFE8gj1rID4", "copyright": "", "title": "Mystery play of Elche" } ], "sustainability": "" } }, "element_19": { "type": "element", "label": "Cultural space of Boysun District", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00226-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00226-HUG.jpg" }, "description": "The Boysun District located in south-eastern Uzbekistan on the route from Asia Minor to India, is one of the oldest inhabited areas of Central Asia. With the diminishing importance of the Silk Road and the political changes in Central Asia, the region became quite isolated, which favoured the preservation of ancient traditions that show traces of several religions, including shamanistic beliefs, Zoroastrianism, Buddhism and Islam. Today the district is home to about 82,000 inhabitants.

Numerous traditional rituals are still alive: on the eve of the spring festival of Navruz, for instance, a sowing ritual is held with offerings of food. Family rites also persist: 40 days after a birth, the evil spirits are chased away with fire and ashes; the circumcision of boys is accompanied by goat fights and various games, such as wrestling and horse races. Ancient practices are still often used to conduct wedding ceremonies, funeral rites and shamanistic rituals to cure the sick. Among other popular traditions are ritual chants linked to annual festivals, epic legends and dances. Wind or string instruments accompany the lyrical chants. The Shalola folk music ensemble has collected popular songs and made an inventory of traditional instruments and costumes. The members of the group have also documented legends, epics and old melodies in the villages.

The policy of the Soviet era imposed a cultural model which left little room for traditional Boysun cultural and artistic expression. Today, there is a clear need for assistance to provide the communities with musical instruments and with technical equipment to document the various cultural expressions.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-space-of-boysun-district-00019", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00089-BIG.jpg", "copyright": " National Commission of Uzbekistan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00226-BIG.jpg", "copyright": "National Commission of Uzbekistan", "title": "Boysun, located in south-eastern Uzbekistan, is known as one of the oldest inhabited areas of Central Asia. Local people gather to practice traditional rites such as the sowing ritual, wedding ceremonies, circumcisions of boys, funeral rites, and shamanistic rituals." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00649-BIG.jpg", "copyright": " National Commission of Uzbekistan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00650-BIG.jpg", "copyright": " National Commission of Uzbekistan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00651-BIG.jpg", "copyright": " National Commission of Uzbekistan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00652-BIG.jpg", "copyright": " National Commission of Uzbekistan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00653-BIG.jpg", "copyright": " National Commission of Uzbekistan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00655-BIG.jpg", "copyright": " National Commission of Uzbekistan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00656-BIG.jpg", "copyright": " National Commission of Uzbekistan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00657-BIG.jpg", "copyright": " National Commission of Uzbekistan", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=pF7GtwTIqqs", "copyright": "2001 by Uzteleradio Company of Uzbekistan", "title": "Documentary film on Cultural Space of the Boysun District" }, { "url": "https:\/\/www.youtube.com\/watch?v=A5b6g580i0c", "copyright": "2001 by Uzteleradio Company of Uzbekistan", "title": "Documentary film on Cultural Space of the Boysun District" }, { "url": "https:\/\/www.youtube.com\/watch?v=76-yX1N1ZHY", "copyright": "2001 by Uzteleradio Company of Uzbekistan", "title": "Documentary film on Cultural Space of the Boysun District" } ], "sustainability": "" } }, "element_1": { "type": "element", "label": "Language, dance and music of the Garifuna", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00483-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00483-HUG.jpg" }, "description": "A population of mixed origin incorporating cultural elements of indigenous Caribbean and African groups, the Garifuna settled along the Atlantic coast of Central America after being forced to flee from the Caribbean island of Saint Vincent in the eighteenth century. Today, Garifuna communities mainly live in Honduras, Guatemala, Nicaragua and Belize.

The Garifuna language belongs to the Arawakan group of languages and has survived centuries of discrimination and linguistic domination. It is rich in tales (\u00faraga) originally recited during wakes or large gatherings.The melodies bring together African and Amerindian elements, and the texts are a veritable repository of the history and traditional knowledge of the Garifuna, such as cassava-growing, fishing, canoe-building and the construction of baked mud houses. There is also a considerable amount of satire in these songs, which are accompanied by various drums and dances, which the spectators may join in.

These traditions are still very important to the life and survival of the Garifuna people. The elders are the ones who maintain many of the ceremonies, festivals and oral traditions. However, economic migration, discrimination and the complete absence of the Garifuna language from the school system are endangering its survival. Although the language is still widely spoken, it is now taught in only one village.", "list": "RL", "year": 2008, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/language-dance-and-music-of-the-garifuna-00001", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00014-BIG.jpg", "copyright": " National Garifuna Council", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00150-BIG.jpg", "copyright": "National Garifuna Council", "title": "The Garifuna communities, spread over Belize, Guatemala, Honduras and Nicaragua, have kept alive their common language, oral traditions, music and dances. Although still practiced on various occasions, these are changing considerably as the Garifuna language is less often spoken." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00479-BIG.jpg", "copyright": " National Garifuna Council", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00480-BIG.jpg", "copyright": " National Garifuna Council", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00481-BIG.jpg", "copyright": " National Garifuna Council", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00482-BIG.jpg", "copyright": " National Garifuna Council", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00483-BIG.jpg", "copyright": " National Garifuna Council", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11252-BIG.jpg", "copyright": "E. Roy Cayetano", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11253-BIG.jpg", "copyright": "E. Roy Cayetano", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11254-BIG.jpg", "copyright": "E. Roy Cayetano", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3LpyHtlbzLU", "copyright": "", "title": "Language, dance and music of the Garifuna" }, { "url": "https:\/\/www.youtube.com\/watch?v=jxHjZXfqGTc", "copyright": "", "title": "Language, dance and music of the Garifuna" }, { "url": "https:\/\/www.youtube.com\/watch?v=oNvmMQ1aX9Q", "copyright": "", "title": "Language, dance and music of the Garifuna" } ], "sustainability": "" } }, "element_39": { "type": "element", "label": "Azerbaijani Mugham", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00146-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00146-HUG.jpg" }, "description": "The Azerbaijani Mugham is a traditional musical form, characterized by a large degree of improvisation. The Mugham, though a classical and academic art, draws upon popular bard melodies, rhythms and performance techniques and is performed in many venues throughout the country.

Contemporary representations of the Azerbaijani Mugham reflect different periods of Azerbaijan\u2019s history and its contacts with Persians, Armenians, Georgians and with other Turkic peoples. This musical genre shares artistic characteristics with the Iraqi Maqam, the Persian Radif and the Turkish Makams. In the past, Mugham was primarily performed on two secular occasions: the toy, the traditional wedding feast and the majles, a gathering of connoisseurs in private settings. It was also cultivated by members of the Sufi orders and by performers of religious dramas known as ta\u2019zie or shabih. Official competitions and informal contests served to establish the reputation of accomplished musicians.

This modal genre features a male or female singer accompanied by musicians playing traditional instruments, such as the tar (a long-neck lute), the kamancha (a four-string spiked fiddle) and the daf (a type of large tambourine). Since Mugham cannot be transcribed in a fixed form, multiple versions are transmitted by masters who train students in the fine art of interpretation to ensure the variety of this artistic expression.

The Mugham has lost some of its aesthetic and expressive characteristics largely due to European influences, which are particularly apparent in the manner in which contemporary musicians perform and transmit their skills to the younger generations.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/azerbaijani-mugham-00039", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00146-BIG.jpg", "copyright": "UNESCO \/ David Stehl", "title": "Like the Mugham sung elsewhere in the region, the Azerbaijani Mugham is characterized by a high degree of improvisation in singing and playing. Today, master practitioners train students in the fine art of interpretation to ensure the variety of this artistic expression." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00434-BIG.jpg", "copyright": "UNESCO \/ Azerbaijan National Commission for UNESCO", "title": "Tar master class" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=f3DEyWWUwJI", "copyright": "", "title": "Mugam d'Azerba\u00efdjan - film de candidature" }, { "url": "https:\/\/www.youtube.com\/watch?v=oe9Rd-lBPU4", "copyright": "", "title": "Mugam d'Azerba\u00efdjan - film de candidature" }, { "url": "https:\/\/www.youtube.com\/watch?v=uOgeH0pEnHE", "copyright": "", "title": "Mugam d'Azerba\u00efdjan - film de candidature" } ], "sustainability": "" } }, "element_33": { "type": "element", "label": "Carnival of Binche", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05225-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05225-HUG.jpg" }, "description": "The town of Binche is situated south of Brussels in Belgium\u2019s Hainaut province. Each year, during the three days preceding Lent, it is host to carnival festivities that mobilize the historic centre and attract throngs of foreign visitors. With roots dating back to the Middle Ages, Binche\u2019s famed celebration ranks as one of Europe\u2019s oldest surviving street carnivals.

Since the beginning of January, an atmosphere of merry industriousness pervades the town as thousands of Binchois produce lavish costumes and participate in drum rehearsals and themed balls. On Shrove Sunday, which marks the official beginning of the carnival, Binche\u2019s streets and caf\u00e9s come alive with roving hordes of masqueraded merrymakers. The Mam\u2019selles, men dressed in extravagant female attire, are particularly prominent on this day. The carnival culminates on Mardi Gras, when the legendary Gille characters make their appearance. After an elaborate ceremonial dressing rite, several hundred Gilles sporting red, yellow and black costumes, replete with ostrich-feather hats, wooden clogs, bells and wax masks with small spectacles, parade through the town to the beat of the drum. Pierrots, harlequins and peasants follow the processions, intermingling with costumed revellers and local brass and clarinet bands. Dancers, stirred by traditional tunes played on the viola and drum, perform an assortment of steps including the perennial favourite, fittingly called the pas de Gille. The day\u2019s events reach a climax with the Gilles\u2019 dancing in the Grand Place under fireworks.

The carnival of Binche is a genuinely popular festival renowned for its spontaneity and the substantial financial commitment of its participants. The townspeople take great pride in the celebration and strive to preserve the precious craftsmanship and know-how associated with the carnival\u2019s traditional costumes, accessories, dances and music.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/carnival-of-binche-00033", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00148-BIG.jpg", "copyright": "Mus\u00e9e International du Carnaval de Binche", "title": "Every year on Shrove Sunday, the streets of Binche are filled with hundreds of elaborately costumed Gilles characters with ostrich-feather hats and wooden clogs, bells and waxed masks. One of Europe\u2019s oldest street festivals has continued as a living tradition thanks to the commitment of the local population." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00476-BIG.jpg", "copyright": " Mus\u00e9e International du Carnaval et du Masque de Binche", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00477-BIG.jpg", "copyright": " Mus\u00e9e International du Carnaval et du Masque de Binche", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00478-BIG.jpg", "copyright": " Mus\u00e9e International du Carnaval et du Masque de Binche", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05220-BIG.jpg", "copyright": "MICM", "title": "Carnaval de Binche\r\nMardi gras - apr\u00e8s-midi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05221-BIG.jpg", "copyright": "MICM", "title": "Carnaval de Binche\r\nMardi gras - apr\u00e8s-mid" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05223-BIG.jpg", "copyright": "MICM", "title": "Carnaval de Binche\r\nMardi gras - soir" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05224-BIG.jpg", "copyright": "MICM", "title": "Carnaval de Binche\r\nMardi gras - matin - rondeau" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05225-BIG.jpg", "copyright": "MICM", "title": "Carnaval de Binche\r\nMardi gras - Petit gille" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=w8hXBbGmsxY", "copyright": "", "title": "Carnival of Binche" }, { "url": "https:\/\/www.youtube.com\/watch?v=YRxMjsDuhIM", "copyright": "", "title": "Carnival of Binche" }, { "url": "https:\/\/www.youtube.com\/watch?v=BH7utkV2C6Y", "copyright": "", "title": "Carnival of Binche" } ], "sustainability": "" } }, "element_37": { "type": "element", "label": "Arts of the Meddah, public storytellers", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05418-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05418-HUG.jpg" }, "description": "Meddahlik was a Turkish theatre form performed by a single storyteller called a meddah and practised throughout Turkey and Turkishspeaking countries. Through the ages, similar narrative genres have flourished due to interaction among the peoples of Asia, the Caucasus and the Middle East within this wide geographical area.

Historically, meddahs were expected to illuminate, educate, and entertain. Performing in caravanserais, markets, coffeehouses, mosques and churches, these storytellers transmitted values and ideas among a predominantly illiterate population. Their social and political criticism regularly provoked lively discussions about contemporary issues. The term meddah, borrowed from Arabic maddah \u201cto praise\u201d, can be translated as \u201cstoryteller\u201d. The meddah selects songs and comic tales from a repertory of popular romances, legends and epics and adapts his material according to the specific venue and audience. However, the quality of the performance largely depends on the atmosphere created between storyteller and spectators, as well as the meddah\u2019s ability to integrate imitations, jokes and improvisation often relating to contemporary events. This art, which places great value on the mastery of rhetoric, is highly regarded in Turkey.

Although some meddahs still perform at a number of religious and secular celebrations and appear on television shows, the genre has lost much of its original educational and social function due to the development of the mass media and in particular because of the appearance of TV sets in caf\u00e9s.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/arts-of-the-meddah-public-storytellers-00037", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05416-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism of Turkey", "title": "Meddah Rauf Alt\u0131ntak in a performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05418-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Meddah Rauf Alt\u0131ntak in a performance" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=W7j0XjY3_RE", "copyright": "", "title": "Arts of the Meddah, public storytellers" }, { "url": "https:\/\/www.youtube.com\/watch?v=hht5sszSsrk", "copyright": "", "title": "Arts of the Meddah, public storytellers" }, { "url": "https:\/\/www.youtube.com\/watch?v=kHY47ofhvq4", "copyright": "", "title": "Arts of the Meddah, public storytellers" } ], "sustainability": "" } }, "element_42": { "type": "element", "label": "Kihnu cultural space", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05308-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05308-HUG.jpg" }, "description": "Lying off Estonia\u2019s Baltic coast, the small islands of Kihnu and Manija are home to a community of 600 people whose cultural expressions and agricultural traditions have been kept alive over the centuries largely through the island\u2019s female population. The men of the Kihnu community have taken to sea to hunt seals and fish, while the women have remained on the islands to farm and to maintain the household. Kihnu women thus have become the principal custodians of the cultural traditions embodied in numerous songs, games, dances, wedding ceremonies and handicrafts. Singing is an integral part of collective handicraft activities and of religious celebrations. Particularly noteworthy among the musical repertory of the islanders is an oral tradition of pre-Christian origin, known as runic or Kalevala-metre songs.

The most visible emblem of Kihnu culture remains the woolen handicrafts worn by the women of the community. Working in their homes using traditional looms and local wool, the women weave and knit mittens, stockings, skirts and blouses, which often feature bright colours, vivid stripes and intricate embroidery. Many of the symbolic forms and colours adorning these striking garments are rooted in ancient legends. The Kihnu cultural space is also distinguished by the interrelation of its rich cultural and natural heritage. On both islands, the characteristic landscape of grassland, pine groves and coastal sands has remained relatively intact up to the present day.

Their geographic isolation, their strong sense of community spirit and their steadfast attachment to the customs of their ancestors have enabled the Kihnu people to preserve their crafts and customs. Today, Kihnu culture is threatened by economic hardship, uncontrolled housing development and the intrusion of tourists insensitive to the islands\u2019 traditions and natural environment.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kihnu-cultural-space-00042", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05301-BIG.jpg", "copyright": "Anne Helene Gjelstad", "title": "Family portrait" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05302-BIG.jpg", "copyright": "Anne Helene Gjelstad", "title": "Kihnu women at wedding" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05303-BIG.jpg", "copyright": "Anne Helene Gjelstad", "title": "Bride and groom dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05304-BIG.jpg", "copyright": "Anne Helene Gjelstad", "title": "Wedding ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05305-BIG.jpg", "copyright": "Anne Helene Gjelstad", "title": "Women in folk costumes at mid summer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05306-BIG.jpg", "copyright": "Anne Helene Gjelstad", "title": "Opening of renovated Kihnu Museeum with bishop Metropolit Stefanus and Mrs Ingrid R\u00fc\u00fctel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05307-BIG.jpg", "copyright": "Anne Helene Gjelstad", "title": "The songfestival fire transported by Kihnu Virve from culture house to harbour" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05308-BIG.jpg", "copyright": "Anne Helene Gjelstad", "title": "The songfestival fire transported by Kihnu Virve from culture house to harbour" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05309-BIG.jpg", "copyright": "Anne Helene Gjelstad", "title": "Women singing and playing at the harbour" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05310-BIG.jpg", "copyright": "Anne Helene Gjelstad", "title": "Koksi Leida's funural in Kihnu church" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=_kx3Ym1h88g", "copyright": "", "title": "Kihnu Cultural Space" }, { "url": "https:\/\/www.youtube.com\/watch?v=64VVY1GhD3g", "copyright": "", "title": "Kihnu Cultural Space" }, { "url": "https:\/\/www.youtube.com\/watch?v=pNYrDrNi8M8", "copyright": "", "title": "Kihnu Cultural Space" } ], "sustainability": "" } }, "element_48": { "type": "element", "label": "Andean cosmovision of the Kallawaya", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00511-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00511-HUG.jpg" }, "description": "The Kallawaya ethnic group, based in the mountainous Bautista Saavedra region north of La Paz, traces its roots to the pre-Inca period. Like many aspects of Andean culture, the Kallawaya\u2019s practices and values have evolved through the fusion of native and Christian religions.

The principal activity of the Kallawaya involves the practice of ancestral medical techniques. The various rites and ceremonies related to these techniques form the basis of their local economy. The Andean Cosmovision of the Kallawaya culture consists of a coherent body of myths, rituals, values and artistic expressions. Widely recognized not only in Bolivia but also in many other South American countries where Kallawaya priest doctors practise, the medical techniques are based on the belief systems of indigenous peoples of the Andean area.

This healing art derives from a deep understanding of animal, mineral and botanical pharmacopoeia and a body of ritual knowledge intimately linked to religious beliefs. The exclusively male itinerant healers treat patients using medical and pharmaceutical knowledge that revolves around a complex system of transmission and apprenticeship in which the journey plays an essential role. By travelling through widely varying ecosystems, Kallawaya healers expand their knowledge of medicinal plants. With some 980 species, their botanical pharmacopoeia rates as one of the richest in the world. Kallawaya women participate in a number of rites, care for pregnant women and children, and weave textiles with motifs and decoration relating to the Kallawaya cosmovision. Musical groups called kantus play the drum and pan flute during ritual ceremonies in order to establish contact with the world of the spirits.

In recent times, the traditional Kallawaya way of life has come under threat from acculturation, which may lead to the disappearance of this extraordinary body of medical knowledge. The tradition is also affected by the lack of sufficient legal protection for indigenous communities, particularly in regard to policies pursued by major pharmaceutical companies.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/andean-cosmovision-of-the-kallawaya-00048", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00153-BIG.jpg", "copyright": "J\u00e9r\u00f4me Tubiana", "title": "The Kallawaya are known for their broad knowledge of plants and minerals, and their medical techniques and healing rituals expressing indigenous beliefs. Their knowledge of medical plants is still expanding as the Kallawaya healers and their apprentices search for new healing methods in the widely varying ecosystems of the Andes region." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00510-BIG.jpg", "copyright": "J\u00e9r\u00f4me Tubiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00511-BIG.jpg", "copyright": "J\u00e9r\u00f4me Tubiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00512-BIG.jpg", "copyright": "J\u00e9r\u00f4me Tubiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00513-BIG.jpg", "copyright": "J\u00e9r\u00f4me Tubiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00514-BIG.jpg", "copyright": "J\u00e9r\u00f4me Tubiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00515-BIG.jpg", "copyright": "J\u00e9r\u00f4me Tubiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00516-BIG.jpg", "copyright": "J\u00e9r\u00f4me Tubiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00517-BIG.jpg", "copyright": "J\u00e9r\u00f4me Tubiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05714-BIG.jpg", "copyright": "Ministerio de Culturas, Bolivia 2003", "title": "Mesa blanca Kallawaya para la armon\u00eda y el bienestar en la entrega de la distinci\u00f3n de la UNESCO" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=h3SDWjYtQyc", "copyright": "", "title": "Andean cosmovision of the Kallawaya" }, { "url": "https:\/\/www.youtube.com\/watch?v=fPfi_Oi23SA", "copyright": "", "title": "Andean cosmovision of the Kallawaya" }, { "url": "https:\/\/www.youtube.com\/watch?v=679JmMo1Ch8", "copyright": "", "title": "Andean cosmovision of the Kallawaya" } ], "sustainability": "The Andean cosmovision is an ancestral belief system of medicinal practices that combines local spiritual beliefs and artistic expressions of the Kallawaya people. Priest doctors gain a deep understanding of botanical pharmacopoeia and other natural ingredients from their surroundings. Their rich knowledge of the medicinal plants is used in conjunction with religious ceremonies to treat ailments. This living heritage is a manifestation of the ethnic group\u2019s traditional healing wisdom that nurtures their deep relationship with nature and cosmology to promote their well-being. This element also links to SDG # 15: Life on Land." } }, "element_49": { "type": "element", "label": "Oral and graphic expressions of the Wajapi", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00687-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00687-HUG.jpg" }, "description": "The Wajapi of the Tupi-guarani cultural-linguistic group are indigenous to the northern Amazonian region. Some 580 Wajapi live in 40 small villages on a specially designated territory in the state of Amap\u00e1. The Wajapi have a long history of using vegetable dyes to adorn their bodies and objects with geometric motifs. Over the centuries, they have developed a unique communication system \u2013 a rich blend of graphic and verbal components \u2013 that reflects their world-view and enables them to hand down knowledge about community life.

This graphic art is known as kusiwa and its designs are applied with red vegetable dyes extracted from the roucou plant mixed with scented resins. The Wajapi consider that the technical and artistic proficiency required to master the drawing technique and the preparation of the dye cannot be attained before the age of forty. Commonly recurring motifs include the jaguar, anaconda, butterfly and fish. Kusiwa designs refer to the creation of humankind and come alive through a rich corpus of myths. This body art, closely linked to Amerindian oral traditions, possesses multiple meanings on socio-cultural, aesthetic, religious and metaphysical levels. Indeed, kusiwa constitutes the very framework of Wajapi society and is endowed with significance extending far beyond its role as a graphic art form. This coded repertory of traditional knowledge is perpetually evolving as indigenous artists are constantly reconfiguring the motifs and inventing new patterns.

Although the Wajapi live on their protected territory, their traditional lifestyle, including the practice of kusiwa, is in danger of losing its symbolic significance and may even disappear altogether. Such a loss would drastically alter the community\u2019s social and cosmological reference points. The principal threats stem from disinterest on the part of the younger generation and the decreasing number of Wajapi proficient in the kusiwa repertory.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/oral-and-graphic-expressions-of-the-wajapi-00049", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00537-BIG.jpg", "copyright": "Conselho das Aldeias Waiapi-Apina", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00686-BIG.jpg", "copyright": "Conselho das Aldeias Waiapi-Apina", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00687-BIG.jpg", "copyright": "Conselho das Aldeias Waiapi-Apina", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11291-BIG.jpg", "copyright": "Conselho das Aldeias Waiapi-Apina", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11292-BIG.jpg", "copyright": "Conselho das Aldeias Waiapi-Apina", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11293-BIG.jpg", "copyright": "Conselho das Aldeias Waiapi-Apina", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11294-BIG.jpg", "copyright": "Conselho das Aldeias Waiapi-Apina", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11295-BIG.jpg", "copyright": "Conselho das Aldeias Waiapi-Apina", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11296-BIG.jpg", "copyright": "Conselho das Aldeias Waiapi-Apina", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=pxfoNlGCiig", "copyright": "", "title": "Oral and graphic expressions of the Wajapi" }, { "url": "https:\/\/www.youtube.com\/watch?v=i9NzdIQO1U4", "copyright": "", "title": "Oral and graphic expressions of the Wajapi" }, { "url": "https:\/\/www.youtube.com\/watch?v=x9BRVOAFStQ", "copyright": "", "title": "Oral and graphic expressions of the Wajapi" } ], "sustainability": "" } }, "element_51": { "type": "element", "label": "Carnival of Barranquilla", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00831-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00831-HUG.jpg" }, "description": "Every year during the four days before Lent, the Carnival de Barranquilla offers a repertory of dances and musical expressions originating from different Colombian sub-cultures. Because of its geographical location situated on the Caribbean coast and the commercial development during the colonial period, the city of Barranquilla became one of the country\u2019s busiest trading centres and a place where European, African, and indigenous peoples and cultures converged.

The blending of various local traditions permeates numerous aspects of the carnival, particularly dances (as exemplified by the mico y micas from the Americas, the African congo and the paloteo of Spanish origin), musical genres (the predominant cumbia and variants such as the puya and porro) and folk instruments (tambora and allegre drums, maraca, claves, etc.). Carnival music is generally performed by drum ensembles or by groups playing a variety of wind instruments. The profuse material culture of handcrafted objects includes floats, costumes, head ornaments and animal masks. Groups of masqueraded dancers, actors, singers and instrumentalists delight crowds with theatrical and musical performances based on historical as well as current events. Contemporary political life and figures are satirized through mocking speeches and song lyrics that lend a burlesque atmosphere to the carnival.

With its growing success in the twentieth century, Barranquilla\u2019s carnival took on the trappings of a professional event, receiving wide media coverage. This development generates economic benefits for many low-income families, but the growing commercialisation may at the same time constitute a threat to the many traditional expressions.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/carnival-of-barranquilla-00051", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00826-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00827-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00828-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00829-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00830-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00831-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00832-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=nDbSZUPmIm0", "copyright": "", "title": "Carnival of Barranquilla" }, { "url": "https:\/\/www.youtube.com\/watch?v=hLFcxuhhXc4", "copyright": "", "title": "Carnival of Barranquilla" }, { "url": "https:\/\/www.youtube.com\/watch?v=K3OlC-dBkyg", "copyright": "", "title": "Carnival of Barranquilla" } ], "sustainability": "" } }, "element_52": { "type": "element", "label": "La Tumba Francesa", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11245-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11245-HUG.jpg" }, "description": "The dance, song and drumming style known as Tumba Francesa (French Drum) was brought to Cuba by Haitian slaves who were resettled in the island\u2019s eastern regions following the unrest in Haiti during the 1790s. It embodies one of the oldest and most tangible links to the Afro-Haitian heritage of Cuba\u2019s Oriente province and developed from an eighteenth- century fusion of music from Dahomey in West Africa and traditional French dances. After Cuba\u2019s abolition of slavery in 1886 and the resulting migration of former slaves to urban areas in search of work, Tumba Francesa societies emerged in several cities.

Tumba Francesa performances generally open with a solo in Spanish or French patois by a lead singer, the compos\u00e9. Following the compos\u00e9\u2019s cue, the cat\u00e1, a large wooden idiophone, bursts into a pulsating beat enhanced by three drums known as tumbas. These hand-played instruments, similar to modern conga drums, are crafted from a single piece of hollowed wood and decorated with carved and painted motifs. The dances are performed under the direction of the Mayor de Plaza. The predominately female chorus singers and dancers wear long colonial-era dresses with West African kerchiefs and brandish colourful scarves. The singers keep rhythm with metal rattles or chach\u00e1s. Performances consisting of a series of 30- minute songs and dances generally last well into the night.

Today, only two of the many dance styles associated with Tumba Francesa are still regularly performed: the mas\u00f3n, a light parody of French ballroom dances; and the yub\u00e1, an improvised dance accompanied by rousing drum rhythms. The popularity of Tumba Francesa reached its peak at the end of the nineteenth century. Nowadays, three community ensembles continue to keep the traditions of the Tumba Francesa alive.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/la-tumba-francesa-00052", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00032-BIG.jpg", "copyright": " J. Silveira", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00169-BIG.jpg", "copyright": "UNESCO\/Montserrat Martell Domingo", "title": "Slaves from Haiti brought the Tumba Francesa tradition to Cuba\u2019s Oriente province in the eighteenth century, merging West African traditions with French dances and Spanish influences. The distinctive drumming that accompanies dances and songs gave the tradition its name, Tumba Francesa, the French Drum." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11243-BIG.jpg", "copyright": "UNESCO\/Ren\u00e9 Silveira Toledo", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11245-BIG.jpg", "copyright": "UNESCO\/Ren\u00e9 Silveira Toledo", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11246-BIG.jpg", "copyright": "UNESCO\/Ren\u00e9 Silveira Toledo", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11247-BIG.jpg", "copyright": "UNESCO\/Montserrat Martell Domingo", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11248-BIG.jpg", "copyright": "UNESCO\/Montserrat Martell Domingo", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=wJlzsXOsg6A", "copyright": "", "title": "La Tumba Francesa" }, { "url": "https:\/\/www.youtube.com\/watch?v=3kL5r21IGNg", "copyright": "", "title": "La Tumba Francesa" }, { "url": "https:\/\/www.youtube.com\/watch?v=23gDleCxfrc", "copyright": "", "title": "La Tumba Francesa" } ], "sustainability": "" } }, "element_53": { "type": "element", "label": "Maroon heritage of Moore Town", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00187-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00187-HUG.jpg" }, "description": "Situated in the highlands of eastern Jamaica, Moore Town is home to the descendants of independent communities of former runaway slaves known as Maroons. The African ancestors of the Moore Town Maroons were forcibly removed from their native lands to the Caribbean by Spanish slave traders in the sixteenth and seventeenth centuries. The term Maroon, derived from the Spanish word cimarr\u00f3n (wild), refers to those slaves who fled the plantations in the early 1600s and established their own settlements in the Blue and Johncrow Mountains of eastern Jamaica. By the early eighteenth century, the Maroon communities controlled much of the eastern part of the island. In opposition to the expanding plantation system of the British, they formed well-organized and efficient underground military units. After decades of warfare, the British finally yielded to the communities\u2019 demands for recognition of their autonomy by signing a treaty with the Maroons in 1739.

Hailing from West and Central African regions with diverse languages and cultural practices, the Moore Town Maroons elaborated new collective religious ceremonies that incorporated various spiritual traditions. These expressions and practices, which were then named Kromanti Play, continue to represent the very foundation of Maroon identity. During Kromanti ceremonies, dances, songs and specific drumming styles are performed to invoke ancestral spirits. These ceremonies also feature a language of African derivation, likewise named Kromanti, and rare medicinal preparations. As part of their heritage, the inhabitants of Moore Town also possess a unique system of communally-held \u201ctreaty lands\u201d, a local political structure and the use of the abeng, a side-blown \u201ctalking\u201d horn of Jamaican origin which serves as a means of long-distance communication.

Several decades of missionary opposition to Kromanti Play have driven this tradition partially underground and have led to serious schisms within the communities. Moreover, deteriorating economic conditions have forced many Maroons to migrate to other parts of Jamaica and abroad.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/maroon-heritage-of-moore-town-00053", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00187-BIG.jpg", "copyright": "UNESCO\/Andrew P. Smith", "title": "The Maroons are descendants of runaway slaves who established free settlements in eastern Jamaica in the seventeenth century. There, they developed distinct social and religious expressions incorporating various spiritual traditions, among them a collective procession accompanied by drumbeat and the calling sound of the side-blown abeng horn." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00841-BIG.jpg", "copyright": "The Institut of Jama\u00efca", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00842-BIG.jpg", "copyright": "The Institut of Jama\u00efca", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00880-BIG.jpg", "copyright": "UNESCO\/Andrew P. Smith", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11272-BIG.jpg", "copyright": "UNESCO\/Andrew P. Smith", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11274-BIG.jpg", "copyright": "UNESCO\/Andrew P. Smith", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11275-BIG.jpg", "copyright": "UNESCO\/Andrew P. Smith", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=G3xW808tdJE", "copyright": "", "title": "Maroon heritage of Moore Town" }, { "url": "https:\/\/www.youtube.com\/watch?v=X-TD7-jG8xc", "copyright": "", "title": "Maroon heritage of Moore Town" }, { "url": "https:\/\/www.youtube.com\/watch?v=7HhYsopAsKc", "copyright": "", "title": "Maroon heritage of Moore Town" } ], "sustainability": "" } }, "element_54": { "type": "element", "label": "Indigenous festivity dedicated to the dead", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00853-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00853-HUG.jpg" }, "description": "As practised by the indigenous communities of Mexico, el D\u00eda de los Muertos (Day of the Dead) commemorates the transitory return to Earth of deceased relatives and loved ones. The festivities take place each year at the end of October to the beginning of November. This period also marks the completion of the annual cycle of cultivation of maize, the country\u2019s predominant food crop.

Families facilitate the return of the souls to Earth by laying flower petals, candles and offerings along the path leading from the cemetery to their homes. The deceased\u2019s favourite dishes are prepared and placed around the home shrine and the tomb alongside flowers and typical handicrafts, such as paper cut-outs. Great care is taken with all aspects of the preparations, for it is believed that the dead are capable of bringing prosperity (e.g. an abundant maize harvest) or misfortune (e.g. illness, accidents, financial difficulties) upon their families depending on how satisfactorily the rituals are executed. The dead are divided into several categories according to cause of death, age, sex and, in some cases, profession. A specific day of worship, determined by these categories, is designated for each deceased person. This encounter between the living and the dead affirms the role of the individual within society and contributes to reinforcing the political and social status of Mexico\u2019s indigenous communities.

The Day of the Dead celebration holds great significance in the life of Mexico\u2019s indigenous communities. The fusion of pre-Hispanic religious rites and Catholic feasts brings together two universes, one marked by indigenous belief systems, the other by worldviews introduced by the Europeans in the sixteenth century.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/indigenous-festivity-dedicated-to-the-dead-00054", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00200-BIG.jpg", "copyright": "Agustin Estrada", "title": "Coinciding with the maize harvest, this annual festivity commemorates the transitory return to Earth of deceased relatives or loved ones. People gather at cemeteries and in churches throughout Mexico to leave flower petals, candles and offerings to celebrate and facilitate the return of the souls." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00853-BIG.jpg", "copyright": "Pedro Hiriart \/ INI", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00854-BIG.jpg", "copyright": "H\u00e9ctor V\u00e1zquez \/ INI", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00855-BIG.jpg", "copyright": "Subdirecci\u00f3n de Etnograf\u00eda\/Museo Nacional de Antropolog\u00eda", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00856-BIG.jpg", "copyright": " Pedro Hiriart \/ INI", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00857-BIG.jpg", "copyright": "Subdirecci\u00f3n de Etnograf\u00eda\/Museo Nacional de Antropolog\u00eda", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00858-BIG.jpg", "copyright": "Subdirecci\u00f3n de Etnograf\u00eda \/ Museo Nacional de Antropolog\u00eda", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=GwXMaxfI4As", "copyright": "", "title": "The indigenas festivity dedicated to deads" }, { "url": "https:\/\/www.youtube.com\/watch?v=VcoOJA89Gg8", "copyright": "", "title": "The indigenas festivity dedicated to deads" }, { "url": "https:\/\/www.youtube.com\/watch?v=ahvSEUfyw5s", "copyright": "", "title": "The indigenas festivity dedicated to deads" } ], "sustainability": "" } }, "element_60": { "type": "element", "label": "Royal ballet of Cambodia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00824-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00824-HUG.jpg" }, "description": "Renowned for its graceful hand gestures and stunning costumes, the Royal Ballet of Cambodia, also known as Khmer Classical Dance, has been closely associated with the Khmer court for over one thousand years. Performances would traditionally accompany royal ceremonies and observances such as coronations, marriages, funerals or Khmer holidays. This art form, which narrowly escaped annihilation in the 1970s, is cherished by many Cambodians.

Infused with a sacred and symbolic role, the dance embodies the traditional values of refinement, respect and spirituality. Its repertory perpetuates the legends associated with the origins of the Khmer people. Consequently, Cambodians have long esteemed this tradition as the emblem of Khmer culture. Four distinct character types exist in the classical repertory: Neang the woman, Neayrong the man, Yeak the giant, and Sva the monkey. Each possesses distinctive colours, costumes, makeup and masks.The gestures and poses, mastered by the dancers only after years of intensive training, evoke the gamut of human emotions, from fear and rage to love and joy. An orchestra accompanies the dance, and a female chorus provides a running commentary on the plot, highlighting the emotions mimed by the dancers, who were considered the kings\u2019 messengers to the gods and to the ancestors.

The Royal Ballet practically ceased to exist under the repressive rule of the Khmer Rouge, who eliminated almost all master dancers and musicians. Immediately after Pol Pot\u2019s defeat in 1979, dance troupes re-emerged and performances of the ancient repertory resumed. The ballet has regained much of its former splendour but still faces numerous difficulties, such as a lack of funding and suitable performance spaces, competition from modern media and the risk of becoming a mere tourist attraction.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/royal-ballet-of-cambodia-00060", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00022-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00433-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts", "title": "Danseuses effectuant des mouvements de main caract\u00e9ristiques" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00818-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00819-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00820-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00821-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00822-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00823-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00824-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00825-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=t-VrmGhheok", "copyright": "", "title": "Royal ballet of Cambodia" }, { "url": "https:\/\/www.youtube.com\/watch?v=gfdCY4NAj1g", "copyright": "", "title": "Royal ballet of Cambodia" }, { "url": "https:\/\/www.youtube.com\/watch?v=lOaIpI_KyRY", "copyright": "", "title": "Royal ballet of Cambodia" } ], "sustainability": "" } }, "element_61": { "type": "element", "label": "Guqin and its music", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00026-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00026-HUG.jpg" }, "description": "The Chinese zither, called guqin, has existed for over 3,000 years and represents China\u2019s foremost solo musical instrument tradition. Described in early literary sources and corroborated by archaeological finds, this ancient instrument is inseparable from Chinese intellectual history. Guqin playing developed as an elite art form, practised by noblemen and scholars in intimate settings, and was therefore never intended for public performance. Furthermore, the guqin was one of the four arts \u2013 along with calligraphy, painting and an ancient form of chess \u2013 that Chinese scholars were expected to master. According to tradition, twenty years of training were required to attain proficiency.

The guqin has seven strings and thirteen marked pitch positions. By attaching the strings in ten different ways, players can obtain a range of four octaves. The three basic playing techniques are known as san (open string), an (stopped string) and fan (harmonics). San is played with the right hand and involves plucking open strings individually or in groups to produce strong and clear sounds for important notes. To play fan, the fingers of the left hand touch the string lightly at positions determined by the inlaid markers, and the right hand plucks, producing a light floating overtone. An is also played with both hands: while the right hand plucks, a left-hand finger presses the string firmly and may slide to other notes or create a variety of ornaments and vibratos.

Nowadays, there are fewer than one thousand well-trained guqin players and perhaps no more than fifty surviving masters. The original repertory of several thousand compositions has drastically dwindled to a mere hundred works that are regularly performed today. ", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/guqin-and-its-music-00061", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00026-BIG.jpg", "copyright": "Chinese Academy of Arts", "title": "Detail on guqin practice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00161-BIG.jpg", "copyright": "Chinese Academy of Art", "title": "China\u2019s most famous and appreciated traditional solo instrument, the Guqin zither has existed over 3,000 years. Different playing techniques fuse light flowing overtones with strong, clear sound. Guqin playing developed as an elite art form that Chinese scholars were expected to master." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00279-BIG.jpg", "copyright": "Chinese Academy of Arts", "title": "Musician playing guqin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00280-BIG.jpg", "copyright": "Chinese Academy of Arts", "title": "Musician playing guqin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00846-BIG.jpg", "copyright": "Chinese Academy of Art", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=S5FMTyYOgEs", "copyright": "", "title": "Guqin and its music" }, { "url": "https:\/\/www.youtube.com\/watch?v=p2wvex72EXQ", "copyright": "", "title": "Guqin and its music" }, { "url": "https:\/\/www.youtube.com\/watch?v=5Y_XT5NR4SU", "copyright": "", "title": "Guqin and its music" } ], "sustainability": "" } }, "element_62": { "type": "element", "label": "Tradition of Vedic chanting", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11315-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11315-HUG.jpg" }, "description": "The Vedas comprise a vast corpus of Sanskrit poetry, philosophical dialogue, myth, and ritual incantations developed and composed by Aryans over 3,500 years ago. Regarded by Hindus as the primary source of knowledge and the sacred foundation of their religion, the Vedas embody one of the world\u2019s oldest surviving cultural traditions.

The Vedic heritage embraces a multitude of texts and interpretations collected in four Vedas, commonly referred to as \u201cbooks of knowledge\u201d even though they have been transmitted orally. The Rig Veda is an anthology of sacred hymns; the Sama Veda features musical arrangements of hymns from the Rig Veda and other sources; the Yajur Veda abounds in prayers and sacrificial formulae used by priests; and the Atharna Veda includes incantations and spells. The Vedas also offer insight into the history of Hinduism and the early development of several artistic, scientific and philosophical concepts, such as the concept of zero.

Expressed in the Vedic language, which is derived from classical Sanskrit, the verses of the Vedas were traditionally chanted during sacred rituals and recited daily in Vedic communities. The value of this tradition lies not only in the rich content of its oral literature but also in the ingenious techniques employed by the Brahmin priests in preserving the texts intact over thousands of years. To ensure that the sound of each word remains unaltered, practitioners are taught from childhood complex recitation techniques that are based on tonal accents, a unique manner of pronouncing each letter and specific speech combinations.

Although the Vedas continue to play an important role in contemporary Indian life, only thirteen of the over one thousand Vedic recitation branches have survived. Moreover, four noted schools \u2013 in Maharashtra (central India), Kerala and Karnataka (southern India) and Orissa (eastern India) \u2013 are considered under imminent threat.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/tradition-of-vedic-chanting-00062", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00576-BIG.jpg", "copyright": "Indira Ghandi National Centre for the Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00577-BIG.jpg", "copyright": "Indira Ghandi National Centre for the Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00578-BIG.jpg", "copyright": "Indira Ghandi National Centre for the Arts", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11313-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, India", "title": "Traditional vedic school in Kerala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11314-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, India", "title": "Traditional vedic school in Kerala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11315-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, India", "title": "Traditional vedic school in Kerala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11316-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, India", "title": "Traditional vedic school in Kerala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11317-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, India", "title": "Traditional vedic school in Kerala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11318-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, India", "title": "Traditional vedic school in Kerala" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=qPcasmn0cRU", "copyright": "", "title": "Tradition of Vedic chanting" }, { "url": "https:\/\/www.youtube.com\/watch?v=K65yze475jQ", "copyright": "", "title": "Tradition of Vedic chanting" }, { "url": "https:\/\/www.youtube.com\/watch?v=kD8_1SkrxdU", "copyright": "", "title": "Tradition of Vedic chanting" } ], "sustainability": "" } }, "element_63": { "type": "element", "label": "Wayang puppet theatre", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00182-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00182-HUG.jpg" }, "description": "Renowned for its elaborate puppets and complex musical styles, this ancient form of storytelling originated on the Indonesian island of Java. For ten centuries wayang flourished at the royal courts of Java and Bali as well as in rural areas. Wayang has spread to other islands (Lombok, Madura, Sumatra and Borneo) where various local performance styles and musical accompaniments have developed.

While these carefully handcrafted puppets vary in size, shape and style, two principal types prevail: the three-dimensional wooden puppet (wayang klitik or gol\u00e8k) and the flat leather shadow puppet (wayang kulit) projected in front of a screen lit from behind. Both types are characterized by costumes, facial features and articulated body parts. The master puppeteer (dalang) manipulates the swivelling arms by means of slender sticks attached to the puppets. Singers and musicians play complex melodies on bronze instruments and gamelan drums. In the past, puppeteers were regarded as cultivated literary experts who transmitted moral and aesthetic values through their art. The words and actions of comic characters representing the \u201cordinary person\u201d have provided a vehicle for criticizing sensitive social and political issues, and it is believed that this special role may have contributed to wayang\u2019s survival over the centuries. Wayang stories borrow characters from indigenous myths, Indian epics and heroes from Persian tales. The repertory and performance techniques were transmitted orally within the families of puppeteers, musicians and puppet-makers. Master puppeteers are expected to memorize a vast repertory of stories and to recite ancient narrative passages and poetic songs in a witty and creative manner.

The Wayang Puppet Theatre still enjoys great popularity. However, to compete successfully with modern forms of pastimes such as video, television or karaoke, performers tend to accentuate comic scenes at the expense of the story line and to replace musical accompaniment with pop tunes, leading to the loss of some characteristic features.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/wayang-puppet-theatre-00063", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00045-BIG.jpg", "copyright": "SENA WANGI Indonasian National Wayang Secretariat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00182-BIG.jpg", "copyright": "Tim Mowrer\/Mekin Photography", "title": "To enliven the highly crafted rod puppets, master puppeteers manipulate the swivelling arms and legs by means of sticks, accompanied by a narrator and gamelan orchestra. The plays combine local myths, Indian epics and Persian tales with contemporary issues." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00790-BIG.jpg", "copyright": "SENA WANGI Indonasian National Wayang Secretariat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11337-BIG.jpg", "copyright": "SENA WANGI Indonasian National Wayang Secretariat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11338-BIG.jpg", "copyright": "SENA WANGI Indonasian National Wayang Secretariat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11339-BIG.jpg", "copyright": "SENA WANGI Indonasian National Wayang Secretariat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11340-BIG.jpg", "copyright": "SENA WANGI Indonasian National Wayang Secretariat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11341-BIG.jpg", "copyright": "SENA WANGI Indonasian National Wayang Secretariat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11342-BIG.jpg", "copyright": "SENA WANGI Indonasian National Wayang Secretariat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11343-BIG.jpg", "copyright": "SENA WANGI Indonasian National Wayang Secretariat", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=pfydro4X2t0", "copyright": "", "title": "Wayang puppet theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=ydNMfq2yNIU", "copyright": "", "title": "Wayang puppet theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=DQ3gUQI10pI", "copyright": "", "title": "Wayang puppet theatre" } ], "sustainability": "" } }, "element_64": { "type": "element", "label": "Ningyo Johruri Bunraku puppet theatre", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11286-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11286-HUG.jpg" }, "description": "Ranking with N\u00f4 and Kabuki as one of Japan\u2019s foremost stage arts, the Ningyo Johruri Bunraku puppet theatre is a blend of sung narrative, instrumental accompaniment and puppet drama. This theatrical form emerged during the early Edo period (ca. 1600) when puppetry was coupled with Johruri, a popular fifteenth-century narrative genre. The plots related in this new form of puppet theatre derived from two principal sources: historical plays set in feudal times (Jidaimono) and contemporary dramas exploring the conflict between affairs of the heart and social obligation (Sewamono).
Ningyo Johruri had adopted its characteristic staging style by the mid eighteenth century. Three puppeteers, visible to the audience, manipulate large articulated puppets on the stage behind a waist high screen. From a projecting elevated platform (yuka), the narrator (tayu) recounts the action while a musician provides musical accompaniment on the three-stringed spike lute (shamisen). The tayu plays all the characters, both male and female, and uses different voices and intonations to suit each role and situation. Although the tayu \u201creads\u201d from a scripted text, there is ample room for improvisation.

The three puppeteers must carefully co-ordinate their movements to ensure that the puppet\u2019s gestures and attitudes appear realistic. The puppets, replete with elaborate costumes and individualized facial expressions, are handcrafted by master puppet makers. The genre acquired its present full name Ningyo Johruri Bunraku \u2013 in the late nineteenth century, a period in which the Bunrakuza was a leading theatre. Today, the pre-eminent venue is the National Bunraku Theatre in Osaka, but its highly reputed troupe also performs in Tokyo and regional theatres. Approximately 160 works out of the 700 plays written during the Edo period have remained in today\u2019s repertory. Performances, once lasting the entire day, have been shortened from the original six to two or three acts. Ningyo Johruri Bunraku was designated Important Intangible Cultural Property in 1955. Nowadays, it attracts numerous young performers, and the aesthetic qualities and dramatic content of the plays continue to appeal to modern audiences.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ningyo-johruri-bunraku-puppet-theatre-00064", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00775-BIG.jpg", "copyright": "Agency for Cultural Affairs", "title": "Title of play: Sonezaki Shinju\r\nChapter title: Tenmaya no Dan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00776-BIG.jpg", "copyright": "Agency for Cultural Affairs", "title": "Title of play: Hadesugata Onna Maiginu\r\nChapter title: Sakaya no Dan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00777-BIG.jpg", "copyright": "Agency for Cultural Affairs", "title": "Title of play: Shinju Ten no Amijima\r\nChapter title: Kawasho no Dan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11285-BIG.jpg", "copyright": "Agency for Cultural Affairs", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11286-BIG.jpg", "copyright": "Agency for Cultural Affairs", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11287-BIG.jpg", "copyright": "Agency for Cultural Affairs", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11288-BIG.jpg", "copyright": "Agency for Cultural Affairs", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11289-BIG.jpg", "copyright": "Agency for Cultural Affairs", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11290-BIG.jpg", "copyright": "Agency for Cultural Affairs", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=kEUQNvn8EJQ", "copyright": "", "title": "The Bunraku Puppet Theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=ZDRTrIn3o-4", "copyright": "", "title": "The Bunraku Puppet Theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=VV_cOq3zh4o", "copyright": "", "title": "The Bunraku Puppet Theatre" } ], "sustainability": "" } }, "element_65": { "type": "element", "label": "Art of Akyns, Kyrgyz epic tellers", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05214-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05214-HUG.jpg" }, "description": "The predominant form of cultural expression among the Kyrgyz nomads is the narration of epics. The art of the Akyns, the Kyrgyz epic tellers, combines singing, improvisation and musical composition. The epics are performed at religious and private festivities, seasonal ceremonies and national holidays and have survived over the centuries by oral transmission.

The value of the Kyrgyz epics lies largely in their dramatic plots and philosophical underpinnings. They represent an oral encyclopaedia of Kyrgyz social values, cultural knowledge and history. The pre-eminent Kyrgyz epic is the 1000-year-old Manas trilogy, which is noteworthy not only for its great length (sixteen times longer than Homer\u2019s Iliad and Odyssey), but also for its rich content. Blending fact and legend, the Manas immortalizes important events in Kyrgyz\u2019s history since the ninth century. The Kyrgyzs have also preserved over forty \u201csmaller\u201d epics. While the Manas is a solo narration, these shorter works are generally performed to the accompaniment of the komuz, the three-stringed Kyrgyz lute. Each epic possesses a distinctive theme, melody and narrative style. Akyns were once highly respected figures who toured from region to region and frequently participated in storytelling contests. They were appreciated for their proficiency in narration, expressive gestures, intonation and lively mimicry, so well suited to the epics\u2019 emotionally charged content.

During the 1920s, the first part of the Manas trilogy was recorded in written form based on the oral interpretation of the great epic singer, Sagynbay. The epics remain an essential component of Kyrgyz identity and continue to inspire contemporary writers, poets, and composers; even today, the traditional performances are still linked to sacred cultural spaces. Although there are fewer practitioners nowadays, master akyns continue to train young apprentices and are helped by recent revitalization initiatives supported by the Kyrgyz government.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/art-of-akyns-kyrgyz-epic-tellers-00065", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05208-BIG.jpg", "copyright": "2010 by Ministry of Culture and Information of Kyrgyz Republic", "title": "Akyn woman during her performance with national instrument \u00ab Komuz \u00bb" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05209-BIG.jpg", "copyright": "Ministry of Culture and Information of Kyrgyz Republic, 2010", "title": "\u00ab Manaschy \u00bb - kyrgyz epic teller, performing \u00ab Manas\u00bb" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05210-BIG.jpg", "copyright": "2010 by Ministry of Culture and Information of Kyrgyz Republic", "title": "Manaschy's performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05211-BIG.jpg", "copyright": "2010 by Ministry of Culture and Information of Kyrgyz Republic", "title": "Manaschy, epic teller" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05212-BIG.jpg", "copyright": "2010 by Ministry of Culture and Information of Kyrgyz Republic", "title": "Manaschy woman" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05213-BIG.jpg", "copyright": "2010 by Ministry of Culture and Information of KR", "title": "Tokmo Akyn ( akyns - improvier) is performing his composition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05214-BIG.jpg", "copyright": "2010 by Ministry of Culture and Information of Kyrgyz Republic", "title": "Senior Manaschy gathers his talented followers from various corners of the country" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05215-BIG.jpg", "copyright": "2010 by Ministry of Culture and Information of Kyrgyz Republic", "title": "Ritual \u00ab Bata beru \u00bb before performing \u00ab Manas\u00bb" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05216-BIG.jpg", "copyright": "2010 by Ministry of Culture and Information of Kyrgyz Republic", "title": "Performance of Akyns in front of crowds of people" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05217-BIG.jpg", "copyright": "2010 by Ministry of Culture and Information of Kyrgyz Republic", "title": "Manaschy surrounded by his audience" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=jiYQi6VQ6bc", "copyright": "", "title": "Art of akyns - Kyrgyz epic tellers" }, { "url": "https:\/\/www.youtube.com\/watch?v=f4GB-nuV7Tc", "copyright": "", "title": "Art of akyns - Kyrgyz epic tellers" }, { "url": "https:\/\/www.youtube.com\/watch?v=PV6qZOuuLmE", "copyright": "", "title": "Art of akyns - Kyrgyz epic tellers" } ], "sustainability": "" } }, "element_68": { "type": "element", "label": "Traditional music of the Morin Khuur", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00201-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00201-HUG.jpg" }, "description": "The two-stringed fiddle morin khuur has figured prominently in Mongolia\u2019s nomad culture. String instruments adorned with horse heads are attested to by written sources dating from the Mongol empire of the thirteenth and fourteenth centuries. The fiddle\u2019s significance extends beyond its function as a musical instrument, for it was traditionally an integral part of rituals and everyday activities of the Mongolian nomads.

The design of the morin khuur is closely linked to the all-important cult of the horse. The instrument\u2019s hollow trapezoid-shaped body is attached to a long fretless neck bearing a carved horse head at its extremity. Just below the head, two tuning pegs jut out like ears from either side of the neck. The soundboard is covered with animal skin, and the strings and bow are made of horsehair. The instrument\u2019s characteristic sound is produced by sliding or stroking the bow against the two strings. Common techniques include multiple stroking by the right hand and a variety of left-hand fingering. It is mainly played in solo fashion but sometimes accompanies dances, long songs (urtiin duu), mythical tales, ceremonies and everyday tasks related to horses. To this day, the morin khuur repertory has retained some tunes (tatlaga) specifically intended to tame animals. Owing to the simultaneous presence of a main tone and overtones, morin khuur music has always been difficult to transcribe using standard notation. It has been transmitted orally from master to apprentice for many generations.

Over the past forty years, most Mongolians have settled in urban centres, far from the morin khuur\u2019s historical and spiritual context. Moreover, the tuning of the instrument is often adapted to the technical requirements of stage performance, resulting in higher and louder sounds that erase many timbral subtleties. Fortunately, surviving herding communities in southern Mongolia have managed to preserve many aspects of morin khuur playing along with related rituals and customs.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-music-of-the-morin-khuur-00068", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00201-BIG.jpg", "copyright": "ZED\/Benoit Segur", "title": "A prominent musical expression among nomadic Mongolians, the Morin Khuur is an integral part of rituals and everyday activities. Distinct in sound, this two-stringed fiddle is characterized by its long neck bearing a carved horse head, reflecting the all-important cult of the horse among the nomad communities." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00758-BIG.jpg", "copyright": " Mongolian National Centre for Intangible Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00759-BIG.jpg", "copyright": " Mongolian National Centre for Intangible Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00760-BIG.jpg", "copyright": " Mongolian National Centre for Intangible Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00761-BIG.jpg", "copyright": " Mongolian National Centre for Intangible Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11319-BIG.jpg", "copyright": " Mongolian National Centre for Intangible Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11320-BIG.jpg", "copyright": " Mongolian National Centre for Intangible Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11321-BIG.jpg", "copyright": " Mongolian National Centre for Intangible Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11322-BIG.jpg", "copyright": " Mongolian National Centre for Intangible Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11323-BIG.jpg", "copyright": " Mongolian National Centre for Intangible Heritage", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=GoZEOF9kGHY", "copyright": "", "title": "Traditional music of the Morin Khuur" }, { "url": "https:\/\/www.youtube.com\/watch?v=NvggVgNUJOU", "copyright": "", "title": "Traditional music of the Morin Khuur" }, { "url": "https:\/\/www.youtube.com\/watch?v=QI7ptKqXDEk", "copyright": "", "title": "Traditional music of the Morin Khuur" } ], "sustainability": "" } }, "element_70": { "type": "element", "label": "Pansori epic chant", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00735-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00735-HUG.jpg" }, "description": "Pansori is a genre of musical storytelling performed by a vocalist and a drummer.This popular tradition, characterized by expressive singing, stylized speech, a repertory of narratives and gesture, embraces both elite and folk culture. During performances lasting up to eight hours, a male or female singer, accompanied by a single barrel drum, improvises on texts that combine rural and erudite literary expressions.

The term Pansori is derived from the Korean words pan, meaning \u201ca place where many people gather\u201d, and sori meaning \u201csong\u201d. Pansori originated in south-west Korea in the seventeenth century, probably as a new expression of the narrative songs of shamans. It remained an oral tradition among the common people until the late nineteenth century, by which time it acquired more sophisticated literary content and enjoyed considerable popularity among the urban elite. The settings, characters and situations that make up the Pansori universe are rooted in the Korea of the Joseon period (1392-1910). Pansori singers undergo long and rigorous training to master the wide range of distinct vocal timbres and to memorize the complex repertories. Many virtuosos have developed personal interpretive styles and are renowned for their particular manner of performing specific episodes.

Threatened by Korea\u2019s rapid modernization, Pansori was designated a National Intangible Cultural Property in 1964. This measure spurred generous institutional support, which in turn fostered the revival of this tradition. Although Pansori remains one of the most prominent genres among traditional stage arts, it has lost much of its original spontaneous character. Ironically, this recent evolution is a direct result of the preservation process itself, for improvisation is tending to be stifled by the increasing number of written texts. Indeed, few singers nowadays can successfully improvise, and contemporary audiences are less receptive to the impromptu creativity and language of traditional Pansori. ", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pansori-epic-chant-00070", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00124-BIG.jpg", "copyright": "Cultural Properties Administration of Korea", "title": "Pansori 1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00125-BIG.jpg", "copyright": "Cultural Properties Administration of Korea", "title": "Pansori 2" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00126-BIG.jpg", "copyright": "Cultural Properties Administration of Korea", "title": "On lesson: casting a positive light on the future of Pansori" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00213-BIG.jpg", "copyright": "Cultural Properties Administration", "title": "A genre of musical storytelling performed by a vocalist and a drummer, the Pansori is characterized by its expressive singing, stylized speech, repertory of narratives and distinct gestures. With revived interest in recent decades, performances increase but are less likely to include the extensive improvisation typical of the epic." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00735-BIG.jpg", "copyright": "Cultural Properties Administration of Korea", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00736-BIG.jpg", "copyright": "Cultural Properties Administration of Korea", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00737-BIG.jpg", "copyright": "Cultural Properties Administration of Korea", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00738-BIG.jpg", "copyright": "Cultural Properties Administration of Korea", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05588-BIG.jpg", "copyright": "Korea Cultural Heritage Foundation, 2009", "title": "Kim Yeong-ja, practitioner of Pansori" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05590-BIG.jpg", "copyright": "Korea Cultural Heritage Foundation, 2009", "title": "Kim II-gu, practitioner of Pansori" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=YfGT-mN6ngw", "copyright": "", "title": "Pansori epic chant" }, { "url": "https:\/\/www.youtube.com\/watch?v=gZrUAC6ZQBw", "copyright": "", "title": "Pansori epic chant" }, { "url": "https:\/\/www.youtube.com\/watch?v=E0LzLNOI6TQ", "copyright": "", "title": "Pansori epic chant" } ], "sustainability": "" } }, "element_72": { "type": "element", "label": "Lakalaka, dances and sung speeches of Tonga", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00674-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00674-HUG.jpg" }, "description": "The Tonga archipelago lies in the South Pacific approximately 2,000 kilometres north-east of New Zealand. It is the only constitutional monarchy in the Pacific region. Often considered Tonga\u2019s national dance, Lakalaka is a blend of choreography, oratory, and vocal and instrumental polyphony. This cultural expression is practised by communities throughout the islands and features prominently at important celebrations such as the coronation of the monarch and anniversaries of the constitution.The term lakalaka means \u201cto step briskly or carefully\u201d in the Tongan language, and its origins can be traced to a dance known as the me\u2019elaufola. The tradition developed in the nineteenth century and, thanks to the continuous transmission and the patronage of the royal family, it underwent a revival in the twentieth century.

Performances last approximately thirty minutes and involve large groups of up to several hundred people. Participants are aligned in rows, men on the right and women on the left.The men dance in rapid and energetic movements, while the women execute graceful dance steps co-ordinated with elegant hand gestures. Both groups clap and sing as they move, and a chorus often provides vocal accompaniment.The polyphonic singing coupled with the synchronized movements of hundreds of dancers offers an impressive spectacle.The creative force behind the performance is the punake who is at the same time poet, composer, choreographer and performance director. Punakes are expected to continually renew the Lakalaka repertory, by exploring themes related to Tongan history, legends, values and social structure.

However, over the past few decades, the number of performances has, diminished and young composers tend to recycle the existing repertory rather than create new compositions.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/lakalaka-dances-and-sung-speeches-of-tonga-00072", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00222-BIG.jpg", "copyright": "Pesi S. Fonua", "title": "A blend of dances, recitations, songs and music, the Lakalaka involves up to several hundred people aligned in rows dancing in rapid and energetic movements. Practised by communities throughout the islands, it features themes related to Tongan history, legends, values and social structures." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00674-BIG.jpg", "copyright": "Pesi S. Fonua", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00675-BIG.jpg", "copyright": "Pesi S. Fonua", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00676-BIG.jpg", "copyright": "Pesi S. Fonua", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00677-BIG.jpg", "copyright": "Tongan Traditions Committee", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00678-BIG.jpg", "copyright": "Tongan Traditions Committee", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00679-BIG.jpg", "copyright": "Adrienne Kaeppler\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00680-BIG.jpg", "copyright": "Adrienne Kaeppler\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00681-BIG.jpg", "copyright": "Adrienne Kaeppler\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00682-BIG.jpg", "copyright": "Adrienne Kaeppler\/UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=tF7KpvBl0tk", "copyright": "", "title": "Lakalaka, dances and sung speeches of Tonga" }, { "url": "https:\/\/www.youtube.com\/watch?v=0YXdMA8ZZW8", "copyright": "", "title": "Lakalaka, dances and sung speeches of Tonga" }, { "url": "https:\/\/www.youtube.com\/watch?v=kP6kElo1jMc", "copyright": "", "title": "Lakalaka, dances and sung speeches of Tonga" } ], "sustainability": "" } }, "element_73": { "type": "element", "label": "Vanuatu sand drawings", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00719-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00719-HUG.jpg" }, "description": "Situated in the South Pacific, the Vanuatu archipelago has preserved a unique and complex tradition of sand drawing. This multifunctional \u201cwriting\u201d is more than an indigenous artistic expression and it occurs in a wide range of ritual, contemplative and communicative contexts.

The drawings are produced directly on the ground, in sand, volcanic ash or clay. Using one finger, the drawer traces a continuous meandering line on an imagined grid to produce a graceful, often symmetrical, composition of geometric patterns. This rich and dynamic graphic tradition has developed as a means of communication among the members of some 80 different language groups inhabiting the central and northern islands of Vanuatu. The drawings also function as mnemonic devices to record and transmit rituals, mythological lore and a wealth of oral information about local histories, cosmologies, kinship systems, song cycles, farming techniques, architectural and craft design, and choreographic patterns. Most sand drawings possess several functions and layers of meaning: they can be \u201cread\u201d as artistic works, repositories of information, illustration for stories, signatures, or simply messages and objects of contemplation. Sand drawings are not merely \u201cpictures\u201d, but refer to a combination of knowledge, songs, and stories with sacred or profane meanings. A master sand drawer must therefore possess not only a strong knowledge of graphic patterns but also a deep understanding of their significance. In addition, sand drawers should have the ability to interpret the drawings for spectators.

As attractive symbols of Vanuatu identity, the drawings are often showcased as a form of decorative folklore for tourists and other commercial purposes. If left unchecked, this tendency to appreciate sand drawings on a purely aesthetic level may result in the loss of the tradition\u2019s deeper symbolic significance and original social function.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/vanuatu-sand-drawings-00073", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00006-BIG.jpg", "copyright": " Vanuatu National Cultural Council", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00228-BIG.jpg", "copyright": "Vanuatu National Cultural Council", "title": "Sand drawing is a multifunctional \u201cwriting\u201d produced on the ground, in sand, volcanic ash or clay, using one finger to draw a graceful, often symmetrical composition of geometric patterns. It serves as a means of communication among the members of some 80 ethnolinguistic groups." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00719-BIG.jpg", "copyright": " Vanuatu National Cultural Council", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00720-BIG.jpg", "copyright": " Vanuatu National Cultural Council", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00721-BIG.jpg", "copyright": " Vanuatu National Cultural Council", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=nJociHoB-t8", "copyright": "", "title": "Vanuatu sand drawing" }, { "url": "https:\/\/www.youtube.com\/watch?v=dpDjcGZXmQU", "copyright": "", "title": "Vanuatu sand drawing" }, { "url": "https:\/\/www.youtube.com\/watch?v=StbJAOCr6JI", "copyright": "", "title": "Vanuatu sand drawing" } ], "sustainability": "" } }, "element_74": { "type": "element", "label": "Nha Nhac, Vietnamese court music", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00229-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00229-HUG.jpg" }, "description": "Nha Nhac, meaning \u201celegant music\u201d, refers to a broad range of musical and dance styles performed at the Vietnamese royal court from the fifteenth to the mid-twentieth century. Nha Nhac was generally featured at the opening and closing of ceremonies associated with anniversaries, religious holidays, coronations, funerals and official receptions. Among the numerous musical genres that developed in Vietnam, only Nha Nhac can claim a nationwide scope and strong links with the traditions of other East Asian countries. Nha Nhac performances formerly featured numerous singers, dancers and musicians dressed in sumptuous costumes. Large-scale orchestras included a prominent drum section and many other types of percussion instruments as well as a variety of wind and string instruments. All performers had to maintain a high level of concentration since they were expected to follow each step of the ritual meticulously.

Nha Nhac developed during the Le dynasty (1427-1788) and became highly institutionalized and codified under the Nguyen monarchs (1802-1945). As a symbol of the dynasty\u2019s power and longevity, Nha Nhac became an essential part of the court\u2019s many ceremonies. However, the role of Nha Nhac was not limited to musical accompaniment for court rituals: it also provided a means of communicating with and paying tribute to the gods and kings as well as transmitting knowledge about nature and the universe.

The events that shook Vietnam in the twentieth century \u2013 especially the fall of the monarchy and the decades of war \u2013 seriously threatened the survival of Nha Nhac. Deprived of its court context, this musical tradition lost its original function. Nevertheless, the few surviving former court musicians continue to work to keep the tradition alive. Certain forms of Nha Nhac have been maintained in popular rituals and religious ceremonies and serve as a source of inspiration for contemporary Vietnamese music.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nha-nhac-vietnamese-court-music-00074", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00229-BIG.jpg", "copyright": "Hue Monument Conservation Centre", "title": "An essential part of royal ceremonies, court music was a means of communicating with and paying tribute to the gods and kings as well as transmitting knowledge about nature and the universe. This musical tradition has been kept alive by the few surviving former court musicians." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00710-BIG.jpg", "copyright": "Hue Monument Conservation Centre", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00711-BIG.jpg", "copyright": "Hue Monument Conservation Centre", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00712-BIG.jpg", "copyright": "Hue Monument Conservation Centre", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=G5X7KUtbEkk", "copyright": "", "title": "Nha Nhac, Vietnamese court music" }, { "url": "https:\/\/www.youtube.com\/watch?v=mhDNkSg8odU", "copyright": "", "title": "Nha Nhac, Vietnamese court music" }, { "url": "https:\/\/www.youtube.com\/watch?v=oUBD9gQybEw", "copyright": "", "title": "Nha Nhac, Vietnamese court music" } ], "sustainability": "" } }, "element_75": { "type": "element", "label": "Al-Sirah Al-Hilaliyyah epic", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00800-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00800-HUG.jpg" }, "description": "This oral poem, also known as the Hilali epic, recounts the saga of the Bani Hilal Bedouin tribe and its migration from the Arabian Peninsula to North Africa in the tenth century. This tribe held sway over a vast territory in central North Africa for more than a century before being annihilated by Moroccan rivals. As one of the major epic poems that developed within the Arabic folk tradition, the Hilali is the only epic still performed in its integral musical form. Moreover, once widespread throughout the Middle East, it has disappeared from everywhere except Egypt.


Since the fourteenth century, the Hilali epic has been performed by poets who sing the verses while playing a percussion instrument or a two-string spike fiddle (rabab). Performances take place at weddings, circumcision ceremonies and private gatherings, and may last for days. In the past, practitioners were trained within family circles and performed the epic as their only means of income. These professional poets began their ten-year apprenticeships at the age of five. To this day, students undergo special training to develop memory skills and to master their instruments. Nowadays, they must also learn to inject improvisational commentary in order to render plots more relevant to contemporary audiences.

The number of performers of the Hilali Epic is dwindling due to competition from contemporary media and to the decreasing number of young people able to commit to the rigorous training process. Pressured by the lucrative Egyptian tourist industry, poets tend to forsake the full Hilali repertory in favour of brief passages performed as part of folklore shows.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-sirah-al-hilaliyyah-epic-00075", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00174-BIG.jpg", "copyright": "CULTNAT", "title": "The Hilali poets recount the history of a historic Bedouin tribe, adding \r\nimprovised commentary to make the plot more relevant to contemporary \r\naudiences. Performances take place at weddings, circumcision \r\nceremonies and other gatherings as well as for tourist audiences, in shortened forms." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00800-BIG.jpg", "copyright": "CULTNAT", "title": "The Hilali poets recount the history of a historic Bedouin tribe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00801-BIG.jpg", "copyright": "CULTNAT", "title": "The Hilali poets recount the history of a historic Bedouin tribe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00802-BIG.jpg", "copyright": "CULTNAT", "title": "The Hilali poets recount the history of a historic Bedouin tribe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00803-BIG.jpg", "copyright": "CULTNAT", "title": "The Hilali poets recount the history of a historic Bedouin tribe" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=69kHXDwMVoE", "copyright": "", "title": "Al-Sirah Al-Hilaliyyah epic" }, { "url": "https:\/\/www.youtube.com\/watch?v=3IVenKLormM", "copyright": "", "title": "Al-Sirah Al-Hilaliyyah epic" }, { "url": "https:\/\/www.youtube.com\/watch?v=t3GBsk_upeo", "copyright": "", "title": "Al-Sirah Al-Hilaliyyah epic" } ], "sustainability": "" } }, "element_76": { "type": "element", "label": "Iraqi Maqam", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00609-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00609-HUG.jpg" }, "description": "Widely recognized as Iraq\u2019s predominant classical music tradition, the Maqam encompasses a vast repertory of songs, accompanied by traditional instruments. Moreover, this popular genre provides a wealth of information on the musical history of the region and the Arab influences that have held sway over the centuries.

The Iraqi Maqam is closely linked, in structure and instrumentation, to the family of traditional musical forms practiced in Iran, Azerbaijan and Uzbekistan. The Iraqi Maqam embraces numerous genres and primary melodic modes. It features improvisational vocal segments that sometimes use metric accompaniment and often lead to a medley of strophic songs. The skilful improvisation of the lead vocalist (qari\u2019) creates an intricate interplay with the orchestra (tshalghi) that provides accompaniment throughout the performance. Typical instruments include the board cither santur, a four-string spike fiddle (jawzah), a low-pitched hand-drum (dumbak) and a small tambourine (daff). Maqam performances generally take place at private gatherings and in coffee-houses and theatres. With a repertory rooted in classical and colloquial Arabic poetry, the Maqam is highly revered by musicians and scholars, but also by the Iraqi population at large.

While many Arab musical styles in the region have either disappeared or become westernized, the Iraqi Maqam has remained largely intact, in particular retaining its ornate vocal technique and improvisational character.

Due to the current political situation, Maqam concerts are less frequently held in front of large audiences and more often limited to performances in private settings. However, the numerous live concerts and recordings of Iraqi Maqam abroad bear witness to its continuing success and popularity.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/iraqi-maqam-00076", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00047-BIG.jpg", "copyright": " UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00184-BIG.jpg", "copyright": "Mohammad Gomar \/ Iraqi Maqam Ensemble", "title": "Highly popular among Iraqi people, the Maqam is widely recognized as the country\u2019s predominant classical music tradition. Today, many concerts are given abroad, bearing witness to its continuing success and popularity within as well as outside the country." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00608-BIG.jpg", "copyright": "Mohammad Gomar \/ Iraqi Maqam Ensemble", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00609-BIG.jpg", "copyright": "Mohammad Gomar \/ Iraqi Maqam Ensemble", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00610-BIG.jpg", "copyright": "Mohammad Gomar \/ Iraqi Maqam Ensemble", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00611-BIG.jpg", "copyright": "Mohammad Gomar \/ Iraqi Maqam Ensemble", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00612-BIG.jpg", "copyright": "UNESCO \/ Hussein Al-Aadhami", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00613-BIG.jpg", "copyright": "UNESCO \/ Hussein Al-Aadhami", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=NOrqQKL99eo", "copyright": "", "title": "Iraqi Maqam" }, { "url": "https:\/\/www.youtube.com\/watch?v=t_fj11xHNu4", "copyright": "", "title": "Iraqi Maqam" }, { "url": "https:\/\/www.youtube.com\/watch?v=2uQoYG4OR8w", "copyright": "", "title": "Iraqi Maqam" } ], "sustainability": "" } }, "element_77": { "type": "element", "label": "Song of Sana\u2019a", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00707-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00707-HUG.jpg" }, "description": "The Song of Sana\u2019a, also known as al-Ghina al-San\u2019ani, designates a group of songs that belongs to a rich musical tradition practised throughout Yemen. Derived from various poetic traditions dating from the fourteenth century, this genre constitutes an integral part of social events, such as the samra marriage evenings and the magyal, the daily afternoon gathering of friends and colleagues.

The songs are interpreted by a solo singer accompanied by two ancient instruments: the qanbus (the Yemeni lute), and the sahn nuhasi, a copper tray which is balanced upon the player\u2019s thumbs and lightly struck with the other eight fingers. There are a large number of melodic types. Modulation from one to another within a single performance is rare, but the artistry of a performer is judged by his ability to embellish a melody in order to highlight the meaning of the text and to move the listeners. The poetic repertory, written in both Yemeni dialect and classical Arabic, abounds in wordplay and is renowned for its emotional content. The texts of the songs constitute the most revered and frequently quoted body of poems in Yemen. Although the songs are directly associated with Yemen\u2019s historical capital, Sana\u2019a, they can be heard in many towns and rural areas throughout Yemen. In fact, the poetic repertory often draws on dialects from different parts of the country. In addition, traditional melodies are regularly borrowed by performers of other genres, including rural dances and contemporary music.

Although Yemenis remain very proud of the Song of Sana\u2019a tradition, attendance has dwindled and today\u2019s musicians \u2013 despite their growing numbers \u2013 know only a handful of old songs, which they interject in their performances before moving on to lighter contemporary pieces. It is just a few elderly musicians who have preserved the breadth of the Song of Sana\u2019a tradition and the subtleties of its interpretation.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/song-of-sana-a-00077", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00231-BIG.jpg", "copyright": "Samir Mokrani", "title": "The Song of Sana\u2019a is a group of songs accompanied by the fine sound of the Yemeni lute and a lightly struck copper tray. The poetic repertory, written in both Yemeni dialects and classical Arabic, abounds in wordplay and is renowned for its emotional content." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00707-BIG.jpg", "copyright": "Samir Mokrani", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00708-BIG.jpg", "copyright": "Samir Mokrani", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00709-BIG.jpg", "copyright": "Samir Mokrani", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=kdHbypelaJQ", "copyright": "", "title": "Song of Sana\u2019a" }, { "url": "https:\/\/www.youtube.com\/watch?v=rfJwde0X-Qk", "copyright": "", "title": "Song of Sana\u2019a" }, { "url": "https:\/\/www.youtube.com\/watch?v=x9xU0-yy8Ns", "copyright": "", "title": "Song of Sana\u2019a" } ], "sustainability": "" } }, "element_80": { "type": "element", "label": "Woodcrafting knowledge of the Zafimaniry", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00195-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00195-HUG.jpg" }, "description": "The Zafimaniry community is the sole remaining repository of a unique woodcraft culture previously widespread on the island. In the eighteenth century, the Zafimaniry settled in the remote wooded region of south-east Madagascar, seeking refuge from the deforestation that was ravaging much of Madagascar at that time. Today, approximately 25,000 Zafimaniry live in some one hundred villages and hamlets scattered in the highlands of this region.

For generations, Zafimaniry foresters, carpenters and craftworkers have developed a body of practical knowledge and skills revolving around wood. This craft tradition bears witness to the central role of this material in all aspects of life and death. Zafimaniry proficiency in forestry and wood sculpting can be seen in constructions and everyday objects. Practically all wooden surfaces \u2013 walls, window frames, posts, beams, stools, chests, tools \u2013 display elaborate ornamentation. The Zafimaniry use twenty different endemic species of tree, each adapted to a specific type of construction or decorative function. Houses and tombs are assembled entirely with traditional mortise and tenon joints, without the use of nails, hinges or other metal hardware. The traditional granaries, perched on round piles, are a distinctive feature of the mountain landscape. The geometric patterns are highly codified and reflect not only the community\u2019s austronesian origins but also the Arab influences in Malagasy culture. Although the number of motifs is limited, the creativity of the craftworkers means that no two pieces are identical. These motifs carry rich symbolic significance related to Zafimaniry beliefs and values. For example, the tanamparoratra (spider\u2019s web) symbolizes family ties, while the papintantely (honeycomb) represents community life. The ornamentation also informs about roles and social standing within the community.

For several decades, the Zafimaniry have sold statuettes, decorative pieces and everyday objects in nearby towns to ensure their survival. However, this fragile community risks becoming relegated to the role of mere suppliers of handicrafts to the tourist industry. Moreover, the process of deforestation threatens the Zafimaniry\u2019s principal source of income.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/woodcrafting-knowledge-of-the-zafimaniry-00080", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00195-BIG.jpg", "copyright": "J. S\u00e9gur\/ZED", "title": "The Zafimaniry community of about 25,000 people practices a unique wood crafting culture. Most wooden surfaces in their villages \u2013 from utensils to houses \u2013 are delicately crafted, displaying elaborate ornamentation. These motifs carry rich symbolic significance related to Zafimaniry cosmovision and values" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00557-BIG.jpg", "copyright": "J. S\u00e9gur\/ZED", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00559-BIG.jpg", "copyright": "J. S\u00e9gur\/ZED", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00560-BIG.jpg", "copyright": "J. S\u00e9gur\/ZED", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00561-BIG.jpg", "copyright": "Direction du Patrimoine Culturel, Minist\u00e8re de la Culture de Madagascar", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00562-BIG.jpg", "copyright": "Direction du Patrimoine Culturel, Minist\u00e8re de la Culture de Madagascar", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00563-BIG.jpg", "copyright": "Direction du Patrimoine Culturel, Minist\u00e8re de la Culture de Madagascar", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00564-BIG.jpg", "copyright": "Direction du Patrimoine Culturel, Minist\u00e8re de la Culture de Madagascar", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00565-BIG.jpg", "copyright": "Direction du Patrimoine Culturel, Minist\u00e8re de la Culture de Madagascar", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11348-BIG.jpg", "copyright": "Direction du Patrimoine Culturel, Minist\u00e8re de la Culture de Madagascar", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=k9wTLBGXZ04", "copyright": "", "title": "Woodcrafting knowledge of the Zafimaniry" }, { "url": "https:\/\/www.youtube.com\/watch?v=kyTvo3hfe_M", "copyright": "", "title": "Woodcrafting knowledge of the Zafimaniry" }, { "url": "https:\/\/www.youtube.com\/watch?v=VlePFCrbyfE", "copyright": "", "title": "Woodcrafting knowledge of the Zafimaniry" } ], "sustainability": "" } }, "element_82": { "type": "element", "label": "Polyphonic singing of the Aka Pygmies of Central Africa", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00492-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00492-HUG.jpg" }, "description": "The Aka Pygmies living in the south-west region of the Central African Republic have developed a distinctive vocal musical tradition, which involves a complex type of contrapuntal polyphony based on four voices, mastered by all members of the Aka community.

Music and dance form an integral part of Aka rituals including ceremonies related to the inauguration of new encampments, hunting and funerals. Unlike polyphonic systems that are written down in notation, the vocal tradition of the Aka Pygmies allows for spontaneous expression and improvisation. During performances, each singer can change his or her voice to produce a multitude of variations, creating the impression that the music is continuously evolving. The songs are generally accompanied by various percussion and string instruments, each one played for a specific occasion.Among the most common instruments are a local type of drum (enzeko), a harp-like instrument known as the geedale-bagongo, and the single-string bow (mbela). The songs perpetuate essential knowledge for the cohesion of the group and the preservation of community values. The dances are performed to the accompaniment of vibrant hand-clapping. Depending on the ritual, some dances feature men only, while others may be executed by couples or by male and female solo dancers. Relying entirely on oral transmission, the Aka Pygmies have succeeded in preserving their musical knowledge within the community by including children in rituals from an early age.

The lifestyle of the Aka Pygmies has been drastically disrupted due to the changes currently taking place in the Central African Republic. The scarcity of game resulting from deforestation, the rural exodus and the folklorization of their heritage for the tourist industry are the principal factors contributing to the gradual disappearance of many of their traditional customs, rituals and skills.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/polyphonic-singing-of-the-aka-pygmies-of-central-africa-00082", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00159-BIG.jpg", "copyright": "Commission nationale Centrafricaine et Ministere de la jeunesse et des sports, arts et culture", "title": "The polyphonic songs of the Aka Pygmies are an integral part of their hunting and life-cycle rituals, a tool of communication and reaffirmation of community values. With socio-economic changes, deforestation and rural exodus, the Aka traditions are inclined to gradually disappear." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00492-BIG.jpg", "copyright": "Commission nationale Centrafricaine et Ministere de la jeunesse et des sports, arts et culture", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00881-BIG.jpg", "copyright": "Commission nationale Centrafricaine et Ministere de la jeunesse et des sports, arts et culture", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=yKLxFmnYO_I", "copyright": "", "title": "Polyphonic singing of the Aka Pygmies of Central Africa" }, { "url": "https:\/\/www.youtube.com\/watch?v=ApZVPIP1uhg", "copyright": "", "title": "Polyphonic singing of the Aka Pygmies of Central Africa" }, { "url": "https:\/\/www.youtube.com\/watch?v=kZVlbrPaccY", "copyright": "", "title": "Polyphonic singing of the Aka Pygmies of Central Africa" } ], "sustainability": "" } }, "element_87": { "type": "element", "label": "Baltic song and dance celebrations", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05374-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05374-HUG.jpg" }, "description": "Both a repository and a showcase for the region\u2019s tradition of performing folk art, this cultural expression culminates in large-scale festivals every fifth year in Estonia and Latvia and every fourth year in Lithuania.These grand events, held over several days, assemble as many as 40,000 singers and dancers. For the most part, the participants belong to amateur choirs and dance groups.Their repertories reflect the wide range of musical traditions in the Baltic States, from the most ancient folk songs to contemporary compositions. Directed by professional choir conductors, bandleaders and dance instructors, many singers and dancers practise throughout the year in community centres and local cultural institutions.

Choirs and musical ensembles first became institutionalized in Estonia during the eighteenth century. Subsequently, choir singing spread throughout rural and urban areas, spurred by the growing popularity of choral music, singing societies and song festivals in Western Europe. With the participation of the most active choirs from various regions of these States, the Baltic Song and Dance Celebrations were initially organized in Estonia in 1869 and in Latvia in 1873. Lithuania hosted its first celebration in 1924. Once the Baltic States gained independence from Russia after the First World War, the celebrations acquired widespread popularity as a means of asserting Baltic cultural identity. In the three countries, special venues and festival sites were constructed to host the events. After the incorporation of the Baltic States into the Soviet Union at the end of the Second World War, the celebrations adapted to the prevailing communist ideology.

Since regaining independence in 1991, the Baltic States have undertaken various measures to ensure the protection of this tradition, yet the major economic and social changes taking place in the region raise serious concerns for the future. Today\u2019s principal threats stem from the rural exodus and the resulting break-up of local amateur groups.", "list": "RL", "year": 2008, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/baltic-song-and-dance-celebrations-00087", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05368-BIG.jpg", "copyright": "State Agency of Intangible Cultural Heritage of the Republic of Latvia", "title": "Latvian Nationwide Song and Dance Celebration in Riga. Closing Concert." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05373-BIG.jpg", "copyright": "State Agency of Intangible Cultural Heritage of the Republic of Latvia", "title": "Latvian Nationwide Song and Dance Celebration in Riga. Closing Concert." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05374-BIG.jpg", "copyright": "State Agency of Intangible Cultural Heritage of the Republic of Latvia", "title": "Latvian Nationwide Song and Dance Celebration in Riga. Closing Concert." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05375-BIG.jpg", "copyright": "State Agency of Intangible Cultural Heritage of the Republic of Latvia", "title": "Latvian Nationwide Song and Dance Celebration in Riga. Song Celebration Procession." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05376-BIG.jpg", "copyright": "State Agency of Intangible Cultural Heritage of the Republic of Latvia", "title": "Latvian Nationwide Song and Dance Celebration in Riga. Song Celebration Procession." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05377-BIG.jpg", "copyright": "State Agency of Intangible Cultural Heritage of the Republic of Latvia", "title": "Latvian Nationwide Song and Dance Celebration in Riga. Song Celebration Procession." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05378-BIG.jpg", "copyright": "State Agency of Intangible Cultural Heritage of the Republic of Latvia", "title": "Latvian Nationwide Song and Dance Celebration in Riga. Dance Celebration Concert Performance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05379-BIG.jpg", "copyright": "State Agency of Intangible Cultural Heritage of the Republic of Latvia", "title": "Latvian Nationwide Song and Dance Celebration in Riga. Dance Celebration Concert Performance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05380-BIG.jpg", "copyright": "State Agency of Intangible Cultural Heritage of the Republic of Latvia", "title": "Latvian Nationwide Song and Dance Celebration in Riga. Dance Closing Concert." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05381-BIG.jpg", "copyright": "State Agency of Intangible Cultural Heritage of the Republic of Latvia", "title": "Latvian Nationwide Song and Dance Celebration in Riga. Brass Band Grand Concert." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=g2lArlrlnbg", "copyright": "", "title": "Baltic song and dance celebrations" }, { "url": "https:\/\/www.youtube.com\/watch?v=-R_GG35kouI", "copyright": "", "title": "Baltic song and dance celebrations" }, { "url": "https:\/\/www.youtube.com\/watch?v=hlcrwi6NeIo", "copyright": "", "title": "Baltic song and dance celebrations" } ], "sustainability": "" } }, "element_89": { "type": "element", "label": "Shashmaqom music", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00724-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00724-HUG.jpg" }, "description": "For over ten centuries, the classical music tradition of Shashmaqom has evolved in the urban centres of Central Asia formerly known as M\u00e2war\u00e2 al-nahr, an area which now encompasses present-day Tajikistan and Uzbekistan.

Shashmaqom, meaning \u201csix maqoms\u201d, constitutes a fusion of vocal and instrumental music, melodic and rhythmic idioms and poetry. The genre is performed solo or by a group of singers and an orchestra of lutes, fiddles, frame-drums and flutes. Performances generally open with an instrumental introduction followed by the nasr, the main vocal section consisting of two distinct sets of songs.

Dating back to the pre-Islamic era, Shashmaqom was continually influenced by developments in musicology, poetry, mathematics, and Sufism. So popular was the maqom system in the ninth and tenth centuries that numerous music schools were founded, mainly by the Jewish community, in the city of Bukhara, the historical and spiritual centre of Shashmaqom. Shashmaqom genre requires specially trained musicians because the standard notation system can record only the basic framework. Consequently, oral transmission from master to student remains the principal means of preserving the music and its spiritual values.

From the 1970s, many of the best-known Shashmaqom performers emigrated from Tajikistan and Uzbekistan to diaspora communities in Israel and the United States. Since Uzbekistan and Tajikistan gained independence in 1991, many measures have been taken to safeguard Shashmaqom. Only a few performers have maintained local performance styles as taught by independent teachers. With the passing of many Shashmaqom masters, the overwhelming majority of presentday performers in Tajikistan and Uzbekistan are graduates of the Tashkent Conservatory, which offers training in Shashmaqom composition.", "list": "RL", "year": 2008, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/shashmaqom-music-00089", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00110-BIG.jpg", "copyright": "Otanazar Mat\u2019yakubov", "title": "Khazan Rajabiy, Master of maqoms, during a masterclass" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00227-BIG.jpg", "copyright": "Otanazar Mat\u2019yakubov", "title": "Meaning \u201csix maqoms,\u201d the Shashmaqom constitutes a fusion of vocal and instrumental music, melodic and rhythmic idioms and poetry. Shashmaqom masters provide classes to trainees and amateurs at Tashkent Conservatory, contributing to the revitalization of this musical tradition." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00722-BIG.jpg", "copyright": "Yunus Rajabiy Museum, 2003", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00723-BIG.jpg", "copyright": "Yunus Rajabiy Museum, 2003", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00724-BIG.jpg", "copyright": "Yunus Rajabiy Museum, 2003", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00725-BIG.jpg", "copyright": "Yunus Rajabiy Museum, 2003", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00726-BIG.jpg", "copyright": "Yunus Rajabiy Museum, 2003", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00727-BIG.jpg", "copyright": "Otanazar Mat'vakubov", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00728-BIG.jpg", "copyright": "Otanazar Mat'vakubov", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01671-BIG.jpg", "copyright": "Otanazar Mat'vakubov", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ZagFXO6uVXE", "copyright": "", "title": "Shashmaqom music" }, { "url": "https:\/\/www.youtube.com\/watch?v=JMt-SHltpsA", "copyright": "", "title": "Shashmaqom music" }, { "url": "https:\/\/www.youtube.com\/watch?v=Ek_rDBGHIRs", "copyright": "", "title": "Shashmaqom music" } ], "sustainability": "" } }, "element_92": { "type": "element", "label": "Duduk and its music", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00860-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00860-HUG.jpg" }, "description": "The duduk, the Armenian oboe, is a double-reed wind instrument characterized by a warm, soft, slightly nasal timbre. It belongs to the category of aerophones, which also includes the balaban played in Azerbaijan and Iran, the duduki common in Georgia and the ney in Turkey.The soft wood of the apricot tree is the ideal material for the body of the instrument. The reed, called ghamish or yegheg, is a local plant growing alongside the Arax River.

The roots of Armenian duduk music go back to the times of the Armenian king Tigran the Great (95-55 BC). It accompanies popular Armenian traditional songs and dances of the various regions and is played at events, such as weddings and funerals. Although there are also famous duduk soloists, among them Gevorg Dabaghyan and Vache Sharafyan, the duduk is usually played by two musicians. One player creates the musical environment for the lead melody by playing a continual drone held by circular breathing, while the other player develops complex melodies and improvisations. There are four major types of duduk, varying in length from 28 to 40 cm. This variety allows the sound of the duduk to express various moods depending on the content of the piece and the playing context. The 40-cm long duduk, for example, is regarded as most appropriate for love songs, whereas the smaller one usually accompanies dances. Today, duduk craftsmen continue to create and experiment with different forms of duduks. Many Armenians consider the duduk as the instrument that most eloquently expresses warmth, joy and their history.

Over the last few decades, the popularity of Armenian duduk music has faded, in particular in the rural areas where it originated. The duduk instrument is played less and less in popular festivities, but more often as a staged performance by professionals, risking to threaten the music\u2019s viability and traditional character.
", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/duduk-and-its-music-00092", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00008-BIG.jpg", "copyright": "Samvel Amirkhanyan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00145-BIG.jpg", "copyright": "Samvel Amirkhanyan", "title": "An Armenian oboe, the Duduk accompanies popular songs and dances and is played at social events such as weddings, anniversaries and funerals. The Armenian Duduk is distinctive in construction and performance technique and characterized by a warm and soft timbre." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00356-BIG.jpg", "copyright": "Samvel Amirkhanyan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00456-BIG.jpg", "copyright": "Samvel Amirkhanyan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00457-BIG.jpg", "copyright": "Samvel Amirkhanyan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00458-BIG.jpg", "copyright": "Samvel Amirkhanyan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00459-BIG.jpg", "copyright": "Samvel Amirkhanyan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00460-BIG.jpg", "copyright": "Samvel Amirkhanyan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00461-BIG.jpg", "copyright": "Samvel Amirkhanyan", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00860-BIG.jpg", "copyright": "UNESCO\/Anahit Minasyan", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=X8CWEiK6PkI", "copyright": "Gevorg Dabaghyan 2010", "title": "Duduk Music" }, { "url": "https:\/\/www.youtube.com\/watch?v=RQ0q8NVUfeQ", "copyright": "Gevorg Dabaghyan 2010", "title": "Duduk Music" }, { "url": "https:\/\/www.youtube.com\/watch?v=x9F6pd8JNLM", "copyright": "Gevorg Dabaghyan 2010", "title": "Duduk Music" } ], "sustainability": "" } }, "element_95": { "type": "element", "label": "Bistritsa Babi, archaic polyphony, dances and rituals from the Shoplouk region", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00399-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00399-HUG.jpg" }, "description": "The traditional dances and polyphonic singing found in the Shoplouk region of Bulgaria are still performed by a group of elderly women, the Bistritsa Babi. This tradition includes diaphony, or what is known as shoppe polyphony, ancient forms of the horo chain dance and the ritual practice of lazarouvane, an initiation ceremony for young women.

Diaphony is a specific type of polyphonic singing in which one or two voices build the melody consisting of izvikva meaning \u201cto shout out\u201d and bouchi krivo meaning \u201ccrooked rumbled roars\u201d, while other singers hold a monotone drone that is doubled or trebled to produce a more sonorous sound that accompanies the lead singers.The dancers, dressed in traditional costumes, hold each other by the waist or belt and dance in a circle, stepping lightly and moving counter-clockwise. A number of variations are performed within this structure, depending on the song and ancient ritual purposes.

Although the social function of the polyphonic singing has changed over the twentieth century, as it is now primarily performed on stage, the Bistritsa Babi are regarded as an important component of the region\u2019s cultural life, promoting traditional expressions among the younger generations. The women are among the few remaining representatives of traditional polyphony and the village of Bistritsa is one of the last areas in Bulgaria in which this cultural expression has been maintained over the centuries.

Due to its location near the capital Sofia, which offers a range of cultural attractions, young people\u2019s interest in communitybased traditions is declining. Over the years, the rich repertoire of songs and dances has been reduced to include only the most popular highlights to be performed on stage.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/bistritsa-babi-archaic-polyphony-dances-and-rituals-from-the-shoplouk-region-00095", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00021-BIG.jpg", "copyright": " Prof. M. Santova", "title": "The Bistritsa Babi \u2013 Archaic Polyphony, Dances and Rituals from the Shoplouk Region in Bulgaria" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00156-BIG.jpg", "copyright": "Prof. M. Santova", "title": "In the village of Bistritsa close to the capital Sofia, elderly women keep alive polyphonic songs, dances and rituals that were the centrepiece of the region\u2019s cultural life. Besides stage performances they actively teach these traditions to younger women and girls." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00395-BIG.jpg", "copyright": " Prof. M. Santova", "title": "A group of little Lazarki from the Shoplouk Region in Bulgaria - the ritual practice of lazarouvane is an initiation ceremony for young women (called lazarki)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00396-BIG.jpg", "copyright": " Prof. M. Santova", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00397-BIG.jpg", "copyright": " Prof. M. Santova", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00398-BIG.jpg", "copyright": " Prof. M. Santova", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00399-BIG.jpg", "copyright": " Prof. M. Santova", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00400-BIG.jpg", "copyright": " Prof. M. Santova", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00403-BIG.jpg", "copyright": " Prof. M. Santova", "title": "A group of little Lazarki from the Shoplouk Region in Bulgaria - the ritual practice of lazarouvane" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=embqg-yKHNQ", "copyright": "", "title": "Bistritsa Babi, archaic polyphony, dances and rituals from the Shoplouk region" }, { "url": "https:\/\/www.youtube.com\/watch?v=VGrgr62JqBQ", "copyright": "", "title": "Bistritsa Babi, archaic polyphony, dances and rituals from the Shoplouk region" }, { "url": "https:\/\/www.youtube.com\/watch?v=s3tYqw9sbBk", "copyright": "", "title": "Bistritsa Babi, archaic polyphony, dances and rituals from the Shoplouk region" } ], "sustainability": "" } }, "element_99": { "type": "element", "label": "Fujara and its music", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00219-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00219-HUG.jpg" }, "description": "The Fujara, an extremely long flute with three finger holes traditionally played by Slovak shepherds, is regarded as an integral part of the traditional culture of Central Slovakia. It is not just a musical instrument, but also an artefact of great artistic value due to its highly elaborate, individual ornamentation.

The main tube of the flute measures 160 to 200 cm in length and is connected to a shorter tube of 50 to 80 cm. The instrument is characterized by deep \u201cmumbling\u201d tones, emitted by its lower register and very high overtones made possible by the length of the instrument. The melancholic and rhapsodic music varies according to the content of the songs, related to the shepherds\u2019 life and work. The musical repertoire is based on melodies determined by the technical features of the instrument and sounds imitating nature, such as the gurgle of a stream or a wellspring.

In the course of the nineteenth and twentieth centuries, the Fujara became known and appreciated beyond the shepherds\u2019 use. Through festivals, the instrument played by musicians from the Podpol\u2019anie region gained recognition and popularity throughout Slovakia.The Fujara is played at various occasions throughout the year, but mainly from spring to autumn, by professional musicians and a few remaining shepherds performing at festivals.

During recent decades the Fujara is increasingly played at special events. The communist era and the political developments in the 1990s have caused significant social, cultural and economic changes and especially young people have become estranged from traditional folk art. Individual initiatives, however, have been trying to safeguard the Fujara and the knowledge and skills related to it. ", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/fujara-and-its-music-00099", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00219-BIG.jpg", "copyright": "Tibor Szabo \/ Slovak National Commission for UNESCO", "title": "The Fujara flute was traditionally played by Slovak shepherds as an entertainment and a means of communication. Its extreme length and specific blowing techniques generate the unique Fujara sound, characterized by deep mumbling tones and very high overtones. The instrument is also an artefact of great artistic value with its highly elaborate, individual ornamentation." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00910-BIG.jpg", "copyright": "", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=8VFlS_dHWPA", "copyright": "2010 Pro Musica Studio", "title": "Fujara musical instrument and its music" }, { "url": "https:\/\/www.youtube.com\/watch?v=ynWLVwb6fmM", "copyright": "2010 Pro Musica Studio", "title": "Fujara musical instrument and its music" }, { "url": "https:\/\/www.youtube.com\/watch?v=Qzg9MhboP-Y", "copyright": "2010 Pro Musica Studio", "title": "Fujara musical instrument and its music" } ], "sustainability": "" } }, "element_100": { "type": "element", "label": "Mevlevi Sema ceremony", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05382-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05382-HUG.jpg" }, "description": "The Mevleviye is an ascetic Sufi order founded in 1273 in Konya, from where it gradually spread throughout the Ottoman Empire. Today, the Mevleviye can be found in many Turkish communities throughout the world, but the most active and famous centres of the order\u2019s activity are in Konya and Istanbul.

The Mevleviye are renowned for their whirling dances. Following a recommended fast of several hours, the whirlers begin to rotate on their left feet in short twists, using the right foot to drive their bodies around the left foot. The body of the whirler is meant to be supple, with eyes open but unfocused so that images become blurred and flowing. At their dancing ceremonies, or Sema, a particular musical repertoire called ay\u203an is played. Based on four sections of both vocal and instrumental compositions, it is performed by at least one singer, a flute-player, called neyzen, a kettledrummer and a cymbal player. Dancers used to receive 1,001 days of reclusive training within the mevlevi-houses (mevlevihane), where they learned about ethics, codes of behaviour and beliefs by practising prayer, religious music, poetry and dance. After this training, they remained members of the order but returned to their work and families.

As a result of secularization policies, all mevlevihane were closed in 1925.The Turkish government began to allow performances again, though only in public, in the 1950s, restrictions were eased in the 1990s. Some private groups are re-establishing the original spiritual and intimate character of the Sema ceremony. However, over the thirty years the tradition was practised clandestinely, transmission focused rather on music and songs than on spiritual and religious traditions, which has deprived performances of part of their religious significance. Consequently, many sema ceremonies are no longer performed in their traditional context but for tourist audiences, and have been shortened and simplified to meet commercial requirements.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mevlevi-sema-ceremony-00100", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05382-BIG.jpg", "copyright": "Directorate General of Information Audiovisual Archive\/Ministry of Culture and Tourism", "title": "Mevlevi Sema Ceremony in \u015eeb-i Ar\u00fbs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05383-BIG.jpg", "copyright": "Directorate General of Information Audiovisual Archive\/Ministry of Culture and Tourism", "title": "Mevlevi Sema Ceremony in \u015eeb-i Ar\u00fbs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05384-BIG.jpg", "copyright": "Directorate General of Information Audiovisual Archive\/Ministry of Culture and Tourism", "title": "Mevlevi Sema Ceremony in \u015eeb-i Ar\u00fbs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05385-BIG.jpg", "copyright": "Directorate General of Information Audiovisual Archive\/Ministry of Culture and Tourism", "title": "Mevlevi Sema Ceremony in \u015eeb-i Ar\u00fbs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05386-BIG.jpg", "copyright": "Directorate General of Information Audiovisual Archive\/Ministry of Culture and Tourism", "title": "Mevlevi Sema Ceremony in \u015eeb-i Ar\u00fbs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05387-BIG.jpg", "copyright": "Directorate General of Information Audiovisual Archive\/Ministry of Culture and Tourism", "title": "Mevlevi Sema Ceremony in \u015eeb-i Ar\u00fbs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05388-BIG.jpg", "copyright": "Directorate General of Information Audiovisual Archive\/Ministry of Culture and Tourism", "title": "Mevlevi Sema Ceremony in \u015eeb-i Ar\u00fbs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05389-BIG.jpg", "copyright": "Directorate General of Information Audiovisual Archive\/Ministry of Culture and Tourism", "title": "Mevlevi Sema Ceremony in \u015eeb-i Ar\u00fbs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05390-BIG.jpg", "copyright": "Directorate General of Information Audiovisual Archive\/Ministry of Culture and Tourism", "title": "Mevlevi Sema Ceremony in \u015eeb-i Ar\u00fbs" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=_umJcGodNb0", "copyright": "", "title": "Mevlevi Sema ceremony" }, { "url": "https:\/\/www.youtube.com\/watch?v=Nkq4xwWFPf0", "copyright": "", "title": "Mevlevi Sema ceremony" }, { "url": "https:\/\/www.youtube.com\/watch?v=xva5MmlO-SA", "copyright": "", "title": "Mevlevi Sema ceremony" } ], "sustainability": "" } }, "element_90": { "type": "element", "label": "C\u0103lu\u015f ritual", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00636-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00636-HUG.jpg" }, "description": "Performed in the Olt region of southern Romania, the C\u0103lu\u015f ritual dance also formed part of the cultural heritage of the Vlachs of Bulgaria and Serbia. Although the oldest documented music used in this dance dates from the seventeenth century, the ritual probably derived from ancient purification and fertility rites using the symbol of the horse, which was worshipped as an embodiment of the sun. The ritual\u2019s name derives from the C\u0103lu\u015f, the wooden part of the horse\u2019s bridle. The C\u0103lu\u015f ritual features a series of games, skits, songs and dances, and was enacted by all-male C\u0103lu\u015fari dancers to the accompaniment of two violins and an accordion. Young men used to be initiated into the ritual by a vataf (master) who had inherited the knowledge of desc\u00e2ntece (magic charms) and the dance steps from his predecessor. Groups of C\u0103lu\u015fari dancers, sporting colourful hats, embroidered shirts and trousers adorned with small jingling bells, perform complex dances, which combine stamping, clicking of the heels, leaping and swinging of the legs.

According to tradition, groups of dancing and chanting C\u0103lu\u015fari, who were thought to be endowed with magical healing powers, went from house to house, promising good health and prosperity to villagers.

Until today, C\u0103lu\u015fari meet to celebrate their dancing and musical prowess on Whit Sunday. Testifying the rich cultural diversity of Romania, the C\u0103lu\u015f ritual is also widely promoted at folklore festivals, such as the Caracal festival in the region of Olt, turning it into a veritable national symbol.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/clu-ritual-00090", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00636-BIG.jpg", "copyright": " Visi Ghencea", "title": "Performed by male dancers of southern Romania to the accompaniment of two violins and an accordion, the Calus ritual features a series of games, skits, songs and dances. The dancers, believed to be endowed with magical healing powers, go from house to house, promising good health and prosperity to the villagers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00637-BIG.jpg", "copyright": " Visi Ghencea", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00919-BIG.jpg", "copyright": "l'Institut d'Ethnographie et du Folklore \"Constantin Brailoiu\"", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00920-BIG.jpg", "copyright": "l'Institut d'Ethnographie et du Folklore \"Constantin Brailoiu\"", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=g7QdQ8R5BUU", "copyright": "", "title": "C?lu? ritual" }, { "url": "https:\/\/www.youtube.com\/watch?v=IKMp5CzdT0U", "copyright": "", "title": "C?lu? ritual" }, { "url": "https:\/\/www.youtube.com\/watch?v=nBFIyxq87fo", "copyright": "", "title": "C?lu? ritual" } ], "sustainability": "" } }, "element_101": { "type": "element", "label": "Samba de Roda of the Rec\u00f4ncavo of Bahia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00401-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00401-HUG.jpg" }, "description": "The Samba de Roda, which involves music, dance and poetry, is a popular festive event that developed in the State of Bahia, in the region of Rec\u00f4ncavo during the seventeenth century. It drew heavily on the dances and cultural traditions of the region\u2019s African slaves. The performance also included elements of Portuguese culture, such as language, poetry, and certain musical instruments. At first a major component of regional popular culture among Brazilians of African descent, the Samba de Roda was eventually taken by migrants to Rio de Janeiro, where it influenced the evolution of the urban samba that became a symbol of Brazilian national identity in the twentieth century.

The dance is performed on various occasions, such as popular Catholic festivities or Afro-Brazilian religious ceremonies, but is also executed in more spontaneous settings. All present, including beginners, are invited to join the dance and learn through observation and imitation. One of the defining characteristics of the Samba of Roda is the gathering of participants in a circle, referred to as roda. It is generally performed only by women, each one taking her turn in the center of the ring surrounded by others dancing in the circle while clapping their hands and singing. The choreography is often improvised and based on the movements of the feet, legs and hips. One of the most typical movements is the famous belly push, the umbigada, a testimony of Bantu influence, used by the dancer to invite her successor into the centre of the circle. The Samba de Roda is also distinguished by specific dance steps like the miudinho, the use of the viola machete - a small lute with plucked strings from Portugal, as well as scraped instruments, and responsorial songs.

The influence of mass media and competition from contemporary popular music have contributed to undervaluing this Samba in the eyes of the young. The ageing of practitioners and the dwindling number of artisans capable of making some of the instruments pose a further threat to the transmission of the tradition.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/samba-de-roda-of-the-reconcavo-of-bahia-00101", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00020-BIG.jpg", "copyright": " Luiz Santoz\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00155-BIG.jpg", "copyright": "Luiz Santos \/ UNESCO", "title": "A blend of African and Portuguese cultures, the Samba de Roda is practiced in spontaneous settings, popular or religious festivities. Performers \u2013 generally women \u2013 assemble in a circle, the roda, each one taking her turn dancing to the accompaniment of singing and handclapping." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00401-BIG.jpg", "copyright": " Luiz Santoz\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00402-BIG.jpg", "copyright": "Luiz Santoz\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00484-BIG.jpg", "copyright": " Luiz Santoz\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00485-BIG.jpg", "copyright": " Luiz Santoz\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00486-BIG.jpg", "copyright": " Luiz Santoz\/UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=lIN-EIs4VzE", "copyright": "IPHAN, 2004", "title": "Samba de Roda of the Rec\u00f4ncavo of Bahia" }, { "url": "https:\/\/www.youtube.com\/watch?v=Hc00pyODnIo", "copyright": "IPHAN, 2004", "title": "Samba de Roda of the Rec\u00f4ncavo of Bahia" }, { "url": "https:\/\/www.youtube.com\/watch?v=drDF59tvcZ0", "copyright": "IPHAN, 2004", "title": "Samba de Roda of the Rec\u00f4ncavo of Bahia" } ], "sustainability": "" } }, "element_102": { "type": "element", "label": "Cultural space of Palenque de San Basilio", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00834-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00834-HUG.jpg" }, "description": "The village of Palenque de San Basilio, with a population of about 3,500 inhabitants, is located in the foothills of the Montes de Mar\u00eda, southeast of the regional capital, Cartagena. Palenque de San Basilio was one of the walled communities called palenques, which were founded by escaped slaves as a refuge in the seventeenth century. Of the many palenques that existed in former times, only San Basilio has survived until the present day. It developed into a unique cultural space.

The Cultural Space of Palenque de San Basilio encompasses social, medical and religious practices as well as musical and oral traditions, many of which have African roots. The social organization of the community is based on family networks and age groups called ma kuagro. The kuagro membership comes with a set of rights and duties towards other group members and entails strong internal solidarity. Daily work and special events are jointly undertaken by all kuagro members.

The complex funeral rituals and medical practices are evidence of the distinct spiritual and cultural systems framing life and death in the Palenque community. Musical expressions such as the Bullernege sentado, Son palenquero or Son de negro accompany collective celebrations, such as baptisms, weddings and religious festivities as well as leisure activities.

Central to the cultural space of Palenque de San Basilio is the palenquero language, the only creole language in Latin America with a lexical Spanish basis and grammatical characteristics of Bantu languages. The language constitutes a vital factor in reinforcing social cohesion among community members.

The cultural space of Palenque is not only threatened by economic changes that affect local modes of production, but also by the armed conflict between Colombian paramilitary and local guerrilla groups. Outside Palenque, inhabitants are commonly subjected to discrimination and ethnic stereotyping leading to a denial of their cultural values.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-space-of-palenque-de-san-basilio-00102", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00164-BIG.jpg", "copyright": "Ministry of Culture of Republic of Colombia", "title": "The walled village Palenque de San Basilio was founded as a refuge by escaped slaves in the seventeenth century. The musical and oral traditions, religious festivities, funeral rituals, medical practices and community organization of its residents are still quite distinctive." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00833-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00834-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00835-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00836-BIG.jpg", "copyright": "Ministry of Culture of republic of Colombia", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LOaDBO4jODU", "copyright": "", "title": "Cultural space of Palenque de San Basilio" }, { "url": "https:\/\/www.youtube.com\/watch?v=fBCnwdK12LU", "copyright": "", "title": "Cultural space of Palenque de San Basilio" }, { "url": "https:\/\/www.youtube.com\/watch?v=Lh2Y_VnZ4hY", "copyright": "", "title": "Cultural space of Palenque de San Basilio" } ], "sustainability": "" } }, "element_103": { "type": "element", "label": "Oxherding and oxcart traditions in Costa Rica", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00805-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00805-HUG.jpg" }, "description": "The traditional oxcart, or carreta, is the product of Costa Rica\u2019s most famous craft. Dating from the mid-nineteenth century, oxcarts were used to transport coffee beans from Costa Rica\u2019s central valley over the mountains to Puntarenas on the Pacific coast, a journey requiring ten to fifteen days.

The oxcarts used spokeless wheels, a hybrid between the disc used by the Aztec and the spoked wheel introduced by the Spaniards, to cut through the mud without getting stuck. In many cases, oxcarts were a family\u2019s only means of transport; they often served as a symbol of social status.
The tradition of painting and decorating oxcarts started in the early twentieth century. Originally, each region of Costa Rica had its own particular design, enabling the identification of the driver\u2019s origin by the painted patterns on the wheels.

By the beginning of the twentieth century, flowers, faces and miniature landscapes began to appear beside patterns of pointed stars, and to this day annual contests reward the most creative artists in this tradition. Each oxcart is designed to make its own \u2019song\u2019, a unique chime produced by a metal ring striking the hubnut of the wheel as the cart bumped along. Once the oxcart had become a source of individual pride, greater care was taken in their construction, and the highest-quality woods were selected to make the best sounds. Today\u2019s colourful and richly decorated carretas bear little resemblance to the original rough-hewn, rectangular, caneframed vehicles covered by rawhide tarps. While in most regions of Costa Rica trucks and trains replaced oxcarts as the main means of transport, the carretas remain strong symbols of Costa Rica\u2019s rural past, and still feature prominently in parades and in religious and secular celebrations.

Since oxcarts have become obsolete as means of transport, there is a decreasing demand for them, which means that the number of artisans who possess the training to manufacture and decorate oxcarts has strongly declined over the past decades.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/oxherding-and-oxcart-traditions-in-costa-rica-00103", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00165-BIG.jpg", "copyright": "Carmen Murillo \/ Ministerio de Cultura, Juventud y Deportes", "title": "Once used to transport coffee beans from the Central Highlands to the Pacific coast, colourfully painted and decorated oxcarts are today presented at nation-wide contests. The oxcarts\u2019 characteristic spokeless wheels are a hybrid between the Aztec disc and the spoked wheel introduced by the Spanish." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00805-BIG.jpg", "copyright": " Carmen Murillo \/ Ministerio de Cultura, Juventud y Deportes", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00806-BIG.jpg", "copyright": " Carmen Murillo \/ Ministerio de Cultura, Juventud y Deportes", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00807-BIG.jpg", "copyright": " Carmen Murillo \/ Ministerio de Cultura, Juventud y Deportes", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00808-BIG.jpg", "copyright": " Carmen Murillo \/ Ministerio de Cultura, Juventud y Deportes", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00809-BIG.jpg", "copyright": " Carmen Murillo \/ Ministerio de Cultura, Juventud y Deportes", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=B3-IkdWzNBs", "copyright": "", "title": "Oxherding and oxcart traditions in Costa Rica" }, { "url": "https:\/\/www.youtube.com\/watch?v=dBwfdySsmRs", "copyright": "", "title": "Oxherding and oxcart traditions in Costa Rica" }, { "url": "https:\/\/www.youtube.com\/watch?v=onuM0zilX30", "copyright": "", "title": "Oxherding and oxcart traditions in Costa Rica" } ], "sustainability": "" } }, "element_104": { "type": "element", "label": "Cocolo dance drama tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11364-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11364-HUG.jpg" }, "description": "The Cocolo dancing drama tradition developed among descendants of British Caribbean slaves who had come to the Dominican Republic in the mid-nineteenth century to work in the sugar fields. This linguistically and culturally distinct community set up their own churches, schools, benevolent societies and mutual assistance lodges. Their most distinctive expressions, however, were annual dancing drama performances. Originally pejorative, the term \u201cCocolo\u201d, which refers to the migrants working on the British sugar plantation of the island, is now used proudly.

Various Cocolo drama troupes used to perform at Christmas, on St Peter\u2019s day and at carnival festivities. In their performances, themes from various worlds are creatively united. Music and dance genres of African origin blend with dramatic plots, legends and figures derived from biblical and medieval European literature. These include Christmas carolling, performances of string and scratch bands, the so-called Niega business, involving masquerades and the staging of theatrical scenes such as \u2019David and Goliath\u2019, \u2019Moko- Yombi\u2019 and \u2019Cowboys and Indians\u2019. Only one ageing troupe now remains.

This fusion of African and British cultural themes, and their adaptation to a Spanish Catholic milieu, is a salient expression of creativity. But although older members of the Cocolo community still speak Caribbean English at home, most have lost their ancient mother tongue and are monolingual in Spanish. Today, the Cocolo community is scattered in different regions of the Dominican Republic, and most have assimilated into broader Dominican society. This development has made it more difficult for the older Cocolo to transmit their knowledge to younger generations, to retain their specific institutions and to keep the dancing drama tradition alive.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cocolo-dance-drama-tradition-00104", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00035-BIG.jpg", "copyright": " Juan Rodriguez Acosta", "title": "Wild Indian and David and Goliat dancers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00172-BIG.jpg", "copyright": "Juan Rodriguez Acosta", "title": "The Cocolo dance drama, performed at Christmas and carnival festivities, developed in the Dominican Republic in the nineteenth century among English-speaking Caribbean migrant workers. Music, dance and characters of African origin are mixed with plots and figures from biblical and medieval European literature." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00495-BIG.jpg", "copyright": " Juan Rodriguez Acosta", "title": "Rudi wearing a mascarade mask from Nevis" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11364-BIG.jpg", "copyright": " Juan Rodriguez Acosta", "title": "Coloso-Guloya custom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11365-BIG.jpg", "copyright": " Juan Rodriguez Acosta", "title": "Detail of mantle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11366-BIG.jpg", "copyright": " Juan Rodriguez Acosta", "title": "Giant leading the parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11367-BIG.jpg", "copyright": " Juan Rodriguez Acosta", "title": "Guloyas in front of grave and coffin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11368-BIG.jpg", "copyright": " Juan Rodriguez Acosta", "title": "Guloyas-Coloso and two guloyas girls" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11369-BIG.jpg", "copyright": " Juan Rodriguez Acosta", "title": "Kettle drum" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=R7etATPpLF4", "copyright": "", "title": "Cocolo dance drama tradition" }, { "url": "https:\/\/www.youtube.com\/watch?v=94BAsXFNDew", "copyright": "", "title": "Cocolo dance drama tradition" }, { "url": "https:\/\/www.youtube.com\/watch?v=qDbYO0lY8Gw", "copyright": "", "title": "Cocolo dance drama tradition" } ], "sustainability": "" } }, "element_107": { "type": "element", "label": "Baul songs", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00472-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00472-HUG.jpg" }, "description": "The Bauls are mystic minstrels living in rural Bangladesh and West Bengal, India. The Baul movement, at its peak in the nineteenth and early twentieth centuries, has now regained popularity among the rural population of Bangladesh. Their music and way of life have influenced a large segment of Bengali culture, and particularly the compositions of Nobel Prize laureate Rabindranath Tagore.

Bauls live either near a village or travel from place to place and earn their living from singing to the accompaniment of the ektara, the lute dotara, a simple one-stringed instrument, and a drum called dubki. Bauls belong to an unorthodox devotional tradition, influenced by Hinduism, Buddhism, Bengali, Vasinavism and Sufi Islam, yet distinctly different from them. Bauls neither identify with any organized religion nor with the caste system, special deities, temples or sacred places. Their emphasis lies on the importance of a person\u2019s physical body as the place where God resides. Bauls are admired for this freedom from convention as well as their music and poetry. Baul poetry, music, song and dance are devoted to finding humankind\u2019s relationship to God, and to achieving spiritual liberation. Their devotional songs can be traced back to the fifteenth century when they first appeared in Bengali literature.

Baul music represents a particular type of folk song, carrying influences of Hindu bhakti movements as well as the shuphi, a form of Sufi song. Songs are also used by the spiritual leader to instruct disciples in Baul philosophy, and are transmitted orally. The language of the songs is continuously modernized thus endowing it with contemporary relevance.

The preservation of the Baul songs and the general context in which they are performed depend mainly on the social and economic situation of their practitioners, the Bauls, who have always been a relatively marginalized group. Moreover, their situation has worsened in recent decades due to the general impoverishment of rural Bangladesh.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/baul-songs-00107", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00011-BIG.jpg", "copyright": " Bangladesh National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00471-BIG.jpg", "copyright": " Bangladesh National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00472-BIG.jpg", "copyright": " Bangladesh National Commission for UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=L-KUUDi11R0", "copyright": "", "title": "Baul Songs" }, { "url": "https:\/\/www.youtube.com\/watch?v=C2PgFpEQLEY", "copyright": "", "title": "Baul Songs" }, { "url": "https:\/\/www.youtube.com\/watch?v=KOhBZJW6QHg", "copyright": "", "title": "Baul Songs" } ], "sustainability": "" } }, "element_108": { "type": "element", "label": "Sbek Thom, Khmer shadow theatre", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00158-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00158-HUG.jpg" }, "description": "The Sbek Thom is a Khmer shadow theatre featuring twometre high, non-articulated puppets made of leather openwork. Dating from before the Angkorian period, the Sbek Thom, along with the Royal Ballet and mask theatre, is considered sacred. Dedicated to the divinities, performances could only take place on specific occasions three or four times a year, such as the Khmer New Year, the King\u2019s birthday or the veneration of famous people. After the fall of Angkor in the fifteenth century, the shadow theatre evolved beyond a ritualistic activity to become an artistic form, while retaining its ceremonial dimension.

The puppets are made from a single piece of leather in a special ceremony for each character representing gods and deities. The hides are dyed with a solution made from the bark of the Kandaol tree. The artisan draws the desired figure on the tanned hide, then cuts it out and paints it before attaching it to two bamboo sticks enabling the dancer to control the puppet.

The performances traditionally take place at night outdoors beside a rice-field or pagoda. A large white backdrop is held between two tall bamboo screens in front of a large fire or, nowadays, projectors. The shadows of the puppet\u2019s silhouettes are projected onto the white screen. The animators bring the puppets to life with precise and specific dance steps. The performance is accompanied by an orchestra and two narrators. Inspired from the Reamker, the Khmer version of the Ramayana, the performances stage scenes of this epic, which may last several nights and require up to 160 puppets for a single presentation. Many of them were destroyed under the repressive Khmer Rouge regime, which almost annihilated this sacred art. Since 1979, Sbek Thom has been gradually revitalized thanks to the few surviving artists. So far, three shadow theatres have managed to rise from their ashes, ensuring the transmission of the knowledge and skills, including those relating to puppet making.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/sbek-thom-khmer-shadow-theatre-00108", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00158-BIG.jpg", "copyright": "National Museum of Cambodia", "title": "The shadow theatre Sbek Thom features large non-articulated puppets made of leather, brought to life by the animators\u2019 precise gestures and dance steps. Accompanied by an orchestra and narrators, the puppet dancers stage scenes of the Ramayana epic, known in Cambodia as Reamker." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00488-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts du Cambodge", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00489-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts du Cambodge", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00490-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts du Cambodge", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00491-BIG.jpg", "copyright": "Minist\u00e8re de la Culture et des Beaux-Arts du Cambodge", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11309-BIG.jpg", "copyright": "National Museum of Cambodia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11310-BIG.jpg", "copyright": "National Museum of Cambodia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11311-BIG.jpg", "copyright": "National Museum of Cambodia", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11312-BIG.jpg", "copyright": "National Museum of Cambodia", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=jkwlplUOW4g", "copyright": "", "title": "bek Thom, Khmer shadow theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=l3UFLsjLXJI", "copyright": "", "title": "bek Thom, Khmer shadow theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=JfIcMBrd4Z0", "copyright": "", "title": "bek Thom, Khmer shadow theatre" } ], "sustainability": "" } }, "element_109": { "type": "element", "label": "Uyghur Muqam of Xinjiang", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05694-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05694-HUG.jpg" }, "description": "The Xinjiang Uyghur Muqam is the general term for a variety of Muqam practices widespread among the Uyghur communities, which form one of the largest ethnic minorities of the People\u2019s Republic of China. Throughout its history, the Xinjiang region has been marked by a high degree of cultural exchange between East and West, due in particular to its central location along the Silk Road.

Xinjiang Uyghur Muqam includes songs, dances, folk and classical music and is characterized by diversity of content, choreography, musical styles and instruments used. The songs vary in rhyme and meter and are performed solo as well as by groups. The lyrics contain not only folk ballads but also poems written by classical Uyghur masters. Thus, the songs reflect a wide range of styles such as poetry, proverbs, and folk narrative, bearing witness to the history and contemporary life of the Uyghur society. In Muqam ensembles, the lead instruments are made from local materials and vary in form (they may be bowed-stringed, plucked or wind instruments). The dancing skills involve unique steps, rhythms and formations as well as figures such as flower-picking-bymouth, bowl-carrying-on-head and imitation of animals in solo dances. The Xinjiang Uyghur Muqam has developed four main regional styles, namely the Twelve Muqam, Dolan Muqam, Turpan Muqam and Hami Muqam.

Today, community festivities, such as meshrep and bezme in which everybody would participate in the Muqam, are held less frequently. The responsibility for passing on the tradition to new generations of practitioners has fallen on the shoulders of folk artists, but the interest of young people in Muqam is gradually declining. Several Muqam pieces are no longer performed, in particular elements of the \u201cTwelve Muqam\u201d, which in all consists of more than 300 pieces and runs over 20 hours in twelve instrumental and vocal suites.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/uyghur-muqam-of-xinjiang-00109", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05693-BIG.jpg", "copyright": "ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "Muqam Master Turdi Ahong was singing for the People in the 1950s" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05694-BIG.jpg", "copyright": "ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "The Senam Dance of Muqam" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05695-BIG.jpg", "copyright": "ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "The Wind and Percussion Instruments of Muqam" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05696-BIG.jpg", "copyright": "ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "Folk Artists in Ili was singing the \u201cTwelve Muqam\u201d" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05697-BIG.jpg", "copyright": "ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "The \u201cTwelve Muqam\u201d was on the stage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05698-BIG.jpg", "copyright": "ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "300 Folk Artists of Shache County was singing the \u201cTwelve Muqam\u201d at the square" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05699-BIG.jpg", "copyright": "ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "Folk Group of the \u201cTurpan Muqam\u201d" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05700-BIG.jpg", "copyright": "ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "The Nazirkom Dance of the \u201cTurpan Muqam\u201d" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05701-BIG.jpg", "copyright": "ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "Performance of the \u201cHami Muqam\u201d" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05702-BIG.jpg", "copyright": "ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "Folk Artists of the \u201cDolan Muqam\u201d" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=5-KM037IHiY", "copyright": "", "title": "Uyghur Muqam of Xinjiang" }, { "url": "https:\/\/www.youtube.com\/watch?v=ENze0Kch4bA", "copyright": "", "title": "Uyghur Muqam of Xinjiang" }, { "url": "https:\/\/www.youtube.com\/watch?v=a4mweVd0XJY", "copyright": "", "title": "Uyghur Muqam of Xinjiang" } ], "sustainability": "" } }, "element_110": { "type": "element", "label": "Ramlila, the traditional performance of the Ramayana", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00786-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00786-HUG.jpg" }, "description": "Ramlila, literally \u201cRama\u2019s play\u201d, is a performance of then Ramayana epic in a series of scenes that include song, narration, recital and dialogue. It is performed across northern India during the festival of Dussehra, held each year according to the ritual calendar in autumn. The most representative Ramlilas are those of Ayodhya, Ramnagar and Benares, Vrindavan, Almora, Sattna and Madhubani.

This staging of the Ramayana is based on the Ramacharitmanas, one of the most popular storytelling forms in the north of the country. This sacred text devoted to the glory of Rama, the hero of the Ramayana, was composed by Tulsidas in the sixteenth century in a form of Hindi in order to make the Sanskrit epic available to all. The majority of the Ramlilas recount episodes from the Ramacharitmanas through a series of performances lasting ten to twelve days, but some, such as Ramnagar\u2019s, may last an entire month. Festivals are organized in hundreds of settlements, towns and villages during the Dussehra festival season celebrating Rama\u2019s return from exile. Ramlila recalls the battle between Rama and Ravana and consists of a series of dialogues between gods, sages and the faithful. Ramlila\u2019s dramatic force stems from the succession of icons representing the climax of each scene. The audience is invited to sing and take part in the narration. The Ramlila brings the whole population together, without distinction of caste, religion or age. All the villagers participate spontaneously, playing roles or taking part in a variety of related activities, such as mask- and costume making, and preparing make-up, effigies and lights. However, the development of mass media, particularly television soap operas, is leading to a reduction in the audience of the Ramlila plays, which are therefore losing their principal role of bringing people and communities together.
", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ramlila-the-traditional-performance-of-the-ramayana-00110", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00181-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi", "title": "Performed in hundreds of towns and villages across northern India, the Ramlila celebrates Rama, the hero of the Ramayana epic. The audience plays a pivotal role in these collective events by assisting the actors to get prepared, and by their singing and spontaneous acting." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00784-BIG.jpg", "copyright": "Ministry of Clture of Government of India", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00785-BIG.jpg", "copyright": "Ministry of Clture of Government of India", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00786-BIG.jpg", "copyright": "Ministry of Clture of Government of India", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00787-BIG.jpg", "copyright": "Ministry of Culture of Government of India", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00788-BIG.jpg", "copyright": "Ministry of Clture of Government of India", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00789-BIG.jpg", "copyright": "Ministry of Clture of Government of India", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11301-BIG.jpg", "copyright": "Ministry of Clture of Government of India", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=89dtCI4oNzU", "copyright": "", "title": "Ramlila, the traditional performance of the Ramayana" }, { "url": "https:\/\/www.youtube.com\/watch?v=sZe252oKCj0", "copyright": "", "title": "Ramlila, the traditional performance of the Ramayana" }, { "url": "https:\/\/www.youtube.com\/watch?v=I0DmB09uAK8", "copyright": "", "title": "Ramlila, the traditional performance of the Ramayana" } ], "sustainability": "" } }, "element_111": { "type": "element", "label": "El G\u00fceg\u00fcense", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00904-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00904-HUG.jpg" }, "description": "A forceful expression of protest against colonial rule, El G\u00fceg\u00fcense is a satirical drama well known throughout Nicaragua. It is performed during the feast of San Sebasti\u00e1n, patron saint of the city of Diriamba in Nicaragua\u2019s Carazo province. El G\u00fceg\u00fcense, a synthesis of Spanish and indigenous cultures combining theatre, dance and music, is considered one of Latin America\u2019s most distinctive colonial-era expressions.

The earliest texts were probably composed in the early eighteenth century. The story revolves around encounters between the Spanish colonial authorities and native Americans, represented particularly by the central character. A powerful elder figure in pre-Hispanic Nicaragua, El G\u00fceg\u00fcense, countered charges levelled against him by the colonial officials through a series of clever verbal manoeuvres. Rather than directly confronting or challenging an authority, he attempts to appear consistently cooperative and compliant, while utilizing subterfuge to undermine Spanish authority. Interspersed in street processions, the plays are generally performed by eight main characters supported by dancers. Violins, guitars and drums provide the musical accompaniment. Costumes, wooden masks, hats and other attributes differentiate the various characters. The tradition is familiar to most of Nicaragua\u2019s predominantly Spanish-speaking population owing to the nationwide television coverage of the annual Saint\u2019s Day procession. In fact, it is so well known that Nicaraguans have coined the expression \u201cto put on the G\u00fceg\u00fcense\u2019s face\u201d to refer to someone who outwardly appears to comply with the rules while working subtly to undermine them.

Despite its popularity, El G\u00fceg\u00fcense is in danger of declining in popularity, and possibly disappearing, due to the country\u2019s difficult economic situation, insufficient support for performers and a diminishing interest among young people.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/el-gueguense-00111", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00900-BIG.jpg", "copyright": "Instituto Nicarag\u00fcense de Cultura (INC)", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00903-BIG.jpg", "copyright": "Instituto Nicarag\u00fcense de Cultura (INC)", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00904-BIG.jpg", "copyright": "Instituto Nicarag\u00fcense de Cultura (INC)", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11204-BIG.jpg", "copyright": "Instituto Nicarag\u00fcense de Cultura (INC)", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11207-BIG.jpg", "copyright": "Instituto Nicarag\u00fcense de Cultura (INC)", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11210-BIG.jpg", "copyright": "Instituto Nicarag\u00fcense de Cultura (INC)", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11211-BIG.jpg", "copyright": "Instituto Nicarag\u00fcense de Cultura (INC)", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11213-BIG.jpg", "copyright": "Instituto Nicarag\u00fcense de Cultura (INC)", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11214-BIG.jpg", "copyright": "Instituto Nicarag\u00fcense de Cultura (INC)", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11215-BIG.jpg", "copyright": "Instituto Nicarag\u00fcense de Cultura (INC)", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4UtXF9uRB-s", "copyright": "", "title": "El G\u00fceg\u00fcense" }, { "url": "https:\/\/www.youtube.com\/watch?v=uRof39ZPXCM", "copyright": "", "title": "El G\u00fceg\u00fcense" }, { "url": "https:\/\/www.youtube.com\/watch?v=vTa-KiDefoI", "copyright": "", "title": "El G\u00fceg\u00fcense" } ], "sustainability": "" } }, "element_112": { "type": "element", "label": "Indonesian Kris", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05391-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05391-HUG.jpg" }, "description": "The kris or keris is a distinctive, asymmetrical dagger from Indonesia. Both weapon and spiritual object, the kris is considered to possess magical powers. The earliest known kris go back to the tenth century and most probably spread from the island of Java throughout South-East Asia.

Kris blades are usually narrow with a wide, asymmetrical base. The sheath is often made from wood, though examples from ivory, even gold, abound. A kris\u2019 aesthetic value covers the dhapur (the form and design of the blade, with some 40 variants), the pamor (the pattern of metal alloy decoration on the blade, with approximately 120 variants), and tangguh referring to the age and origin of a kris. A bladesmith, or empu, makes the blade in layers of different iron ores and meteorite nickel. In high quality kris blades, the metal is folded dozens or hundreds of times and handled with the utmost precision. Empus are highly respected craftsmen with additional knowledge in literature, history and occult sciences.

Kris were worn everyday and at special ceremonies, and heirloom blades are handed down through successive generations. Both men and women wear them. A rich spirituality and mythology developed around this dagger. Kris are used for display, as talismans with magical powers, weapons, sanctified heirlooms, auxiliary equipment for court soldiers, accessories for ceremonial dress, an indicator of social status, a symbol of heroism, etc.

Over the past three decades, kris have lost some of their prominent social and spiritual meaning in society. Although active and honoured empus who produce high-quality kris in the traditional way can still be found on many islands, their number is dramatically decreasing, and it is more difficult for them to find people to whom they can transmit their skills.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/indonesian-kris-00112", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05391-BIG.jpg", "copyright": "Gaura Mancacaritadipura", "title": "Refining the sands in order to get the best quality of the iron ore" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05392-BIG.jpg", "copyright": "Gaura Mancacaritadipura", "title": "Refining the sands in order to get the best quality of the iron ore" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05393-BIG.jpg", "copyright": "Gaura Mancacaritadipura", "title": "A plate of nickel between two plates of iron. The plates were resulted from the heatened ores." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05395-BIG.jpg", "copyright": "Gaura Mancacaritadipura", "title": "Forging work (the shaping of the metal into a kris) done after the three plates unites into a single plate of metal through another forging work. The plate is called saton." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05396-BIG.jpg", "copyright": "Gaura Mancacaritadipura", "title": "Forging work (the shaping of the metal into a kris)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05397-BIG.jpg", "copyright": "Gaura Mancacaritadipura", "title": "Forging work (the shaping of the metal into a kris)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05398-BIG.jpg", "copyright": "Gaura Mancacaritadipura", "title": "Forging work (the shaping of the metal into a kris)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05399-BIG.jpg", "copyright": "Gaura Mancacaritadipura", "title": "Forging work (the shaping of the metal into a kris)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05400-BIG.jpg", "copyright": "Gaura Mancacaritadipura", "title": "Forging work (the shaping of the metal into a kris)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05401-BIG.jpg", "copyright": "Gaura Mancacaritadipura", "title": "Forging work (the shaping of the metal into a kris)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=uUBIkjRgO9c", "copyright": "", "title": "Indonesian Kris" }, { "url": "https:\/\/www.youtube.com\/watch?v=ZL0_uX0hDqs", "copyright": "", "title": "Indonesian Kris" }, { "url": "https:\/\/www.youtube.com\/watch?v=xFCq8qMzy1s", "copyright": "", "title": "Indonesian Kris" } ], "sustainability": "" } }, "element_114": { "type": "element", "label": "Gangneung Danoje festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00741-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00741-HUG.jpg" }, "description": "The annual Gangneung Danoje Festival takes place in the town of Gangneung and its surroundings, situated east of the Taebaek Mountain Range on the Korean peninsula.The festival includes a shamanistic ritual on the Daegwallyeong Ridge, which pays tribute to the mountain deity and male and female tutelary deities. It encompasses traditional music and Odokddegi folk songs, the Gwanno mask drama, oral narrative poetry, and various popular pastimes. The Nanjang market, Korea\u2019s largest outdoor marketplace, is today a major element of the festival, where local products and handicrafts are sold and contests, games and circus performances take place.

The four-week long festival begins with the brewing of a sacred liquor and the Dano shamanistic rituals, in which a central role is played by a sacred tree, the sinmok, and the hwagae, a ritual object made of feathers, bells and bamboo wood. One of the specific features of the festival is the coexistence of Confucian, shamanistic and Buddhist rituals. Through the rituals devoted to the deities, the region is believed to remain unaffected by natural disasters, allowing all its residents to live in peace and prosperity. Every year, a large number of visitors attend the various ritual performances and actively participate in events such as making Danoje festival fans, brewing the sacred liquor, drawing masks for the Gwanno Mask Drama, preparing and eating Surichiwi rice crackers and washing their hair in Iris water.

The Gangneung Danoje Festival enjoys immense popularity. However, cultural standardization and increased media coverage over the years have resulted in the loss of some traditional elements of the festival. In the traditional context of the festival, one of the functions has been to transcend social differences by allowing people of all social classes to participate. ", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gangneung-danoje-festival-00114", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00214-BIG.jpg", "copyright": " Kim, Jong-Dal", "title": "In the city of Gangneung, the Danoje Festival encompasses shamanic rituals, traditional music, folk songs, mask drama, oral poetry and various popular pastimes. Local products and handicrafts are sold at Korea\u2019s largest outdoor marketplace, and contests, games and circus performances take place during the Festival." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00739-BIG.jpg", "copyright": "Yu, Jae-Won", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00740-BIG.jpg", "copyright": "Ahn, kwang-Seon", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00741-BIG.jpg", "copyright": "Yu, Jae-Won", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00742-BIG.jpg", "copyright": "Kim, Jong-Dal", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00743-BIG.jpg", "copyright": "Ahn, kwang-Seon", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00744-BIG.jpg", "copyright": "Ahn, kwang-Seon", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00745-BIG.jpg", "copyright": "Yu, Jae-Won", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ZBFCVFCxls0", "copyright": "", "title": "Gangneung Danoje Festival" }, { "url": "https:\/\/www.youtube.com\/watch?v=qJdSEJ9jTAM", "copyright": "", "title": "Gangneung Danoje Festival" }, { "url": "https:\/\/www.youtube.com\/watch?v=Bgv6prz8qvE", "copyright": "", "title": "Gangneung Danoje Festival" } ], "sustainability": "" } }, "element_158": { "type": "element", "label": "Vimbuza healing dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11336-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11336-HUG.jpg" }, "description": "Vimbuza is a healing dance popular among the Tumbuka people living in northern Malawi. It is an important manifestation of the ng\u2019oma, a healing tradition found throughout Bantu-speaking Africa. Ng\u2019oma, meaning \u201cdrums of affliction\u201d, carries considerable historical depth and, despite various attempts over the years to suppress it, remains a fundamental part of indigenous healthcare systems.

Most patients are women who suffer from various forms of mental illness. They are treated for some weeks or months by renowned healers who run a temphiri, a village house where patients are accommodated. After being diagnosed, patients undergo a healing ritual. For this purpose, women and children of the village form a circle around the patient, who slowly enters into a trance, and sing songs to call helping spirits. The only men taking part are those who beat spirit-specific drum rhythms and, in some cases, a male healer. Singing and drumming combine to create a powerful experience, providing a space for patients to \u201cdance their disease\u201d. Its continually expanding repertoire of songs and complex drumming, and the virtuosity of the dancing are all part of the rich cultural heritage of the Tumbuka people.

The Vimbuza healing ritual goes back to the mid-nineteenth century, when it developed as a means of overcoming traumatic experiences of oppression, and it further developed as a healing dance under British occupation, although it was forbidden by Christian missionaries. By becoming possessed by Vimbuza spirits, people could express these mental problems in a way that was accepted and understood by the surrounding society. For the Tumbuka,Vimbuza has artistic value and a therapeutic function that complements other forms of medical treatment. Vimbuza is still practised in rural areas where the Tumbuku live, but it continues to face oppression by Christian churches and modern medicine.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/vimbuza-healing-dance-00158", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00112-BIG.jpg", "copyright": "Francois-Xavier Freland\/UNESCO", "title": "Healing Ritual connected to the Vimbuza Healing Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00196-BIG.jpg", "copyright": "Francois-Xavier Freland\/UNESCO", "title": "Popular among the Tumbuka people, the Vimbuza is practiced by renowned traditional healers in a special ritual. Patients slowly enter trance, while the audience performs songs to call helping spirits. Vimbuza is a useful complement to other forms of medical treatment." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00766-BIG.jpg", "copyright": "Francois-Xavier Freland\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00767-BIG.jpg", "copyright": "Francois-Xavier Freland\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00768-BIG.jpg", "copyright": "Francois-Xavier Freland\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00769-BIG.jpg", "copyright": "Francois-Xavier Freland\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11335-BIG.jpg", "copyright": "Francois-Xavier Freland\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11336-BIG.jpg", "copyright": "Francois-Xavier Freland\/UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XInX8QdfOeU", "copyright": "", "title": "Vimbuza healing dance" }, { "url": "https:\/\/www.youtube.com\/watch?v=XMkSpg6__eM", "copyright": "", "title": "Vimbuza healing dance" }, { "url": "https:\/\/www.youtube.com\/watch?v=nnxuFtBOmw4", "copyright": "", "title": "Vimbuza healing dance" } ], "sustainability": "" } }, "element_159": { "type": "element", "label": "Darangen epic of the Maranao people of Lake Lanao", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05656-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05656-HUG.jpg" }, "description": "The Darangen is an ancient epic song that encompasses a wealth of knowledge of the Maranao people who live in the Lake Lanao region of Mindanao. This southernmost island of the Philippine archipelago is the traditional homeland of the Maranao, one of the country\u2019s three main Muslim groups.

Comprising 17 cycles and a total of 72,000 lines, the Darangen celebrates episodes from Maranao history and the tribulations of mythical heroes. In addition to having a compelling narrative content, the epic explores the underlying themes of life and death, courtship, love and politics through symbol, metaphor, irony and satire. The Darangen also encodes customary law, standards of social and ethical behaviour, notions of aesthetic beauty, and social values specific to the Maranao. To this day, elders refer to this time-honoured text in the administration of customary law.

Meaning literally \u201cto narrate in song\u201d, the Darangen existed before the Islamization of the Philippines in the fourteenth century and is part of a wider epic culture connected to early Sanskrit traditions extending through most of Mindanao. Though the Darangen has been largely transmitted orally, parts of the epic have been recorded in manuscripts using an ancient writing system based on the Arabic script. Specialized female and male performers sing the Darangen during wedding celebrations that typically last several nights. Performers must possess a prodigious memory, improvisational skills, poetic imagination, knowledge of customary law and genealogy, a flawless and elegant vocal technique, and the ability to engage an audience during long hours of performance. Music and dance sometimes accompany the chanting.

Nowadays, the Darangen is less frequently performed owing in part to its rich vocabulary and archaic linguistic forms, which can only be understood by practitioners, elders and scholars. Indeed, the growing tendency to embrace mainstream Filipino lifestyles may represent a threat to the survival of this ancient epic.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/darangen-epic-of-the-maranao-people-of-lake-lanao-00159", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05652-BIG.jpg", "copyright": "R.Rastrollo\/NCCA-IHC, 2007", "title": "Members of the court enter after the kapagonor (singer); hands and arms swinging" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05654-BIG.jpg", "copyright": "R.Rastrollo\/NCCA-IHC, 2007", "title": "The pepamaganad (pupils) of the kapagonor render a short dance performance before the kapagonor sings the darangen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05655-BIG.jpg", "copyright": "R.Rastrollo\/NCCA-IHC, 2007", "title": "Members of her court sit in a row behind the kapagonor while she sings the darangen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05656-BIG.jpg", "copyright": "R.Rastrollo\/NCCA-IHC, 2007", "title": "Pepamaganad (pupils) should learn the proper hand movements" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05657-BIG.jpg", "copyright": "R.Rastrollo\/NCCA-IHC, 2007", "title": "The kapagonor teaches her pupils how to hold the aper (fan) while singing the darangen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05658-BIG.jpg", "copyright": "R.Rastrollo\/NCCA-IHC, 2007", "title": "The kapagonor teaches her pupils how to prperly hold the aper (fan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05659-BIG.jpg", "copyright": "R.Rastrollo\/NCCA-IHC, 2007", "title": "The kapagonor teaches her pupils how to use the aper (fan) as she sings sings the darangen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05660-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2007", "title": "The kapagonor narrates a story or gives a message before singing the darangen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05661-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2007", "title": "The kapagonor uses an aper (fan) while singing the darangen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05662-BIG.jpg", "copyright": "J. U\u00f1alivia\/NCCA-IHC, 2007", "title": "The kapagonor singing one of the darangen" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4VzzhNkbjgg", "copyright": "2004 by National Commission for Culture and the Arts", "title": "Darangen : A Maranao Epic Chant" }, { "url": "https:\/\/www.youtube.com\/watch?v=uvoLmBP0IKs", "copyright": "2004 by National Commission for Culture and the Arts", "title": "Darangen : A Maranao Epic Chant" }, { "url": "https:\/\/www.youtube.com\/watch?v=9vYvLj7Wb1Y", "copyright": "2004 by National Commission for Culture and the Arts", "title": "Darangen : A Maranao Epic Chant" } ], "sustainability": "" } }, "element_115": { "type": "element", "label": "Urtiin Duu, traditional folk long song", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00065-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00065-HUG.jpg" }, "description": "The Urtiin duu or \u201clong song\u201d is one of the two major forms of Mongolian songs, the other being the short song\u201d (bogino duu). As a ritual form of expression associated with important celebrations and festivities, Urtiin duu plays a distinct and honoured role in Mongolian society. It is performed at weddings, the inauguration of a new home, the birth of a child, the branding of foals and other social events celebrated by Mongolia\u2019s nomadic communities.The Urtiin duu can also be heard at the naadam, a festivity featuring wrestling, archery and horseracing competitions.

The Urtiin duu is a lyrical chant, which is characterized by an abundance of ornamentation, falsetto, an extremely wide vocal range and a free compositional form. The rising melody is slow and steady while the falling melody is often intercepted with a lively rhythm. Performances and compositions of Urtiin duu are closely linked to the pastoral way of life of the Mongolian nomads on their ancestral grasslands.

Widely believed to have originated 2,000 years ago, the Urtiin duu has been recorded in literary works since the thirteenth century. A rich variety of regional styles has been preserved until today, and performances as well as contemporary compositions still play a major role in the social and cultural life of nomads living in Mongolia and in the Inner Mongolia Autonomous Republic, located in the northern part of the People\u2019s Republic of China.

Since the 1950s, urbanization and industrialization have increasingly superseded traditional nomadic lifestyles, leading to the loss of many traditional practices and expressions. Parts of the grasslands where tradition-bearers used to live as nomads have fallen victim to desertification, causing many families to shift to a sedentary way of life where many classical themes of Urtiin duu, such as the praise of typical nomads\u2019 virtues and experiences, lose their relevance.", "list": "RL", "year": 2008, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/urtiin-duu-traditional-folk-long-song-00115", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00065-BIG.jpg", "copyright": " Sonom-Ish Yundenbat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00753-BIG.jpg", "copyright": " Sonom-Ish Yundenbat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00754-BIG.jpg", "copyright": " Sonom-Ish Yundenbat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00755-BIG.jpg", "copyright": " Sonom-Ish Yundenbat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00756-BIG.jpg", "copyright": " Sonom-Ish Yundenbat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00757-BIG.jpg", "copyright": " Sonom-Ish Yundenbat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11328-BIG.jpg", "copyright": " Sonom-Ish Yundenbat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11329-BIG.jpg", "copyright": " Sonom-Ish Yundenbat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11330-BIG.jpg", "copyright": " Sonom-Ish Yundenbat", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11331-BIG.jpg", "copyright": " Sonom-Ish Yundenbat", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=CtVgE_iP694", "copyright": "", "title": "Urtiin Duu, traditional folk long song" }, { "url": "https:\/\/www.youtube.com\/watch?v=GWG9VT0Fke4", "copyright": "", "title": "Urtiin Duu, traditional folk long song" }, { "url": "https:\/\/www.youtube.com\/watch?v=5cPJqYy8x3Q", "copyright": "", "title": "Urtiin Duu, traditional folk long song" } ], "sustainability": "" } }, "element_120": { "type": "element", "label": "Space of gong culture", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00713-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00713-HUG.jpg" }, "description": "The cultural space of the gongs in the central highlands of Vietnam covers several provinces and seventeen Austro-Asian and Austronesian ethno-linguistic communities. Closely linked to daily life and the cycle of the seasons, their belief systems form a mystical world where the gongs produce a privileged language between men, divinities and the supernatural world. Behind every gong hides a god or goddess who is all the more powerful when the gong is older. Every family possesses at least one gong, which indicates the family\u2019s wealth, authority and prestige, and also ensures its protection. While a range of brass instruments is used in the various ceremonies, the gong alone is present in all the rituals of community life and is the main ceremonial instrument.

The manner in which the gongs of Vietnam are played varies according to the village. Each instrumentalist carries a different gong measuring between 25 and 80 cm in diameter. From three to twelve gongs are played by the village ensembles, which are made up of men or women. Different arrangements and rhythms are adapted to the context of the ceremony, for example, the ritual sacrifice of the bullocks, the blessing of the rice or mourning rites. The gongs of this region are bought in neighbouring countries, and then tuned to the desired tone for their own use.

Economic and social transformations have drastically affected the traditional way of life of these communities and no longer provide the original context for the Gong culture. Transmission of this way of life, knowledge and know-how was severely disrupted during the decades of war during the last century.Today, this phenomenon is aggravated by the disappearance of old craftsmen and young people\u2019s growing interest in Western culture. Stripped of their sacred significance, the gongs are sometimes sold for recycling or exchanged for other products.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/space-of-gong-culture-00120", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00230-BIG.jpg", "copyright": "Institute of Culture and Information \/ Duong Thanh Giang", "title": "Throughout the Central Highlands of Viet Nam, Gong ensembles are part of various ceremonies and closely linked to the communities\u2019 daily life and the cycle of the seasons. The instruments, measuring 25 to 80 centimetres, are played by men as well as women." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00713-BIG.jpg", "copyright": "Institute of Culture and Information \/ Duong Thanh Giang", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00714-BIG.jpg", "copyright": "Institute of Culture and Information \/ Duong Thanh Giang", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00715-BIG.jpg", "copyright": "Institute of Culture and Information \/ Duong Thanh Giang", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00716-BIG.jpg", "copyright": "Institute of Culture and Information \/ Duong Thanh Giang", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00717-BIG.jpg", "copyright": "Institute of Culture and Information \/ Duong Thanh Giang", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00718-BIG.jpg", "copyright": "Institute of Culture and Information \/ Duong Thanh Giang", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=l90_bPVujKc", "copyright": "", "title": "The space of gong culture in the central highlands" }, { "url": "https:\/\/www.youtube.com\/watch?v=Fnjr-bPaINg", "copyright": "", "title": "The space of gong culture in the central highlands" }, { "url": "https:\/\/www.youtube.com\/watch?v=nqCq_wwKW0o", "copyright": "", "title": "The space of gong culture in the central highlands" } ], "sustainability": "" } }, "element_121": { "type": "element", "label": "Ahellil of Gourara", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00352-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00352-HUG.jpg" }, "description": "Performed during collective ceremonies, the Ahellil is a poetic and musical genre emblematic of the Zenete population of Gourara. This region in southwest Algeria includes some one hundred oases populated by over 50,000 inhabitants of Berber, Arab and Sudanese origin. The Ahellil, which is specific to the Berber-speaking part of Gourara, is regularly rendered at religious festivities and pilgrimages as well as secular celebrations, such as weddings and community events. The Ahellil is closely linked to the Zenete way of life and its oasis agriculture, symbolizing the cohesion of the community living in a harsh environment and, at the same time, transmitting the values and the history of the Zenete population in a language that is at risk of disappearing.

Simultaneously interpreted as poetry, polyphonic chant, music and dance, this genre is performed by a bengri (flute) player, a singer and a chorus of up to a hundred people. Standing shoulder to shoulder in a circle surrounding the singer, they slowly move around him while clapping their hands. An Ahellil performance consists of a series of chants in an order decided by the instrumentalist or singer and follows an age-old pattern. The first part, the lemserreh, includes everyone and encompasses short, well-known chants that are sung late into the night. The second, the aougrout, concerns only the experienced performers who continue until dawn. The tra finishes with daybreak and involves only the most accomplished performers. This threefold structure is also reflected in the chant performance, which begins with a prelude by the instrumentalist, followed by the chorus picking up certain verses, and ending with it chanting in whisper and slowly building up into a powerful, harmonious whole.

This tradition is threatened due to the dwindling number of occasions on which it is performed. This decline is linked to the rarity of traditional festivities. The migration of young people to the cities and the prevailing preference to listen to widely available Ahellil recordings rather than actively participating in live performances.
", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ahellil-of-gourara-00121", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00007-BIG.jpg", "copyright": " CNRPAH\/UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00144-BIG.jpg", "copyright": "CNRPAH\/UNESCO", "title": "The Ahellil is a series of collective chants performed at social gatherings and celebrations of the Berber-speaking population of the Gouara region. Starting with short well-known songs performed by the whole group, the performances build to a conclusion featuring the most accomplished singers." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00352-BIG.jpg", "copyright": " CNRPAH\/UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=is27hc_E7BY", "copyright": "", "title": "Ahellil of Gourara" }, { "url": "https:\/\/www.youtube.com\/watch?v=HaEYYX89SzI", "copyright": "", "title": "Ahellil of Gourara" }, { "url": "https:\/\/www.youtube.com\/watch?v=eWcGjJSIHwY", "copyright": "", "title": "Ahellil of Gourara" } ], "sustainability": "" } }, "element_122": { "type": "element", "label": "Cultural space of the Bedu in Petra and Wadi Rum", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00897-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00897-HUG.jpg" }, "description": "The Bedu are settled and nomadic communities living in the southern part of Jordan, particularly near Petra and Wadi Rum, within a region of semi-arid highlands and deserts. These conditions have allowed for the development and existence in complementary relationship of both types of communities.

Several Bedu tribes, namely the Bdul, the Ammarin and the Sa\u2019idiyyin, continue to use the Nabatean water-collecting cisterns and caves near Petra. The Bedu communities inhabiting this area keep alive a traditional pastoral culture and related skills. The Bedu of Petra and Wadi Rum have preserved specific knowledge related to the flora and fauna of the area, traditional medicine, camel husbandry, tent-making craftsmanship, and tracking and climbing skills. The Bedu have developed an extensive knowledge of their environment and complex moral and social code, all of which is expressed and transmitted orally. Their rich mythology is manifested in various forms of oral expression, comprising poetry, folktales and songs that are closely linked to particular places and the history of these communities.

Over the last fifty years, more and more Bedu groups have settled down. The provision of education, housing, health care and sanitation has made a sedentary existence more attractive for many of them, leading, however, to the erosion of skills developed by the Bedu over generations. The increase of desert tourism and its demand for \u201cauthentic Bedu culture\u201d should not be allowed to further degrade the intangible heritage of the Bedu in Petra and Wadi Rum.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-space-of-the-bedu-in-petra-and-wadi-rum-00122", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00054-BIG.jpg", "copyright": "Jordanian Commission for Oral and Intangible Cultural Heritage", "title": "\u0628\u062f\u0648 \u0627\u0644\u0628\u062a\u0631\u0627\u0621 \u0648 \u0648\u0627\u062f\u064a \u0631\u0645" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00895-BIG.jpg", "copyright": "Jordanian Commission for Oral and Intangible Cultural Heritage", "title": "\u0628\u062f\u0648 \u0627\u0644\u0628\u062a\u0631\u0627\u0621 \u0648 \u0648\u0627\u062f\u064a \u0631\u0645" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00896-BIG.jpg", "copyright": "Jordanian Commission for Oral and Intangible Cultural Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00897-BIG.jpg", "copyright": "Jordanian Commission for Oral and Intangible Cultural Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00899-BIG.jpg", "copyright": "Jordanian Commission for Oral and Intangible Cultural Heritage", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00945-BIG.jpg", "copyright": "Jordanian Commission for Oral and Intangible Cultural Heritage", "title": "Roasting coffee beans - The Cultural Space of the Bedu in Petra and Wadi Rum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11175-BIG.jpg", "copyright": "Jordanian Commission for Oral and Intangible Cultural Heritage", "title": "Ammarins boiling milk for Jameed oak" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11176-BIG.jpg", "copyright": "Jordanian Commission for Oral and Intangible Cultural Heritage", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=sEVd2Ughp7k", "copyright": "", "title": "Cultural space of the Bedu in Petra and Wadi Rum" }, { "url": "https:\/\/www.youtube.com\/watch?v=5EMOADJH5VQ", "copyright": "", "title": "Cultural space of the Bedu in Petra and Wadi Rum" }, { "url": "https:\/\/www.youtube.com\/watch?v=XgAYPfiAFI8", "copyright": "", "title": "Cultural space of the Bedu in Petra and Wadi Rum" } ], "sustainability": "" } }, "element_124": { "type": "element", "label": "Palestinian Hikaye", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00746-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00746-HUG.jpg" }, "description": "The Palestinian Hikaye is a narratiave expression practised by women.The fictitious tales, which have evolved over the centuries, deal with current concerns of Middle Eastern Arab society and family issues.The Hikaye offers a critique of society from the women\u2019s perspective and draws a portrait of the social structure that directly pertains to the lives of women. Many tales describe women torn between duty and desire.

The Hikaye is usually narrated at home during winter evenings, at spontaneous and convivial events attended by small groups of women and children. Men rarely attend, as this is considered inappropriate. The expressive power of the narration lies in the use of language, emphasis, speech rhythms and vocal inflections as well as in the ability to capture the attention of the listeners and successfully transport them into a world of imagination and fantasy.The technique and style of narration follows linguistic and literary conventions that set it apart from other folk narrative genres. The tales are narrated in Palestinian dialect, either in rural fallahi or in urban madani. Almost every Palestinian woman over the age of 70 is a Hikaye teller, and the tradition is primarily carried on by elderly women. It is not unusual for girls and young boys to tell tales to one another for practice or pleasure.

However, the Hikaye is in decline due to the influence of mass media, which often induce people to regard their native customs as backward and inferior. As a consequence, the elder women tend to change form and content of the narrations. The continued disruption of the social life due to the current political situation in Palestine is another threat to the continuation of the Hikaye.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/palestinian-hikaye-00124", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00208-BIG.jpg", "copyright": "MOC", "title": "The Hikaye narrative presents fictitious and contemporary issues of Palestine society from the perspective of women storytellers. Narrated in colloquial Arabic, its expressive power lies in the use of language, speech rhythms and vocal inflections." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00746-BIG.jpg", "copyright": "Rafi Safieh", "title": "82-year old Safia AbulHeja originally from Haifa, a refugee in Jenin Camp talking about the Hikaye and its narration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00747-BIG.jpg", "copyright": "Rafi Safieh", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00748-BIG.jpg", "copyright": "MOC", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=icgGLlXrrAk", "copyright": "", "title": "Palestinian Hikaye" }, { "url": "https:\/\/www.youtube.com\/watch?v=wF0eplzv-sw", "copyright": "", "title": "Palestinian Hikaye" }, { "url": "https:\/\/www.youtube.com\/watch?v=iegBgGHm0MY", "copyright": "", "title": "Palestinian Hikaye" } ], "sustainability": "" } }, "element_132": { "type": "element", "label": "Cultural space of the Yaaral and Degal", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05277-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05277-HUG.jpg" }, "description": "The cultural space of the Yaaral and the Degal encompasses the vast pastoral lands of the Peul of the inner Niger Delta. The Yaaral and the Degal festivities mark the crossing of the river at the time of the transhumance. Twice a year, herds of cattle cross the arid land of the Sahel and the flood plains of the inner Niger River. The festivities always take place on a Saturday, an auspicious day in popular Peul belief, and their exact date is determined according to the state of the pasture and the river level.

These festivities give rise to varied cultural expressions. Competitions for the most beautifully decorated herd are organized. Herdsmen recite pastoral poems relating their adventures during the long months of trekking. Young women put on their finest clothes and jewellery to acclaim the herdsmen in song.

These two events, dating back to the settlement of Peuls in the region around the fourteenth century, are the linchpins of the way of life of these people. The management of the pasturelands, the marking out of transhumance routes and the gathering of herds at specific points have improved the organization of the event and have resulted in larger crowds, turning these pastoral festivals into major events. Because they bring together representatives of all the ethnic and occupational groups in the Delta \u2013 Peul cattle-breeders, Marka or Nono rice-growers, Bambara millet-growers and Bozo fishermen \u2013 the Yaaral and the Degal continue to renew inter-community pacts and reinforce social cohesion. The strong attachment of the communities in the region to these festivities ensures their continuity, although they may be weakened by the rural exodus of the young and recurring droughts affecting the pastureland and the herds.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-space-of-the-yaaral-and-degal-00132", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05272-BIG.jpg", "copyright": "DNPC, 2009", "title": "Jeunes filles dansant le Himb\u00e8r\u00e8 \r\nlors du Yaaral \u00e0 Diafarab\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05273-BIG.jpg", "copyright": "DNPC, 2009", "title": "Jeunes filles dansant le Himb\u00e8r\u00e8 \r\nlors du Yaaral \u00e0 Diafarab\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05277-BIG.jpg", "copyright": "DNPC, 2009", "title": "Les animaux commencent la \r\ntravers\u00e9e du d\u00e9fluent Diaka \u00e0\r\nDiafarab\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05278-BIG.jpg", "copyright": "DNPC, 2009", "title": "Les animaux commencent la\r\ntravers\u00e9e du d\u00e9fluent Diaka \u00e0\r\nDiafarab\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05279-BIG.jpg", "copyright": "DNPC, 2009", "title": "Procession des bergers avant la \r\ntravers\u00e9e des animaux" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05280-BIG.jpg", "copyright": "DNPC, 2009", "title": "D\u00e9fil\u00e9 des troupeaux avant le\r\nconcours." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05281-BIG.jpg", "copyright": "DNPC, 2009", "title": "D\u00e9fil\u00e9 des troupeaux avant le\r\nconcours. Devant, deux bergers\r\ntiennent le Dissaare Ndanou,\r\ncouverture d'honneur, offerte au\r\nberger en guise de r\u00e9compense" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05282-BIG.jpg", "copyright": "DNPC, 2009", "title": "Les animaux s\u00e9lectionn\u00e9s et\r\npeints pour le concours du plus\r\nbeau troupeau" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05283-BIG.jpg", "copyright": "DNPC, 2009", "title": "Les animaux s\u00e9lectionn\u00e9s et\r\npeints pour le concours du plus\r\nbeau troupeau" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05286-BIG.jpg", "copyright": "DNPC, 2009", "title": "Un Femme peule par\u00e9e de sa boucle d'oreille appel\u00e9e \"K\u00f4t\u00f4n\u00e8\"" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=lDoRhqhAEkE", "copyright": "DNPC, 2005", "title": "Cultural space of the Yaaral and Degal" }, { "url": "https:\/\/www.youtube.com\/watch?v=QY8iIuXgUjQ", "copyright": "DNPC, 2005", "title": "Cultural space of the Yaaral and Degal" }, { "url": "https:\/\/www.youtube.com\/watch?v=LvNGKnRHYHg", "copyright": "DNPC, 2005", "title": "Cultural space of the Yaaral and Degal" } ], "sustainability": "" } }, "element_133": { "type": "element", "label": "Chopi Timbila", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00749-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00749-HUG.jpg" }, "description": "The Chopi communities live mainly in the southern part of Inhambane province in southern Mozambique and are famous for their orchestra music. Their orchestras consist of five to thirty wooden xylophones, called timbila, of varying sizes and ranges of pitch. The timbila are finely manufactured and tuned wooden instruments made from the highly resonant wood of the slow-growing mwenje (sneezewort) tree. Under each wooden slat, a resonator made out of calabashes is fastened, tightly sealed with beeswax, and tempered with the oil of the nkuso fruit, giving the timbila their rich nasal sound and characteristic vibrations. The orchestras are composed of timbila masters and apprentices of all age groups, with children playing next to their grandfathers.

Each year, several new pieces are composed and performed at weddings and other community events. The rhythms within each theme are complex, so that the player\u2019s left hand is often executing a different rhythm from that of the right hand. Lasting about one hour, performances feature solo and orchestra themes, using varying tempi. Closely connected with the music are particular timbila dances that are performed by two to twelve dancers in front of the orchestra. Each timbila performance includes the solemn m\u2019zeno song, performed by dancers, while musicians play softly and slowly. These texts, full of humour and sarcasm, reflect contemporary social issues and serve to chronicle community events.

Most experienced timbila performers are old. Although several timbila masters have started to train young musicians and have also included girls in their orchestras and dance groups, young people are increasingly losing contact with this cultural heritage. In addition, deforestation has led to the scarcity of the wood needed to produce the particular sonority of the timbila instruments.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chopi-timbila-00133", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00749-BIG.jpg", "copyright": "Commission National de la R\u00e9publique du Mozambique aupr\u00e8s de l\u2019UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00750-BIG.jpg", "copyright": "Commission National de la R\u00e9publique de Mozambique aupr\u00e8s de l\u2019UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00751-BIG.jpg", "copyright": "Commission National de la R\u00e9publique de Mozambique aupr\u00e8s de l\u2019UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00752-BIG.jpg", "copyright": "Commission National de la R\u00e9publique de Mozambique aupr\u00e8s de l\u2019UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00921-BIG.jpg", "copyright": "UNESCO\/Pereira Cristiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00922-BIG.jpg", "copyright": "UNESCO\/Pereira Cristiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00923-BIG.jpg", "copyright": "UNESCO\/Pereira Cristiana", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11170-BIG.jpg", "copyright": "Commission National de la R\u00e9publique de Mozambique aupr\u00e8s de l\u2019UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11171-BIG.jpg", "copyright": "Commission National de la R\u00e9publique de Mozambique aupr\u00e8s de l\u2019UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11172-BIG.jpg", "copyright": "Commission National de la R\u00e9publique de Mozambique aupr\u00e8s de l\u2019UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=IgZV9nR-m2o", "copyright": "", "title": "Chopi Timbila" }, { "url": "https:\/\/www.youtube.com\/watch?v=MS7unTfYyCM", "copyright": "", "title": "Chopi Timbila" }, { "url": "https:\/\/www.youtube.com\/watch?v=khoVu7NW8m0", "copyright": "", "title": "Chopi Timbila" } ], "sustainability": "" } }, "element_139": { "type": "element", "label": "Barkcloth making in Uganda", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00225-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00225-HUG.jpg" }, "description": "Barkcloth making is an ancient craft of the Baganda people who live in the Buganda kingdom in southern Uganda. Traditionally, craftsmen of the Ngonge clan, headed by a kaboggoza, the hereditary chief craftsman have been manufacturing bark cloth for the Baganda royal family and the rest of the community. Its preparation involves one of humankind\u2019s oldest savoir-faire, a prehistoric technique that predates the invention of weaving.

The inner bark of the Mutuba tree (Ficus natalensis) is harvested during the wet season and then, in a long and strenuous process, beaten with different types of wooden mallets to give it a soft and fine texture and an even terracotta colour. Craftsmen work in an open shed to protect the bark from drying out too quickly. Barkcloth is worn like a toga by both sexes, but women place a sash around the waist. While common barkcloth is terracotta in colour, barkcloth of kings and chiefs is dyed white or black and worn in a different style to underline their status. The cloth is mainly worn at coronation and healing ceremonies, funerals and cultural gatherings but is also used for curtains, mosquito screens, bedding and storage.

The production of barkcloth, which was widely spread with workshops in almost every village in the Buganda kingdom. With the introduction of cotton cloth by Arab caravan traders in the nineteenth century, production slowed and eventually faded out, limiting the use of barkcloth to cultural and spiritual functions. Nevertheless, barkcloth is still recognized among the Baganda community as a marker of specific social and cultural traditions. In recent years, the production of barkcloth has been greatly encouraged and promoted in the Buganda kingdom.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/barkcloth-making-in-uganda-00139", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00225-BIG.jpg", "copyright": "J.K Walusimbi", "title": "The Mutaba tree provides the raw material for the delicate manufacture of bark-cloth. Produced for the royal family and other Buganda community members and highly recognized as a marker of cultural traditions, this precious cloth is worn at coronations and healing ceremonies, funerals \r\nand social gatherings." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00647-BIG.jpg", "copyright": "J.K Walusimbi", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00648-BIG.jpg", "copyright": "J.K Walusimbi", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=uhznFtHhkBo", "copyright": "", "title": "Barkcloth making in Uganda" }, { "url": "https:\/\/www.youtube.com\/watch?v=-_OrR-fKJJc", "copyright": "", "title": "Barkcloth making in Uganda" }, { "url": "https:\/\/www.youtube.com\/watch?v=tdCy_lqEt54", "copyright": "", "title": "Barkcloth making in Uganda" } ], "sustainability": "" } }, "element_140": { "type": "element", "label": "Makishi masquerade", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00597-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00597-HUG.jpg" }, "description": "The Makishi masquerade is performed at the end of the mukanda, an annual initiation ritual for boys between the ages of eight and twelve. This ritual is celebrated by the Vaka Chiyama Cha Mukwamayi communities, which include the Luvale, Chokwe, Luchazi and Mbunda peoples, who live in the northwestern and western provinces of Zambia.

Usually at the beginning of the dry season, the young boys leave their homes and live for one to three months in an isolated bush camp. This separation from the outside world marks their symbolic death as children. The mukanda involves the circumcision of the initiates, tests of courage and lessons on their future role as men and husbands. Each initiate is assigned a specific masked character, which remains with him throughout the entire process. The Chisaluke represents a powerful and wealthy man with spiritual influence; the Mupala is the \u201clord\u201d of the mukanda and protective spirit with supernatural abilities; Pwevo is a female character representing the ideal woman and is responsible for the musical accompaniment of the rituals and dances. The Makishi is another masked character, representing the spirit of a deceased ancestor who returns to the world of the living to assist the boys. The completion of the mukanda is celebrated with a graduation ceremony. The entire village attends the Makishi dance and pantomime- like performance until the graduates re-emerge from the camp to reintegrate with their communities as adult men.

The mukanda has an educational function of transmitting practical survival-skills as well as knowledge about nature, sexuality, religious beliefs and the social values of the community. In former times, it took place over a period of several months and represented the raison d\u2019\u00eatre of the Makishi masquerade. Today, it is often reduced to one month in order to adapt to the school calendar. This adjustment together with the increasing demand for makishi dancers at social gatherings and party rallies, might affect the ritual\u2019s original character.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/makishi-masquerade-00140", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00232-BIG.jpg", "copyright": "Zambia National Commission for UNESCO", "title": "As part of initiation, boys leave their communities to live in a bush camp where they are taught practical skills as well as knowledge about nature, religion and social values. For their reintegration into the community, they perform the Makishi masquerade involving beautifully painted masks that represent different spiritual characters." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00596-BIG.jpg", "copyright": " Zambia National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00597-BIG.jpg", "copyright": " Zambia National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00598-BIG.jpg", "copyright": " Zambia National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00599-BIG.jpg", "copyright": " Zambia National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05704-BIG.jpg", "copyright": "2010 by T. Banda \/ ZNCU", "title": "Specialised Traditional Drummer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05708-BIG.jpg", "copyright": "2010 by T. Banda \/ ZNCU", "title": "Nyakandanji Luundu Chipango - Mother of a Kandanji (boy initiate)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05709-BIG.jpg", "copyright": "2010 by T. Banda \/ ZNCU", "title": "Makishi Performing Chiyanda Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05711-BIG.jpg", "copyright": "2010 by T. Banda \/ ZNCU", "title": "Audience Watching Activities; On pole Photo of HRH Chief Ndungu." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05712-BIG.jpg", "copyright": "2010 by T. Banda \/ ZNCU", "title": "Women Dancing at beginning of Ceremony" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=2FVSFE5pRks", "copyright": "", "title": "Makishi masquerade" }, { "url": "https:\/\/www.youtube.com\/watch?v=y0RmvJpa3ng", "copyright": "", "title": "Makishi masquerade" }, { "url": "https:\/\/www.youtube.com\/watch?v=-r1I21XaVRU", "copyright": "", "title": "Makishi masquerade" } ], "sustainability": "" } }, "element_142": { "type": "element", "label": "Gule Wamkulu", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00762-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00762-HUG.jpg" }, "description": "Gule Wamkulu was a secret cult, involving a ritual dance practiced among the Chewa in Malawi, Zambia, and Mozambique. It was performed by members of the Nyau brotherhood, a secret society of initiated men.Within the Chewa\u2019s traditional matrilineal society, where married men played a rather marginal role, the Nyau offered a means to establish a counterweight and solidarity among men of various villages. Nyau members still are responsible for the initiation of young men into adulthood, and for the performance of the Gule Wamkulu at the end of the initiation procedure, celebrating the young men\u2019s integration into adult society.

Gule Wamkulu is performed in the season following the July harvest, but it can also be seen at weddings, funerals, and the installation or the death of a chief. On these occasions, the Nyau dancers wear costumes and masks made of wood and straw, representing a great variety of characters, such as wild animals, spirits of the dead, slave traders as well as more recent figures such as the honda or the helicopter. Each of these figures plays a particular, often evil, character expressing a form of misbehavior, teaching the audience moral and social values. These figures perform dances with extraordinary energy, entertaining and scaring the audience as representatives of the world of the spirits and the dead.

Gule Wamkulu dates back to the great Chewa Empire of the seventeenth century. Despite the efforts of Christian missionaries to ban this practice, it managed to survive under British colonial rule by adopting some aspects of Christianity. As a consequence, Chewa men tend to be members of a Christian church as well as a Nyau society. However, Gule Wamkulu performances are gradually losing their original function and meaning by being reduced to entertainment for tourists and for political purpose.", "list": "RL", "year": 2008, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/gule-wamkulu-00142", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00197-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "Performed by the Chewa people of Malawi, Mozambique and Zambia, the Gule Wamkulu is a dance that accompanies initiation ceremonies, weddings, funerals and the installation of chiefs. Male dancers wear full costumes and masks made of wood and straw, expressing a great variety of spiritual and secular characters." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00762-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00763-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00764-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11222-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11223-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11224-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11225-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11226-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11227-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=H30wcV6-wbw", "copyright": "", "title": "Gule Wamkulu" }, { "url": "https:\/\/www.youtube.com\/watch?v=pvbjVRxe5KI", "copyright": "", "title": "Gule Wamkulu" }, { "url": "https:\/\/www.youtube.com\/watch?v=dyOjmp3TEJI", "copyright": "", "title": "Gule Wamkulu" } ], "sustainability": "" } }, "element_143": { "type": "element", "label": "Kankurang, Manding initiatory rite", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00218-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00218-HUG.jpg" }, "description": "The Kankurang is an initiatory rite practised throughout the Manding provinces of Senegal and Gambia, mainly corresponding to the Casamance, and in the city of Mbour. According to tradition, the origin of the Kankurang is to be found in the Komo, a secret society of hunters whose organization and esoteric practices contributed to the emergence of the Manding.

The central character in the Kankurang, is an initiate who wears a mask made of the bark and red fibre of the faara tree and is clothed in leaves, his body painted with vegetable dyes. He is associated with circumcision ceremonies and initiatory rites. His appearance is marked by several ritual stages: the designation of the initiate who will wear the mask and his investiture by the elders, his retreat into the woods with the initiates, the vigils and processions through the hamlet of the new initiates. The whole ritual generally takes place between August and September. The Kankurang always parades surrounded by former initiates and the villagers who respectfully follow his behaviour and gestures, and perform dances and songs. His displays are punctuated with a staccato dance as he wields two machetes and utters piercing cries. His followers, armed with sticks and rhun palm leaves, beat out the rhythm with their choruses and tom-toms.

The Kankurang is the guarantor of order and justice as well as the exorcist of evil spirits. As such, he ensures transmission and teaching of a complex collection of know-how and practices underpinning Manding cultural identity. A ritual that has spread to other communities and groups of the area, it is the occasion for young circumcised boys to learn the rules of behaviour for the ordering their community, the secrets of plants and their medicinal values, and hunting techniques. Their traditional practice is in retreat because of the rapid urbanization of most regions of Senegal and Gambia and the decreasing extent of sacred forests, which are transformed into cultivated land. As a result, the ritual is trivialized and the Kankurang authority is undermined.", "list": "RL", "year": 2008, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/kankurang-manding-initiatory-rite-00143", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00081-BIG.jpg", "copyright": "Direction du patrimoine culturel, S\u00e9n\u00e9gal", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00218-BIG.jpg", "copyright": "Ferdinand de Jong", "title": "The Kankurang is a protective spirit, embodied by a masked and costumed man, at the centre of a ritual system comprising songs, traditions and initiatory rites for young boys. The ritual ensures the transmission and teaching of complex know-how and practices underpinning Manding cultural identity." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11236-BIG.jpg", "copyright": "Direction du patrimoine culturel, S\u00e9n\u00e9gal", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11238-BIG.jpg", "copyright": "Direction du patrimoine culturel, S\u00e9n\u00e9gal", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11239-BIG.jpg", "copyright": "Direction du patrimoine culturel, S\u00e9n\u00e9gal", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11240-BIG.jpg", "copyright": "Direction du patrimoine culturel, S\u00e9n\u00e9gal", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11241-BIG.jpg", "copyright": "Direction du patrimoine culturel, S\u00e9n\u00e9gal", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3gNtkPUuxl0", "copyright": "", "title": "Kankurang, Manding initiatory rite" }, { "url": "https:\/\/www.youtube.com\/watch?v=BQmSTwxvQI8", "copyright": "", "title": "Kankurang, Manding initiatory rite" }, { "url": "https:\/\/www.youtube.com\/watch?v=drCG3pnCyLU", "copyright": "", "title": "Kankurang, Manding initiatory rite" } ], "sustainability": "" } }, "element_144": { "type": "element", "label": "Rabinal Ach\u00ed dance drama tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00286-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00286-HUG.jpg" }, "description": "The Rabinal Ach\u00ed is a dynastic Maya drama, which developed in the fifteenth century and a rare example of preserved pre-Hispanic traditions. It comprises myths of origin and addresses popular and political subjects concerning the inhabitants of the region of Rabinal, expressed through masked dance, theatre and music.

The oral and written narrative is presented by a group of characters, who appear on a stage representing Maya villages, such as Kajyub\u2019, the regional capital of the Rabinaleb\u2019 in the fourteenth century. The narrative, divided into four acts, centres on a conflict between two major political entities in the region. The main characters are two princes, the Rabinal Ach\u00ed and the K\u2019iche Ach\u00ed.The other characters are the king of Rabinaleb\u2019, Job\u2019Toj, and his servant, Achij Mun Achij Mun Ixoq Mun, who has both male and female traits, the green-feathered mother, Uchuch Q\u2019uq\u2019 Uchuch Raxon, and thirteen eagles and thirteen jaguars who represent the warriors of the fortress of Kajyub\u2019. K\u2019iche\u2019 Ach\u00ed is captured and put on trial for attempting to steal Rabinaleb\u2019 children, a grave violation of Maya law.

Since colonization in the sixteenth century, the Rabinal Ach\u00ed dance has been performed on Saint Paul\u2019s day on 25 January. The festival is coordinated by members of cofrad\u00edas, local brotherhoods responsible for running the community. By taking part in the dance, the living enter into \u201ccontact\u201d with the dead, the rajawales, represented by masks. Recalling their ancestors is not simply a means of perpetuating the heritage of the past. It is also a vision of the future, since one day the living will join their ancestors.

The impact of armed conflict especially in the departamentos of Rabinal and K\u2019iche has almost led to the disappearance of this dance. Today, it is especially threatened by the precarious economic state of the custodians and the community as a whole. It is also confronted with folklorization and trivialization, which seriously threaten the transmission of knowledge and values associated to the performance of this drama tradition.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/rabinal-achi-dance-drama-tradition-00144", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00040-BIG.jpg", "copyright": "Ministerio de Cultura y Deportes \/ GMA PRO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00177-BIG.jpg", "copyright": "Ministerio de Cultura y Deportes \/ GMA PRO", "title": "The Rabinal Ach\u00ed dance drama is a play with musical and dance interludes based on myths about political conflicts between two Maya groups. The characteristics of the text and versification are evidence of a sophisticated pre-Hispanic Amerindian literary style." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00286-BIG.jpg", "copyright": "Ministerio de Cultura y Deportes \/ GMA PRO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00496-BIG.jpg", "copyright": " Ministerio de Cultura y Deportes \/ GMA PRO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00497-BIG.jpg", "copyright": " Ministerio de Cultura y Deportes \/ GMA PRO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00498-BIG.jpg", "copyright": " Ministerio de Cultura y Deportes \/ GMA PRO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11298-BIG.jpg", "copyright": " Ministerio de Cultura y Deportes \/ GMA PRO", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11299-BIG.jpg", "copyright": " Ministerio de Cultura y Deportes \/ GMA PRO", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KR8PyhFshu8", "copyright": "Minist\u00e8re de la Culture et des Sports du Guatemala", "title": "Rabinal Ach\u00ed dance drama tradition" }, { "url": "https:\/\/www.youtube.com\/watch?v=qA0B9hECKtY", "copyright": "Minist\u00e8re de la Culture et des Sports du Guatemala", "title": "Rabinal Ach\u00ed dance drama tradition" }, { "url": "https:\/\/www.youtube.com\/watch?v=MSR-VXxmBQk", "copyright": "Minist\u00e8re de la Culture et des Sports du Guatemala", "title": "Rabinal Ach\u00ed dance drama tradition" } ], "sustainability": "" } }, "element_145": { "type": "element", "label": "Olonkho, Yakut heroic epos", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05535-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05535-HUG.jpg" }, "description": "One of the oldest epic arts of the Turkic peoples, the termOlonkho refers to the entire Yakut epic tradition as well as its central epic.Today, it is still incidentally performed in the Sakha Republic, situated in the far east of the Russian Federation.

The poetic tales, which vary from 10 to 15,000 verses in length, are performed by the Olonkho singer and story-teller in two parts: a sung part in verse alternates with the prosaic part composed of recitatives. In addition to possessing good acting and singing skills, the narrator must be a master of eloquence and poetic improvisation. The epic consists of numerous legends about ancient warriors, deities, spirits and animals, but also addresses contemporary events, such as the disintegration of nomadic society.

Given that each community had its own narrator with a rich repertoire, numerous versions of Olonkho circulated. The tradition was developed within the family context for entertainment and as a means of education. Reflecting Yakut beliefs, it also bears witness to the way of life of a small nation struggling for survival at times of political unrest and under difficult climatic and geographical conditions.

The political and technological changes in twentieth-century Russia have threatened the existence of the epic tradition in the Sakha Republic. Although there has been a growing interest in Olonkho since the perestroika years, this tradition is endangered in view of the very low number of practitioner, all of old age.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/olonkho-yakut-heroic-epos-00145", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05535-BIG.jpg", "copyright": "2009 by the National Committee on UNESCO affairs of the Sakha Republic (Yakutia)", "title": "Motifs of Olonkho in people's art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05538-BIG.jpg", "copyright": "2009 by the National Committee on UNESCO affairs of the Sakha Republic (Yakutia)", "title": "Motifs of Olonkho in people's art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05540-BIG.jpg", "copyright": "2009 by the National Committee on UNESCO affairs of the Sakha Republic (Yakutia)", "title": "Motifs of Olonkho in people's art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05541-BIG.jpg", "copyright": "2009 by the National Committee on UNESCO affairs of the Sakha Republic (Yakutia)", "title": "Motifs of Olonkho in people's art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05542-BIG.jpg", "copyright": "2009 by the National Committee on UNESCO affairs of the Sakha Republic (Yakutia)", "title": "Motifs of Olonkho in people's art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05545-BIG.jpg", "copyright": "2009 by the National Committee on UNESCO affairs of the Sakha Republic (Yakutia)", "title": "Motifs of Olonkho in people's art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05547-BIG.jpg", "copyright": "2009 by the National Committee on UNESCO affairs of the Sakha Republic (Yakutia)", "title": "Motifs of Olonkho in people's art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05548-BIG.jpg", "copyright": "2009 by the National Committee on UNESCO affairs of the Sakha Republic (Yakutia)", "title": "Motifs of Olonkho in people's art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05549-BIG.jpg", "copyright": "2009 by the National Committee on UNESCO affairs of the Sakha Republic (Yakutia)", "title": "Motifs of Olonkho in people's art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05551-BIG.jpg", "copyright": "2009 by the National Committee on UNESCO affairs of the Sakha Republic (Yakutia)", "title": "Motifs of Olonkho in people's art" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Lo_YgFu-OsA", "copyright": "", "title": "Olonkho, Yakut heroic epos" }, { "url": "https:\/\/www.youtube.com\/watch?v=F4gc2nMr1yA", "copyright": "", "title": "Olonkho, Yakut heroic epos" }, { "url": "https:\/\/www.youtube.com\/watch?v=Mz1YEBy_1sQ", "copyright": "", "title": "Olonkho, Yakut heroic epos" } ], "sustainability": "" } }, "element_146": { "type": "element", "label": "Ifa divination system", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00541-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00541-HUG.jpg" }, "description": "The Ifa divination system, which makes use of an extensive corpus of texts and mathematical formulas, is practiced among Yoruba communities and by the African diaspora in the Americas and the Caribbean. The word Ifa refers to the mystical figure Ifa or Orunmila, regarded by the Yoruba as the deity of wisdom and intellectual development.

In contrast to other forms of divination in the region that employ spirit mediumship, Ifa divination does not rely on a person having oracular powers but rather on a system of signs that are interpreted by a diviner, the Ifa priest or babalawo, literally \u201cthe priest\u2019s father\u201d. The Ifa divination system is applied whenever an important individual or collective decision has to be made.

The Ifa literary corpus, called odu, consists of 256 parts subdivided into verses called ese, whose exact number is unknown as they are constantly increasing (there are around 800 ese per odu). Each of the 256 odu has its specific divination signature, which is determined by the babalawo using sacred palm-nuts and a divination chain. The ese, considered the most important part of Ifa divination, are chanted by the priests in poetic language. The ese reflect Yoruba history, language, beliefs, cosmovision and contemporary social issues. The knowledge of Ifa has been preserved within Yoruba communities and transmitted among Ifa priests.

Under the influence of colonial rule and religious pressures, traditional beliefs and practices were discriminated against.The Ifa priests, most of whom are quite old, have only modest means to maintain the tradition, transmit their complex knowledge and train future practitioners. As a result, the youth and the Yoruba people are losing interest in practising and consulting Ifa divination, which goes hand-in-hand with growing intolerance towards traditional divination systems in general. ", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ifa-divination-system-00146", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00207-BIG.jpg", "copyright": "Wande Abimbola", "title": "Practiced among the Yoruba, Ifa divination relies on a complex system of signs, compiled in a literary corpus, that are interpreted by a diviner to guide important personal or collective decisions. The literary corpus is a treasury of knowledge concerning Yoruba history, philosophy, medicine and mythology." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00538-BIG.jpg", "copyright": "Wande Abimbola", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00539-BIG.jpg", "copyright": "Wande Abimbola", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00540-BIG.jpg", "copyright": "Wande Abimbola", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00541-BIG.jpg", "copyright": "Wande Abimbola", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00542-BIG.jpg", "copyright": "Wande Abimbola", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=k9lGVF6jYN4", "copyright": "", "title": "Safeguarding and protection of IFA" }, { "url": "https:\/\/www.youtube.com\/watch?v=dW0ICinUxsU", "copyright": "", "title": "Safeguarding and protection of IFA" }, { "url": "https:\/\/www.youtube.com\/watch?v=DCDoZn31AYY", "copyright": "", "title": "Safeguarding and protection of IFA" } ], "sustainability": "" } }, "element_147": { "type": "element", "label": "Slov\u00e1cko Verbu\u0148k, recruit dances", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05623-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05623-HUG.jpg" }, "description": "The Slov\u00e1cko verb\u016dnk is an improvised dance performed by boys and men living in the South Moravia and Zl\u00edn districts of the Czech Republic. The name of the dance is derived from the German term Werbung (changed into verb\u016dnk), meaning \u201crecruitment\u201d, reflecting its historical origins in the recruitment of dancers and soldiers for the military in the eighteenth century.Today, it is performed by folk dance groups in most towns and villages of the Slov\u00e1cko region, mostly in connection with festivities, such as the annual Hody community celebration.

The Slov\u00e1cko verb\u016dnk is danced to music called New Hungarian songs and usually consists of three parts. At the beginning, a song is performed, followed first by slow movements and then by faster dancing parts. The dancing is not bound to a precise choreography, but is marked instead by spontaneity, improvisation, and individual expression, including jumping contests. It is usually performed by groups, with each dancer interpreting the music in his own way. There are six different regional types of Slov\u00e1cko verb\u016dnk, which account for the great variety of figures and dance rhythms. These types evolved in the early twentieth century and continue to change. The dances are an essential component of local customs, ceremonies and celebrations and are performed at the annual contest of the best dancer at the International Folklore Festival in Str\u00e1\u017enice.

The migration of young and middle-aged people to the country\u2019s urban centres is considered the greatest threat to the viability of the different regional types of Slov\u00e1cko verb\u016dnk. Another risk is the dance\u2019s reliance on financial support since the traditional costumes and musical instruments are made by hand and require regular maintenance.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/slovacko-verbuk-recruit-dances-00147", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05617-BIG.jpg", "copyright": "2002 National Institute of Folk Culture", "title": "Verbu\u0148k at the hody celebration in Petrov near Str\u00e1\u017enice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05618-BIG.jpg", "copyright": "2000 National Institute of Folk Culture", "title": "The opening lead singing (hody in Petrov near Str\u00e1\u017enice)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05619-BIG.jpg", "copyright": "2000 National Institute of Folk Culture", "title": "The hody celebration in Lan\u017ehot near B\u0159eclav" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05620-BIG.jpg", "copyright": "1998 National Institute of Folk Culture", "title": "The hody celebration in Kyjov" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05621-BIG.jpg", "copyright": "1998 National Institute of Folk Culture", "title": "The solo danced verbu\u0148k (hody Svatobo\u0159ice-Mist\u0159in)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05622-BIG.jpg", "copyright": "2004 National Institute of Folk Culture", "title": "St\u00e1rek (leader of the hody celebration) in Petrov near Str\u00e1\u017enice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05623-BIG.jpg", "copyright": "2004 National Institute of Folk Culture", "title": "The solo dance verbu\u0148k from Kyjov at the competition at the International Folklore Festival in Str\u00e1\u017enice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05624-BIG.jpg", "copyright": "2003 National Institute of Folk Culture", "title": "A dancer from Str\u00e1\u017enice at the International Folklore Festival in Str\u00e1\u017enice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05625-BIG.jpg", "copyright": "2003 National Institute of Folk Culture", "title": "The spectators dance at the competition in Str\u00e1\u017enice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05626-BIG.jpg", "copyright": "National Institute of Folk Culture", "title": "Stretching legs out is one of verbu\u0148k's figures(here performed by a dancer from \u017dd\u00e1nice)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=lI5l4p7dQzY", "copyright": "Narodni Ustav Lidov\u00e9 kultury", "title": "Slov\u00e1cko Verbu?k, recruit dances" }, { "url": "https:\/\/www.youtube.com\/watch?v=fEW_0-l00AA", "copyright": "Narodni Ustav Lidov\u00e9 kultury", "title": "Slov\u00e1cko Verbu?k, recruit dances" }, { "url": "https:\/\/www.youtube.com\/watch?v=LcErjCEhias", "copyright": "Narodni Ustav Lidov\u00e9 kultury", "title": "Slov\u00e1cko Verbu?k, recruit dances" } ], "sustainability": "" } }, "element_153": { "type": "element", "label": "Processional giants and dragons in Belgium and France", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00013-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00013-HUG.jpg" }, "description": "On 2 December 2022, the seventeenth session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage has decided to remove the \u2018Ducasse of Ath\u2019 of the element \u2018Processional giants and dragons in Belgium and France\u2019 (Belgium and France) from the Representative List of the Intangible Cultural Heritage of Humanity (Decision 17.COM 8.a).<\/strong>

For further information, see document LHE\/22\/17.COM\/8.a<\/strong>

Traditional processions of huge effigies of giants, animals or dragons encompass an original ensemble of festive popular manifestations and ritual representations. These effigies first appeared in urban religious processions at the end of the fourteenth century in many European towns and continue to serve as emblems of identity for certain Belgian (Brussels, Dendermonde, Mechelen and Mons) and French towns (Cassel, Douai, P\u00e9zenas and Tarascon), where they remain living traditions. The giants and dragons are large-scale models measuring up to nine metres in height and weighing as much as 350 kilos. They represent mythical heroes or animals, contemporary local figures, historical, biblical or legendary characters or trades. St. George fighting the dragon is staged in Mons; Bayard, the horse from the Charlemagne legend, parades in Dendermonde; and Reuze Papa and Reuze Maman, popular family characters, parade at Cassel. The performances, often mixing secular procession and religious ceremony, vary from town to town, but always follow a precise ritual in which the giants relate to the history, legend or life of the town.

Giants and dragons enliven popular festivals where they are the main actors at least once a year, as each effigy has its specific feast day. They act out historical scenes and dance in the streets to the accompaniment of fanfares and costumed people. The crowd follows the procession, and many participants help in the preparations at different stages of the festival. The construction of a giant and its ongoing maintenance require months of work and know-how in many techniques given the range of materials used. Although these expressions are not threatened with immediate disappearance, they do suffer from a number of pressures, such as major changes to town centres and increasing tourism, leading to the detriment of the popular, spontaneous nature of the festival.", "list": "RL", "year": 2008, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/processional-giants-and-dragons-in-belgium-and-france-00153", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00013-BIG.jpg", "copyright": " Mairie de Douai", "title": "Douai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00659-BIG.jpg", "copyright": "Mairie de Cassel", "title": "Cassel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00660-BIG.jpg", "copyright": "Maison des G\u00e9ants - J. Flament", "title": "Meyeboom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00661-BIG.jpg", "copyright": "Confr\u00e9rie des compagnons de Saint-Laurent \/ Y. Calomme", "title": "Meyeboom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00662-BIG.jpg", "copyright": "Maison des G\u00e9ants - J. Flament", "title": "Mons" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00663-BIG.jpg", "copyright": "Maison des G\u00e9ants - J. Flament", "title": "Mons" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00664-BIG.jpg", "copyright": "Maison des G\u00e9ants - J. Flament", "title": "Mons" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00665-BIG.jpg", "copyright": "Maison des G\u00e9ants - J. Flament", "title": "Mons" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00666-BIG.jpg", "copyright": "Maison des G\u00e9ants \/ J.-P. Ducastelle", "title": "Tarascon" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=8SbvmiyhEws", "copyright": "", "title": "Processional giants and dragons in Belgium and France" }, { "url": "https:\/\/www.youtube.com\/watch?v=u9gomZIhDsM", "copyright": "", "title": "Processional giants and dragons in Belgium and France" }, { "url": "https:\/\/www.youtube.com\/watch?v=wZpypb7jFN8", "copyright": "", "title": "Processional giants and dragons in Belgium and France" } ], "sustainability": "" } }, "element_155": { "type": "element", "label": "Albanian folk iso-polyphony", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00453-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00453-HUG.jpg" }, "description": "Traditional Albanian polyphonic music can be divided into two major stylistic groups as performed by the Ghegs of northern Albania and the Tosks and Labs living in the southern part of the country. The term iso is related to the ison of Byzantine church music and refers to the drone accompanying polyphonic singing. The drone is performed in two ways: among the Tosks, it is always continuous and sung on the syllable \u2019e\u2019, using staggered breathing, while among the Labs, the drone is sometimes sung as a rhythmic tone, performed to the text of the song. Rendered mainly by male singers, the music traditionally accompanies a wide range of social events, such as weddings, funerals, harvest feasts, religious celebrations and festivals such as the well-known Albanian folk festival in Gjirokastra.

Albanian iso-polyphony is characterized by songs consisting of two solo parts, a melody and a countermelody with a choral drone. The structure of the solo parts varies according to the different ways of performing the drone, which has a great variety of structures, especially in the popular style adopted by all groups performing this music. Over the last few decades, the modest rise of cultural tourism and the growing interest of the research community in this unique folk tradition have contributed to the revival of Albanian iso-polyphony. However, the tradition is adversely affected by poverty, the absence of legal protection and the lack of financial support for practitioners, threatening the transmission of the vast repertoire of songs and techniques. The rural exodus of young people to the bigger cities and abroad in search of jobs compounds this danger. Given these conditions, at the present time, the transmission of this tradition is maintained through professional folk artists, rather than within the family structure.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/albanian-folk-iso-polyphony-00155", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00143-BIG.jpg", "copyright": "Vasil S.Tole", "title": "Derived from Byzantine church music, Albanian Iso-polyphony is a sophisticated form of group singing, performed mostly by men. The rise of cultural tourism and the growing interest of researchers are contributing to the revival of this unique folk tradition." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00453-BIG.jpg", "copyright": "Vasil S.Tole", "title": "Iso-polyphonic instrumental group from Gramshi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00454-BIG.jpg", "copyright": "Vasil S.Tole", "title": "Youth dance group from Gjirokastra" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11177-BIG.jpg", "copyright": "Vasil S.Tole", "title": "Iso-polyphonic group from Terbaci, Vlor\u00eb" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11178-BIG.jpg", "copyright": "Vasil S. Tole, 2005", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11179-BIG.jpg", "copyright": "Vasil S. Tole, 2008", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11180-BIG.jpg", "copyright": "Vasil S. Tole, 2006", "title": "Vlor\u00eb iso-polyphonic groups" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=G4V2cE-LmBU", "copyright": "", "title": "The Albanian folk iso-polyphony" }, { "url": "https:\/\/www.youtube.com\/watch?v=eHZirH90Sn8", "copyright": "", "title": "The Albanian folk iso-polyphony" }, { "url": "https:\/\/www.youtube.com\/watch?v=7vm9VX0vXDA", "copyright": "", "title": "The Albanian folk iso-polyphony" } ], "sustainability": "" } }, "element_156": { "type": "element", "label": "Patum of Berga", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05315-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05315-HUG.jpg" }, "description": "The Patum of Berga is a popular festival whose origin can be traced to medieval festivities and parades accompanying the celebration of Corpus Christi. Theatrical performances and parades of a variety of effigies animate the streets of this Catalan town located north of Barcelona. The celebration takes place every year during the week of Corpus Christi, between late May and late June.

An extraordinary meeting of the municipal council, the appearance of the Tabal (a large and emblematic festival drum presiding over the festivities) and the Quatre Fuets announce the festivities. Over the following days numerous celebrations take place, most important of which are the parades, the ceremonial Patum, the children\u2019s Patum and the full Patum. The Taba (tambourine), Cavallets (papier m\u00e2ch\u00e9 horses), Maces (demons wielding maces and whips), Guites (mule dragons), the eagle, giant-headed dwarves, Plens (fire demons) and giants dressed as Saracens parade in succession, performing acrobatic tricks, lighting fireworks and spreading music among the joyous audience. All of these characters join to perform the final dance, the Tirabol.

The Patum of Berga, which has preserved its mix of profane and religious features through centuries, stands out from the region\u2019s other festivals that have come down from the Middle Ages owing to its richness and diversity, the preservation of its medieval street theatre and its ritual component. Although the survival of the celebration seems ensured, it is to be taken care of that strong urban and tourist development do not lead to a loss of value of the Patum.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/patum-of-berga-00156", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05311-BIG.jpg", "copyright": "Foto Luigi \/ Patronat Municipal de La Patum, 1838", "title": "Acuarela de La Patum de Berga" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05312-BIG.jpg", "copyright": "Foto Luigi \/ Patronat Municipal de La Patum, 1868", "title": "Primera foto de La Patum de Berga" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05313-BIG.jpg", "copyright": "Foto Luigi \/ Patronat Municipal de La Patum, 2000-2001", "title": "Sesi\u00f3n municipal de aprobaci\u00f3n de La Patum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05314-BIG.jpg", "copyright": "Foto Luigi \/ Patronat Municipal de La Patum, 2000-2001", "title": "Interpretaci\u00f3n del \"Ball de l'\u00c0liga\" para celebrar la aprobaci\u00f3n de La Patum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05315-BIG.jpg", "copyright": "Foto Luigi \/ Patronat Municipal de La Patum, 2000-2001", "title": "Pasacalle del Tabal anunciando la celebraci\u00f3n de La Patum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05316-BIG.jpg", "copyright": "Foto Luigi \/ Patronat Municipal de La Patum, 2000-2001", "title": "\"Els Quatre Fuets\" o prueba de los cohetes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05317-BIG.jpg", "copyright": "Foto Luigi \/ Patronat Municipal de La Patum, 2000-2001", "title": "Pasacalle anunciador del inicio de las fiestas el mi\u00e9rcoles de Corpus a mediodia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05318-BIG.jpg", "copyright": "Foto Luigi \/ Patronat Municipal de La Patum, 2000-2001", "title": "Actuaci\u00f3n de \"les Maces\" durante el pasacalle del mi\u00e9rcoles por la noche en honor a las autoridades locales" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05319-BIG.jpg", "copyright": "Foto Luigi \/ Patronat Municipal de La Patum, 2000-2001", "title": "\"Ball dels Gegants\" durante el pasacalle del mi\u00e9rcoles por la noche en honor a las autoridades locales" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05320-BIG.jpg", "copyright": "Foto Luigi \/ Patronat Municipal de La Patum, 2000-2001", "title": "Participaci\u00f3n ciudadana en los pasacalles nocturnos" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=uHx53w52eeo", "copyright": "", "title": "Patum of Berga" }, { "url": "https:\/\/www.youtube.com\/watch?v=fwB6JiilSuo", "copyright": "", "title": "Patum of Berga" }, { "url": "https:\/\/www.youtube.com\/watch?v=ckQxcQTRs1g", "copyright": "", "title": "Patum of Berga" } ], "sustainability": "" } }, "element_161": { "type": "element", "label": "Mask dance of the drums from Drametse", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03584-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03584-HUG.jpg" }, "description": "The mask dance of the Drametse community is a sacred dance performed during the Drametse festival in honour of Padmasambhava, a Buddhist guru. The festival, which takes place in this eastern Bhutanese village twice a year, is organized by the Ogyen Tegchok Namdroel Choeling Monastery.

The dance features sixteen masked male dancers wearing colourful costumes and ten other men making up the orchestra. The dance has a calm and contemplative part that represents the peaceful deities and a rapid and athletic part where the dancers embody wrathful deities. Dancers dressed in monastic robes and wearing wooden masks with features of real and mythical animals perform a prayer dance in the soeldep cham, the main shrine, before appearing one by one in the main courtyard. The orchestra consists of cymbals, trumpets and drums, including the bang nga, a large cylindrical drum, the lag nga, a small hand-held circular flat drum and the nga chen, a drum beaten with a bent drumstick.

The Drametse Ngacham has been performed in the same monastery for centuries. Its form has both religious and cultural significance, because it is believed to have originally been performed by the heroes and heroines of the celestial world. In the nineteenth century, versions of the Drametse Ngacham were introduced in other parts of Bhutan. For the audience, the dance is a source of spiritual empowerment and is attended by people from Drametse as well as neighbouring villages and districts to obtain blessings. Today, the dance has evolved from a local event centred on a particular community into an art form, representing the identity of the Bhutanese nation as a whole.

Although the dance is highly appreciated among all generations, the number of practitioners is dwindling due to lack of rehearsal time, the absence of a system for training and the gradual waning of interest among young people.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mask-dance-of-the-drums-from-drametse-00161", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03538-BIG.jpg", "copyright": "2007, Yoshi Shimizu", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03584-BIG.jpg", "copyright": "Yoshi Shimizu", "title": "Prayer-flags (lungta)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03585-BIG.jpg", "copyright": "Yoshi Shimizu", "title": "Beneath a set of prayer flags, Thimphu, the capital of Bhutan is observed at dawn in early winter from Sangay Gang, the highest summit in the region." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03586-BIG.jpg", "copyright": "Yoshi Shimizu", "title": "Prayer-flags (lungta)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03587-BIG.jpg", "copyright": "Yoshi Shimizu", "title": "A 15-year-old monk beeing a novice in the Punakha Dzong monastery." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03588-BIG.jpg", "copyright": "Yoshi Shimizu", "title": "A monk rehearses movements \"backstage\" for the Zhana Ngacham performance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03599-BIG.jpg", "copyright": "Yoshi Shimizu", "title": "At 8:00 in the morning at the assembly hall of the Trongsa Dzong, the monks sit for breakfast. The monks make first a small ball or sticks out of the rice and clean their hands with it." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03600-BIG.jpg", "copyright": "Yoshi Shimizu", "title": "A Drametse Ngacham dancer demonstrating some of the dance movements the day before the Drametse festival is held." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03601-BIG.jpg", "copyright": "Yoshi Shimizu", "title": "At the Thegchog Ogyen Namdroel Choeling monastery, a gomchen (lay monk), drum maker, paints the blue outline on the wooden rim of a large drum." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03602-BIG.jpg", "copyright": "Yoshi Shimizu", "title": "Fire ceremony on the eve of the Drametse festival." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=k4qFI51_JRw", "copyright": "Institute of Language and Culture Studies Semtokha - Royal University of Bhutan, 2009", "title": "Drametse Ngacham, the dance of the drums from Drametse" }, { "url": "https:\/\/www.youtube.com\/watch?v=WihYVGnqy7E", "copyright": "Institute of Language and Culture Studies Semtokha - Royal University of Bhutan, 2009", "title": "Drametse Ngacham, the dance of the drums from Drametse" }, { "url": "https:\/\/www.youtube.com\/watch?v=3Q1r8VDAJ6g", "copyright": "Institute of Language and Culture Studies Semtokha - Royal University of Bhutan, 2009", "title": "Drametse Ngacham, the dance of the drums from Drametse" } ], "sustainability": "" } }, "element_163": { "type": "element", "label": "Kabuki theatre", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00782-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00782-HUG.jpg" }, "description": "Kabuki is a Japanese traditional theatre form, which originated in the Edo period at the beginning of the seventeenth century and was particularly popular among townspeople. Originally, both men and women acted in Kabuki plays, but eventually only male actors performed the plays: a tradition that has remained to the present day. Male actors specialized in women\u2019s roles are called onnagata. Two other major role types are aragoto (rough style) and wagoto (soft style).

Kabuki plays are about historical events and moral conflict in relationships of the heart. The actors speak in a monotone voice and are accompanied by traditional instruments. The Kabuki stage is equipped with several gadgets, such as revolving stages and trapdoors through which the actors can appear and disappear. Another speciality of the Kabuki stage is a footbridge (hanamichi) that extends into the audience. Important characteristics of Kabuki theatre include its particular music, costumes, stage devices and props as well as specific plays, language and acting styles, such as the mie, in which the actor holds a characteristic pose to establish his character. Kesh\u00ff, the particular make-up, provides an element of style easily recognizable even by those unfamiliar with the art form.

After 1868, when Japan opened to Western influence, actors strove to heighten the reputation of Kabuki among the upper classes and to adapt the traditional styles to modern tastes. Today, Kabuki is the most popular of the traditional styles of Japanese drama.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kabuki-theatre-00163", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00190-BIG.jpg", "copyright": "Umemura Yutaka", "title": "Based on classical literature, Kabuki is a popular form of Japanese drama. Male actors, who also take the female roles, perform in a highly stylized way with colourful make-up and distinctive hairstyles. Music, costumes, elaborate scenery and various props combine to define the Kabuki performance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00780-BIG.jpg", "copyright": " Umemura Yutaka", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00781-BIG.jpg", "copyright": " Umemura Yutaka", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00782-BIG.jpg", "copyright": "Umemura Yutaka", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00783-BIG.jpg", "copyright": "Umemura Yutaka", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11228-BIG.jpg", "copyright": " Umemura Yutaka", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11229-BIG.jpg", "copyright": " Umemura Yutaka", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11230-BIG.jpg", "copyright": " Umemura Yutaka", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11231-BIG.jpg", "copyright": " Umemura Yutaka", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11232-BIG.jpg", "copyright": " Umemura Yutaka", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=67-bgSFJiKc", "copyright": "", "title": "Kabuki theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=fa_3FmZt9t4", "copyright": "", "title": "Kabuki theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=G71-YMHYbQI", "copyright": "", "title": "Kabuki theatre" } ], "sustainability": "" } }, "element_165": { "type": "element", "label": "Canto a tenore, Sardinian pastoral songs", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00584-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00584-HUG.jpg" }, "description": "Canto a tenore has developed within the pastoral culture of Sardinia. It represents a form of polyphonic singing performed by a group of four men using four different voices called bassu, contra, boche and mesu boche. One of its characteristics is the deep and guttural timbre of the bassu and contra voices. It is performed standing in a close circle. The solo singers chants a piece of prose or a poem while the other voices form an accompanying chorus. Most practitioners live in the region of Barbagia and other parts of central Sardinia. Their art of singing is very much embedded in the daily life of local communities. Often it is performed spontaneously in local bars called su zilleri, but also at more formal occasions, such as weddings, sheepshearings, religious festivities or the Barbaricino carnival.

The Canto a tenore encompasses a vast repertoire that varies within Sardinia. The most common melodies are the serenade boche \u2019e notte (\u2019the voice of the night\u2019) and dance songs such as the mutos, gosos and ballos. The lyrics are either ancient or contemporary poems on present-day issues, such as emigration, unemployment and politics. In this sense, the songs can be regarded as both traditional and contemporary cultural expressions.

The canto a tenore is especially vulnerable to socio-economic changes, such as the decline of the pastoral culture and the increase of tourism in Sardinia. Performances on stage for tourists tend to affect the diversity of the repertoire and the intimate manner this music was performed in its original context.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/canto-a-tenore-sardinian-pastoral-songs-00165", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00049-BIG.jpg", "copyright": " Franco Stefano Ruiu", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00186-BIG.jpg", "copyright": "Franco Stefano Ruiu", "title": "Whether spontaneously in local bars, or more formally at weddings, festivals and carnivals, Sardinian men gather to sing in circles of four. The leader sings verses, expressing both traditional and contemporary issues and the other singers respond in a complex polyphony that is marked by a deep voice quality." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00583-BIG.jpg", "copyright": " Franco Stefano Ruiu", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00584-BIG.jpg", "copyright": " Franco Stefano Ruiu", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00585-BIG.jpg", "copyright": " Franco Stefano Ruiu", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00586-BIG.jpg", "copyright": " Franco Stefano Ruiu", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=cWVCMvbGcPA", "copyright": "NDV Associati", "title": "Canto a tenore, Sardinian pastoral songs" }, { "url": "https:\/\/www.youtube.com\/watch?v=NL_9EOCcKtU", "copyright": "NDV Associati", "title": "Canto a tenore, Sardinian pastoral songs" }, { "url": "https:\/\/www.youtube.com\/watch?v=7BT17iQ8lhc", "copyright": "NDV Associati", "title": "Canto a tenore, Sardinian pastoral songs" } ], "sustainability": "" } }, "element_166": { "type": "element", "label": "Taquile and its textile art", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00623-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00623-HUG.jpg" }, "description": "The island of Taquile located in Lake Titicaca on the Peruvian High Andean Plateau, is known for its textile art, which is produced as an everyday activity by both men and women, regardless of their age, and worn by all community members.

The people of Taquile were relatively isolated from the mainland until the 1950s, and the notion of community is still very strong among them. This is reflected in the organization of community life and in collective decision-making.The weaving tradition on the island goes back to the ancient Inca, Pukara and Colla civilizations, thus keeping alive aspects of pre-Hispanic Andean cultures.

Fabrics are either knitted or woven on pre-Hispanic fourstake ground looms.The most characteristic garments are the so-called chullo, a knitted hat with an earflap, and the calendar waistband, a wide woven belt depicting the annual cycles connected to ritual and agricultural activities. The calendar waistband has attracted the interest of many researchers as it depicts elements of the oral tradition of the community and its history. Although new, contemporary symbols and images have been introduced into Taquile textile art, the traditional style and techniques have been maintained.

Taquile has a specialized school for learning Taquile handicrafts, ensuring the viability and continuity of the tradition. Tourism has contributed to the development of communal economy, which mainly consists of the textile and tourist trade.While tourism is regarded as an effective way of ensuring the continuity of the textile tradition, rising demand has led to significant changes in material, production and meaning. The Taquile population has grown considerably over recent decades, leading to resource shortages and the need to import more and more goods from the mainland.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/taquile-and-its-textile-art-00166", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00072-BIG.jpg", "copyright": " Instituto Nacional de Cultura\/Dante Villafuerte", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00209-BIG.jpg", "copyright": "Instituto Nacional de Cultura\/Dante Villafuerte", "title": "The island of Taquile in Titicaca lake is known for its weaving tradition preserving elements from pre-Hispanic Andean cultures. Weaving is done on fixed and pedal looms to produce characteristic garments. Taquile weaving uses new, contemporary symbols and images while retaining traditional styles and techniques." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00621-BIG.jpg", "copyright": "Instituto Nacional de Cultura\/Dante Villafuerte", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00622-BIG.jpg", "copyright": "Instituto Nacional de Cultura\/Dante Villafuerte", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00623-BIG.jpg", "copyright": "Instituto Nacional de Cultura\/Dante Villafuerte", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00624-BIG.jpg", "copyright": "Instituto Nacional de Cultura\/Dante Villafuerte", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00625-BIG.jpg", "copyright": "Instituto Nacional de Cultura\/Dante Villafuerte", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00626-BIG.jpg", "copyright": "Instituto Nacional de Cultura\/Dante Villafuerte", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=FHEQVn9mWAo", "copyright": "", "title": "Taquile and its textile art" }, { "url": "https:\/\/www.youtube.com\/watch?v=oGP5OAFxxh0", "copyright": "", "title": "Taquile and its textile art" }, { "url": "https:\/\/www.youtube.com\/watch?v=W5HH8kcc9Uc", "copyright": "", "title": "Taquile and its textile art" } ], "sustainability": "" } }, "element_167": { "type": "element", "label": "Mak Yong theatre", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11261-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11261-HUG.jpg" }, "description": "This ancient theatre form created by Malaysia\u2019s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

Experts believe that Mak Yong appeared well before the Islamization of the country. It was performed as a royal theatre under the direct patronage of the Kelantan Sultanate until the 1920s. Hence, the tradition was perpetuated in a rural context without forsaking the numerous refinements acquired at court, such as sophisticated costume design. A typical Mak Yong performance opens with an offering followed by dances, acting and music as well as improvised monologues and dialogues. A single story can be presented over several consecutive nights in a series of three-hour performances. In the traditional village setting, the performances are held on a temporary open stage built of wood and palm leaves. The audience sits on three sides of the stage, the fourth side being reserved for the orchestra consisting of a three-stringed spiked fiddle (rebab), a pair of doubleheaded barrel drums (gendang) and hanging knobbed gongs (tetawak). Most roles are performed by women, and the stories are based on ancient Malay folk tales peopled with royal characters, divinities and clowns. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance and spirit possession.

Mak Yong, which requires long years of training, has been preserved until the present largely through oral transmission. In today\u2019s society, few young people are willing to commit to such rigorous apprenticeships. As a result, this important tradition is undergoing steady decline, as attested by reduced dramatic and musical repertories and a shortage of seasoned performers.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mak-yong-theatre-00167", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11256-BIG.jpg", "copyright": "Department of National Heritage, Ministry of Information Communication and Culture", "title": "Mak Yong a theatrical dance: ritual segment before the beginning of Mak Yong (Buka Panggung)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11257-BIG.jpg", "copyright": "Department of National Heritage, Ministry of Information Communication and Culture", "title": "Mak Yong a theatrical dance: ritual segment before the beginning of Mak Yong (Buka Panggung)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11258-BIG.jpg", "copyright": "Department of National Heritage, Ministry of Information Communication and Culture", "title": "Mak Yong a theatrical dance: a dance song accompanied by musicians" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11259-BIG.jpg", "copyright": "Department of National Heritage, Ministry of Information Communication and Culture", "title": "Mak Yong a theatrical dance: the young Peran singing and dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11260-BIG.jpg", "copyright": "Department of National Heritage, Ministry of Information Communication and Culture", "title": "Dialog between Peran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11261-BIG.jpg", "copyright": "Department of National Heritage, Ministry of Information Communication and Culture", "title": "The end of Mak Yong performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11262-BIG.jpg", "copyright": "Department of National Heritage, Ministry of Information Communication and Culture", "title": "Mak Yong's musical instrument: 'canang'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11263-BIG.jpg", "copyright": "Department of National Heritage, Ministry of Information Communication and Culture", "title": "Mak Yong's musical instrument: 'kesi'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11264-BIG.jpg", "copyright": "Department of National Heritage, Ministry of Information Communication and Culture", "title": "Mak Yong's musical instrument: mother drum and child drum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11265-BIG.jpg", "copyright": "Department of National Heritage, Ministry of Information Communication and Culture", "title": "Mak Yong's musical instrument: 'rebab'" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RLlvYFvRU9M", "copyright": "", "title": "Mak Yong theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=Vv5rsjE9nqk", "copyright": "", "title": "Mak Yong theatre" }, { "url": "https:\/\/www.youtube.com\/watch?v=mshNYejHdzY", "copyright": "", "title": "Mak Yong theatre" } ], "sustainability": "" } }, "element_168": { "type": "element", "label": "Moussem of Tan-Tan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00543-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00543-HUG.jpg" }, "description": "The Moussem of Tan-Tan in southwest Morocco is an annual gathering of nomadic peoples of the Sahara that brings together more than thirty tribes from southern Morocco and other parts of northwest Africa. Originally this was an annual event around the month of May. Part of the agricultural and herding calendar of the nomads, these gatherings were an opportunity to group together, buy, sell and exchange foodstuffs and other products, organize camel and horse-breeding competitions, celebrate weddings and consult herbalists. The Moussem also included a range of cultural expressions such as musical performances, popular chanting, games, poetry contests and other Hassanie oral traditions.

These gatherings took the form of a Moussem (a type of annual fair with economic, cultural and social functions) in 1963 when the first Moussem of Tan-Tan was organized to promote local traditions and provide a place for exchange, meeting and celebration. The Moussem is said to have been initially associated with Mohamed Laghdaf, who resisted the Franco-Spanish occupation. He died in 1960, and his tomb lies near the town. However, between 1979 and 2004 it was not possible to hold the Moussem because of security problems in the region.

Today, the nomadic populations are particularly concerned to protect their way of life. Economic and technical upheavals in the region have profoundly altered the lifestyle of the nomadic Bedouin communities, forcing many of them to settle. Moreover, urbanization and rural exodus have contributed to the loss of many aspects of the traditional culture of these populations, such as crafts and poetry. Because of these risks, Bedouin communities rely strongly on the renewed Moussem of Tan-Tan to assist them in ensuring the survival of their know-how and traditions.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/moussem-of-tan-tan-00168", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00067-BIG.jpg", "copyright": " UNESCO\/Michel Ravassard", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00543-BIG.jpg", "copyright": " UNESCO\/Michel Ravassard", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00544-BIG.jpg", "copyright": " UNESCO\/Michel Ravassard", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00545-BIG.jpg", "copyright": " UNESCO\/Michel Ravassard", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00546-BIG.jpg", "copyright": " UNESCO\/Michel Ravassard", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00547-BIG.jpg", "copyright": " UNESCO\/Michel Ravassard", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11276-BIG.jpg", "copyright": "UNESCO\/Fernando Brugman", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11278-BIG.jpg", "copyright": "UNESCO\/Fernando Brugman", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11280-BIG.jpg", "copyright": "UNESCO\/Fernando Brugman", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11281-BIG.jpg", "copyright": "UNESCO\/Fernando Brugman", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Lwk-dy1FjDI", "copyright": "", "title": "Moussem of Tan-Tan" }, { "url": "https:\/\/www.youtube.com\/watch?v=l0NvrhvJXGM", "copyright": "", "title": "Moussem of Tan-Tan" }, { "url": "https:\/\/www.youtube.com\/watch?v=8M8fJ6SgitI", "copyright": "", "title": "Moussem of Tan-Tan" } ], "sustainability": "" } }, "element_169": { "type": "element", "label": "Mbende Jerusarema dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00591-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00591-HUG.jpg" }, "description": "The Mbende Jerusarema Dance is a popular dance style practiced by the Zezuru Shona people living in eastern Zimbabwe, especially in the Murewa and Uzumba-Maramba-Pfungwe districts.

The dance is characterized by acrobatic and sensual movements by women and men, driven by a polyrhythmic drummer accompanied by men playing woodblock clappers and by women handclapping, yodelling and blowing whistles. Unlike other drum-based East African dance styles, the Mbende Jerusarema does not rely on intricate foot stamping or a large number of drummers. Instead, the music is performed by one master drummer, and no songs or lyrics are involved.

In the course of the dance, men often crouch while jerking both arms and vigorously kicking the ground with the right leg in imitation of a burrowing mole. The dance\u2019s curious name reveals much about its vicissitudes over the centuries. Before colonial rule, this ancient fertility dance was called Mbende, the Shona word for \u201cmole\u201d, which was regarded as a symbol of fertility, sexuality and family. Under the influence of Christian missionaries, who strongly disapproved of this sexually explicit dance, the dance\u2019s name was changed to Jerusarema, deriving from the Shona adaptation of the name of the city of Jerusalem, to endow it with a religious connotation. Both names are commonly used today. In spite of its condemnation by the missionaries, the dance remained popular and became a source of pride and identity in the struggle against colonial rule.

The dance is changing its character and meaning as its enactment as an exotic animation for tourist audiences becomes more widespread. It is also increasingly used at political party rallies, where it is removed from all its original intentions. The mitumba drum, rattles and whistles, which used to accompany the dance, have successively been replaced by instruments of poor quality, contributing to the loss of the uniqueness of the Mbende music.", "list": "RL", "year": 2008, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mbende-jerusarema-dance-00169", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00587-BIG.jpg", "copyright": "", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00588-BIG.jpg", "copyright": "", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00589-BIG.jpg", "copyright": "", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00590-BIG.jpg", "copyright": "", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00591-BIG.jpg", "copyright": "", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00592-BIG.jpg", "copyright": "", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00593-BIG.jpg", "copyright": "", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00594-BIG.jpg", "copyright": "", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ltiDSchYzwY", "copyright": "", "title": "Mbende Jerusarema dance" }, { "url": "https:\/\/www.youtube.com\/watch?v=qwoaFRIr8gk", "copyright": "", "title": "Mbende Jerusarema dance" }, { "url": "https:\/\/www.youtube.com\/watch?v=whx6HFHyxf4", "copyright": "", "title": "Mbende Jerusarema dance" } ], "sustainability": "" } }, "element_173": { "type": "element", "label": "Seto Leelo, Seto polyphonic singing tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00982-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00982-HUG.jpg" }, "description": "For the Seto community living in south-eastern Estonia and the Pechory district of the Russian Federation, the tradition of ''leelo,'' an ancient polyphonic singing tradition, is a cornerstone of contemporary identity. Performed to traditional melodies and in traditional costume, leelo features a lead singer who delivers a verse line followed by a choir that joins in for the final syllables and then repeats the whole line. Although lyrics are sometimes learned from former great performers, skill in composition is the mark of an excellent lead singer. Most choirs are composed wholly of women, and the most notable lead singer is crowned on Seto Kingdom Day as the King\u2019s \u2018Mother of Song\u2019. Singing formerly accompanied nearly all daily activities in the Seto\u2019s rural communities; today, although it is increasingly restricted to stage performance, the tradition remains prominently alive in community events as a central, vibrant and highly valued element of Seto culture. Popular among tourists and a source of pride for the Seto, leelo choirs are the hubs of their community and the embodiment of local identity.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/seto-leelo-seto-polyphonic-singing-tradition-00173", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00978-BIG.jpg", "copyright": "2005 by Aivar Sepp", "title": "Kirmask is a spontaneous village feast usually held in the context of a church holiday. A kirmask features singing, dancing and instrumental music. The kirmask of Uusvada village falls on St. Peter's Day. Nowadays similar village feasts may take place at another time as well. (Uusvada, 2005)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00979-BIG.jpg", "copyright": "2005 by Aivar Sepp", "title": "Today, Seto men gather to 2005 Aivar Sepp sing both in various towns of Estonia and in Setomaa village feasts. There are only two active men's choirs of Seto leelo, but if several men skilled in leelo get together, they tend to break into spontaneous Seto singing. (Uusvada, 2005)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00980-BIG.jpg", "copyright": "2008 by Andres Ots", "title": "During the Seto Kingdom Day are held competitions for the best composer of leelo lyrics (sonoline), and for the best Seto dancer. The prizewinners sing and dance. (Varska, 2008)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00981-BIG.jpg", "copyright": "2008 by Andres Ots", "title": "In the Seto community the 2008 Andres Ots Russian Orthodox Church calendar has traditionally regulated the alternation of silent periods and periods filled with singing. Several church holidays concur with particular village feasts, kirmask. On the Day of Dormition of Virgin Mary, the Seto have always visited the town of Pechory (Petseri in Seto), to participate in the religious procession around the Pechory Monastery, followed later by a merry feast of kirmask. (Petseri, 2008)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00982-BIG.jpg", "copyright": "2007 by Merlin Loiv", "title": "The Seto Leelo Day 2007 Merlin Loiv (Leelopaiv) is a huge celebration of Seto leelo that has taken place in every fourth year since 1977. performances of Seto leelo choirs last for the whole day. The children's choirs of Varska and Obinitsa, who have also released their CDs, are frequent on this stage. The photo features children from the choir Laanotsirk. (Varska 2007)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00983-BIG.jpg", "copyright": "2007 by Merlin Loiv", "title": "Flags carried at the Seto Leelo 2007 Merlin Loiv Day (Leelopaiv) parade. The Seto community adopted their flag in 2004. In addition, several choirs have their own banners and colours. (Varska, 2007)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00984-BIG.jpg", "copyright": "2006 by Merlin Loiv", "title": "Flags carried at the Seto Leelo 2007 Merlin Loiv Day (Leelopaiv) parade. The Seto community adopted their flag in 2004. In addition, several choirs have their own banners and colours. (Varska, 2007)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00985-BIG.jpg", "copyright": "2006 by Merlin Loiv", "title": "Seto Kingdom Day of 2006 in Merlin Loiv Mikitamae. A young couple of musicians and singers Meel and Toomas Valko." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00986-BIG.jpg", "copyright": "2006 by Merlin Loiv", "title": "Seto Kingdom Day of 2006 in Mikitamae. Anastasia Puhm (in by Merlin Loiv the middle), the winner of the competition for the best composer of leelo lyrics (sonoline), in a singing contest with the choir Leiko." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00987-BIG.jpg", "copyright": "2005 by Merlin Loiv", "title": "The St. Peter's Day kirmask of 2005 in Uusvada. The townsmen Rein Jarvelill and Paul Vahelaan (with harmonica) have come for a visit and sing along with Aleftina Kund and Maria Saaremaa." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=mSXcYph-ODc", "copyright": "2008 by Eesti Rahvusringh\u00e4\u00e4ling - Estonian Public Broadcasting", "title": "" } ], "sustainability": "Women are the primary practitioners of the Seto polyphonic singing tradition. Through their singing in both informal and formal settings, female performers foster solidarity among women and recreate the cultural identity of the broader Seto community. While singing was traditionally performed as part of daily life and cultural events, today it also provides women an opportunity to perform in concerts or choirs outside of the country, raising their status in society and widening their life experiences. Seto Leelo helps women reconnect with their cultural roots and strengthens the bonds in the community. Talented female singers are respectfully referred to as the \u201cmothers of songs\u201d, and a monument was established in Obinitsa village to commemorate them. Polyphonic singing promotes respect for women, women\u2019s empowerment, and recognition of women\u2019s roles in social and cultural life. " } }, "element_191": { "type": "element", "label": "Nestinarstvo, messages from the past: the Panagyr of Saints Constantine and Helena in the village of Bulgari", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01093-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01093-HUG.jpg" }, "description": "The Nestinarstvo fire-dancing rite is the climax of the annual Panagyr ritual on the feast days of Saints Constantine and Helena (3 and 4 June) in the village of Bulgari, in the Mount Strandzha region of south-east Bulgaria. The ritual is held to ensure the well-being and fertility of the village. In the morning, consecrated and ceremonial rituals are solemnized and a procession with the sacred icons representing the two Saints travels outside the village to a spring with holy water, accompanied by drum and bagpipes. At the spring, holy water and candles are handed out to everyone present for good health. The festival culminates in a fire-dance in the evening as the highest form of veneration of the Saints. People silently form a circle around the burning embers led by the sacred drum, and the Nestinari, who are spiritual and physical leaders through whom the saints express their will, begin entering the circle and treading the embers. Formerly celebrated in some thirty nearby Bulgarian and Greek villages, Nestinarstvo remains today in Bulgari, a village of only a hundred persons. During the Panagyr, however, thousands crowd the village, including in recent years many Greeks who join the ritual.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nestinarstvo-messages-from-the-past-the-panagyr-of-saints-constantine-and-helena-in-the-village-of-bulgari-00191", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01086-BIG.jpg", "copyright": "2002 by Regional Museum Burgas", "title": "The nestinar Mrs.lvanka Zhekova is dancing in the fire, June the 2nd 2002, villa e of Bulgari" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01087-BIG.jpg", "copyright": "2004 by Regional Museum Burgas", "title": "Mrs. Katya Georgieva performing the Nestinar dance, June the 3rd 2004, villa e of Bulgari." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01088-BIG.jpg", "copyright": "2005 by Regional Museum Burgas", "title": "The village of Bulgari hidden between the green hills of Strandja Mountain - preserving for over 2 millenniums the secret of the magical fire dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01089-BIG.jpg", "copyright": "2005 by Regional Museum Burgas", "title": "Church St. Constantine and Helena in the village of Bulgari, in front is the square where every year on the 3rd of June a ritual ground of glowing embers is set up" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01090-BIG.jpg", "copyright": "2005 by Regional Museum Burgas", "title": "The House \"stolninata\" of the legendary nestinarka and oracle Baba Ziata, where the holy icons of St. Constantine and Helena, have been kept" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01091-BIG.jpg", "copyright": "2007 by Regional Museum Burgas", "title": "The procession escorting the nestinars to the ritual round of hot embers on the feast of St. Constantine and Helena. The village of Bulgari, 2007" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01092-BIG.jpg", "copyright": "2007 by Regional Museum Burgas", "title": "Nestinar dance in the glowing embers on the 3rd of June 2007, the village of Bulgari" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01093-BIG.jpg", "copyright": "2007 by Regional Museum Burgas", "title": "The chief-nestinarka Mrs. Veselina lIieva dances over the hot embers. The village of Bulgari, 2007" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01094-BIG.jpg", "copyright": "2007 by Regional Museum Burgas", "title": "The chief-nestinarka Mrs. Veselina lIieva initiating the young nestinar Kostadin in the magical fire circle. The village of Bulgari, 2007" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=-ru506gJ1iI", "copyright": "2008 Ministry of Culture of Republic of Bulgaria", "title": "" } ], "sustainability": "" } }, "element_202": { "type": "element", "label": "Grand song of the Dong ethnic group", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01131-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01131-HUG.jpg" }, "description": "A popular saying among the Dong people in Guizhou Province in southern China has it that \u2018rice nourishes the body and songs nourish the soul\u2019. Their tradition of passing on culture and knowledge in music is exemplified in the Grand Song of the Dong ethnic group, multi-part singing performed without instrumental accompaniment or a leader. The repertoire includes a range of genres such as ballads, children\u2019s songs, songs of greeting and imitative songs that test performers\u2019 virtuosity at mimicking the sounds of animals. Taught by masters to choirs of disciples, Grand Songs are performed formally in the drum-tower, the landmark venue for rituals, entertainment and meetings in a Dong village, or more spontaneously in homes or public places. They constitute a Dong encyclopaedia, narrating the people\u2019s history, extolling their belief in the unity of humans and nature, preserving scientific knowledge, expressing feelings of romantic love, and promoting moral values such as respect for one\u2019s elders and neighbours. Grand Song is performed widely today, with each village boasting various choirs divided by age and sometimes gender. In addition to disseminating their lifestyle and wisdom, it remains a crucial symbol of Dong ethnic identity and cultural heritage.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/grand-song-of-the-dong-ethnic-group-00202", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01127-BIG.jpg", "copyright": "Ministry of Culture, 2008", "title": "Antiphonal Grand Song in drum towre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01128-BIG.jpg", "copyright": "Ministry of Culture, 2008", "title": "Antiphonal holding up way song" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01129-BIG.jpg", "copyright": "Ministry of Culture, 2008", "title": "Antiphonal dancing around the drum-lower's song" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01130-BIG.jpg", "copyright": "Ministry of Culture, 2008", "title": "Chorus team learning to sing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01131-BIG.jpg", "copyright": "Ministry of Culture, 2008", "title": "Collectivity visiting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01132-BIG.jpg", "copyright": "Ministry of Culture, 2008", "title": "Drum tower Grand Song" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01133-BIG.jpg", "copyright": "Ministry of Culture, 2008", "title": "Male Grand Song" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01134-BIG.jpg", "copyright": "Ministry of Culture, 2008", "title": "Grand Song singing at festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01135-BIG.jpg", "copyright": "Ministry of Culture, 2008", "title": "Children's Grand Song" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01136-BIG.jpg", "copyright": "Ministry of Culture, 2008", "title": "Thousand people singing Grand Song" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=iaHRfLb2oOk", "copyright": "2008 Ministry of Culture", "title": "" } ], "sustainability": "" } }, "element_171": { "type": "element", "label": "Irrigators\u2019 tribunals of the Spanish Mediterranean coast: the Council of Wise Men of the plain of Murcia and the Water Tribunal of the plain of Valencia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00965-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00965-HUG.jpg" }, "description": "The irrigators\u2019 tribunals of the Spanish Mediterranean coast are traditional law courts for water management that date back to the al-Andalus period (ninth to thirteenth centuries). The two main tribunals \u2013 the Council of Wise Men of the Plain of Murcia and the Water Tribunal of the Plain of Valencia \u2013 are recognized under Spanish law. Inspiring authority and respect, these two courts, whose members are elected democratically, settle disputes orally in a swift, transparent and impartial manner. The Council of Wise Men has seven geographically representative members, and has jurisdiction over a landowners\u2019 assembly of 23,313 members. The Water Tribunal comprises eight elected administrators representing a total of 11,691 members from nine communities. In addition to their legal role the irrigators\u2019 tribunals play a key part in the communities of which they are a visible symbol, as apparent from the rites performed when judgments are handed down and the fact that the tribunals often feature in local iconography. They provide cohesion among traditional communities and synergy between occupations (wardens, inspectors, pruners, etc.), contribute to the oral transmission of knowledge derived from centuries-old cultural exchanges, and have their own specialist vocabulary peppered with Arabic borrowings. In short, the courts are long-standing repositories of local and regional identity and are of special significance to local inhabitants.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/irrigators-tribunals-of-the-spanish-mediterranean-coast-the-council-of-wise-men-of-the-plain-of-murcia-and-the-water-tribunal-of-the-plain-of-valencia-00171", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00957-BIG.jpg", "copyright": "Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia, 2005", "title": "Public session of the Council of Good Men of Murcia's Watered Land" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00958-BIG.jpg", "copyright": "Generalitat Valenciana, 2005", "title": "Public session of the Tribunal of Waters of Valencia's Watered Land" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00960-BIG.jpg", "copyright": "Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia, 2005", "title": "Tribunal of Waters' visit to a Council of Good Men's session" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00961-BIG.jpg", "copyright": "Generalitat Valenciana, 2005", "title": "The Tribunal of Waters' announces its support to the submission of the UNESCO nomination" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00962-BIG.jpg", "copyright": "Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia, 2005", "title": "Plantation on Murcia's Watered Land: ridge arrangement of soil" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00963-BIG.jpg", "copyright": "Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia, 2005", "title": "Alcantarilla waterwheel in the surroundings of Ethnological Watered Land Museum at Alcantarilla" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00964-BIG.jpg", "copyright": "Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia, 2005", "title": "Acequia or irrigation canal" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00965-BIG.jpg", "copyright": "Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia, 2005", "title": "Peasant irrigating by lifting a stopboard in the Santomera area" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00966-BIG.jpg", "copyright": "Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia, 2005", "title": "Presentation of the book Little John and the Good Men by its authoress, the Council\u2019s Secretary and the General Director for Fine Arts and Cultural Heritage of Murcia Region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02940-BIG.jpg", "copyright": "Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia, 2005", "title": "Members of the Council of Good Men of Murcia's Watered Lan on public session, wearing the traditional black loose blouse" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=-sjqLQ5wA84", "copyright": "2008 by Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia y Generalitat Valenciana", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=rIzXryNnbGg", "copyright": "2008 by Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia y Generalitat Valenciana", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=jMCWnkMNJ34", "copyright": "2008 by Servicio de Patrimonio Hist\u00f3rico de la Regi\u00f3n de Murcia y Generalitat Valenciana", "title": "" } ], "sustainability": "The Council of Wise Men of the Plain of Murcia and the Water Tribunal of the Plain of Valencia are traditional law courts for water management that are recognized under Spanish law. They represent members of various communities to administer and settle disputes. In addition to their role in sustainable water management, the associated rites and traditions are a manifestation of centuries-old cultural exchanges among the different communities. The irrigators\u2019 tribunals are a powerful cultural symbol on the Spanish Mediterranean coast. This element also links to SDG # 15: Life on Land and SDG #16: Peace, Justice and Strong Institutions." } }, "element_172": { "type": "element", "label": "Whistled language of the island of La Gomera (Canary Islands), the Silbo Gomero", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00967-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00967-HUG.jpg" }, "description": "The whistled language of La Gomera Island in the Canaries, the Silbo Gomero, replicates the islanders\u2019 habitual language (Castilian Spanish) with whistling. Handed down over centuries from master to pupil, it is the only whistled language in the world that is fully developed and practised by a large community (more than 22,000 inhabitants). The whistled language replaces each vowel or consonant with a whistling sound: two distinct whistles replace the five Spanish vowels, and there are four whistles for consonants. The whistles can be distinguished according to pitch and whether they are interrupted or continuous. With practice, whistlers can convey any message. Some local variations even point to their origin. Taught in schools since 1999, the Silbo Gomero is understood by almost all islanders and practised by the vast majority, particularly the elderly and the young. It is also used during festivities and ceremonies, including religious occasions. To prevent it from disappearing like the other whistled languages of the Canary Islands, it is important to do more for its transmission and promote the Silbo Gomero as intangible cultural heritage cherished by the inhabitants of La Gomera and the Canary Islands as a whole.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/whistled-language-of-the-island-of-la-gomera-canary-islands-the-silbo-gomero-00172", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00967-BIG.jpg", "copyright": "2008, by Gouvernement des Canaries", "title": "Ma\u00eetre siffleur dans Ie Roque del Sombrero" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00968-BIG.jpg", "copyright": "2008, by Gouvernement des Canaries", "title": "Ma\u00eetre siffleur dans Ie Roque de Agando" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00969-BIG.jpg", "copyright": "2008, by Gouvernement des Canaries", "title": "Ma\u00eetre siffleur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00970-BIG.jpg", "copyright": "2008, by Gouvernement des Canaries", "title": "Le silbo gomero a l'\u00e9cole" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00971-BIG.jpg", "copyright": "2008, by Gouvernement des Canaries", "title": "Apprenant Ie silbo gomero" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00972-BIG.jpg", "copyright": "2008, by Gouvernement des Canaries", "title": "L'enseignement du silbo gomero" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00973-BIG.jpg", "copyright": "2008, by Gouvernement des Canaries", "title": "Petite fille en train de siffler" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00975-BIG.jpg", "copyright": "2008, by Gouvernement des Canaries", "title": "Paysage de I'\u00eele de la Gomera" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02406-BIG.jpg", "copyright": "2008, by Gouvernement des Canaries", "title": "L'avenir du silbo gomero" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PgEmSb0cKBg", "copyright": "Juan Ram\u00f3n Hernandez y David Baute. Gouvernement des Canaries, 2008", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=UbVz_okyY3g", "copyright": "Juan Ram\u00f3n Hernandez y David Baute. Gouvernement des Canaries, 2008", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=WZ5QzF88SHw", "copyright": "Juan Ram\u00f3n Hernandez y David Baute. Gouvernement des Canaries, 2008", "title": "" } ], "sustainability": "" } }, "element_190": { "type": "element", "label": "Septennial re-roofing ceremony of the Kamablon, sacred house of Kangaba", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01082-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01082-HUG.jpg" }, "description": "The Malinke and other peoples of the Manden region of south-west Mali gather every seven years to celebrate when a new thatch roof is installed atop the Kamablon (or House of Speech) in the village of Kangaba. Built in 1653, the distinctive circular Kamablon of Kangaba shelters objects and furniture of high symbolic value to the community and serves as a village senate. Members of the Keita clan \u2013 descendants of the Mali Empire\u2019s founder, Sundiata Keita \u2013 and ''griots'' with the patronym Diabate are the keepers of the Kamablon\u2019s history and organizers of the ceremony. The re-roofing is an occasion to evoke the history and culture of the Manden through oral traditions and an opportunity to strengthen social bonds, settle conflicts, and predict what will happen for the next seven years. During five days, young people of 20 or 21 years of age take down the old roof and put in place a new one under the supervision and guidance of community elders who transmit on that occasion their knowledge relating to the house, its construction, history and symbolic value. Griots from the nearby village of Kela carry out homage to Sundiata and recount the oral history of the Manden region.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/septennial-re-roofing-ceremony-of-the-kamablon-sacred-house-of-kangaba-00190", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01076-BIG.jpg", "copyright": "DNPC, 2001", "title": "Vue du Kamablon, au premier plan Ie \u00ab Wassi \u00bb ou lieu de palabres de la Communaute" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01077-BIG.jpg", "copyright": "DNPC, avril 2004", "title": "Vue du Kamablon, au premier plan la cloture en haie morte" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01078-BIG.jpg", "copyright": "DNPC, 2001", "title": "Vue d'ensemble de la case sacr\u00e9e" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01079-BIG.jpg", "copyright": "DNPC, 2001", "title": "Case sacree. vue d'ensemble, au premier plan Ie puits sacre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01080-BIG.jpg", "copyright": "DNPC, avril 2004", "title": "Ru\u00e9e des populations sur les materiaux anciens et residus des nouveaux materiaux de refection de la Case sacree apres sa refection" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01081-BIG.jpg", "copyright": "DNPC, avril 2004", "title": "La foule ecoutant les griots de K\u00e9lo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01082-BIG.jpg", "copyright": "DNPC, avril 2004", "title": "Mont\u00e9e du toit du Kamablon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01083-BIG.jpg", "copyright": "DNPC, avril 2004", "title": "Case sacr\u00e9e nouvellement peinte et hissee de sa nouvelle toiture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01084-BIG.jpg", "copyright": "DNPC, avril 2004", "title": "La case sacree apresla mont\u00e9e du toit" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01085-BIG.jpg", "copyright": "DNPC, avril 2004", "title": "Dessins repr\u00e9sentatifs et symboliques execut\u00e9s sur Ie mur ext\u00e9rieur de la Case sacr\u00e9e" } ], "video": [], "sustainability": "" } }, "element_192": { "type": "element", "label": "Doina", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01539-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01539-HUG.jpg" }, "description": "Known by various names throughout Romania, the ''doina'' is a lyrical, solemn chant that is improvised and spontaneous. As the essence of Romanian folklore, until 1900 it was the only musical genre in many regions of the country. Technically, the doina can be sung in any context (outdoors, at home, at work or during wakes), and is always performed solo, with or without instrumental accompaniment (which might include the traditional straight flute, bagpipes and even improvised instruments). There are several regional variants. The doina has a wide-ranging expressive and thematic palette that spans joy, sadness, solitude, social conflicts, brigand attacks, love and so on. Expressing as it does the personal qualities, emotions and virtuosity of the creator-performer, the doina also plays an important social role by providing a cathartic outlet that strengthens solidarity. It has also given rise to other artistic genres (dances). Today, the doina is under threat locally because of a break in the line of transmission from parent to child. Although some fifteen people have been identified as representatives of the various types of doina, an environment conducive to performance and transmission must be restored in order to ensure that this important feature of Romania\u2019s intangible cultural heritage continues to flourish.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/doina-00192", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01532-BIG.jpg", "copyright": "Ion Serban, 2008", "title": "Interpr\u00e8te \u00e2g\u00e9e de la do\u00efna, Maramures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01533-BIG.jpg", "copyright": "Ion Serban, 2008", "title": "Interpr\u00e8te \u00e2g\u00e9e de la do\u00efna, Maramures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01534-BIG.jpg", "copyright": "Ion Serban, 2008", "title": "Interpr\u00e8te \u00e2g\u00e9e de la do\u00efna, Maramures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01535-BIG.jpg", "copyright": "Ion Serban, 2008", "title": "Interpr\u00e8te \u00e2g\u00e9e de la do\u00efna, Maramures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01536-BIG.jpg", "copyright": "Ion Serban, 2008", "title": "Jeune interpr\u00e8te de la do\u00efna, Maramures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01537-BIG.jpg", "copyright": "Ion Serban, 2008", "title": "Interpr\u00e8te masculin de la do\u00efna, Maramures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01538-BIG.jpg", "copyright": "Ion Serban, 2008", "title": "Interpr\u00e8te masculin de la do\u00efna instrumentale, Maramures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01539-BIG.jpg", "copyright": "Ion Serban, 2008", "title": "Interpr\u00e8te masculin de la do\u00efna instrumentale, Maramures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01540-BIG.jpg", "copyright": "Ion Serban, 2088", "title": "Interpr\u00e8te masculin de la do\u00efna instrumentale, Gorj" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01541-BIG.jpg", "copyright": "Ion Serban, 2008", "title": "Interpr\u00e8te f\u00e9minine de la do\u00efna instrumentale, Dolj" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=0260RBOsCOY", "copyright": "2008 Minist\u00e8re de la culture et des cultes - Institut d'ethnographie et de folklore 'Constantin Br\u0103iloiu' - Editions VIDEO", "title": "" } ], "sustainability": "" } }, "element_249": { "type": "element", "label": "Maloya", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01338-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01338-HUG.jpg" }, "description": "Maloya is a form of music, song and dance native to R\u00e9union Island. Of mixed racial origins since its outset, maloya was created by Malagasy and African slaves on the sugar plantations and was eventually appropriated by the whole of the island\u2019s population. Initially conceived as a dialogue between a soloist and a choir accompanied by percussion instruments, maloya exists today in an increasing variety of forms, both in terms of texts and instruments (the introduction of ''djembes,'' synthesizers, drums, etc.). Sung and danced on stage by professional or semi-professional artists, it is mixed with rock, reggae or jazz and inspires poetry and slam. Although originally dedicated to ancestral worship as part of a ritual, maloya has gradually over time become a song of lament against slavery, and for the past thirty years it has represented the island\u2019s identity. Every cultural, political and social event on the island is accompanied by maloya, which thus became a vehicle for asserting political rights. Today, it is kept alive by 300 documented groups, including a number of world-famous artists, and by specialized music teaching at the Conservatoire de la R\u00e9union. An element of national identity, an example of cultural mixing, a moral touchstone and a model for integration, maloya is nevertheless threatened by social changes and by the disappearance of its main exponents and the practice of venerating ancestors.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/maloya-00249", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01331-BIG.jpg", "copyright": "Savignan RP, 2000", "title": "Maloyer 1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01332-BIG.jpg", "copyright": "Savignan RP, 2000", "title": "Maloyer 2" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01333-BIG.jpg", "copyright": "Savignan RP, 2001", "title": "Maloyer 3" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01334-BIG.jpg", "copyright": "Savignan RP, 2000", "title": "Maloyer 6" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01335-BIG.jpg", "copyright": "Savignan RP, 2001", "title": "Maloyer 8" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01336-BIG.jpg", "copyright": "Savignan RP, 2001", "title": "Maloyer 4" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01337-BIG.jpg", "copyright": "Savignan RP, 2000", "title": "Maloyer 5" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01338-BIG.jpg", "copyright": "Savignan RP, 2001", "title": "Maloyer 7" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01339-BIG.jpg", "copyright": "Savignan RP, 2001", "title": "Maloyer 9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01340-BIG.jpg", "copyright": "Savignan RP, 2001", "title": "Maloyer 10" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=IqaU_wTA6HM", "copyright": "Imago - RFO", "title": "" } ], "sustainability": "" } }, "element_212": { "type": "element", "label": "Xi\u2019an wind and percussion ensemble", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01177-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01177-HUG.jpg" }, "description": "Xi\u2019an wind and percussion ensemble, which has been played for more than a millennium in China\u2019s ancient capital of Xi\u2019an, in Shaanxi Province, is a type of music integrating drums and wind instruments, sometimes with a male chorus. The content of the verses is mostly related to local life and religious belief and the music is mainly played on religious occasions such as temple fairs or funerals. The music can be divided into two categories, 'sitting music' and 'walking music', with the latter also including the singing of the chorus. Marching drum music used to be performed on the emperor\u2019s trips, but has now become the province of farmers and is played only in open fields in the countryside. The drum music band is composed of thirty to fifty members, including peasants, teachers, retired workers, students and others. The music has been transmitted from generation to generation through a strict master-apprentice mechanism. Scores of the music are recorded using an ancient notation system dating from the Tang and Song dynasties (seventh to thirteenth centuries). Approximately three thousand musical pieces are documented and about one hundred fifty volumes of handwritten scores are preserved and still in use.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/xi-an-wind-and-percussion-ensemble-00212", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01177-BIG.jpg", "copyright": "Shaanxi Art Research Institute, 2008", "title": "Zhongxin He, a flute performer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01178-BIG.jpg", "copyright": "Shaanxi Art Research Institute, 2008", "title": "Sitting music performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01179-BIG.jpg", "copyright": "Shaanxi Art Research Institute, 2008", "title": "Sitting music performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01180-BIG.jpg", "copyright": "Shaanxi Art Research Institute, 2008", "title": "Beating Shuangyunluo, a kind of Chinese national musical instrument consisted of several or more than twenty gongs fixed on two flexible folded shelves." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01181-BIG.jpg", "copyright": "Shaanxi Art Research Institute, 2008", "title": "A local farmer making performance in the yard" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01182-BIG.jpg", "copyright": "Shaanxi Art Research Institute, 2008", "title": "Drum-beating performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01183-BIG.jpg", "copyright": "Shaanxi Art Research Institute, 2008", "title": "Xi' an Drum Music Performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01184-BIG.jpg", "copyright": "Shaanxi Art Research Institute, 2008", "title": "Music score of Xi' an Drum Music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01185-BIG.jpg", "copyright": "Shaanxi Art Research Institute, 2008", "title": "An old folk artist beating" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01186-BIG.jpg", "copyright": "Shaanxi Art Research Institute, 2008", "title": "Xi' an drum music entering school" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=VhPcw75Bvs8", "copyright": "2008 Shaanxi Art Research", "title": "" } ], "sustainability": "" } }, "element_252": { "type": "element", "label": "Bus\u00f3 festivities at Moh\u00e1cs: masked end-of-winter carnival custom", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01356-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01356-HUG.jpg" }, "description": "The Bus\u00f3 festivities at Moh\u00e1cs in southern Hungary are a six-day carnival in late February to mark the end of winter, named for the ''bus\u00f3s,'' frightening-looking costumed people (traditionally men) wearing wooden masks and big woolly cloaks. The festival is multifaceted, including a children\u2019s costume contest, a display of the art of mask carvers and other craftspeople, the arrival of more than 500 bus\u00f3s in rowboats on the Danube for a march through the city alongside horse-drawn or motorized fantasy vehicles, the burning of a coffin symbolizing winter on a bonfire in the central square, and feasts and music throughout the city. The tradition originated with the Croatian minority in Moh\u00e1cs, but today the bus\u00f3 is a general emblem of the city and a commemoration of the great events of its history. More than a social event, the carnival is an expression of belonging to a city, a social group and a nation. It plays an important social role by offering a chance for self-expression in a communal setting. The arts underlying the festivities are preserved by self-organized groups of bus\u00f3s of all cultural backgrounds, many of whom pass on the techniques of mask carving and ritual celebration to younger generations.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/buso-festivities-at-mohacs-masked-end-of-winter-carnival-custom-00252", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01351-BIG.jpg", "copyright": "2008, by Miklos Adam", "title": "Buso with a horn" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01352-BIG.jpg", "copyright": "2008, by Miklos Adam", "title": "The procession reaches the square" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01353-BIG.jpg", "copyright": "2008, by Jakab Ferkov \/ Dorottya Kanizsai Museum", "title": "Jankele at the time of the Little Farsang'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01354-BIG.jpg", "copyright": "2008, by Tunde Minorics", "title": "Greeting people at their house with music and dance on the Monday of the Farsang" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01355-BIG.jpg", "copyright": "2008, by Tunde Minorics", "title": "Bus\u00f3s\u2019 play with a young girl" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01356-BIG.jpg", "copyright": "2008, by Miklos Adam", "title": "Next year I will dress up, too" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01357-BIG.jpg", "copyright": "2008, by Tunde Minorics", "title": "The Poklade group going from house to house on a horse-drawn wagon; on the wagon there are bus\u00f3, fair bus\u00f3 and musicians in cross-gender costume" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01358-BIG.jpg", "copyright": "2004, by Miklos Adam", "title": "The whirling crowd" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01359-BIG.jpg", "copyright": "2008, by Tunde Minorics", "title": "A group of bus\u00f3s floats the coffin representing winter down the river" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01360-BIG.jpg", "copyright": "2004, by Miklos Adam", "title": "Burning the coffin" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=dVW4_NEV7_M", "copyright": "Mih\u00e1ly Hopp\u00e1l\/European Folklore Institute, 2008", "title": "" } ], "sustainability": "" } }, "element_263": { "type": "element", "label": "Procession of the Holy Blood in Bruges", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02592-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02592-HUG.jpg" }, "description": "Each spring, 30,000 to 45,000 spectators gather in the heart of the Belgian city of Bruges to watch the Procession of the Holy Blood on Ascension Day, forty days after Easter. The colourful pageant dates back to the thirteenth century, when a citizen of Bruges is said to have brought the Relic of the Holy Blood of Jesus Christ back from the Second Crusade. Led by the thirty city notables of the Brotherhood of the Holy Blood and accompanied by brass bands, more than 1,700 citizens on foot, in carts or on horseback perform stories from the Old Testament, the life of Jesus and the history of Bruges. Then, various civic groups venerate the relic and the procession concludes with a prayer ceremony, performed in several languages to accommodate the international audience. For centuries, the ceremony has played an important role in expressing the identity of Bruges\u2019s inhabitants and in facilitating encounters with people from outside the city. Participants are a representative cross-section of ages, families and communities. Some inhabitants have participated for forty or fifty years, and \u00e9migr\u00e9s often return for \u2018Bruges\u2019s Finest Day\u2019. The Procession is a vibrant example of how a collective ceremony can unite a city through ritual enactment of its history and beliefs.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/procession-of-the-holy-blood-in-bruges-00263", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01626-BIG.jpg", "copyright": "2007, by Stad Brugge Cel Fotografie", "title": "Bruges, Procession of the Holy Blood" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02592-BIG.jpg", "copyright": "2007, by Stad Brugge Cel Fotografie", "title": "Bruges, Procession of the Holy Blood" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02594-BIG.jpg", "copyright": "2007, by Stad Brugge Cel Fotografie", "title": "Bruges, Procession of the Holy Blood" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02597-BIG.jpg", "copyright": "2007, by Stad Brugge Cel Fotografie", "title": "Bruges, Procession of the Holy Blood" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02598-BIG.jpg", "copyright": "2007, by Stad Brugge Cel Fotografie", "title": "Bruges, Procession of the Holy Blood" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02600-BIG.jpg", "copyright": "2007, by Stad Brugge Cel Fotografie", "title": "Bruges, Procession of the Holy Blood" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02601-BIG.jpg", "copyright": "2007, by Stad Brugge Cel Fotografie", "title": "Bruges, Procession of the Holy Blood" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02603-BIG.jpg", "copyright": "2007, by Stad Brugge Cel Fotografie", "title": "Bruges, Procession of the Holy Blood" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02611-BIG.jpg", "copyright": "2007, by Stad Brugge Cel Fotografie", "title": "Bruges, Procession of the Holy Blood" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Diy2OvMJnJI", "copyright": "2009 Stad Brugge", "title": "" } ], "sustainability": "" } }, "element_287": { "type": "element", "label": "Carnaval de Negros y Blancos", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01215-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01215-HUG.jpg" }, "description": "Arising out of native Andean and Hispanic traditions, the Carnaval de negros y blancos (Black and White Carnival) in San Juan de Pasto in south-western Colombia is a great celebration lasting from 28 December to 6 January each year. The celebrations begin on the 28th with the Carnival of Water \u2212 the throwing of water in homes and on the streets to initiate a festive mood. On New Year\u2019s Eve, the Old Year\u2019s parade takes place, with marchers carrying satirical figures representing celebrities and current events, and culminating in a ritual burning of the passing year. The main days of the carnival are the last two, when people of all ethnicities don black cosmetics on the first day, then white talcum on the next to symbolize equality and integrate all citizens through a celebration of ethnic and cultural difference. The Black and White Carnival is a period of intense communion, when private homes become collective workshops for the display and transmission of carnival arts and a wide range of people come together to express their views of life. The festival is especially important as the expression of a mutual desire for a future of tolerance and respect.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/carnaval-de-negros-y-blancos-00287", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01208-BIG.jpg", "copyright": "Investigacion de Carnaval - Universidad de Narino", "title": "Dec. 28 - Water Carnival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01210-BIG.jpg", "copyright": "Investigacion de Carnaval - Universidad de Narino", "title": "Dec. 31 The \"Anos Viejos\" Parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01211-BIG.jpg", "copyright": "Investigacion de Carnaval - Universidad de Narino", "title": "Jan. 2 Colonies Parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01212-BIG.jpg", "copyright": "Investigacion de Carnaval - Universidad de Narino", "title": "Jan. 3 Carnavalito (Childrens Parade)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01213-BIG.jpg", "copyright": "Investigacion de Carnaval - Universidad de Narino", "title": "Jan. 3 Chant to the Earth Parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01214-BIG.jpg", "copyright": "Investigacion de Carnaval - Universidad de Narino", "title": "Jan. 4 The \"familia Castaneda\" Parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01215-BIG.jpg", "copyright": "Investigacion de Carnaval - Universidad de Narino", "title": "Jan. 5 The Black Day" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01216-BIG.jpg", "copyright": "Investigacion de Carnaval - Universidad de Narino", "title": "Jan. 6 The White Day - The Great Parade" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4Bpr2QONaEA", "copyright": "2008 Universidad de Nari\u00f1o - Corpocarnaval - Alcaldia de Pasto - Ministerio de Cultura de Colombia", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=uawhxAcGYyM", "copyright": "2008 Universidad de Nari\u00f1o - Corpocarnaval - Alcaldia de Pasto - Ministerio de Cultura de Colombia", "title": "" } ], "sustainability": "" } }, "element_170": { "type": "element", "label": "Indonesian Batik", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00946-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00946-HUG.jpg" }, "description": "The techniques, symbolism and culture surrounding hand-dyed cotton and silk garments known as Indonesian Batik permeate the lives of Indonesians from beginning to end: infants are carried in batik slings decorated with symbols designed to bring the child luck, and the dead are shrouded in funerary batik. Clothes with everyday designs are worn regularly in business and academic settings, while special varieties are incorporated into celebrations of marriage and pregnancy and into puppet theatre and other art forms. The garments even play the central role in certain rituals, such as the ceremonial casting of royal batik into a volcano. Batik is dyed by proud craftspeople who draw designs on fabric using dots and lines of hot wax, which resists vegetable and other dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water and repeating if multiple colours are desired. The wide diversity of patterns reflects a variety of influences, ranging from Arabic calligraphy, European bouquets and Chinese phoenixes to Japanese cherry blossoms and Indian or Persian peacocks. Often handed down within families for generations, the craft of batik is intertwined with the cultural identity of the Indonesian people and, through the symbolic meanings of its colours and designs, expresses their creativity and spirituality.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/indonesian-batik-00170", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00946-BIG.jpg", "copyright": "Batik Museum Institute, Pekalongan, 2008", "title": "Hand drawing batik using a canthing tulis to apply wax-resist to cloth" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00947-BIG.jpg", "copyright": "Batik Museum Institute, Pekalongan, 2008", "title": "Applying wax-resist using a canthing cap stamp" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00948-BIG.jpg", "copyright": "Batik Museum Institute, Pekalongan, 2008", "title": "Batik expert and collector Damais looking through the album of her family batik collection" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00949-BIG.jpg", "copyright": "Batik Museum Institute, Pekalongan, 2008", "title": "Covering larger areas of cloth with wax-resist mopokilnemboki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00951-BIG.jpg", "copyright": "Batik Museum Institute, Pekalongan, 2008", "title": "School children learning the process of hand-dyeing batik in Pekalongan Batik Museum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00952-BIG.jpg", "copyright": "Hamengku Buwono X, 2008", "title": "Sri Sultan Hamengku Buwono X along with his family members wearing batik with royal patterns" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00953-BIG.jpg", "copyright": "Batik Museum Institute, Pekalongan, 2008", "title": "A craftsman making a canthing tulis pen for applying wax-resist" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00954-BIG.jpg", "copyright": "Batik Museum Institute, Pekalongan, 2008", "title": "Baby carried in a batik sling" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=wylWYSHkzoQ", "copyright": "2007 by KADIN Indonesia Foundation and Indonesia Batik Museum Institute", "title": "" } ], "sustainability": "" } }, "element_174": { "type": "element", "label": "Places of memory and living traditions of the Otom\u00ed-Chichimecas people of Tolim\u00e1n: the Pe\u00f1a de Bernal, guardian of a sacred territory", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00997-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00997-HUG.jpg" }, "description": "Living in the semi-desert zone of the state of Quer\u00e9taro in central Mexico, the Otom\u00ed-Chichimeca people have developed a range of traditions that express a unique relationship with their local topography and ecology. Their cultural environment is dominated by a symbolic triangle formed by the Zamorano and Front\u00f3n hills and the Bernal rock. It is to these sacred hills that people make annual pilgrimages bearing miraculous crosses to pray for water and divine protection, venerate their ancestors and celebrate their communal identity and continuity. Other community festivities throughout the year make up a calendar of rituals centred on water, a dangerously scarce element in this climate, and dedicated to the endurance of the Otom\u00ed-Chichimeca people. The rituals often occur in intimate family chapels dedicated to ancestors or in ''chimales,'' temporary but impressive reed structures with leaf roofs built as an offering, an emblem of endurance and a symbol of vitality and belonging. The relationship between spiritual culture and physical space is influential on the art of the region \u2013 including religious images, murals, dance and music \u2013 and the traditions that embody it are central components of the cultural identity of the community.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/places-of-memory-and-living-traditions-of-the-otomi-chichimecas-people-of-toliman-the-pena-de-bernal-guardian-of-a-sacred-territory-00174", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00988-BIG.jpg", "copyright": "2007 Government of the state of Queretaro", "title": "Preparation of a beverage called \"Amargura\" of the state of (bitterness) using a local Queretaro flower which is picked especially for this ritual, in the celebration of holy week in San Antonio de la Cal. Example of how the biodiversity is used in traditional rituals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00989-BIG.jpg", "copyright": "2007 Government of the state of Queretaro", "title": "Line of people in the pilgrimage of the cross of 2006 of the state of Maguey Manso to the Pinal Queretaro del Zomorano" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00990-BIG.jpg", "copyright": "2007 Government of the state of Queretaro", "title": "Children dancing during the festivity of San Miguel, in the locality of San Miguel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00991-BIG.jpg", "copyright": "2007 Government of the state of Queretaro", "title": "Dances performed by children in front of the Chimal during the festivity San Miguel, in the locality of San Miguel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00993-BIG.jpg", "copyright": "2007 Government of the state of Queretaro", "title": "Otom\u00ed-Chichimeca women on the graveyard on November 2nd. The\r\ncelebration of All Souls' Day" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00994-BIG.jpg", "copyright": "2007 Government of the state of Queretaro", "title": "Family Chapel of the Jasso family in the locality of San Antonio de la Cal" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00995-BIG.jpg", "copyright": "2007 Government of the state of Queretaro", "title": "Cruz de Animas (croos of the souls) which represents the souls of the forefathers, with symbols of the passion (the passion of Jesus Chist)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00997-BIG.jpg", "copyright": "2007 Government of the state of Queretaro", "title": "Character called \"Mechudo\", who represents the \"xita\" or grandparents during a celebration in Holy Week in the locality of San Antonio de la Cal" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/00998-BIG.jpg", "copyright": "2007 Government of the state of Queretaro", "title": "A Otom\u00ed-Chichimeca woman praying during the rituals of Holy Week in the locality of San Antonio de la Cal" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=tX1mghWtnCo", "copyright": "2008 by Government of the state of Quer\u00e9taro", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=_xXjOgVzF48", "copyright": "2008 by Government of the state of Quer\u00e9taro", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=jDrepnGVIGI", "copyright": "2008 by Government of the state of Quer\u00e9taro", "title": "" } ], "sustainability": "" } }, "element_175": { "type": "element", "label": "Ritual ceremony of the Voladores", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01502-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01502-HUG.jpg" }, "description": "The ritual ceremony of the Voladores (\u2018flying men\u2019) is a fertility dance performed by several ethnic groups in Mexico and Central America, especially the Totonac people in the eastern state of Veracruz, to express respect for and harmony with the natural and spiritual worlds. During the ceremony, four young men climb a wooden pole eighteen to forty metres high, freshly cut from the forest with the forgiveness of the mountain god. A fifth man, the Caporal, stands on a platform atop the pole, takes up his flute and small drum and plays songs dedicated to the sun, the four winds and each of the cardinal directions. After this invocation, the others fling themselves off the platform \u2018into the void\u2019. Tied to the platform with long ropes, they hang from it as it spins, twirling to mimic the motions of flight and gradually lowering themselves to the ground. Every variant of the dance brings to life the myth of the birth of the universe, so that the ritual ceremony of the Voladores expresses the worldview and values of the community, facilitates communication with the gods and invites prosperity. For the dancers themselves and the many others who participate in the spirituality of the ritual as observers, it encourages pride in and respect for one\u2019s cultural heritage and identity.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ritual-ceremony-of-the-voladores-00175", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01502-BIG.jpg", "copyright": "2008, by Cumbre Tajin", "title": "Palo Volador" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01503-BIG.jpg", "copyright": "Dominio Publico", "title": "Piramide de los Nichos 1930" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01504-BIG.jpg", "copyright": "2008, by Cumbre Tajin", "title": "Ninos en V" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01506-BIG.jpg", "copyright": "2008, by Cumbre Tajin", "title": "Levantamiento del Palo Volador" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01507-BIG.jpg", "copyright": "2008, by Cumbre Tajin", "title": "Permiso" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01508-BIG.jpg", "copyright": "2008, by Cumbre Tajin", "title": "Corte de Palo Volador" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01509-BIG.jpg", "copyright": "2008, by Cumbre Tajin", "title": "Camino al Campo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01510-BIG.jpg", "copyright": "2008, by Cumbre Tajin", "title": "Empalando" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01511-BIG.jpg", "copyright": "2008, by Cumbre Tajin", "title": "Gallina" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02422-BIG.jpg", "copyright": "2008, by Cumbre Tajin", "title": "Nak\u00fa" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=DINkrYj3GpY", "copyright": "2008 by Cumbre Taj\u00edn", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=jCiXU9ea9UI", "copyright": "2008 by Cumbre Taj\u00edn", "title": "" } ], "sustainability": "" } }, "element_179": { "type": "element", "label": "\u00c2\u015f\u0131kl\u0131k (minstrelsy) tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01007-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01007-HUG.jpg" }, "description": "The \u00c2\u015f\u0131kl\u0131k (minstrelsy) tradition of Turkey is performed by wandering poet-singers known as ''\u00e2\u015f\u0131ks.'' Dressed in traditional clothes and plucking a stringed ''saz,'' the \u00e2\u015f\u0131k is a common performer at weddings, in coffeehouses and during public festivals of all sorts. The \u00e2\u015f\u0131k is called in a dream to undertake a long apprenticeship in the arts of playing string and percussion instruments, singing, storytelling and repartee that form the heart of the vocation. The poems they recite, usually about love, are written in rhymed syllabic meter and end with a quatrain in which the \u00e2\u015f\u0131k utters the ''M\u00e2hlas,'' his pseudonym. Their improvisational performances may also include riddles, folk tales, verbal duels of wit and creativity with other \u00e2\u015f\u0131ks, and verses sung while the minstrel holds a needle in his mouth to force him to recite poems avoiding B, P, V, M and F sounds. Because \u00e2\u015f\u0131ks travel between communities, they help to spread cultural values and ideas and to facilitate a robust social dialogue, in part through topical poetry and social and political satire. At weddings in particular, \u00e2\u015f\u0131ks are regarded as instructors and guides whose tradition draws on and enriches Turkish literary culture and the daily lives of communities throughout the country.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/aklk-minstrelsy-tradition-00179", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01002-BIG.jpg", "copyright": "Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism, 2008", "title": "Female \u00c2\u015f\u0131k Dur\u015fen Mert presenting a performance at \u0130pek Yolu \u00c2\u015f\u0131ks Feast" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01003-BIG.jpg", "copyright": "2008, by Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "\u00c2\u015f\u0131ks are in front of \u00c2\u015f\u0131ks\u00c2\u015f\u0131k Murat \u00c7obano\u011flu Statue" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01004-BIG.jpg", "copyright": "2008, by Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "\u00c2\u015f\u0131ks and the audience" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01005-BIG.jpg", "copyright": "Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism, 2008", "title": "Zakirs uttering and the performers of Semah at a Cem ritual" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01006-BIG.jpg", "copyright": "2008, by Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "\u00c2\u015f\u0131k Murat \u00c7obano\u011flu \u00c2\u015f\u0131k Festivity: \u00c2\u015f\u0131k Ilgar \u00c7ift\u00e7i" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01007-BIG.jpg", "copyright": "2008, by Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "\u00c2\u015f\u0131k \u015eeref Ta\u015fl\u0131ova explaining \u00c2\u015f\u0131kl\u0131k" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01008-BIG.jpg", "copyright": "2008, by Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "A scene from IV. \u00c2\u015f\u0131k Murat \u00c7obano\u011flu \u00c2\u015f\u0131k Festivity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01009-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism of Turkey, 2008", "title": "\u00c2\u015f\u0131k Sabri Yoku\u015f narrating a folk tale" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01010-BIG.jpg", "copyright": "2008, by Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "A repartee performance between \u00c2\u015f\u0131k Sabri Yoku\u015f and \u00c2\u015f\u0131k Mustafa Kurbano\u011flu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01011-BIG.jpg", "copyright": "2008, by Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "\u00c2\u015f\u0131ks and the audience at H\u0131d\u0131relle festive event" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=OBxDHqiCq-I", "copyright": "2008 by Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "" } ], "sustainability": "" } }, "element_180": { "type": "element", "label": "Karag\u00f6z", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01017-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01017-HUG.jpg" }, "description": "Karag\u00f6z is a form of shadow theatre in Turkey in which figures known as ''tasvirs'' made of camel or ox hide in the shape of people or things are held on rods in front of a light source to cast their shadows onto a cotton screen. A play begins with the projection of an introductory figure to set the scene and suggest the themes of the drama, before it vanishes to the shrill sound of a whistle, giving way to a main performance that may incorporate singing, tambourine music, poetry, myth, tongue-twisters and riddles. The usually comic stories feature the main characters Karag\u00f6z and Hacivat and a host of others, including a cabaret chanteuse called Kantocu and an illusionist-acrobat named Hokkabaz, and abound in puns and imitations of regional accents. The puppets are manipulated by one lead artist, the Hayali, who may have one or more apprentice-assistants who are learning the craft by helping to create the tasvirs and accompanying the action with music. Once played widely at coffeehouses, gardens, and public squares, especially during the holy month of Ramazan, as well as during circumcision feasts, Karag\u00f6z is found today mostly in performance halls, schools and malls in larger cities where it still draws audiences. The traditional theatre strengthens a sense of cultural identity while bringing people closer together through entertainment.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/karagoz-00180", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01012-BIG.jpg", "copyright": "Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "Karag\u00f6z curtain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01013-BIG.jpg", "copyright": "2006, by Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "While Tacettin Diker, a Karag\u00f6z artist, gives information about Karag\u00f6z play" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01014-BIG.jpg", "copyright": "Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "Examples of G\u00f6stermelik (Introductory Picture): \u015eahmeran, Bah\u00e7e (Garden), Eczane (Pharmacy) and War of Alexandar the Great with Giant" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01015-BIG.jpg", "copyright": "Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "Behind of curtain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01016-BIG.jpg", "copyright": "2006, Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "While Metin \u00d6zlen, a Karag\u00f6z artist, animates a tasvir (figure)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01017-BIG.jpg", "copyright": "2007, Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "While Orhan Kurt, a Karag\u00f6z artist, produces a tasvir (figure)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01018-BIG.jpg", "copyright": "Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "Karag\u00f6z-Hacivat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01019-BIG.jpg", "copyright": "Information and Documentation Center for Folk Culture\/Ministry of Culture and Tourism", "title": "Examples of Karag\u00f6z's rolles (Bride, donkey, cock, tortoise)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01020-BIG.jpg", "copyright": "Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "Examples of Hacivat's rolles (Butterfly, frog)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01021-BIG.jpg", "copyright": "Information and Documentation Center for Folk Culture\/ Ministry of Culture and Tourism", "title": "Karag\u00f6z workshop" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=b97PRbyc1-w", "copyright": "Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism of Turkey", "title": "" } ], "sustainability": "" } }, "element_182": { "type": "element", "label": "Candombe and its socio-cultural space: a community practice", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01036-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01036-HUG.jpg" }, "description": "Every Sunday and on many holidays, the ''llamadas'' ''de'' ''tambores'' ''de'' ''candombe'' or candombe drum calls enliven the Sur, Palermo and Cord\u00f3n districts in southern Montevideo, Uruguay, home to a population of African descent. The practice of the candombe begins around communal fires as people gather to tune their drums and socialize before beginning their march. Once underway, the drum-call parade is led by the most prestigious members, from families recognized by the community for their drumming for many generations; other drummers are organized behind them in rows, and informal participants, dancers and spectators march alongside or watch from balconies. The beat of the largest and deepest drum, the ''piano,'' is distinctive to each of the three neighbourhoods, so that the organized call and response structure of the candombe both unites the districts and signals their individual identities. Transmitted within families of African descent, the candombe is recognized as an expression of resistance as well as a Uruguayan musical celebration and collective social practice deeply interwoven in the daily life of these neighbourhoods. It is also a symbol and manifestation of the memory of the community, drawing former residents back on special days to the historical nucleus of candombe.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/candombe-and-its-socio-cultural-space-a-community-practice-00182", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01032-BIG.jpg", "copyright": "2008, by Goldman", "title": "Templado de tambores" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01033-BIG.jpg", "copyright": "2008, by Goldman", "title": "Llamada de tambores calle Isla de Flores" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01034-BIG.jpg", "copyright": "2008, by Goldman", "title": "\u201cLlamada de tambores\u201d Ansina" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01035-BIG.jpg", "copyright": "2008, by Sellanes", "title": "Mural sobre calle Carlos Gardel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01036-BIG.jpg", "copyright": "2008, by Sellanes", "title": "Templado de tambores" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01037-BIG.jpg", "copyright": "2008, by Sellanes", "title": "\u201cLlamada de tambores\u201d cuerda Ejido por calle Isla de Flores" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01038-BIG.jpg", "copyright": "2008, by Sellanes", "title": "Tambor piano, detalle de lonja" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01039-BIG.jpg", "copyright": "2008, by Sellanes", "title": "Fernando \u201cLobo\u201d N\u00fa\u00f1ez y sus hijos \/ Tr\u00edo de tambores" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=0BPks0_IztU", "copyright": "2008 by Diego Lozza", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=rYR6i73UtFk", "copyright": "2008 by Diego Lozza", "title": "" } ], "sustainability": "" } }, "element_183": { "type": "element", "label": "Quan H\u1ecd B\u1eafc Ninh folk songs", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02677-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02677-HUG.jpg" }, "description": "In the provinces of B\u1eafc Ninh and B\u1eafc Giang in northern Viet Nam, many of the villages are twinned, reinforcing their relationship through social customs such as Quan h\u1ecd B\u1eafc Ninh folk songs. The songs are performed as alternating verses between two women from one village who sing in harmony, and two men from another village who respond with similar melodies, but with different lyrics. The women traditionally wear distinctive large round hats and scarves; the men\u2019s costumes include turbans, umbrellas and tunics. The more than 400 song lyrics, sung with 213 different melody variations, express people\u2019s emotional states of longing and sadness upon separation, and the happiness of the meeting of lovers, but custom forbids marrying a singing partner. Quan h\u1ecd singing is common at rituals, festivals, competitions and informal gatherings, where guests will perform a variety of verses for their hosts before singing farewell. Younger musicians of both sexes may practice the four singing techniques \u2013 restrained, resonant, ringing and staccato \u2013 at parties organized around singing. Quan h\u1ecd songs express the spirit, philosophy and local identity of the communities in this region, and help forge social bonds within and between villages that share a cherished cultural practice.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/quan-h-bc-ninh-folk-songs-00183", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01042-BIG.jpg", "copyright": "2005, by Vietnam Institute of Culture and Arts Studies", "title": "Cau river - related to Quan H\u1ecd folk songs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01044-BIG.jpg", "copyright": "2005, by Vietnam Institute of Culture and Arts Studies", "title": "Vi\u00eam X\u00e1 landscape, the original village Quan H\u1ecd in myth (H\u00f2a long commune, B\u1eafc Ninh city, B\u1eafc Ninh province)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01045-BIG.jpg", "copyright": "2008, by Vietnam Institute of Culture and Arts Studies", "title": "Vua B\u00e0 Temple, the ancestor of Quan H\u1ecd in myth (Vi\u00eam X\u00e1 village, Ho\u00e0 Phong commune, B\u1eafc Ninh city)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02676-BIG.jpg", "copyright": "2007, by Vietnam Institute of Culture and Arts Studies", "title": "One performance of Quan hQ period singing at a home (was once the baron of a group)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02677-BIG.jpg", "copyright": "2007, by Vietnam Institute of Culture and Arts Studies", "title": "One sitting style of an old pair of practitioners" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02680-BIG.jpg", "copyright": "2007, by Vietnam Institute of Culture and Arts Studies", "title": "One sitting style of an old pair of practitioners" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02681-BIG.jpg", "copyright": "2007, by Vietnam Institute of Culture and Arts Studies", "title": "A farewell scene at home" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02682-BIG.jpg", "copyright": "2008, by Vietnam Institute of Culture and Arts Studies", "title": "A farewell scene at home" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02683-BIG.jpg", "copyright": "2006, by Department of Cultural Heritage", "title": "The house which once held Quan hq period singing (Viem Xa village, Bac Ninh city, Bac Ninh province)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02686-BIG.jpg", "copyright": "2008, by Vietnam Institute of Culture and Arts Studies", "title": "One of the meetings to gather opinions from local residents for intangible heritaae inventorv" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=MlKtqU5685w", "copyright": "2008 Vietnam Institute of Culture and Arts Studies", "title": "" } ], "sustainability": "" } }, "element_184": { "type": "element", "label": "Namsadang Nori", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01060-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01060-HUG.jpg" }, "description": "Namsadang Nori, literally the \u2018all-male vagabond clown theatre\u2019, is a multifaceted folk performance tradition originally practised widely by travelling entertainers and now kept alive by professional troupes in the Republic of Korea. The performance is made up of six components: a segment of \u2018farmers\u2019 music\u2019 emphasizes the percussive sounds of metal gongs and animal-hide drums; a mask dance presents four comic scenes depicting people from different social classes; a tightrope walking act sees an acrobat on a high-wire engaged in witty exchanges with a clown below; in a puppet play, more than fifty puppets act out seven scenes together with a narrator and musicians; an acrobatic segment combines physical feats performed on the ground with comic dialogue and music; and an intricate display of hoop spinning with a wooden stick rounds out the performance. In addition to entertaining rural audiences that would surround the performers in outdoor arenas, Namsadang Nori carried an important social message. The mask dance and puppet plays in particular enacted the oppression of the lower classes as well as women in a male-dominated society. Through satire, these performances raised issues on behalf of those with no political voice and manifested ideals of equality and freedom, sustaining and inspiring the poor.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/namsadang-nori-00184", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01052-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Greeting before the performance of pungmul nori (farmers\u2019 band music)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01053-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Playing the small drum during the farmers\u2019 band music performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01054-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Mudong nori: children dance on the shoulders of adult performers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01055-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Sieve frame spinning" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01056-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Handstand and back flip" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01057-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Tightrope walking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01058-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Mask dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01059-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Professional mask dance play performers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01060-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Bier procession in the Act of Old Man Park" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01061-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Performers in a puppet play" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=abm85AMZSvE", "copyright": "2008 by Cultural Heritage Administration", "title": "" } ], "sustainability": "Namsadang Nori is a form of traditional folk theatre featuring music, masked dance, acrobatics, and puppetry. Traditionally performed in rural areas by a troupe of traveling entertainers, Namasadang Nori features satirical commentary about social issues, including the oppression of women and the poor. By creating space for the playful social critique of dominant culture, this performance genre promotes social, economic and gender equality. This element also links to SDG #5: Gender Equality and SDG #16: Peace, Justice, and Strong Institutions." } }, "element_186": { "type": "element", "label": "Yeongsanjae", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01069-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01069-HUG.jpg" }, "description": "A central element of Korean Buddhist culture, Yeongsanjae is a re-enactment of Buddha\u2019s delivery of the Lotus Sutra on the Vulture Peak in India, through which philosophical and spiritual messages of Buddhism are expressed and people in attendance develop self-discipline. Yeongsanjae begins with a ritual reception for all the saints and spirits of heaven and earth and concludes with a farewell ritual representing manners of the otherworldly realm of Buddha, with singing, ceremonial adornment and varied ritual dances such as the cymbal dance, drum dance and ceremonial robe dance. The other components include a ritual cleansing, a tea ceremony, the dedication of a rice meal to the Buddha and Bodhisattvas, a sermon inviting the audience to the door of truth and a ritual meal for the dead to congratulate them on their entry into heaven. Preserved chiefly by the Taego Order of Korean Buddhism based in Seoul, the Yeongsanjae is held in temples throughout the Republic of Korea to help all beings enter the world of truth by worshipping and admiring the Buddha and his laws and monks. The ceremony serves as an important space for transmission of values and art forms and for meditation, training and enlightenment. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/yeongsanjae-00186", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01062-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2003", "title": "Venue of the Yeongsanjae rite" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01063-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2003", "title": "Yeongsanjae featured in a traditional painting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01064-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2003", "title": "Dance praying for the attainment of the Buddha dharma" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01065-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2003", "title": "Dance offering fragrant flowers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01066-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2003", "title": "A monk striking a huge drum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01067-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2003", "title": "In praise of the Buddha\u2019s virtue" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01068-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2003", "title": "In praise of the Buddha\u2019s virtue" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01069-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage", "title": "Taking a meal as a way of self discipline" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01070-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2003", "title": "Ceremony praying for the salvation of mankind" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01071-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2003", "title": "Ceremony sending off the invited spirits" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=DdU44Z3bees", "copyright": "2008 by Cultural Heritage Administration", "title": "" } ], "sustainability": "" } }, "element_187": { "type": "element", "label": "Jeju Chilmeoridang Yeongdeunggut", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01242-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01242-HUG.jpg" }, "description": "The Jeju Chilmeoridang Yeongdeunggut is a ritual held in the second lunar month to pray for calm seas, an abundant harvest and a plentiful sea catch. The rites held at Chilmeoridang in the village of Gun-rip are representative of similar ceremonies held throughout the island of Jeju in the Republic of Korea. Village shamans perform a series of rituals to the goddess of the winds (Grandmother Yeondeung), the Dragon King Yongwang and mountain gods. The Yeondeung Welcome Rite includes a ceremony to call the gods, prayers for a good catch, and a three-act play to entertain the ancestral gods; the Yeondeung Farewell Rite two weeks later includes offerings of drinks and rice cakes, a ceremony to welcome the Dragon King, fortune telling with millet seeds, and the launching of a straw boat into the sea by the village\u2019s senior men. As the goddess Yeondeung departs on the fifteenth day, marking the arrival of spring, she sows seeds and calms the troubled waters. Besides the shamans, the Yeongdeunggut is primarily supported by the female divers and ship owners who prepare food and offer sacrifices. Both a seasonal rite and a cultural festival, this ritual is a distinctive embodiment of Jeju identity and an expression of the villagers\u2019 respect for the sea on which their livelihood depends. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/jeju-chilmeoridang-yeongdeunggut-00187", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01241-BIG.jpg", "copyright": "2007, by National Research Institute of Cultural Heritage", "title": "Chilmeoridang Shrine nestled in the hillside" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01242-BIG.jpg", "copyright": "2007, by National Research Institute of Cultural Heritage", "title": "Female divers heading to sea to prepare sacrifical offerings" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01243-BIG.jpg", "copyright": "2007, by National Research Institute of Cultural Heritage", "title": "Senior shaman Lee Yong-ok offering a prayer for female divers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01244-BIG.jpg", "copyright": "2007, by National Research Institute of Cultural Heritage", "title": "Professional performers making preparations for the Yeongdeunggut ritual" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01245-BIG.jpg", "copyright": "2007, by National Research Institute of Cultural Heritage", "title": "Senior shaman Jeong Gongcheol holding the Welcome Rite" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01246-BIG.jpg", "copyright": "2007, by National Research Institute of Cultural Heritage", "title": "Yeongdeunggut begins" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01247-BIG.jpg", "copyright": "2007, by National Research Institute of Cultural Heritage", "title": "Skill Holder Kim Yun-su invoking the gods" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01248-BIG.jpg", "copyright": "2007, by National Research Institute of Cultural Heritage", "title": "Pleading for a large haul of marine products" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01249-BIG.jpg", "copyright": "2007, by National Research Institute of Cultural Heritage", "title": "Members of the Preservation Association" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=BZ1uIR0e0bo", "copyright": "2008 by Cultural Heritage Administration", "title": "" } ], "sustainability": "" } }, "element_188": { "type": "element", "label": "Ganggangsullae", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01073-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01073-HUG.jpg" }, "description": "Ganggangsullae is a seasonal harvest and fertility ritual popular in the south-western part of the Republic of Korea, performed primarily on Korea\u2019s Thanksgiving in the eighth lunar month. Under a bright full moon, dozens of young, unmarried village women gather in a circle, join hands and sing and dance all night under the direction of a lead singer. During interludes, the women playfully mime vignettes reflecting life in a farm or fishing village, including treading on roof tiles, unrolling a mat, catching a mouse or tying herrings. The dance takes its name from the refrain repeated after each verse, although the exact meaning of the word is unknown. Once a rare break from restrictive rules governing the behaviour of rural young women who were not allowed to sing aloud or go out at night, except during the ''Chuseok'' Thanksgiving celebration, the ritual is mostly preserved today by middle-aged women in cities and taught as part of the music curriculum of elementary schools. Now practised as a performing art throughout Korea, it can be seen as a representative Korean folk art. It is an important hereditary custom drawn from the rice culture that pervaded daily life in the countryside. The easy tunes and movements can be learned quickly for this communal practice that contributes to harmony, equality and friendship among the women dancers.
", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ganggangsullae-00188", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01072-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2004", "title": "Ganggangsullae Training Center" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01073-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2004", "title": "Ganggangsullae performed at the place of its origin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01815-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2004", "title": "Stage performance at a festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01817-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2004", "title": "Current Skill Holders" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01819-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2004", "title": "Professional performers of Ganggangsullae" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01820-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2004", "title": "Imitating the Korean terrapin: several performers dance inside the circle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01823-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2004", "title": "Treading on roof tiles: the team that is fastest to walk over the bent backs of team members wins the two-group game" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01824-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2004", "title": "Playing gatekeepers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01826-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2004", "title": "Moving in a circle in Ganggangsullae" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=6D73WBzzEG4", "copyright": "2008 by Cultural Heritage Administration", "title": "" } ], "sustainability": "" } }, "element_189": { "type": "element", "label": "Cheoyongmu", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01523-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01523-HUG.jpg" }, "description": "Cheoyongmu is a court dance today performed on stage but formerly used to dispel evil spirits and pray for tranquillity at royal banquets or during exorcism rites on New Year\u2019s Eve to promote good fortune. Based on the Korean legend of Cheoyong, a son of the dragon king Yongwang, who took human form and saved his human wife from the smallpox spirit through singing and dancing, the dance is performed by five men clad in white, blue, black, red and yellow to represent the four cardinal directions and the centre. They wear the light wine-coloured mask of the man-god, with white teeth, tin earrings with a necklace of lead beads, and a black hat decorated with two peony blossoms and seven peaches to ward off evil and invite auspicious energy. The dancers move with stateliness and vigour through a variety of styles and tempos of music, punctuated by various lyrical song recitations. Part of a greater folk mythology surrounding Cheoyong, including the belief that his image carved on the gate of a house would repel smallpox and other ills, Cheoyongmu also embodies the philosophy of Confucianism, particularly the Theory of the Five Elements. The creation of the Cheoyong masks also provides a valuable opportunity for traditional craftsmanship.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cheoyongmu-00189", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01522-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Cheoyongmu featured in an ancient book" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01523-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Cheoyong symbolized by a dragon entering the port (reenactement in Cheoyongmu Festival)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01524-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Palace performance of Cheoyongmu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01525-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "1st Skill Holder Kim Cheonheung" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01526-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "2nd Skill Holder Kim Yong" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01527-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Dancers entering the stage and accompanying musicians" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01528-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Cheoyongmu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01529-BIG.jpg", "copyright": "Cultural Heritage Administration", "title": "Each dancer represents one of the five directions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01530-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Cheoyongmu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01531-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Mask of Cheoyong" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=hz38uVwbuZc", "copyright": "2008 by Cultural Heritage Administration", "title": "" } ], "sustainability": "" } }, "element_194": { "type": "element", "label": "Ijele masquerade", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01779-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01779-HUG.jpg" }, "description": "In many communities in the state of Anambra in south-eastern Nigeria, celebrations, burial ceremonies and other special occasions during the dry season to evoke fertility and a bountiful harvest feature the performance of the Ijele masquerade. The mask is about four metres tall \u2013 so large that it takes a hundred men six months of work to prepare the costume and build an outdoor house to hold it before a performance. Divided into upper and lower segments by a large python at the centre, the ijele is constructed of colourful fabric on a skeleton of bamboo sticks and decorated with figurines and depictions of every aspect of life. The towering masked figure dances at the culmination of a series of other masquerades, protected by six \u2018police\u2019 and carrying a mirror with the power to draw in and punish evildoers. Ijele mask carriers, chosen by ballot, seclude themselves for three months, during which they live on a special diet to acquire the strength necessary to don the mask. The masquerade plays a number of important roles in the community: spiritually, it marks both festive and solemn occasions; politically, it provides an opportunity to reaffirm loyalty to a chief or king; and culturally it provides a popular entertainment as young boys and girls sing and dance to the tunes of Akunechenyi music.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ijele-masquerade-00194", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01773-BIG.jpg", "copyright": " E. A. Odekanyin, 2008", "title": "ljele masquerade in the makeshift hut in preparation for performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01774-BIG.jpg", "copyright": "D. Alahiya, 2008", "title": "ljele dancing to the admiration of the spectators at Abuja carnival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01775-BIG.jpg", "copyright": " D. Alahiya, 2008", "title": "The back view of Ijele masquerade at Abuja carnival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01776-BIG.jpg", "copyright": "E. A. Odekanyin, 2008", "title": "Close up shot of the upper segment of Ijele showing the figurines and python demarcating the upper and lower segments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01777-BIG.jpg", "copyright": "D. Alahiya, 2008", "title": "Ijele masquerade spinning round during Abuja carnival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01778-BIG.jpg", "copyright": "E. A. Odekanyin, 2008", "title": "The side view of Ijele masquerade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01779-BIG.jpg", "copyright": "D. Alahiya, 2008", "title": "Picture showing the Fan Carrier, who controls Ijele masquerade in the foreground and liele in the background" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=dpCPPiae4yU", "copyright": "A.B. Ajibola, 2008", "title": "Ijele masquerade, Anambra State - Nigeria" } ], "sustainability": "" } }, "element_197": { "type": "element", "label": "Sericulture and silk craftsmanship of China", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01143-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01143-HUG.jpg" }, "description": "Sericulture and silk craftsmanship of China, based in Zhejiang and Jiangsu Provinces near Shanghai and Chengdu in Sichuan Province, have an ancient history. Traditionally an important role for women in the economy of rural regions, silk-making encompasses planting mulberry, raising silkworms, unreeling silk, making thread, and designing and weaving fabric. It has been handed down within families and through apprenticeship, with techniques often spreading within local groups. The life cycle of the silkworm was seen as representing the life, death and rebirth of human beings. In the ponds that dot the villages, silkworm waste is fed to fishes, while mud from the ponds fertilizes the mulberry trees, and the leaves in turn feed the silkworms. Near the beginning of the lunar year, silkworm farmers invite artisans into their homes to perform the story of the Goddess of the Silkworm, to ward off evil and ensure a bountiful harvest. Every April, female silkworm farmers adorn themselves with colourful flowers made of silk or paper and make harvest offerings as part of the Silkworm Flower festival. Silk touches the lives of rural Chinese in more material ways, too, in the form of the silk clothes, quilts, umbrellas, fans and flowers that punctuate everyday life.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/sericulture-and-silk-craftsmanship-of-china-00197", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01137-BIG.jpg", "copyright": "China National Silk Museum, 2008", "title": "The silk ribbon was excavated from the Qianshangyang site (3,300-2,000BC) in Huzhou of Zhejiang province. It is one of the earliest silks found to date in China." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01138-BIG.jpg", "copyright": "China National Silk Museum, 2008", "title": "Two weavers at the Chengdu Shu Silk Institute in Sichuan province are weaving Shu silk. The silk is produced on greater draw looms, and through cooperation between the drawer sitting atop the platform and the weaver sitting at the loom below treadles." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01139-BIG.jpg", "copyright": "China National Silk Museum, 2008", "title": "Holding silkworm flower temple fairs during the Qingming period in early April is one of the silkworm customs in the Taihu Lake area, which function as a pray for cocoon harvests. The photo demonstrates the Silkworm Flower Temple Fair held in Xinshi town, Deqing county, Huzhou city of Zhejiang province on April 2nd, 2008. The local silkworm farmers produced a dragon with mulberry leaves as the scales of the dragon, and performed dragon dance during the parade." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01140-BIG.jpg", "copyright": "China National Silk Museum, 2005", "title": "A silkworm farmer in Cong\u2019an village, Tongxiang of Jiaxing city, Zhejiang province, is picking mulberry leaves, the main food for silkworms." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01141-BIG.jpg", "copyright": "China National Silk Museum, 2008", "title": "Silkworm, or bombyx mori, belongs to the family Bombycidae, order Lepidoptera. Its life cycle consists of four stages: egg, larva, chrysalis (pupa) and imago (moth), and mulberry leaf is its main food. Matured silkworms spin cocoons around themselves, and the filaments are raw material for silk." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01142-BIG.jpg", "copyright": "China National Silk Museum, 2008", "title": "Shen Feng\u2019e (born in 1944), the female silkworm farmer is reeling the Tsatlee raw silk in Cong\u2019an village, Tongxiang of Jiaxing city, Zhejiang province. Tsatlee raw silk is the most famous silk made in China on the international market in the second half of the 19th century." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01143-BIG.jpg", "copyright": "China National Silk Museum, 2008", "title": "Two experts of Song-style silk, Wang Chen of the Suzhou Silk Museum and Zhu Yunxiu, inheritor of Suzhou Song-style silk, are discussing about the craftsmanship of the textile" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01144-BIG.jpg", "copyright": "China National Silk Museum, 2008", "title": "Shi Chengli, the inheritor of Stamp Rock of Shuanglin silk damask in Huzhou city, Zhejiang province, is stamping the ingot-shape rock. This is a unique post-processing technique of Shuanglin silk damask, which makes it more lustrous." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01145-BIG.jpg", "copyright": "China National Silk Museum, 2008", "title": "The Silkworm flower festival during the Qingming period in early April is a time-honoured silkworm custom as well as an important celebration that has been transmitted for more than one thousand years. During the festival, hordes of people crowd to the temple fair and pray the Goddess of Silkworm for a cocoon harvest. The photo presents the busy scene during the 13th Hanshan Mountain Silkworm Flower Festival of Huzhou held in Shanlian town, Nanxun district, Huzhou city, Zhejiang province in 2008" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01146-BIG.jpg", "copyright": "China National Silk Museum, 2004", "title": "Lu Jirong, guide of the China National Silk Museum, is giving a lecture to the pupils of Hangzhou Fuxing No2 Elementary School on silkworm breeding. The popularization of silkworm breeding knowledge is one of the social education activities carried out by the China National Silk Museum." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=UYiubgSuRUE", "copyright": "2008 by China National Silk Museum", "title": "" } ], "sustainability": "" } }, "element_199": { "type": "element", "label": "Nanyin", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01714-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01714-HUG.jpg" }, "description": "Nanyin is a musical performing art central to the culture of the people of Minnan in southern Fujian Province along China\u2019s south-eastern coast, and to Minnan populations overseas. The slow, simple and elegant melodies are performed on distinctive instruments such as a bamboo flute called the ''dongxiao'' and a crooked-neck lute played horizontally called the ''pipa,'' as well as more common wind, string and percussion instruments. Of nanyin\u2019s three components, the first is purely instrumental, the second includes voice, and the third consists of ballads accompanied by the ensemble and sung in Quanzhou dialect, either by a sole singer who also plays clappers or by a group of four who perform in turn. The rich repertoire of songs and scores preserves ancient folk music and poems and has influenced opera, puppet theatre and other performing art traditions. Nanyin is deeply rooted in the social life of the Minnan region. It is performed during spring and autumn ceremonies to worship Meng Chang, the god of music, at weddings and funerals, and during joyful festivities in courtyards, markets and the streets. It is the sound of the motherland for Minnan people in China and throughout South-East Asia. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nanyin-00199", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01714-BIG.jpg", "copyright": "Culture Bureau of Quanzhou, Fujian Province", "title": "The performance style of Nanyin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01715-BIG.jpg", "copyright": "Culture Bureau of Quanzhou, Fujian Province", "title": "The craftsmanship of Nanyin musical instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01716-BIG.jpg", "copyright": "Culture Bureau of Quanzhou, Fujian Province", "title": "Ancient music scores" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01717-BIG.jpg", "copyright": "Culture Bureau of Quanzhou, Fujian Province", "title": "Nanyin performers worship the God of Music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01718-BIG.jpg", "copyright": "Culture Bureau of Quanzhou, Fujian Province", "title": "Nanyin concert in a village barber's" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01719-BIG.jpg", "copyright": "Culture Bureau of Quanzhou, Fujian Province", "title": "Musicians with Nanyin musical instruments in hands" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01720-BIG.jpg", "copyright": "Culture Bureau of Quanzhou, Fujian Province", "title": "Nanyin performers from different places gather together and have a demonstration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01721-BIG.jpg", "copyright": "Culture Bureau of Quanzhou, Fujian Province", "title": "Students from primary and middle school learning Nanyin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01722-BIG.jpg", "copyright": "Culture Bureau of Quanzhou, Fujian Province", "title": "Performance of famous Nanyin aria" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01723-BIG.jpg", "copyright": "Culture Bureau of Quanzhou, Fujian Province", "title": "Nanyin contest" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=x0EXIrADaIU", "copyright": "2008 Culture bureau of Quanzhou, Fujian Province", "title": "" } ], "sustainability": "" } }, "element_200": { "type": "element", "label": "Craftsmanship of Nanjing Yunjin brocade", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01606-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01606-HUG.jpg" }, "description": "In the Chinese tradition of weaving Nanjing Yunjin brocade, two craftspeople operate the upper and lower parts of a large, complicated loom to produce textiles incorporating fine materials such as silk, gold and peacock feather yarn. The technique was once used to produce royal garments such as the dragon robe and crown costume; today, it is still used to make high-end attire and souvenirs. Preserved primarily in Jiangsu province in eastern China, the method comprises more than a hundred procedures, including manufacturing looms, drafting patterns, the creation of jacquard cards for programming weaving patterns, dressing the loom and the many stages of weaving itself. As they \u2018pass the warp\u2019 and \u2018split the weft\u2019, the weavers sing mnemonic ballads that remind them of the techniques they employ and enhance the cooperative, artistic atmosphere at the loom. The workers view their craft as part of a historical mission since, in addition to creating fabrics for contemporary use, yunjin is used to replicate ancient silk fabrics for researchers and museums. Named for the cloud-like splendour of the fabrics, yunjin remains popular throughout the country.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/craftsmanship-of-nanjing-yunjin-brocade-00200", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01600-BIG.jpg", "copyright": "Nanjing 'Yujin' Brocade Research Institute Company Limited, 2008", "title": "The sketch of design pattern" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01601-BIG.jpg", "copyright": "Nanjing 'Yujin' Brocade Research Institute Company Limited, 2008", "title": "Tiaohuajieben" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01602-BIG.jpg", "copyright": "Nanjing 'Yujin' Brocade Research Institute Company Limited, 2008", "title": "Silk thread, gold thread, thread made of peacocks' feathers, materials for Nanjing Yujin Brocade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01603-BIG.jpg", "copyright": "Nanjing 'Yujin' Brocade Research Institute Company Limited, 2008", "title": "Plant dyeing material" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01604-BIG.jpg", "copyright": "Nanjing 'Yujin' Brocade Research Institute Company Limited, 2008", "title": "Tao Tou, a work procedure for loom manufacturing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01605-BIG.jpg", "copyright": "Nanjing 'Yujin' Brocade Research Institute Company Limited, 2008", "title": "Fashioning a design by a twisting weave" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01606-BIG.jpg", "copyright": "Nanjing 'Yujin' Brocade Research Institute Company Limited, 2008", "title": "The gold thread by a lining knife" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01607-BIG.jpg", "copyright": "Nanjing 'Yujin' Brocade Research Institute Company Limited, 2008", "title": "Da-Hua-Lou Wooden Loom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01608-BIG.jpg", "copyright": "Nanjing 'Yujin' Brocade Research Institute Company Limited, 2008", "title": "The cloth of dragon robe in Ming Dynasty" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01609-BIG.jpg", "copyright": "Nanjing 'Yujin' Brocade Research Institute Company Limited, 2008", "title": "In the piece of Zhuanghua satin with design boys are climbing the tree, with different colored bellybands and trousers on them" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=xyyQzyvJkgg", "copyright": "2008 Nanjing 'Yunjin' Brocade Research Institute Company Limited", "title": "" } ], "sustainability": "" } }, "element_201": { "type": "element", "label": "Traditional handicrafts of making Xuan paper", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01174-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01174-HUG.jpg" }, "description": "The unique water quality and mild climate of Jing County in Anhui Province in eastern China are two of the key ingredients in the craft of making Xuan paper that thrives there. Handmade from the tough bark of the Tara Wing-Celtis or Blue Sandalwood tree and rice straw, Xuan paper is known for its strong, smooth surface, its ability to absorb water and moisten ink, and fold repeatedly without breaking. It has been widely used in calligraphy, painting and book printing. The traditional process passed down orally over generations and still followed today proceeds strictly by hand through more than a hundred steps such as steeping, washing, fermenting, bleaching, pulping, sunning and cutting \u2013 all of which lasts more than two years. The production of the \u2018Paper of Ages\u2019 or \u2018King of Papers\u2019 is a major part of the economy in Jing County, where the industry directly or indirectly employs one in nine locals and the craft is taught in local schools. True mastery of the entire complicated process is won only by a lifetime of dedicated work. Xuan paper has become synonymous with the region, where a score of artisans still keep the craft alive.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-handicrafts-of-making-xuan-paper-00201", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01167-BIG.jpg", "copyright": "Huang Feisong, 2008", "title": "Sunning Straw" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01168-BIG.jpg", "copyright": "Huang Feisong, 2008", "title": "Selecting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01169-BIG.jpg", "copyright": "Huang Feisong, 2008", "title": "Hulling Barks" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01172-BIG.jpg", "copyright": "Huang Feisong, 2008", "title": "Washing Pulp" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01173-BIG.jpg", "copyright": "Huang Feisong, 2008", "title": "Mixing Pulps" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01174-BIG.jpg", "copyright": "Huang Feisong, 2008", "title": "Papermaking" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=mMLxgkpdS-U", "copyright": "2008 Jing County, Anhui Province, China", "title": "" } ], "sustainability": "" } }, "element_203": { "type": "element", "label": "Yueju opera", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01191-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01191-HUG.jpg" }, "description": "The Chinese tradition of Yueju opera combines Mandarin operatic traditions and Cantonese dialect. Rooted in the Cantonese-speaking provinces of Guangdong and Guangxi in south-eastern China, Yueju opera is characterized by a combination of string and percussion instruments, with elaborate costumes and face painting. It also incorporates stunts and fights using real weapons and drawing on the Shaolin martial arts, as illustrated by the central Wenwusheng role that demands proficiency in both singing and fighting. It has developed a rich repertoire of stories ranging from historical epics to more realistic descriptions of daily life. An important form of recreation, the opera is also, in some rural communities, combined with ceremonial, religious and sacrificial elements into a spiritual amalgam of art and custom known as Shengongxi. Yueju opera is popular throughout China and provides a cultural bond among Cantonese speakers in the country and abroad. They view its success around the world as a point of pride, regarding the opera as an important means by which foreigners come to understand their culture. Today, the tradition is passed to new artists through both drama schools and apprenticeship programmes.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/yueju-opera-00203", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01187-BIG.jpg", "copyright": "Guandong Grand Yueju Opera Compagny, 2004", "title": "The Still of the Yueju Opera Jing Ke" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01188-BIG.jpg", "copyright": "Guandong Grand Yueju Opera Compagny, 2003", "title": "The Still of the Yueju Opera Ruiwang and Zhuangfe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01189-BIG.jpg", "copyright": "Guangzhou Red Bean Yueju Opera Compagny, 2006", "title": "The Still of the Yueju Opera A Sword of Loyalty" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01191-BIG.jpg", "copyright": "Guandong Grand Yueju Opera Compagny, 2004", "title": "The Stil of the Yueju Opera Wu Song\u2019s Havoc in the Shizilou" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01192-BIG.jpg", "copyright": "Hong Kong Heritage Museum, 2006", "title": "Yueju Opera Costume, Traditional Guangxiu Embroidery Product" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01193-BIG.jpg", "copyright": "Culture bureau of Guangzhou Municipality, 2006", "title": "The Inside of Shengong Opera Theatre for the celebration of the birth of Mazu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01194-BIG.jpg", "copyright": "Culture bureau of Guangzhou Municipality, 2006", "title": "The Audiences are Watching the Performance of the Sihuoju" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01195-BIG.jpg", "copyright": "Culture bureau of Guangzhou Municipality, 2006", "title": "The Children\u2019s Yueju Opera Training Class of Macao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01196-BIG.jpg", "copyright": "Culture bureau of Guangzhou Municipality, 2006", "title": "Guangzhou Haizhu Big Theatre-The Earliest Yueju Opera Theatre" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=w2GNsHUfrF8", "copyright": "2008 Culture bureau of Guangzhou Municipality", "title": "" } ], "sustainability": "" } }, "element_204": { "type": "element", "label": "Gesar epic tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01126-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01126-HUG.jpg" }, "description": "The ethnic Tibetan, Mongolian and Tu communities in western and northern China share the story of the ancient hero King Gesar, sent to heaven to vanquish monsters, depose the powerful, and aid the weak while unifying disparate tribes. The singers and storytellers who preserve the Gesar epic tradition perform episodes of the vast oral narrative (known as \u2018beads on a string\u2019) in alternating passages of prose and verse with numerous regional differences. Tibetan masters carry bronze mirrors and use facial expressions, sound effects and gestures to enhance their singing, while Mongolian performers are accompanied by fiddles and intersperse improvised, melodic singing with musical storytelling and oral narrative. Epic performances, often accompanied by rituals such as offerings and meditation, are embedded in the religious and daily lives of the community. For example, when a child is born, passages about King Gesar\u2019s descent into the world are sung. The hundreds of myths, folktales, ballads and proverbs handed down as part of the tradition not only serve as a form of major entertainment in rural communities but also educate listeners in history, religion, custom, morality and science. A continuing inspiration for ''thangka'' painting, Tibetan opera and other art forms, the Gesar epic imbues audiences both young and old with a sense of cultural identity and historical continuity.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gesar-epic-tradition-00204", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01117-BIG.jpg", "copyright": "IEL of CASS, 2008", "title": "Bsam-grub, a famous Gesar singer, is singing at \"The Second International Symposium on Gesar\" in Lhasa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01118-BIG.jpg", "copyright": "IEL of CASS,2008 ", "title": "Gyu-sman, a woman epic singer who inspired by dreams (vbab-grung), is in her performance of Gesar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01119-BIG.jpg", "copyright": "IEL of CASS,2008 ", "title": "Grags-pa-seng-ge, an epic singer from Vjomdya county of Chamdo Prefecture, is chanting the text adhering to the script" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01120-BIG.jpg", "copyright": "IEL of CASS, 2008", "title": "Tshe-rindbang-dus is singing the epic. He claimed himself inspired through dreams (vbab-sgrung)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01121-BIG.jpg", "copyright": "IEL of CASS, 2008", "title": "A handwritten copy of Tibetan language Gesar text, is archived in Tibet Academy of Social Sciences, Lhasa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01122-BIG.jpg", "copyright": "IEL of CASS, 2008", "title": "A handwritten copy of Gesar epic text by singer Khatsha-grags-pa from Riboche county of Chamdo Prefecture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01125-BIG.jpg", "copyright": "IEL of CASS, 2008", "title": "A variety of printed Gesar epic texts are preserved at the Institute of Ethnic Literature, Chinese Academy of Social Sciences" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01126-BIG.jpg", "copyright": "IEL of CASS, 2008", "title": "A group of young Gesar epic singers meet on the shore of the Qinohai lake" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Kv8IxLw3NWs", "copyright": "2008 by IEL of CASS", "title": "" } ], "sustainability": "" } }, "element_205": { "type": "element", "label": "Traditional firing technology of Longquan celadon", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01159-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01159-HUG.jpg" }, "description": "The city of Longquan in the coastal Chinese province of Zhejian is known for its celadon pottery and the traditional firing technology that imparts its distinctive glaze. Compounded from violet-golden clay and a mixture of burnt feldspar, limestone, quartz and plant ash, the glaze is prepared from recipes that have often been handed down for generations by teachers or within families. The glaze is applied to a fired stoneware vessel, which is then fired again in a repeated cycle of six stages of heating and cooling where precise temperatures matter a great deal: either over- or under-firing will spoil the effect. Experienced celadon artists carefully control each stage with a thermometer and by observing the colour of the flame, which reaches temperatures as high as 1310\u00ba C. The final product may take either of two styles: \u2018elder brother\u2019 celadon has a black finish with a crackle effect, while the \u2018younger brother\u2019 variety has a thick, lavender-grey and plum-green finish. With its underlying jade-like green colour, celadon fired by the family-oriented businesses of Longquan is prized as masterwork-quality art that can also serve as household ware. It is a proud symbol of the cultural heritage of the craftspeople, their city and the nation.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-firing-technology-of-longquan-celadon-00205", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01159-BIG.jpg", "copyright": "Longquan Celadon Industry Association, 2008", "title": "Work by Lu Weisun : Feeling in Winter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01160-BIG.jpg", "copyright": "Longquan Celadon Industry Association, 2008", "title": "Work by Zhang Shaobin : Blue Glazed Stationery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01163-BIG.jpg", "copyright": "Longquan Celadon Industry Association, 2008", "title": "Ancient site of Mayang Kiln, Longquan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01164-BIG.jpg", "copyright": "Longquan Celadon Industry Association, 2008", "title": "Jiggering" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01165-BIG.jpg", "copyright": "Longquan Celadon Industry Association, 2008", "title": "Engraving" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=U3kU52xtu4E", "copyright": "2008 by Longquan Celadon Industry Association", "title": "" } ], "sustainability": "" } }, "element_207": { "type": "element", "label": "Regong arts", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02317-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02317-HUG.jpg" }, "description": "In monasteries and villages along the Longwu River basin in Qinghai Province in western China, Buddhist monks and folk artists of the Tibetan and Tu ethnicity carry on the plastic arts of painting ''thangka'' and murals, crafting patchwork ''barbola'' and sculpting known collectively as the Regong arts. Their influence extends to nearby provinces and beyond to South-East Asian countries. Thangka, the art of painting religious scrolls used to venerate Buddha, uses a special brush to apply natural dyes to cloth prepared with patterns sketched in charcoal; barbola employs plant and animal forms cut from silk fabric to create soft relief art for veils and column ornaments; and wood, clay, stone or brick Regong sculpture decorates rafters, wall panels, tea tables and cabinets in both temples and homes. The technique is mainly passed from fathers to children or from masters to apprentices strictly following ancient Buddhist painting books that provide instruction on line and figure drawing, colour matching and pattern design. Characterized by a distinctively Tibetan Buddhist religion style and unique regional features, the Regong arts embody the spiritual history and traditional culture of the region and remain an integral part of the artistic life of people there today", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/regong-arts-00207", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01670-BIG.jpg", "copyright": "Qinghai Regong Art Society of China, 2008", "title": "Biography of Sakyamuni (Thang-ga)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02316-BIG.jpg", "copyright": "Qinghai Regong Art Society of China, 2008", "title": "Chisong Zande, King of Tibet (Thang-ga)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02317-BIG.jpg", "copyright": "Qinghai Regong Art Society of China, 2008", "title": "Making ofThang-ga" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02318-BIG.jpg", "copyright": "Qinghai Regong Art Society of China, 2008", "title": "Locale of Thang-ga making" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02319-BIG.jpg", "copyright": "Qinghai Regong Art Society of China, 2008", "title": "Sakyamuni (duixiu)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02320-BIG.jpg", "copyright": "Qinghai Regong Art Society of China, 2008", "title": "Sheng Gadanjiacuo (dnixiu)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02321-BIG.jpg", "copyright": "Qinghai Regong Art Society of China, 2008", "title": "Lvdumu (duixiu)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02322-BIG.jpg", "copyright": "Qinghai Regong Art Society of China, 2008", "title": "Sakyamuni (clay sculpture)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02323-BIG.jpg", "copyright": "Qinghai Regong Art Society of China, 2008", "title": "Lvdumu (clay sculpture)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02324-BIG.jpg", "copyright": "Qinghai Regong Art Society of China, 2008", "title": "Bodhisattva Wenshu (clay sculpture)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=bNyJxQ9_zO8", "copyright": "2008 Qinghai Regong Art Society of China", "title": "" } ], "sustainability": "" } }, "element_208": { "type": "element", "label": "Tibetan opera", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01153-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01153-HUG.jpg" }, "description": "Tibetan opera, the most popular traditional opera of minority ethnic groups in China, is a comprehensive art combining folk song, dance, storytelling, chant, acrobatics and religious performance. Most popular in the Qinghai-Tibetan Plateau in western China, the performance begins with a prayer ceremony, including the cleansing of the stage by hunters and blessings by the elder, and concludes with another blessing. The heart of the opera is a drama narrated by a single speaker and enacted by performers supported by groups of singers, dancers and acrobats. Actors wear traditional masks of a variety of shapes and colours that contrast with their simple makeup. Performances may take place in public squares or temples (or, today, on stage), with the centre of the space marked by a tree placed on the ground, wrapped in colourful paper and surrounded by purified water and theatrical props. Rooted in Buddhist teachings, the stories told in Tibetan opera recount the triumph of good and the punishment of evil and therefore serve a social teaching function for the community. This multifaceted representative of Tibetan art and cultural heritage also acts as a bridge among Tibetans in different parts of the country, promoting ethnic unity and pride.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/tibetan-opera-00208", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01148-BIG.jpg", "copyright": "The Research Institute of Ethnical Art in Tibet Autonomous Region of P.R of China, 2008", "title": "The Performing Circumstances in Shoton Festivals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01150-BIG.jpg", "copyright": "The Research Institute of Ethnical Art in Tibet Autonomous Region of P.R of China, 2008", "title": "The Tibetan Opera Pelma Wenba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01152-BIG.jpg", "copyright": "The Tibetan Troupe in Tibet Autonomous Region of P.R of China, 2008", "title": "The Tibetan Opera Fairy of Happiness" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01153-BIG.jpg", "copyright": "The Tibetan Troupe in Tibet Autonomous Region of P.R. of China, 2008", "title": "The Tibetan Opera Princess Wencheng" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01154-BIG.jpg", "copyright": "The Art Institute in Qinghai of P.R of China, 2008", "title": "The Tibetan Opera Religious Teaching to Gongpo Dorji" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01155-BIG.jpg", "copyright": "The Tibetan Troupe in Tibet Autonomous Region of P.R of China, 2008", "title": "The Tibetan Opera Namsa Wenbo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01156-BIG.jpg", "copyright": "The Research Institute of Ethnical Art in Tibet Autonomous Region of P.R of China, 2008", "title": "Mask of the Tibetan Opera (Bingdun Bagu)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=zSJ_HFap6TM", "copyright": "The Culture Department in Tibet Autonomous Region of P.R. of China, 2008", "title": "Tibetan opera" } ], "sustainability": "" } }, "element_209": { "type": "element", "label": "Manas", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01649-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01649-HUG.jpg" }, "description": "The Kirgiz ethnic minority in China, concentrated in the Xinjiang region in the west, pride themselves on their descent from the hero Manas, whose life and progeny are celebrated in one of the best-known elements of their oral tradition: the Manas epic. Traditionally sung by a Manaschi without musical accompaniment, epic performances takes place at social gatherings, community celebrations, ceremonies such as weddings and funerals and dedicated concerts. Regional variations abound, but all are characterized by pithy lyrics with phrases that now permeate the everyday language of the people, melodies adapted to the story and characters, and lively parables. The long epic records all the major historic events of greatest importance for the Kirgiz people and crystallizes their traditions and beliefs. The Kirgiz in China and the neighbouring Central Asian countries of Kyrgyzstan, Kazakhstan and Tajikistan regard the Manas as a key symbol of their cultural identity and the most important cultural form for public entertainment, the preservation of history, the transmission of knowledge to the young and the summoning of good fortune. One of the \u2018three major epics of China\u2019, it is both an outstanding artistic creation and an oral encyclopaedia of the Kirgiz people.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/manas-00209", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01640-BIG.jpg", "copyright": "Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage, 2008", "title": "The most talented Manaschi-Dzusup Mamay" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01641-BIG.jpg", "copyright": "Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage, 2008", "title": "Manaschi Mambetaali Aiaman is performing Manas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01642-BIG.jpg", "copyright": "Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage, 2008", "title": "Sartakun Kadirakun is singing Manas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01643-BIG.jpg", "copyright": "Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage, 2008", "title": "Gulsun Eshmat is telling Manas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01644-BIG.jpg", "copyright": "Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage, 2008", "title": "Teaching Manas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01645-BIG.jpg", "copyright": "Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage, 2008", "title": "Young boy singing Manas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01646-BIG.jpg", "copyright": "Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage, 2008", "title": "Manas draws attention from its traditional Kirgiz audiences" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01647-BIG.jpg", "copyright": "Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage, 2008", "title": "Sartakun Kadirakun, proclaimed as the national transmitter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01648-BIG.jpg", "copyright": "Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage, 2008", "title": "Children singer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01649-BIG.jpg", "copyright": "Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage, 2008", "title": "Dzusup Mamay talks with his students" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=kMDklwoLf34", "copyright": "2008 Xinjiang Safeguarding and", "title": "" } ], "sustainability": "" } }, "element_210": { "type": "element", "label": "Mongolian art of singing, Khoomei", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01661-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01661-HUG.jpg" }, "description": "The Mongolian art of singing: Khoomei, or Hooliin Chor (\u2018throat harmony\u2019), is a style of singing in which a single performer produces a diversified harmony of multiple voice parts, including a continued bass element produced in the throat. These singers may perform alone or in groups. Khoomei is practised today among Mongolian communities in several countries, especially in Inner Mongolia in northern China, western Mongolia and the Tuva Republic of Russia. Traditionally performed on the occasion of ritual ceremonies, songs express respect and praise for the natural world, for the ancestors of the Mongolian people and for great heroes. The form is reserved for special events and group activities such as horse races, archery and wrestling tournaments, large banquets and sacrificial rituals. The timing and order of songs is often strictly regulated. Khoomei has long been regarded as a central element representing Mongolian culture and remains a strong symbol of national or ethnic identity. As a window into the philosophy and aesthetic values of the Mongol people, it has served as a kind of cultural emissary promoting understanding and friendship among China, Mongolia and Russia, and has attracted attention around the world as a unique form of musical expression.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mongolian-art-of-singing-khoomei-00210", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01660-BIG.jpg", "copyright": "IMARI, 2004", "title": "Household on grassland" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01661-BIG.jpg", "copyright": "Sulde, 2005", "title": "Praying at Obo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01662-BIG.jpg", "copyright": "IMARI, 2007", "title": "Nadam Fair on grass land" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01663-BIG.jpg", "copyright": "IMARI, 2007", "title": "Lele Cart on grass land" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01664-BIG.jpg", "copyright": "IMARI, 2007", "title": "Dr Qiao Yuguang in a survey of Khoomei in Abaga Banner" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01665-BIG.jpg", "copyright": "Khogjiltu, 2007", "title": "Khogjiltu and his students" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01666-BIG.jpg", "copyright": "Khogjiltu, 2007", "title": "Khoomei Trainees in class" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01667-BIG.jpg", "copyright": "Bao Guirong, 2007", "title": "Namdag, a 93-year-old Khoomei singer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01668-BIG.jpg", "copyright": "IMARI, 2007", "title": "Khogjiltu, a famous Khoomei singer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01669-BIG.jpg", "copyright": "IMARI, 2007", "title": "Durskhakhu, a Khoomei singer" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=EOpUZ9uAKz0", "copyright": "2008 IMARI", "title": "" } ], "sustainability": "" } }, "element_211": { "type": "element", "label": "Hua\u2019er", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01632-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01632-HUG.jpg" }, "description": "In Gansu and Qinghai Provinces and throughout north-central China, people of nine different ethnic groups share a music tradition known as Hua\u2019er. The music is drawn from an extensive traditional repertoire named after ethnicities, towns or flowers (\u2018Tu People\u2019s ''ling\u2019,'' \u2018White Peony ''ling\u2019''), and lyrics are improvised in keeping with certain rules \u2013 for example, verses have three, four, five or six lines, each made up of seven syllables. Songs may tell of young love, the hard work and weariness of the farming life, the foibles of men and women or the joy of singing. The songs are also a vivid oral record of recent social developments in China as singers comment on the changes they observe around them. Hua\u2019er singers may have little schooling, but the most successful and widely respected singers today have become household names, performing widely and even creating their own institutes to pass on their art to apprentices. Whether it is being sung spontaneously by rural people working in the field or travelling or performed more formally at one of more than a hundred traditional Hua\u2019er festivals held annually in these provinces, Hua\u2019er is an important vehicle for expressing personal feelings in a social setting and cultural exchange across ethnicities, as well as a popular rural entertainment.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/hua-er-00211", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01630-BIG.jpg", "copyright": "Linxia prefectureo, 2008", "title": "Hua'er meeting in Songmingyan, Hezheng county" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01631-BIG.jpg", "copyright": "2008", "title": "Hua'er meeting in Mount Lianhuashan (black-white film)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01632-BIG.jpg", "copyright": "Hezheng County Bureau of Culture, 2008", "title": "Hua'er chorus Songmingyan, Hezheng county" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01633-BIG.jpg", "copyright": "Hezheng County Bureau of Culture, 2008", "title": "Audience at Hua'er meeting in Songmingyan, Hezheng county" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01634-BIG.jpg", "copyright": "Hezheng County Bureau of Culture, 2008", "title": "Singer Kong Gaza is singing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01635-BIG.jpg", "copyright": "Ke Yang, 2008", "title": "Hua'er meeting in Mount Erlangshan, Min county" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01636-BIG.jpg", "copyright": "Hezheng County Bureau of Culture, 2008", "title": "Hua'er meeting in Songmingyan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01637-BIG.jpg", "copyright": "Ke Yang, 2008", "title": "Hua'er meeting in Songmingyan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01638-BIG.jpg", "copyright": "Ke Yang, 2008", "title": "Antiphonal singing at Hua'er meeting in Mount Lianhuashan" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PMPm7PuVAAU", "copyright": "2008 Department of Culture of Gansu Province", "title": "" } ], "sustainability": "" } }, "element_213": { "type": "element", "label": "Farmers\u2019 dance of China\u2019s Korean ethnic group", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01112-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01112-HUG.jpg" }, "description": "Gathering in fields or villages during community festivals, members of the Korean ethnic group in Jilin and other provinces in north-eastern China offer a traditional sacrifice to the God of the Land to pay homage to nature and pray for good fortune and a plentiful harvest. This is the beginning of the farmers\u2019 dance of China\u2019s Korean ethnic group, a popular folk practice passed on by senior members of a community to younger generations. Musicians play oboe-like ''suona,'' bell-shaped gongs and a variety of drums, while masked or unmasked dancers move farcically to the accompaniment. The dance is inspired by the motions of farming, which it imitates through gestures such as \u2018walking the field ridges\u2019. Spreading from its agricultural origins to Korean people of all walks of life in both urban and rural areas, the dance has evolved considerably since it was brought to China at the end of the nineteenth century. For example, the musical ensemble has been expanded to include wind instruments and the dancers\u2019 costumes have been influenced by the clothes of other Chinese ethnic groups. As the product of accumulated labour and wisdom, the farmers\u2019 dance remains an important expression of the cultural heritage of China\u2019s Korean ethnic group. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/farmers-dance-of-china-s-korean-ethnic-group-00213", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01106-BIG.jpg", "copyright": "2008 Yanbian Culture & Art Research Center", "title": "Treading God of Earth & Sacrifice in Farmer's Music-Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01107-BIG.jpg", "copyright": "2008 Yanbian Culture & Art Research Center", "title": "Farmer's Music-Dance in the Spring Festival of 1995" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01111-BIG.jpg", "copyright": "2008 Yanbian Culture & Art Research Center", "title": "Cylindrical drum Performance in Farmer's Music-Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01112-BIG.jpg", "copyright": "Yanbian Culture & Art Research Center, 2008", "title": "Zheng & Long Drum Performance in Farmer's Music-Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01115-BIG.jpg", "copyright": "2008 Yanbian Culture & Art Research Center", "title": "Special Trick Performance of \u00ab Elephant Hat \u00bbDance in Farmer's Music-Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01116-BIG.jpg", "copyright": "2008 Yanbian Culture & Art Research Center", "title": "Farmer's Music-Dance by Bonfire" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=55M0kqCD1E4", "copyright": "2008 Yanbian Culture & Art", "title": "" } ], "sustainability": "" } }, "element_216": { "type": "element", "label": "Chinese calligraphy", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01585-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01585-HUG.jpg" }, "description": "Chinese calligraphy has always been more than simply a tool for communication, incorporating as it does the element of artistry for which the practice is still valued in an age of ballpoint pens and computers. Indeed, calligraphy is no longer the basic tool of intellectuals and officials but has become the preserve of professional artisans and amateur enthusiasts. Whether they are recording information or simply creating beautiful forms, calligraphers\u2019 brushes are used to ink five different styles of script, known as \u2018seal\u2019, \u2018official\u2019, \u2018cursive\u2019, \u2018running\u2019 and \u2018regular\u2019. The art may appear on any writing surface \u2013 even the rocky walls of cliffs \u2013 but it is especially common on letters, scrolls, works of literature and fan coverings. Today, in addition to traditional master-apprentice instruction, calligraphy is also taught at school. Many ceremonies that mark national celebrations and religious rituals incorporate the practice and calligraphy has itself proved influential on modern art, architecture and design. In its distinctive Chinese form, calligraphy offers an important channel for the appreciation of traditional culture and for arts education. It is also a source of pride and pleasure for the Chinese people and embodies important aspects of the country\u2019s intellectual and artistic heritage.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chinese-calligraphy-00216", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01581-BIG.jpg", "copyright": "Yan Xiaofei, 2008", "title": "The most ancient characters of China - the characters inscribed into the tortoise shells or animal bones in the Shang Dynasty (about 14th-11th century B.C.)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01582-BIG.jpg", "copyright": "Chai Tianlin, 2008", "title": "Characters written on wood pieces dated back to the Western Han Dynasty (206-25 B.C.)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01583-BIG.jpg", "copyright": "Xiao Wenfei, 2008", "title": "Statue captions from Longmen Grottoes of Luoyang, Henan Province, dated back to 498 A.D." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01585-BIG.jpg", "copyright": "Xiao Wenfei, 2007", "title": "The Orchid Pavilion Foreword, the masterpiece of Wang Xizhi (303-361 A.D.), a calligraphy \"Saint\"." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01586-BIG.jpg", "copyright": "Ren Yanmei, 2004", "title": "The Chinese Calligraphy Institute of Chinese National Academy of Arts, a national level institution for calligraphy creation and research, was established on November 26th, 2004." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01587-BIG.jpg", "copyright": "Xiao Wenfei, 2004", "title": "The government has lent strong support to various calligraphy activities. (The photos feature a calligraphy exhibition held at the National Art Museum of China in November 2005)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01588-BIG.jpg", "copyright": "Chai Tianlin, 2005", "title": "The teaching activities of the calligraphy major at the institutions of higher education. (In the photos, the experts of the Chinese Calligraphy Institute of Chinese National Academy of Arts are demonstrating the skills to the students)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01589-BIG.jpg", "copyright": "Yan Xiaofei, 2005", "title": "Children and teenagers participated in calligraphy classes held during summer and winter breaks. (The photos feature the teaching activities of a calligraphy school in Yueyang City, Hunan Province)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=NX9KWErcHOQ", "copyright": "", "title": "" } ], "sustainability": "" } }, "element_318": { "type": "element", "label": "Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02392-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02392-HUG.jpg" }, "description": "Indonesian Batik is a traditional hand-crafted dye-resist textile rich in intangible cultural values, passed down for generations in Java and elsewhere since the early nineteenth century. The batik community noted the younger generation\u2019s interest in batik was waning, and felt the need to increase efforts to transmit batik cultural heritage to guarantee its safeguarding. The main objective of the programme is therefore to increase the awareness and appreciation of the cultural heritage of Indonesian batik, including its history, cultural values and traditional skills, among the younger generation. Law No. 20 of 2003 makes it possible to include batik culture in curricula as \u2018local content\u2019 in areas having batik cultural heritage, such as Pekalongan City. The Batik Museum initiated the programme in 2005, in close cooperation with the educational authorities of the city, and it continues to expand to Pekalongan District and neighbouring Batang, Pemalang and Tegal districts. This programme, whose effectiveness has been demonstrated through evaluations, constitutes an effort to (a) safeguard intangible cultural heritage by ensuring its transmission to the next generation, (b) ensure respect for the intangible cultural heritage by giving Indonesian Batik a respectable place as local content within the curricula of various strata of formal education, beginning from elementary, junior, senior and vocational schools up to polytechnic, and (c) raise awareness of the importance of intangible cultural heritage at the local, national and hopefully international level.", "list": "GSP", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/education-and-training-in-indonesian-batik-intangible-cultural-heritage-for-elementary-junior-senior-vocational-school-and-polytechnic-students-in-collaboration-with-the-batik-museum-in-pekalongan-00318", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02371-BIG.jpg", "copyright": "2008 by Batik Museum Institute, Pekalongan", "title": "Drawing Batik Patterns" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02384-BIG.jpg", "copyright": "2008 by Batik Museum Institute, Pekalongan", "title": "4th Generation batik maker\r\nNaomi with Lasem style batik" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02392-BIG.jpg", "copyright": "2008 by Batik Museum Institute, Pekalongan", "title": "The main exhibition hall at Pekalongan Batik Museum" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=WJ9a1c_m8Vo", "copyright": "", "title": "15 minutes" }, { "url": "https:\/\/www.youtube.com\/watch?v=N4C2hXXzuk8", "copyright": "", "title": "15 minutes" } ], "sustainability": "" } }, "element_299": { "type": "element", "label": "Safeguarding intangible cultural heritage of Aymara communities in Bolivia, Chile and Peru", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01841-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01841-HUG.jpg" }, "description": "The proposed sub-regional project aims at developing safeguarding measures to ensure the viability of the oral expressions, music and traditional knowledge (textile art and agricultural technologies) of the Aymara communities of Bolivia (La Paz-Oruro-Potos\u00ed), Chile (Tarapac\u00e1-Arica-Parinacota-Antofagasta) and Peru (Tacna-Puno-Moquegua). The activities, planned for implementation over the course of a five-year project, are: (i) identifying and inventorying the traditional knowledge and oral traditions of Aymara communities in the selected areas, (ii) strengthening language as a vehicle for transmission of the intangible cultural heritage through formal and non-formal education, (iii) promoting and disseminating Aymara oral and musical expressions and (iv) reinforcing traditional knowledge related to the production of textile arts and traditional agricultural techniques. These four lines of action of the planned project have been established as priorities by the Aymara communities in the different phases of consultation and preparation of the project and they will be implemented with the full involvement of the communities, guided by the 2003 Convention\u2019s principles. The project intends to adopt as its working strategy the creation of a subregional and international network comprising individuals, communities, groups, cultural managers, specialists, indigenous organizations, research centres, NGOs and Governments, to promote the exchange of experience, information and training in order to strengthen capacities in the region.", "list": "GSP", "year": 2009, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/BSP\/safeguarding-intangible-cultural-heritage-of-aymara-communities-in-bolivia-chile-and-peru-00299", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01833-BIG.jpg", "copyright": "Dolores Charaly, 1990", "title": "Ni\u00f1os aymara de Jayuma Llallawa. Municipio de Coro Coro. Bolivia." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01834-BIG.jpg", "copyright": "Dolores Charaly, 1990", "title": "Ni\u00f1os plantando cebolla, educacion productiva. Comunidad de Jisk'aqollu. Municipio de Patacamaya. Bolivia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01835-BIG.jpg", "copyright": "Dolores Charaly, 1990", "title": "Te\u00f1ido de lana con tintes naturales para tejido tradicional. Comunidad de Jisk'aqollu. Municipio de Patacamaya. Bolivia." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01841-BIG.jpg", "copyright": "Elias Ticona, 2008", "title": "Ceremonia del floreo de llamas, Maximiliano Mamani y familia. Tarapaca-Chile" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01842-BIG.jpg", "copyright": "Elias Ticona, 2008", "title": "Musicos tocando la bandola. Tarapaca-Chile" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01843-BIG.jpg", "copyright": "Elias Ticona, 2008", "title": "Mesa ceremonial en el corral de llamas. Tarapaca-Chile" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01844-BIG.jpg", "copyright": "Pedro Roel Mendizabal, 2005", "title": "Miembro de la Morenada en Fiesta de San Isidro Labrador. Conima, Moho, Puno, Peru" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01847-BIG.jpg", "copyright": "Pedro Roel Mendizabal, 2005", "title": "Mujeres participan en la Fiesta de San Isidro Labrador. Conima, Moho, Puno." } ], "video": [], "sustainability": "This safeguarding project for the oral expressions, music and traditional knowledge of the Aymara communities in Bolivia, Chile and Peru exemplifies a good practice of sub-regional cooperation that involves various sectors and stakeholders. In addition to the respective communities, NGOs, governmental bodies, research institutions and experts take part in the participatory approach that entails a wide array of safeguarding measures such as identification and inventorying, dissemination, transmission, and reinforcement. The project targets different kinds of intangible cultural heritage of the Aymara communities in three neighboring countries, promoting a greater awareness and collaboration at the international level. The project also links to SDG #2 Zero Hunger, SDG #4 Quality Education, and SDG #8 Decent Work and Economic Growth." } }, "element_217": { "type": "element", "label": "Art of Chinese seal engraving", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01273-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01273-HUG.jpg" }, "description": "The art of seal engraving is a cornerstone of Chinese fine arts. The seal was originally used as a signature or sign of authority, but it came to be used by all social classes and in much of Asia. The Seal Engravers\u2019 Society of Xiling in Zhejiang Province, central China, which was founded a century ago, preserves the art of seal engraving along with approximately a hundred other specialized institutions. The design is first sketched on paper, and then engraved on stone, in reverse, with a knife. In addition to mastery of traditional calligraphy, the art of engraving requires a high degree of virtuosity, since the artist works on a tiny surface area where every curve, every thickness of line counts. The very diverse motifs are the fruit of the artist\u2019s imagination and culture. As an instrument of calligraphy and painting, the seal is a work of art in itself. It expresses an entire culture\u2019s ideas about humankind and nature. Today, seals continue to be used in official documents and private correspondence. Even though those understanding the complex characters are ever fewer, the art of seal engraving is still practised by both professionals and amateurs.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/art-of-chinese-seal-engraving-00217", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01273-BIG.jpg", "copyright": "Luo PengPeng, 2008", "title": "Engrave inscription with a graver on the stone surface" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01274-BIG.jpg", "copyright": "Luo PengPeng, 2008", "title": "Engrave inscription with a graver on one side of a stone" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01276-BIG.jpg", "copyright": "Luo PengPeng, 2008", "title": "Seal surface and its impression" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01554-BIG.jpg", "copyright": "Luo PengPeng, 2008", "title": "Side inscription and its rubbing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01555-BIG.jpg", "copyright": "Luo PengPeng, 2008", "title": "Yinping is a collection of impressions and side rubbings from several seals on a screen or a piece of paper. Picture shows Collection of Seals Xiling Seal-Engraver's Society, produced by Han Deng'an, member of the Society." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01556-BIG.jpg", "copyright": "Luo PengPeng, 2008", "title": "Yinpu is a book of impressions and side rubbings from several seals. Picture shows Collection of Impressions of Ancient Seals, grade-one cultural relics of China." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01557-BIG.jpg", "copyright": "Luo PengPeng, 2008", "title": "Tools for engraving: graver, stone, writing brush, inkpad, ink, and any book of ancient seals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01558-BIG.jpg", "copyright": " Luo PengPeng, 2008", "title": "Materials for engraving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01559-BIG.jpg", "copyright": "Luo PengPeng, 2008", "title": "An official's seal, Han Dynasty (206 B.C. - A.D. 220)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01569-BIG.jpg", "copyright": "Luo PengPeng, 2008", "title": "Luo Pengpeng was engraving a seal on September 19, 2007. Luo is an outstanding engraver carrying forward the Chinese engraving art." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=T8nBkIOESO4", "copyright": "\u9a86\u8283\u8283 (LUO Peng Peng), 2008", "title": "" } ], "sustainability": "" } }, "element_219": { "type": "element", "label": "Chinese paper-cut", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01593-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01593-HUG.jpg" }, "description": "Present throughout China and in various ethnic groups, paper-cut is a popular art integral to everyday lives. A predominantly female pursuit, it is transmitted from mother to daughter over a long period of time, beginning in childhood, and is particularly common in rural areas. It earns the most skilful artists respect and admiration. Many techniques are used: the paper can be cut or engraved with a chisel, coloured or left blank. Increasingly, modern technologies are used. Motifs, which vary greatly and are often devised by the artist, depend on the region of origin (for example, in southern China fine and delicate motifs predominate) and the purpose of the product, which might be used for interior decor (windows, beds and ceilings), festivities (weddings, birthdays and ceremonies), or prayers (invoking the rain, warding off the devil, and so on). As a key part of Chinese social life in all ethnic groups, paper-cut expresses the moral principles, philosophies and aesthetic ideals of its exponents. It continues to provide an outlet for emotion and is experiencing an unprecedented revival.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chinese-paper-cut-00219", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01590-BIG.jpg", "copyright": "Buyang City, Anhui Province", "title": "Kwan-yin, 36 x 51cm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01591-BIG.jpg", "copyright": "Zhangpu County, Fujian Province", "title": "Chinese Zodiac, 25.5 x l7cm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01592-BIG.jpg", "copyright": "Zhenyuan County, Gansu Province", "title": "A Pot Lotus Giving Birth to a Child, 33 x 23cm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01593-BIG.jpg", "copyright": "Taijiang County, Guizhou Province", "title": "Gujiu and the Elephant, 23 x 20cm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01594-BIG.jpg", "copyright": "Weixian County, Hebei Province - Madame Ma Fangsi (Duplicate)", "title": "Ping Huang Liang, 7 x 10.5 cm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01595-BIG.jpg", "copyright": "Xinbin County, Jilin Province", "title": "Legend of Manchu People, 35 x 39cm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01596-BIG.jpg", "copyright": "Ansai County, Shaanxi Province", "title": "Ushering in Happiness and Longevity, 79 x 60 cm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01597-BIG.jpg", "copyright": "Xunyi County, Shaanxi Province", "title": "Paper-cutting Lady, 132 x 128 cm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01598-BIG.jpg", "copyright": "Luxi City, Dehong Prefecture, Yunnan Province", "title": "Buddhist Temple, 53.5 x 76 cm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01599-BIG.jpg", "copyright": "Yueqing County, Zhejiang Province", "title": "Flying Dragon Foretells Good Harvest, 22 x 27 cm" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=38yCVgK8qoI", "copyright": "2008 Shaanxi culture Department", "title": "" } ], "sustainability": "" } }, "element_223": { "type": "element", "label": "Chinese traditional architectural craftsmanship for timber-framed structures", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01610-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01610-HUG.jpg" }, "description": "Standing as distinctive symbols of Chinese architectural culture, timber-framed structures are found throughout the country. The wooden components such as the columns, beams, purlins, lintel and bracket sets are connected by tenon joints in a flexible, earthquake-resistant way. The surprisingly strong frames can be installed quickly at the building site by assembling components manufactured in advance. In addition to this structural carpentry, the architectural craft also encompasses decorative woodworking, tile roofing, stonework, decorative painting and other arts passed down from masters to apprentices through verbal and practical instruction. Each phase of the construction procedure demonstrates its unique and systematic methods and skills. Employed today mainly in the construction of structures in the traditional style and in restoring ancient timber-framed buildings, Chinese traditional architectural craftsmanship for timber-framed structures embodies a heritage of wisdom and craftsmanship and reflects an inherited understanding of nature and interpersonal relationships in traditional Chinese society. For the carpenters and artisans who preserve this architectural style, and for the people who have lived in and among the spaces defined by it for generations, it has become a central visual component of Chinese identity and an important representative of Asian architecture.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chinese-traditional-architectural-craftsmanship-for-timber-framed-structures-00223", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01610-BIG.jpg", "copyright": "Liu Tuo, 2005", "title": "Bracket Set (Dougong) at the Confucius Temple, Beijing (does not correspond to photo)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01611-BIG.jpg", "copyright": "Palace Museum, 2000", "title": "The Hall of Supreme Harmony in the Forbidden Citv, Beijing (does not correspond to photo)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01612-BIG.jpg", "copyright": "Liu Tuo, 2001", "title": "The Temple of Heaven, Beijing (does not correspond to photo)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01613-BIG.jpg", "copyright": "Zhao Yuchun, 2000", "title": "Xianling Mausoleum of Ming Dynasty, Beijing, the tomb of Emperor Zhu Gaochi (does not correspond to photo)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01614-BIG.jpg", "copyright": "Liu Tuo, 2006", "title": "The Summer Palace, Beijing, one of the roval gardens (does not correspond to photo)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01615-BIG.jpg", "copyright": "Zhao Yuchun, 2006", "title": "The Ancient City Gate, Xi'an (does not correspond to photo)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01616-BIG.jpg", "copyright": "Zhao Yuchun, 1999", "title": "Imperial Palaces of the Ming and Qing Dynasties" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01617-BIG.jpg", "copyright": "Liu Tuo, 2001", "title": "Tuisi Garden, Jiangsu, one of the famous gardens in southern China (does not correspond to photo)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01618-BIG.jpg", "copyright": "Liu Tuo, 2000", "title": "The Internal Space of the Temple of Heaven, Beijing (does not correspond to photo)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01619-BIG.jpg", "copyright": "Liu Tuo, 2006", "title": "South Lake, Hongcun, Xi County in Anhui, a representative of Huizhou residential areas (does not correspond to photo)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Tq6TJ8ORgYc", "copyright": "2008 by the Institute of Architectural Art of Chinese Academy of Art", "title": "" } ], "sustainability": "Chinese traditional craftsmanship for timber-framed structures is a skill that has been passed down from masters to apprentices for generations. While the skills are mostly used for building structures in the traditional style and restoring ancient timber structures, the techniques are increasingly becoming part of earthquake engineering. Because of their low carbon footprint in construction and earthquake resistance, wooden buildings can contribute to disaster preparedness and the development of sustainable cities. This element also links to SDG #9: Industry, Innovation and Infrastructure." } }, "element_225": { "type": "element", "label": "Dragon Boat festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01105-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01105-HUG.jpg" }, "description": "Beginning on the fifth day of the fifth lunar month, people of several ethnic groups throughout China and the world celebrate the Dragon Boat festival, especially in the middle and lower reaches of the Yangtze River. The festivities vary from region to region, but they usually share several features. A memorial ceremony offering sacrifices to a local hero is combined with sporting events such as dragon races, dragon boating and willow shooting; feasts of rice dumplings, eggs and ruby sulphur wine; and folk entertainments including opera, song and unicorn dances. The hero who is celebrated varies by region: the romantic poet Qu Yuan is venerated in Hubei and Hunan Provinces, Wu Zixu (an old man said to have died while slaying a dragon in Guizhou Province) in South China, and Yan Hongwo in Yunnan Province among the Dai community. Participants also ward off evil during the festival by bathing in flower-scented water, wearing five-colour silk, hanging plants such as moxa and calamus over their doors, and pasting paper cut-outs in their windows. The Dragon Boat festival strengthens bonds within families and establishes a harmonious relationship between humanity and nature. It also encourages the expression of imagination and creativity, contributing to a vivid sense of cultural identity. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/dragon-boat-festival-00225", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01096-BIG.jpg", "copyright": "Folk Customs in Hubei. Hubei Fine Arts Publishing House, 2003", "title": "Grand Occasion of Xisai Holy Dragon Boat Competition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01097-BIG.jpg", "copyright": "Folk Customs in Hubei. Hubei Fine Arts Publishing House, 2003", "title": "Holy Dragon Boat patrolling in lanes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01098-BIG.jpg", "copyright": "Folk Customs in Hubei. Hubei Fine Arts Publishing House, 2003", "title": "Statues of supernatural being on the holy dragon boat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01099-BIG.jpg", "copyright": "Not published yet", "title": "Text and graphic materials on production of dragon boat in the year of Republic 24" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01100-BIG.jpg", "copyright": "Folk Customs in Hubei. Hubei Fine Arts Publishing House, 2003", "title": "Phoenix Boat competition at Dragon Boat Festival on Honghu Lake" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01101-BIG.jpg", "copyright": "Not published yet", "title": "Feet washing with Aihao Water" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01102-BIG.jpg", "copyright": "Not published yet", "title": "Memorial Ceremony of Quyuan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01103-BIG.jpg", "copyright": "Not published yet", "title": "Throwing Zongzi to bailment of feeling" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01104-BIG.jpg", "copyright": "Not published yet", "title": "Dragon boat competition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01105-BIG.jpg", "copyright": "Not published yet", "title": "Farmer's literary poem society" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=T1WQ90F4HlI", "copyright": "2008 Beijing Music Floated Culture Communication Limited", "title": "" } ], "sustainability": "" } }, "element_227": { "type": "element", "label": "Mazu belief and customs", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01654-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01654-HUG.jpg" }, "description": "As the most influential goddess of the sea in China, Mazu is at the centre of a host of beliefs and customs, including oral traditions, religious ceremonies and folk practices, throughout the country\u2019s coastal areas. Mazu is believed to have lived in the tenth century on Meizhou Island, where she dedicated herself to helping her fellow townspeople, and died attempting to rescue the survivors of a shipwreck. Local residents built a temple in her honour and began to venerate her as a goddess. She is celebrated twice each year in formal temple fairs, when Meizhou residents, farmers and fisherfolk temporarily suspend their work to sacrifice marine animals, venerate statues of Mazu and enjoy a variety of dances and other performances. Smaller worship ceremonies take place throughout the year in the other 5,000 Mazu temples around the world and in private homes; these may involve floral tributes; candles, incense and firecrackers; and evening processions of residents bearing \u2018Mazu lanterns\u2019. Followers may implore the god for pregnancy, peace, the solution to a problem or general well-being. Deeply integrated into the lives of coastal Chinese and their descendants, belief in and commemoration of Mazu is an important cultural bond that promotes family harmony, social concord, and the social identity of these communities.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mazu-belief-and-customs-00227", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01650-BIG.jpg", "copyright": "First Mazu Temple of Meizhou, 2005", "title": "Statue of Mazu worshipped on the fishing boat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01651-BIG.jpg", "copyright": "First Mazu Temple of Meizhou, 2008", "title": "Golden statue of Meizhou Mazu's tour around the Island" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01652-BIG.jpg", "copyright": "First Mazu Temple of Meizhou, 2008", "title": "Statue of Mazu enshrined in the household" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01654-BIG.jpg", "copyright": "First Mazu Temple of Meizhou, 2005", "title": "A happy and long-lived believer dressing Mazu up" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01655-BIG.jpg", "copyright": "First Mazu Temple of Meizhou, 2006", "title": "Mazu Latem Festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01657-BIG.jpg", "copyright": "First Mazu Temple of Meizhou, 2006", "title": "Incense-offering pilgrimage of Taiwan Mazu to the First Mazu Temple of Meizhou" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01658-BIG.jpg", "copyright": "First Mazu Temple of Meizhou, 2006", "title": "Sacrificial Ceremony at the May 2006 First Mazu Temple in Meizhou" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01659-BIG.jpg", "copyright": "First Mazu Temple of Meizhou, 2005", "title": "Golden statue of Meizhou Mazu's tour around the Island" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=EsmckMhEV8E", "copyright": "2008 First Mazu Temple of Meizhou", "title": "" } ], "sustainability": "" } }, "element_229": { "type": "element", "label": "China engraved block printing technique", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01571-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01571-HUG.jpg" }, "description": "The traditional China engraved block printing technique requires the collaboration of half a dozen craftspeople possessed of printing expertise, dexterity and team spirit. The blocks themselves, made from the fine-grained wood of pear or jujube trees, are cut to a thickness of two centimetres and polished with sandpaper to prepare them for engraving. Drafts of the desired images are brushed onto extremely thin paper and scrutinized for errors before they are transferred onto blocks. The inked designs provide a guide for the artisan who cuts the picture or design into the wood, producing raised characters that will eventually apply ink to paper. First, though, the blocks are tested with red and then blue ink and corrections are made to the carving. Finally, when the block is ready to be used, it is covered with ink and pressed by hand onto paper to print the final image. Block engraving may be used to print books in a variety of traditional styles, to create modern books with conventional binding, or to reproduce ancient Chinese books. A number of printing workshops continue this handicraft today thanks to the knowledge and skills of the expert artisans. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/china-engraved-block-printing-technique-00229", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01570-BIG.jpg", "copyright": "YZYQ, 2008", "title": "Tools for sculpting and carving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01571-BIG.jpg", "copyright": "YZYQ, 2008", "title": "Sculpting and carving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01572-BIG.jpg", "copyright": "YZYQ, 2008", "title": "Inking and imprinting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01573-BIG.jpg", "copyright": "YZYQ, 2008", "title": "Bookbinding" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01574-BIG.jpg", "copyright": "YZYQ, 2008", "title": "Carving while imparting skills" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01575-BIG.jpg", "copyright": "YZYQ, 2008", "title": "Woodblock print of 10th century" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01576-BIG.jpg", "copyright": "YZYQ, 2008", "title": "Ancient woodblock print of 16th century" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01578-BIG.jpg", "copyright": "YZYQ, 2008", "title": "Woodblock print \"Portrait of Four Beauties\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01579-BIG.jpg", "copyright": "YZYQ, 2008", "title": "Wood-carved watermark \"Flying Apsaras of the Flourishing Tang Dynasty\"" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=y57rUeCHoXg", "copyright": "2008 by YZYQ", "title": "" } ], "sustainability": "" } }, "element_231": { "type": "element", "label": "Two-part singing and playing in the Istrian scale", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01301-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01301-HUG.jpg" }, "description": "On the Istrian peninsula in western Croatia, several varieties of two-part singing and playing in the Istrian scale are preserved by Croatian, Istro-Romanian and Italian communities. The style is characterized by vigorous, partly nasal singing. It involves a degree of variation and improvisation in both vocal parts but always ends with two performers singing in unison or an octave apart. Typical musical instruments are the ''sopele'' shawms, always played in a pair, bagpipes, flutes and the ''tambura'' lute. Several local sub-styles have developed their own characteristics. For example, in ''kanat,'' performed primarily by the Croatian population, the second voice is often exchanged for or doubled with a small sopele; in the widespread variant known as ''tarankanje,'' words are sometimes replaced with characteristic syllables (ta-na-na, ta-ra-ran, etc.) designed to imitate the sound of the flute. This tradition is still a part of everyday life and festive occasions, including wedding ceremonies, community and family gatherings and religious services. Its bearers, about a hundred outstanding singers and players and some ten craftspeople, have acquired their skills and knowledge from their elders. Nowadays they are often associated with organized amateur folklore groups, spread throughout the region.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/two-part-singing-and-playing-in-the-istrian-scale-00231", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01301-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Playing the sopele (original Istrian musical instrument resemblin a flute)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01302-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Bellows blower" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01303-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Playing the mouth organ" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01304-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Festivities in Krsan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01305-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Celebration with bellows blowin in Vinkovci" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01306-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "TV shooting in old Krsan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01307-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Playing the sopele and singing, Bartulja in Zminj" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01308-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Playing the sopele and singing, Bartulja in Zminj" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01309-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Spontaneous singing during festivities in Dubrova near Labin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01310-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Taranjkanje singing from Istria" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=r4MMVAl7fFo", "copyright": "2008 by Ministry of Culture", "title": "" } ], "sustainability": "" } }, "element_232": { "type": "element", "label": "Festivity of Saint Blaise, the patron of Dubrovnik", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01217-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01217-HUG.jpg" }, "description": "The evening before the festivity of Saint Blaise in Dubrovnik, Croatia, as all the church bells in the city ring and white doves are released as symbols of peace, worshippers gather for a ritual healing of the throat to preserve them against illness. On the third of February, the official day of both saint and city, parish banner bearers flow into the city in folk costume for the centrepiece of the festival, a procession attended by bishops, ambassadors, civic leaders, visiting notables and the people of Dubrovnik. The festivity embodies many aspects of human creativity, from rituals to folk songs, from performance to traditional crafts (including the making of the historical weapons fired in celebration). The ritual dates back in some form to at least 1190 and has reinforced a close identification of Dubrovnik\u2019s residents with the city\u2019s patron, Saint Blaise. Over time, the festivity has evolved as Dubrovnik and the world have changed. Each generation adapts it slightly, inspired by its own ideas and needs to make the ritual its own. On Saint Blaise\u2019s day, Dubrovnik gathers not only its residents, but all those who pay respect to tradition and the right to one\u2019s freedom and peace. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/festivity-of-saint-blaise-the-patron-of-dubrovnik-00232", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01217-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Opening of the festivity of Saint Blaise on candlemas (candelora)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01218-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Festivity of Saint Blaise, Holy Mass in the open in front of the chatedral and Dukes court" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01219-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Festivity of Saint Blaise is celebrated by the firing from the trombuns, old arms and small cannons done by Dubrovnik society of trombuners and their guests from historical societies all over Croatia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01220-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Festivity of Saint Blaise is celebrated by the firing from the trombuns, old arms by Dubrovnik society of trombuners" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01221-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Central event of the festivity is the long procession down the main Dubrovnik street, Stradun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01222-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "During the procession the priests carry the relics for which people believe hold the powers of the Saint Blaise which is the reason that they touch and kiss them to bring them various benefits" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01223-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Central event of the festivity is the long procession down the main Dubrovnik street, Stradun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01224-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Many believers and worshipers of Saint Blaise dress in their old folk customs to show their local identity during the procession, such as the Konavle people from the village of Pridvorje shown in the photo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01225-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Waving of the banner (izvijanje barjaka) at the closure of the festivity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11426-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Closure of the festivity - festanjuls are lowering the banner of Saint Blaise from the Orlando's column" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=gZKCw1OWe5g", "copyright": "2008 by Ministry of Culture", "title": "" } ], "sustainability": "" } }, "element_233": { "type": "element", "label": "Traditional manufacturing of children\u2019s wooden toys in Hrvatsko Zagorje", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01294-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01294-HUG.jpg" }, "description": "Villagers along the pilgrimage route to the Marian shrine of Our Lady of the Snow in Marija Bistrica in Hrvatsko Zagorje in northern Croatia developed a technique for traditional manufacturing of children\u2019s wooden toys that has now been handed down for generations. The men in a family take soft willow, lime, beech and maple wood from the region and dry, hew, cut and carve it using traditional tools; the women then apply ecologically-friendly paint in improvisational floral or geometric patterns, painting \u2018from imagination\u2019. The whistles, horses, cars, tiny furniture, spinning dancers, jumping horses and flapping birds produced today are almost identical to those made more than a century ago \u2013 though no two toys are precisely the same, thanks to the handcrafted production process. Popular among both locals and tourists, these toys are sold in parish fairs, markets and specialty shops around the world. They have also evolved with the times and, in addition to the traditional shapes such as horses and carts, new ones representing cars, trucks, airplanes and trains have appeared, reflecting the world surrounding modern-day children. Tiny toy instruments, carefully tuned as they are created, still serve as important components in the musical education of rural children.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-manufacturing-of-children-s-wooden-toys-in-hrvatsko-zagorje-00233", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01291-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Toy making, Ivan Mikus, Laz Stubicki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01292-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Painted toys, Ivan Mikus, Laz Stubicki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01293-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Tamburitza making, Tomo Petric, Tugonica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01294-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Toy painting, Dragutin Gereci, Laz Bistricki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01295-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Toy painting, Marija Kunic, Laz Stubicki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01296-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Toy painting, Katarina Mikus, Laz Stubicki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01297-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Zora Gereci with her products, Laz Stubicki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01298-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Children's wooden toys, Laz Stubicki, Tugonica, Marija Bistrica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01299-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Children's wooden toys, Laz Stubicki, Tugonica, Marija Bistrica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01300-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Sale of children's toys, Marija Bistrica" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=kwozInrGog0", "copyright": "2008 by Ministry of Culture", "title": "" } ], "sustainability": "The traditional practice of manufacturing children\u2019s wooden toys in Hrvatsko Zagorje is an economically viable and ecologically sustainable craft which has been handed down for generations. Using willow, lime, beech and maple wood harvested from the region, artisans carve miniature figures of horses, dancers, furniture, and animals which are then meticulously painted in vivid patterns and colors by female artisans using ecologically friendly paint. The handcrafted figures are sold at fairs, markets and shops around the world. This element also links to SDG #8: Decent Work and Economic Growth." } }, "element_235": { "type": "element", "label": "Spring procession of Ljelje\/Kraljice (queens) from Gorjani", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01283-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01283-HUG.jpg" }, "description": "The Procession of Queens is performed by the young girls of the village of Gorjani in the Slavonia region of north-east Croatia every spring. The girls in a group are divided into ten ''kraljevi'' (kings), who wear sabres and men\u2019s hats, and about five ''kraljice'' (queens), who wear white garlands on their heads like brides. On Whitsunday (a feast in the Christian calendar), they process from house to house, performing for the families they encounter. While the kings dance with their sabres, the queens comment on the dance in song. The family then joins in a larger folk dance and provides refreshments before the girls continue to another house. The next day, the party visits a neighbouring town or village and returns for a feast at one of the performers\u2019 homes. The entire community, including the elementary school, the church and many of the town\u2019s families, assist in the preparations for the procession, which is a source of particular pride for the women who have participated in it. Although the meaning and origin of the ritual are uncertain, villagers view it as a symbol of Gorjani and a showcase for their children\u2019s beauty and elegance.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/spring-procession-of-ljelje-kraljice-queens-from-gorjani-00235", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01281-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Dressing of the King" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01282-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "The King" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01283-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "The King, holding of the sword with a scarf" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01284-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "The Queen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01285-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Dancing in front of the Church" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01286-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "On the way through the village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01287-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Visit to the family with a young bride" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01288-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Visit to the family with a young bride" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01289-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Entering the courtyard of a family with a marriageable girl" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01290-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Performance in the home of the family with a marriageable girl" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=b53jTuj23AU", "copyright": "2008 by Ministry of Culture", "title": "" } ], "sustainability": "" } }, "element_242": { "type": "element", "label": "Procession Za Krizen (\u2018following the cross\u2019) on the island of Hvar", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01239-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01239-HUG.jpg" }, "description": "After mass on Maundy Thursday before the Christian holiday of Easter, each of six villages on the Dalmatian island of Hvar in southern Croatia sends out a group that will proceed through the other villages in a circle, covering twenty-five kilometres in eight hours before returning home. Each party in this community-organized Za Krizen (\u2018following the cross\u2019) procession is led by a cross-bearer who walks barefoot or in socks, never resting. The cross-bearer, formerly selected from among religious brotherhoods and today chosen by registration up to twenty years in advance, has a much-desired and respected position, reflecting the devotion of the individual bearer and his family. He is followed by two friends with candelabra and others carrying candles and lanterns, five choral singers who sing the Lamentation of the Virgin Mary at several points along the way, and many worshippers of all ages from Croatia and abroad wearing the tunics of religious brotherhoods. The procession is greeted by the priests of each of the other five villages and returns home; the cross-bearer runs the last hundred metres to receive the blessing of his home priest. A long-established and inalienable part of Hvar religious and cultural identity, the procession connects the communities of the island to each other and to the world Catholic community. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/procession-za-krizen-following-the-cross-on-the-island-of-hvar-00242", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01237-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Beginning of the Procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01238-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Departure of the Procession from the main parish church" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01239-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Singers, kantaduri" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01240-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Departure of the Procession from the main parish church" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01275-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Cross bearer and members of the brotherhood at prayer in church" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01277-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Return of the Procession in the morning hours" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01278-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Cross bearer running toward the riest" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01279-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "The cross bearer's house in the night of Maunday Thursda with lighted cross" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01280-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Entry of the Procession into the Church" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=MjckB9Tnod8", "copyright": "2008 by Ministry of Culture", "title": "" } ], "sustainability": "" } }, "element_243": { "type": "element", "label": "Annual carnival bell ringers\u2019 pageant from the Kastav area", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01197-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01197-HUG.jpg" }, "description": "During the January carnival period, bell ringers march through the villages that dot the Kastav region in north-west Croatia. Clothed in sheepskin throws with bells around their waists and sporting distinctive hats embellished with sprigs of evergreen, two to more than thirty ringers swagger in groups behind a guide carrying a small evergreen tree. They enliven their gait by bumping each others\u2019 hips rhythmically and leaping into the air as they walk. Groups may also include theatrical characters such as a prankster \u2018bear\u2019 who regularly escapes the control of his two \u2018guards\u2019. When they reach a village, the bell ringers form concentric circles in the town square, ringing fiercely until the residents offer them food and a chance to rest before they continue their journey. At the end of the carnival, the ringers proceed through their own village, collecting rubbish at each house and burning it out front, involving everyone present in the ceremony. With variations distinctive to each village, the annual carnival bell ringers\u2019 pageant is a way to strengthen bonds within the community and a valuable means of renewing friendships among the towns in the region while integrating newcomers into its traditional culture.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/annual-carnival-bell-ringers-pageant-from-the-kastav-area-00243", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01197-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Zoomorphic mask of the Halubaj bell ringer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01198-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "\"Snail\" formation of the Halubaj bell ringers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01200-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Outfit and ornaments of bell ringers from Muna" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01201-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "The Muna bell ringers bell" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01202-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Children dressed in outfits of the Muna bell ringers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01203-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "\"Snail\" formation of bell ringers from Rukavac" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01205-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Outfit and ornaments of bell ringers from Rukavac" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01206-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Rukavac bell ringers in the procession from Rukavac to Zvonec" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01207-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Children dressed in the Rukavac bell ringers outfits" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=6ivAc77gJgg", "copyright": "2008 by Ministry of Culture", "title": "" } ], "sustainability": "" } }, "element_306": { "type": "element", "label": "Centre for traditional culture \u2013 school museum of Pusol pedagogic project", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03973-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03973-HUG.jpg" }, "description": "This innovative education project has two overall goals: to promote value-based education by integrating the local cultural and natural heritage within the curriculum, and to contribute to the preservation of Elche\u2019s heritage by means of education, training, direct action and awareness-raising in the educational community. Implemented at the one-teacher rural public school of Pusol (Elche, Spain) in 1968, the project has successfully integrated heritage into formal education. Guided by teachers and external collaborators, children explore, in a play atmosphere, the rich Elche heritage in contact with tradition bearers, and contribute directly to its preservation. The children do fieldwork data collection, museography, and teach one another and visitors about heritage, studying and exploring the heritage by themselves. The project has trained almost 500 schoolchildren and has resulted in a school museum with more than 61,000 inventory entries and 770 oral files, preserving everyday life heritage and promoting the cultural mapping of local heritage resources. Between 1968 and the mid 1980s, the project remained within the boundaries of the rural district of Pusol, where the school was based. But as knowledge of the project's values and achievements spread, the project\u2019s operational scope grew larger, first involving the remaining rural districts of Elche\u2019s countryside (mid 1980s) and later the city of Elche (1990s). The project is highly esteemed by the local rural community, the general population of Elche, and experts on education and culture for its pioneering democratic, integrative and participatory nature, and can serve as a model demonstrating the feasibility of bottom-up heritage safeguarding.", "list": "GSP", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/centre-for-traditional-culture-school-museum-of-pusol-pedagogic-project-00306", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03973-BIG.jpg", "copyright": "2010 Centre for Traditional Culture - School Museum of Pujol", "title": "Schoolchildren guiding visitors to the School Museum visitors" } ], "video": [], "sustainability": "" } }, "element_245": { "type": "element", "label": "Lacemaking in Croatia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01229-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01229-HUG.jpg" }, "description": "At least three distinct traditions of Lacemaking in Croatia persist today, centred on the towns of Pag on the Adriatic, Lepoglava in northern Croatia and Hvar on the Dalmatian island of the same name. Pag needle-point lace was originally used to make ecclesiastical garments, tablecloths and ornaments for clothing. The process involves embellishing a spider web pattern with geometrical motifs and is transmitted today by older women who offer year-long courses. Lepoglava bobbin lace is made by braiding thread wound on spindles, or bobbins; it is often used to make lace ribbons for folk costumes or is sold at village fairs. An International Lace Festival in Lepoglava celebrates the art every year. Aloe lace is made in Croatia only by Benedictine nuns in the town of Hvar. Thin, white threads are obtained from the core of fresh aloe leaves and woven into a net or other pattern on a cardboard background. The resulting pieces are a symbol of Hvar. Each variety of lace has long been created by rural women as a source of additional income and has left a permanent mark on the culture of its region. The craft both produces an important component of traditional clothes and is itself testimony to a living cultural tradition.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/lacemaking-in-croatia-00245", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01227-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Doily, aloe lace - Hvar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01228-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Doily, aloe lace - Hvar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01229-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Making aloe lace - Hvar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01230-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Doily, bobbin lace - Lepoglava" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01231-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Doily, bobbin lace - Lepoglava" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01232-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Making bobbin lace - Lepoglava" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01233-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Doily, needlepoint lace - Pag" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01234-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Doily, needlepoint lace - Pag" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01235-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Making needlepoint lace - Pag" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01236-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Lacemaker from Pag" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=JuMHTNeUDrI", "copyright": "2008 by Ministry of Culture", "title": "" } ], "sustainability": "" } }, "element_250": { "type": "element", "label": "Aubusson tapestry", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01318-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01318-HUG.jpg" }, "description": "A centuries-old tradition, the craft of Aubusson tapestry consists of weaving an image using processes practised in Aubusson and a number of other localities in the Creuse region of France. This craft produces mainly large decorative wall hangings but also rugs and pieces of furniture. Aubusson tapestry can be based on an image in any artistic style, prepared by a paper \u2018cartoon\u2019 (template) designer. Weaving is done manually by a ''lissier,'' or weaver, on a loom positioned horizontally, working on the reverse side of the tapestry, and using yarns that are hand-dyed in house. This process is time-consuming and expensive. The Aubusson tapestries are a gold standard throughout the world, to the extent that Aubusson has become a common noun in some languages. The production of tapestries in Aubusson and Felletin provides enough work for three small businesses and ten or so freelance artisan weavers, thus creating a significant volume of related work (wool production and spinning, marketing, by-products, museum, exhibitions and tourism). To stabilize the level of activity and avoid breaking the line of transmission, the interest of the young must be stimulated and this heritage promoted.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/aubusson-tapestry-00250", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01314-BIG.jpg", "copyright": "2005, by Ph.Riviere, region Limousin", "title": "Apollon et Cyr\u00e8ne, tapisserie d'apr\u00e8s un carton d'lsaac Moillon, XVlle si\u00e8cle, Aubusson" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01315-BIG.jpg", "copyright": "2005, by L'Estampille", "title": "L'Asie, d\u00e9tail" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01316-BIG.jpg", "copyright": "1987, by mdta", "title": "Les Vierges folles, Marc Saint-Sa\u00ebns" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01317-BIG.jpg", "copyright": "2008, by M. Giffault", "title": "Lissiers tissant" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01318-BIG.jpg", "copyright": "Chantal Andoque, 2008", "title": "Les mains du lissier pendant le tissage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01319-BIG.jpg", "copyright": "1987, by mdta", "title": "Tapisserie UNESCO" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01320-BIG.jpg", "copyright": "2008, by M. Giffault", "title": "Trois Chevaux badinant" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01321-BIG.jpg", "copyright": "1989, by mdta", "title": "Le Pr\u00e9sident de la r\u00e9publique inaugurant I'exposition de la Suite des droits de I'homme" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01322-BIG.jpg", "copyright": "1989, by R.T\u00e9xier", "title": "Suite des droits de I'homme" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01323-BIG.jpg", "copyright": "1965, by coventry cath.", "title": "Christ en majest\u00e9, Coventry" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=wXKBUMqsYDc", "copyright": "2000 by L.A. Studio - A Vue d'oeil", "title": "" } ], "sustainability": "" } }, "element_251": { "type": "element", "label": "Scribing tradition in French timber framing", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01342-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01342-HUG.jpg" }, "description": "The purpose of the scribing tradition is to master in three dimensions the design of a complex wooden building. This traditional expertise runs counter to modern standardization by emphasizing the role of the builder in the construction process and giving a creative impulse to the structures themselves. Scribing is a combination of the graphic processes used in France since the thirteenth century that make it possible to express accurately through the design the actual volumes of a building, its interlocking, and the characteristics of the wooden components. It was taught as a special subject quite distinct from the theory and practice of architecture. Through this process, the carpenter can determine all the components before they are built, however complex they are, and thus be sure that all the assemblies will fit together perfectly when the timber frame is built. Carpenters who are members of trade guilds recognize the scribing tradition as having a symbolic and initiatory meaning that remains a secret. The art plays a crucial role in the value system of the Companions of the Tour de France, for example. Special training in scribing is available in several dozen training centres, guilds and businesses.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/scribing-tradition-in-french-timber-framing-00251", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01341-BIG.jpg", "copyright": "2008, by F. Calame", "title": "L'\u00e9pure \u00e0 \u00e9chelle r\u00e9duite d'un ouvrage complexe en charpente, une lucarne guitarde" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01342-BIG.jpg", "copyright": "2008, by F. Calame", "title": "Enseignement pratique du trait au CEREF BTP de Bourgtheroulde, Eure, France d\u00e9cembre 2007" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01343-BIG.jpg", "copyright": "2008, by F. Calame", "title": "Groupe d'\u00e9l\u00e8ves charpentiers et leur professeur de Trait, CEREF BTP Bourgtheroulde, 2008" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01344-BIG.jpg", "copyright": "2008, by F. Calame", "title": "La pratique du trait est un \u00e9l\u00e9ment essentiel de la formation des charpentiers en France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01345-BIG.jpg", "copyright": "2008, by F. Calame", "title": "Lucarne guitarde, chef d'oeuvre d'un compagnon charpentier du Devoir, Vonnas, Ain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01346-BIG.jpg", "copyright": "2008, by F. Calame", "title": "R\u00e9mi Masset, jeune charpentier normand titulaire du brevet professionnel, 2008" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01347-BIG.jpg", "copyright": "2008, by F. Calame", "title": "D\u00e9tail d'un lucarne guitarde portant les symboles du Tour de France, Vonnas, Ain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01348-BIG.jpg", "copyright": "2008, by F. Calame", "title": "Sur ce pichet datant de 1852 un charpentier picard a repr\u00e9sent\u00e9 les instruments symboles du trait" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01349-BIG.jpg", "copyright": "2008, by F. Calame", "title": "Un travail d'examen pour le brevet professionnel de charpentier : une Lucarne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01350-BIG.jpg", "copyright": "2008, by F. Calame", "title": "Une pi\u00e8ce de ma\u00eetrise signature d'un compagnon charpentier du d\u00e9but du XIXe si\u00e8cle, Louviers, Eure" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=8TmYdAUX6pA", "copyright": "2008 - FCalame", "title": "" } ], "sustainability": "" } }, "element_253": { "type": "element", "label": "Art of Azerbaijani Ashiq", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01265-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01265-HUG.jpg" }, "description": "The art of Azerbaijani Ashiqs combines poetry, storytelling, dance and vocal and instrumental music into a traditional performance art that stands as a symbol of Azerbaijani culture. Characterized by the accompaniment of the ''saz,'' a stringed musical instrument, the classical repertoire includes 200 songs, 150 literary-musical compositions known as ''dastans,'' nearly 2,000 poems in different traditional poetic forms and numerous stories. The regional variations may include other musical instruments, but all are united by a common national language and artistic history. Ashiqs take part in weddings, friendly parties and festive events throughout the Caucasus and appear on concert stages, radio and television, sometimes synthesizing classical melodies with contemporary ones as they continue to recreate their repertoire. Their art is considered an emblem of national identity and the guardian of Azerbaijani language, literature and music. Even as Ashiqs represent the consciousness of a people, they also help to promote cultural exchange and dialogue: Kurds, Lezhins, Talishes, Tats and other ethnic groups living in the country often perform the Ashiqs\u2019 art, and their poems and songs have spread across the region.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/art-of-azerbaijani-ashiq-00253", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01252-BIG.jpg", "copyright": "2008, by M.Rahimov\/Azerbaijan Ministry of Culture & Tourism", "title": "Azerbaijani saz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01263-BIG.jpg", "copyright": "2008, by M.Rahimov\/Azerbaijan Ministry of Culture & Tourism", "title": "A saz builder at work" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01264-BIG.jpg", "copyright": "2008, by M.Rahimov\/Azerbaijan Ministry of Culture & Tourism", "title": "The first lessons of saz playing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01265-BIG.jpg", "copyright": "2008, by A.Baghirzade\/Azerbaijan Ministry of Culture & Tourism", "title": "A young Azerbaijani ashiq Ramin Qarayev from Georgia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01266-BIG.jpg", "copyright": "2008, by A.Baghirzade\/Azerbaijan Ministry of Culture & Tourism", "title": "Ashiq Samira Aliyeva" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01267-BIG.jpg", "copyright": "2008, by A.Baghirzade\/Azerbaijan Ministry of Culture & Tourism", "title": "Ashiq \u2013ustad Mahmud Mamedov at a soundrecording studio" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01268-BIG.jpg", "copyright": "2008, by A.Baghirzade \/ Azerbaijan Ministry of Culture & Tourism", "title": "A typical kind of ashiq ensemble from Shirvan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01269-BIG.jpg", "copyright": "A.Baghirzade\/Azerbaijan Ministry of Culture & Tourism, 2008", "title": "Saz & balaban, a kind of Qanjabasar ashiq ensemble" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01270-BIG.jpg", "copyright": "2008, by M. Rahimov\/Azerbaijan Ministry of Culture & Tourism", "title": "\"Ashiq Peri mejlis\" group of women-ashiqs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01271-BIG.jpg", "copyright": "2008, by M. Rahimov\/Azerbaijan Ministry of Culture & Tourism", "title": "Husain Hasanov, an amateur collector of the ashiq art" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=oVHr7GP9xns", "copyright": "2008 by M. Alakbarzade - Jafarova \/ Azerbaijan Ministry of Culture & Tourism", "title": "" } ], "sustainability": "" } }, "element_255": { "type": "element", "label": "Lefkara laces or Lefkaritika", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01326-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01326-HUG.jpg" }, "description": "The tradition of lace-making in the village of Lefkara in southeastern Cyprus dates back to at least the fourteenth century. Influenced by indigenous craft, the embroidery of Venetian courtiers who ruled the country beginning in 1489, and ancient Greek and Byzantine geometric patterns, Lefkara lace is made by hand in designs combining four basic elements: the hemstitch, cut work, satin stitch fillings and needlepoint edgings. This combined art and social practice is still the primary occupation of women in the village who create distinctive tablecloths, napkins and show pieces while sitting together and talking in the narrow streets or on covered patios. Unique mastery of the craft is passed to young girls through years of informal exposure and then formal instruction by their mother or grandmother in applying cotton thread to linen. When she has learned her art thoroughly, the lace-maker uses her imagination to design work that embodies both tradition and her own personality. Testament to the ability to appreciate multiple influences and incorporate them into one\u2019s own culture, lace-making is at the centre of daily life for women of Lefkara and a proud symbol of their identity. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/lefkara-laces-or-lefkaritika-00255", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01311-BIG.jpg", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "Evanthia's Lyssarides designs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01312-BIG.jpg", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "Lace makers- 1980" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01313-BIG.jpg", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "Lefkara lace" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01324-BIG.jpg", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "Lefkara. The traditional architectural style" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01325-BIG.jpg", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "Evanthia Lyssarides- Lace maker" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01326-BIG.jpg", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "Sample of Lefkara lace" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01327-BIG.jpg", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "Lace merchants" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01328-BIG.jpg", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "Lace makers- 1955" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01329-BIG.jpg", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "Sample of Lefkara lace" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01330-BIG.jpg", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "Sample of Lefkara lace" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Nuo1j_-doJQ", "copyright": "2008 by Lefkara Municipality \/ Ministry of Education and Culture", "title": "" } ], "sustainability": "Traditional lace-making in the village of Lefkara is a women-led craft as the makers are primarily females of all ages. Local men acknowledge women\u2019s significant role in reviving the social and economic development of the community. Through this intangible cultural heritage, women help safeguard the local history, which is embedded in the centuries-old lace-making tradition. The craftsmanship is a manifestation of women\u2019s rights and freedoms as they are empowered to express their individuality through their own innovative and creative designs. This element also links to SDG # 1: No Poverty." } }, "element_258": { "type": "element", "label": "Tango", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01560-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01560-HUG.jpg" }, "description": "The Argentinian and Uruguayan tradition of the Tango, now familiar around the world, was developed by the urban lower classes in Buenos Aires and Montevideo in the Rio de la Plata basin. Among this mix of European immigrants to the region, descendents of African slaves and the natives of the region known as ''criollos,'' a wide range of customs, beliefs and rituals were merged and transformed into a distinctive cultural identity. As one of the most recognizable embodiments of that identity, the music, dance and poetry of tango both embodies and encourages diversity and cultural dialogue. It is practised in the traditional dance halls of Buenos Aires and Montevideo, spreading the spirit of its community across the globe even as it adapts to new environments and changing times. That community today includes musicians, professional and amateur dancers, choreographers, composers, songwriters, teachers of the art and the national living treasures who embody the culture of tango. Tango is also incorporated into celebrations of national heritage in Argentina and Uruguay, reflecting the widespread embrace of this popular urban music.", "list": "RL", "year": 2009, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/tango-00258", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01251-BIG.jpg", "copyright": "2008, by Ministerio de Cultura Ciudad de Buenos Aires", "title": "World Tango's Final" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01560-BIG.jpg", "copyright": "2008, by Ministerio de Cultura Ciudad de Buenos Aires", "title": "Dance pair" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01561-BIG.jpg", "copyright": "Ministerio de Cultura Ciudad de Buenos Aires, 2008", "title": "Popular Milonga dance meeting at Corrientes Av." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01562-BIG.jpg", "copyright": "2008, by Ministerio de Cultura Ciudad de Buenos Aires", "title": "Orquesta Astillero's Orchestra with Tango Crash" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01563-BIG.jpg", "copyright": "2008, by Ministerio de Cultura Ciudad de Buenos Aires", "title": "Leopoldo Federico's Typical Orchestra" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01564-BIG.jpg", "copyright": "2008, by Ministerio de Cultura Ciudad de Buenos Aires", "title": "Tango Orchestra of Buenos Aires City" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01565-BIG.jpg", "copyright": "2008, by Ministerio de Cultura Ciudad de Buenos Aires", "title": "Susana Rinaldi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01566-BIG.jpg", "copyright": "2008, by Ministerio de Cultura Ciudad de Buenos Aires", "title": "Los cigarros, Uruguayan Trio" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01567-BIG.jpg", "copyright": "2008, by Ministerio de Cultura Ciudad de Buenos Aires", "title": "Bandoneon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01568-BIG.jpg", "copyright": "2008, by Ministerio de Cultura Ciudad de Buenos Aires", "title": "Spontaneus Milonga" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XpiFDh9MqQQ", "copyright": "2008 Ministerio de Cultura Ciudad de Buenos Aires", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=48EegTvQvAQ", "copyright": "2008 Ministerio de Cultura Ciudad de Buenos Aires", "title": "" } ], "sustainability": "" } }, "element_259": { "type": "element", "label": "Holy Week processions in Popay\u00e1n", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01762-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01762-HUG.jpg" }, "description": "The Holy Week processions in Popay\u00e1n are one of the oldest traditions in Colombia, practised since the colonial period. From the Tuesday to the Saturday before Easter, between 8 p.m. and 11 p.m., a series of processions take place. The five processions, devoted to Mary, Jesus, the Cross, the Laying in the Tomb, and the Resurrection respectively, follow a two-kilometre route through the town centre. Each procession is set around reliquary floats, or ''pasos,'' which are created and assembled according to complex rules. The reliquary floats are adorned with ornate, flower-decked wooden statues, most of which date from the late eighteenth century and depict the Easter story. The route is flanked on either side by worshippers carrying candles and wearing special clothing. The processions are remarkable for their artistic quality (gilding, cabinetwork), sounds and smells (incense). Preparations, which last for a whole year, follow instructions passed down to children from age five, and from generation to generation. The processions have their own vocabulary and expertise, and the roles and responsibilities of each individual are precisely allocated. Some inhabitants of the town, who have formed a general assembly to protect the tradition, act as the organizers and work with the authorities and various bodies. The processions, which attract many visitors from around the world, are a major factor contributing to social cohesion and the local collective psyche.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/holy-week-processions-in-popayan-00259", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01744-BIG.jpg", "copyright": "Patrick Rouillard, 2000", "title": "El carguero" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01745-BIG.jpg", "copyright": "Alfredo Vallderuten, 2008", "title": "La Sahumadora" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01750-BIG.jpg", "copyright": "Patrick Rouillard, 1996", "title": "Restauraci\u00f3n del Amo Jes\u00fas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01751-BIG.jpg", "copyright": "Juan Le\u00f3n, 2004", "title": "Maestros talladores" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01753-BIG.jpg", "copyright": "Alfredo Vallderuten, 2008", "title": "Orquesta de c\u00e1mara" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01754-BIG.jpg", "copyright": "Miguel Salazar, 2008", "title": "Paso del Amo Ecce Homo, procesi\u00f3n del Martes Santo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01756-BIG.jpg", "copyright": "Miguel Salazar, 2004", "title": "Paso de la Virgen de los Dolores, procesi\u00f3n del Martes Santo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01757-BIG.jpg", "copyright": "Juan Le\u00f3n, 2003", "title": "Paso del Amo Ecce-Homo, procesi\u00f3n del Mi\u00e9rcoles Santo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01758-BIG.jpg", "copyright": "Juan Le\u00f3n, 2004", "title": "Paso del Santo Cristo, procesi\u00f3n del Viernes Santo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01762-BIG.jpg", "copyright": "Miguel Salazar, 2008", "title": "Paso del Santo Sepulcro, procesi\u00f3n del Viernes Santo" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=W_pNra4z7l0", "copyright": "2006 Hugo Armando Rodriguez", "title": "" }, { "url": "https:\/\/www.youtube.com\/watch?v=qzrGECj17r8", "copyright": "2006 Hugo Armando Rodriguez", "title": "" } ], "sustainability": "" } }, "element_265": { "type": "element", "label": "Gagaku", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01421-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01421-HUG.jpg" }, "description": "Gagaku, characterized by long, slow songs and dance-like movements, is the oldest of the Japanese traditional performing arts. It is performed at banquets and ceremonies in the Imperial Palace and in theatres throughout the country, and encompasses three distinct arts. The first, Kuniburi no Utamai, features ancient Japanese songs, partial accompaniment by harp and flute and simple choreography. The second consists of instrumental music (especially wind instruments) and a ceremonial dance developed on the Asian continent and subsequently adapted by Japanese artists. The third, Utamono, is danced to vocal music whose texts include Japanese folk songs and Chinese poems. Influenced by the politics and culture of different periods over its long evolution, Gagaku continues to be transmitted to apprentices by masters in the Music Department of the Imperial Household Agency, many of whom are the descendants of families with deep roots in the art. It is not only an important cultural tool in confirming Japanese identity and a crystallization of the history of Japanese society, but also a demonstration of how multiple cultural traditions can be fused into a unique heritage through constant recreation over time.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gagaku-00265", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01413-BIG.jpg", "copyright": "Music Department of the Imperial Household Agency, 1999", "title": "Kume-mai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01414-BIG.jpg", "copyright": "Music Department of the Imperial Household Agency, 1997", "title": "Shundeika" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01415-BIG.jpg", "copyright": "Music Department of the Imperial Household Agency, 1995", "title": "Tagyuraku" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01416-BIG.jpg", "copyright": "Music Department of the Imperial Household Agency, 2007", "title": "Ryo-O" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01417-BIG.jpg", "copyright": "Music Department of the Imperial Household Agency, 2004", "title": "Manzairaku" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01418-BIG.jpg", "copyright": "Music Department of the Imperial Household Agency, 2002", "title": "Kitoku" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01419-BIG.jpg", "copyright": "Music Department of the Imperial Household Agency, 2006", "title": "O-Nintei" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01420-BIG.jpg", "copyright": "Music Department of the Imperial Household Agency, 2007", "title": "Komaboko" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01421-BIG.jpg", "copyright": "Music Department of the Imperial Household Agency, 2005", "title": "Bairo" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=5OA8HFUNfIk", "copyright": "2000 by Mainichi Productions", "title": "" } ], "sustainability": "" } }, "element_266": { "type": "element", "label": "Ojiya-chijimi, Echigo-jofu: techniques of making ramie fabric in Uonuma region, Niigata Prefecture", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01453-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01453-HUG.jpg" }, "description": "The high-quality, lightweight patterned textiles made from the ramie plant are ideal for the hot and humid Japanese summer. Ojiya-chijimi, Echigo-jofu: techniques of making ramie fabric in Uonuma region, Niigata Prefecture developed in the north-western part of Japan\u2019s main island and bear the mark of the region\u2019s cooler climate \u2013 particularly its snowy winters. Ramie fibres are split from the plant by fingernail and twisted into threads by hand. In tie-dying, bundles of ramie threads are bound tightly with cotton before dying so as to produce a geometric or floral pattern when the thread is woven into fabric using a simple back-strap loom. The cloth is washed in hot water and massaged with the feet, after which the wet fabric is placed on the snow-covered fields for ten to twenty days to be lightened by the sun and the ozone released by the snow\u2019s evaporation. Clothes produced by this method have been popular among people of various social classes for centuries. Practised today mainly by older craftspeople, the art remains a point of cultural pride and an important tool for reinforcing a sense of identity for the community.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ojiya-chijimi-echigo-jofu-techniques-of-making-ramie-fabric-in-uonuma-region-niigata-prefecture-00266", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01452-BIG.jpg", "copyright": "1998, by Association for the conservation of techniques for Echigo-jofu, Ojiya-Chijimi- fu", "title": "Teumi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01453-BIG.jpg", "copyright": "1998, by Association for the conservation of techniques for Echigo-jofu, Ojiya-Chijimi- fu", "title": "Tekubiri" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01454-BIG.jpg", "copyright": "1998, by Association for the conservation of techniques for Echigo-jofu, Ojiya-Chijimi- fu", "title": "Izaribata" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01455-BIG.jpg", "copyright": "1998, by Association for the conservation of techniques for Echigo-jofu, Ojiya-Chijimi- fu", "title": "Yumomi (Shibotori)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01456-BIG.jpg", "copyright": "1998, by Association for the conservation of techniques for Echigo-jofu, Ojiya-Chijimi- fu", "title": "Ashibumi (Shibotori)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01457-BIG.jpg", "copyright": "1998, by Association for the conservation of techniques for Echigo-jofu, Ojiya-Chijimi- fu", "title": "Yukizarashi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01458-BIG.jpg", "copyright": "2008, by Agency for Cultural Affairs", "title": "Echigo-jofu, \"The starry sky of Echigo\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01459-BIG.jpg", "copyright": "1977, by the National Museum of Modern Art, Tokyo", "title": "Cloth of kimono, Ojiya-chijimi with navy-and-indigo blue stripes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01460-BIG.jpg", "copyright": "2008, by Association for the conservation of techniques for Echigo-jofu, Ojiya-Chijimi- fu", "title": "The course on the Technique of using a Izaribata run by the Association for the conservation of techniques for Echigo-jofu, Ojiya-Chijimi- fu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01461-BIG.jpg", "copyright": "2005, by Association for the conservation of techniques for Echigo-jofu, Ojiya-Chijimi- fu", "title": "The workshop of Echigo-jofu for beginners" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4KXbotKCG_M", "copyright": "2000 by Association for the Conservation of Techniques for Echigo-Jofu,Ojiya-Chijimi-fu ", "title": "" } ], "sustainability": "" } }, "element_271": { "type": "element", "label": "Oku-noto no Aenokoto", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01463-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01463-HUG.jpg" }, "description": "Oku-noto no Aenokoto is an agricultural ritual transmitted from generation to generation by the rice farmers of the Noto Peninsula, which projects from Ishikawa prefecture in the centre of Japan\u2019s main island, Honshu. The twice-yearly ceremony is unique among the harvest rituals of Asia in that the master of the house invites the deity of the rice field into his home, behaving as though the invisible spirit were really present. In December, to express gratitude for the harvest, the farmer draws a bath and begins to prepare a meal, summoning the deity from the field with the sound of pounding rice cakes. Welcoming his guest in formal clothes with a lantern, the farmer allows it to rest in a guest room before assisting it with a bath and offering a meal of rice, beans and fish. Because the deity is said to have poor eyesight, the host describes the meal as he serves it. A similar ritual is performed before planting in February to ensure an abundant harvest. Performed with individual variations throughout the region, Oku-noto no Aenokoto reflects the everyday culture of the Japanese, who have cultivated rice since ancient times, and serves as a marker of identity for the area\u2019s farmers.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/oku-noto-no-aenokoto-00271", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01463-BIG.jpg", "copyright": "2007, by Noto-cho, Housu-gun, Ishikawa-ken", "title": "December. The housemaster guides the deity to the sunken hearth and warms the deity. The deity rides on sakaki leaves." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01464-BIG.jpg", "copyright": "2007, by Noto-cho, Housu-gun, Ishikawa-ken", "title": "December. The housemaster offers the deity to take a bath" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01465-BIG.jpg", "copyright": "2007, by Noto-cho, Housu-gun, Ishikawa-ken", "title": "December. The housemaster offers a dinner for the deity." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01466-BIG.jpg", "copyright": "2007, by Noto-cho, Housu-gun, Ishikawa-ken", "title": "December. The housemaster serves the dishes for the deity." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01467-BIG.jpg", "copyright": "2007, by Noto-cho, Housu-gun, Ishikawa-ken", "title": "February. The dishes for the Fare-well dinner." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01468-BIG.jpg", "copyright": "2007, by Noto-cho, Housu-gun, Ishikawa-ken", "title": "February. Fare-well dinner for the deity." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01469-BIG.jpg", "copyright": "2007, by Noto-cho, Housu-gun, Ishikawa-ken", "title": "February. The housemaster takes care of the deity bathing." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01470-BIG.jpg", "copyright": "2007, by Noto-cho, Housu-gun, Ishikawa-ken", "title": "February. The deity takes warm at the suken hearth before leaving." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01471-BIG.jpg", "copyright": "2007, by Noto-cho, Housu-gun, Ishikawa-ken", "title": "February. The housemaster sends the deity off to the rice field." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=IQBDHJyfJXE", "copyright": "2008 by Noto-cho, Housu-gun, Ishikawa-ken", "title": "" } ], "sustainability": "" } }, "element_272": { "type": "element", "label": "Hayachine Kagura", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01427-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01427-HUG.jpg" }, "description": "In the fourteenth or fifteenth century, when the people of Iwate Prefecture in the northern part of mainland Japan worshipped Mt. Hayachine as a deity, they began a tradition of folk performance that continues to enliven the Great Festival of the Hayachine Shrine held in Hanamaki City on the first day of August. The Hayachine Kagura is a series of masked dances accompanied by drum, cymbals and flute: six ritual dances begin the performance; five dances recount stories of the deities and medieval Japanese history, and a final dance features a performer dressed as a ''shishi,'' an imaginary lion-like creature representing the Hayachine deity himself. Originally danced by holy officers of the Shrine to demonstrate the power of the mountain deity and bless the people, the Hayachine Kagura is now performed by representatives of the entire community, who take pride in their distinctive culture. To transmit and display the ritual is to reconfirm a sense of identity within the group and to contribute to the continuity of an important tradition. Its enactment also commemorates events from Japanese history and celebrates one of the mountain deities worshipped throughout the country.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/hayachine-kagura-00272", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01426-BIG.jpg", "copyright": "2008, by Nakamura Yoshiyuki", "title": "Suijin-no-mai (Take)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01427-BIG.jpg", "copyright": "2008, by Nakamura Yoshiyuki", "title": "Shiokumi-no-mai (Take)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01428-BIG.jpg", "copyright": "2008, by Nakamura Yoshiyuki", "title": "Pusyo-mai (Take)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01429-BIG.jpg", "copyright": "2008, by Nakamura Yoshiyuki", "title": "Tennyo-no-mai (Otsugunai)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01430-BIG.jpg", "copyright": "2008, by Nakamura Yoshiyuki", "title": "Hachiman-mai (Otsugunai)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01431-BIG.jpg", "copyright": "2008, by Nakamura Yoshiyuki", "title": "Pusho-mai (Otsugunai)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LbpHYo3piRc", "copyright": "2008 by Hanamaki-city Board of Education", "title": "" } ], "sustainability": "" } }, "element_273": { "type": "element", "label": "Akiu no Taue Odori", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01376-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01376-HUG.jpg" }, "description": "In the Akiu no Taue Odori, residents of the town of Akiu in northern Japan pray for a good harvest by simulating in dance the actions involved in transplanting rice. Performed since the end of the seventeenth century in communities throughout the region, the Akiu no Taue Odori today takes place during festivals in the spring or autumn. Ten female dancers dressed in colourful kimonos and floral headdresses, assisted by two to four male dancers, perform a repertoire of six to ten dances. Holding fans or bells, the women align themselves in one or two rows and perform movements designed to evoke the gestures of the rice cycle, particularly taue, the transplantation of seedlings into a large rice field filled with water. Once believed to ensure an abundant crop, the performances have lost their religious significance as attitudes and beliefs have changed, and as modern agricultural techniques have replaced rituals such as the Akiu no Taue Odori as guarantors of plenty. Today, the dance is a cultural and aesthetic event, connecting townspeople to their agricultural heritage, to Japan\u2019s tradition of reliance on rice, and to a group identity transmitted across centuries through folk performance. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/akiu-no-taue-odori-00273", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01372-BIG.jpg", "copyright": "2006 by Sendai City Board of Education", "title": "TheTaue Odori begins with an auspicious message from the facilitators. (Akiu no Taue Odori in the Yumoto Community 2006)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01373-BIG.jpg", "copyright": "2008 by Sendai City Board of Education", "title": "The initial dance that is performed replicates the movements of rice planting. (Akiu no Taue Odori in the Yumoto Community 2008)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01374-BIG.jpg", "copyright": "2008 by Sendai City Board of Education", "title": "In between the dances done by the female members is a dance done by the performance facilitators (Akiu no Taue Odori in the Yumoto Community 2008)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01375-BIG.jpg", "copyright": "2008 by Sendai City Board of Education", "title": "The performers create a beautiful dance by holding the Japanese fans in their hands while waving them left and right (Akiu no Taue Odori in the Baba Community 2008)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01376-BIG.jpg", "copyright": "2008 by Sendai City Board of Education", "title": "Akiu no Taue Odori Yumoto Community 2008" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01377-BIG.jpg", "copyright": "2008 by Sendai City Board of Education", "title": "(Akiu no Taue Odori in the Yumoto Community 2008)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01378-BIG.jpg", "copyright": "2008 by Takashi Mumata", "title": "There are also performances danced while holding bells or makeshift instruments (Akiu no Taue Odori in the Nagafukuro Community 2008)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01379-BIG.jpg", "copyright": "2008 by Takashi Mumata", "title": "In the middle of a dance, the dancers may receive scripted words of praise from one of the audience (Akiu no Taue Odori in the Nagafukuro Community 2008)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01380-BIG.jpg", "copyright": "2008 by Takashi Mumata", "title": "After the comments are finished, a representative from the troupe will then return words of thanks that are likewise scripted. When the return of thanks is finished, the performers dance expressing( their appreciation (Akiu no Taue Odori in the Nagafukuro Community 2008)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01381-BIG.jpg", "copyright": "2008 by Sendai City Board of Education", "title": "In the Akiu no Taue Odori, depending upon the dance, the performers sometimes exchange what they are holding while dancing. For this dance, the dancers don't hold anything while they dance. (Akiu no Taue Odori in the Baba Community 2008)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=xQQ-gDRcBf8", "copyright": "2008 by Sendai City Board of Education", "title": "" } ], "sustainability": "" } }, "element_275": { "type": "element", "label": "Dainichido Bugaku", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01394-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01394-HUG.jpg" }, "description": "According to legend, travelling performers of ''bugaku,'' the ritual dance and music of the imperial palace, visited Hachimantai Town in northern Japan in the early eighth century, during the reconstruction of Dainichido, the shrine pavilion. The ritual performance of Dainichido Bugaku takes its name from this story, but the art evolved considerably since, reflecting local features as elders transmitted it to the young within each of the four local communities of Osato, Azukisawa, Nagamine and Taniuchi. On the second day of each year, the 2 January, the people of these communities proceed from dedicated sites to the shrine, where they perform nine sacred dances from dawn to noon as a prayer for happiness in the New Year. Some of the dances involve masks (including the imaginary lion-like ''shishi'' of myths), others include child dancers, reflecting variations among the four groups. The practice deepens the sense of affiliation with the local community, for both the participants and the many residents who come to observe the tradition each year. Although the Dainichido Bugaku was interrupted for nearly six decades in the late eighteenth century, the people of Hachimantai take great pride in the restored tradition, which is the spiritual core of their solidarity.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/dainichido-bugaku-00275", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01392-BIG.jpg", "copyright": "2008, by Kazuno City", "title": "Mikomai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01393-BIG.jpg", "copyright": "2008, by Kazuno City", "title": "Kanatemai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01394-BIG.jpg", "copyright": "2008, by Kazuno City", "title": "Daishougyouji" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01395-BIG.jpg", "copyright": "2007, by Kazuno City", "title": "Gongenmai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01396-BIG.jpg", "copyright": "2007, by Kazuno City", "title": "Komamai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01397-BIG.jpg", "copyright": "2007, by Kazuno City", "title": "Uhenmai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01398-BIG.jpg", "copyright": "2007, by Kazuno City", "title": "Torimai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01399-BIG.jpg", "copyright": "2007, by Kazuno City", "title": "Godaisonmai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01400-BIG.jpg", "copyright": "2007, by Kazuno City", "title": "Koushoumai" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=nPzFRqB-h8k", "copyright": "1994 by Kazuno City", "title": "" } ], "sustainability": "" } }, "element_276": { "type": "element", "label": "Daimokutate", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01403-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01403-HUG.jpg" }, "description": "In Yahashira Shrine of Nara City in central Japan, young men of the Kami-fukawa community stand in a semi-circle dressed in samurai clothes and carrying bows. One by one, they are called to the centre by an old man who reads the name of a character in the tales of the feud between the Genji and Heike clans. Each in turn delivers his character\u2019s lines from memory, in a distinctive accent but without acting or musical accompaniment. When all twenty-six characters have spoken, the youths rhythmically stamp their feet and sing themselves offstage. Originally a rite of passage at the age of seventeen to mark the formal acceptance of the eldest son into the community of the twenty-two families of Kami-fukawa, the Daimokutate is now performed annually in mid-October by young men of various ages and from many different families. Indeed, since the twentieth century, the dispersion of the original twenty-two families has meant that other residents of Nara have led the effort to preserve the ceremony. Unique in Japan as a dramatic performance without acting or music, the Daimokutate is an important marker of identity and plays an indispensable role in maintaining solidarity in this mountainous town. ", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/daimokutate-00276", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01402-BIG.jpg", "copyright": "2005, by Nara Conference for Preservation of Traditional Culture", "title": "Stage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01403-BIG.jpg", "copyright": "2005, by Nara Conference for Preservation of Traditional Culture", "title": "Dressing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01404-BIG.jpg", "copyright": "2005, by Nara Conference for Preservation of Traditional Culture", "title": "Entering the Stage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01406-BIG.jpg", "copyright": "2005, by Nara Conference for Preservation of Traditional Culture", "title": "Performance 01" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01407-BIG.jpg", "copyright": "2005, by Nara Conference for Preservation of Traditional Culture", "title": "Performance 02" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01408-BIG.jpg", "copyright": "2005, by Nara Conference for Preservation of Traditional Culture", "title": "Performance 03" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01411-BIG.jpg", "copyright": "2005, by Nara Conference for Preservation of Traditional Culture", "title": "Performance 06" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=BgJuAkBBEZs", "copyright": "2006 by Nara Conference for Preservation of Traditional Culture", "title": "" } ], "sustainability": "" } }, "element_278": { "type": "element", "label": "Traditional Ainu dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01486-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01486-HUG.jpg" }, "description": "The Ainu are an indigenous people who today live mostly in Hokkaid\u014d in northern Japan. Traditional Ainu dance is performed at ceremonies and banquets, as part of newly organized cultural festivals and privately in daily life; in its various forms, it is closely connected to the lifestyle and religion of the Ainu. The traditional style involves a large circle of dancers, sometimes with onlookers who sing an accompaniment without musical instrumentation. Some dances imitate the calls and movements of animals or insects; others, like the sword and bow dances, are rituals; and still others are improvisational or purely entertainment. Believing that deities can be found in their surroundings, the Ainu frequently use dance to worship and give thanks for nature. Dance also plays a central role in formal ceremonies such as ''Iyomante,'' in which participants send the deity embodied in a bear they have eaten back to heaven by mimicking the movements of a living bear. For the Ainu, dance reinforces their connection to the natural and religious world and provides a link to other Arctic cultures in Russia and North America.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-ainu-dance-00278", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01482-BIG.jpg", "copyright": "2007, by Ainu Association of Hokkaido", "title": "Iuta Upopo \/ Pouding Work Song" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01483-BIG.jpg", "copyright": "2006, by Ainu Association of Hokkaido", "title": "lomante Rimse \/ Bear Ceremony Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01484-BIG.jpg", "copyright": "2008, by Ainu Association of Hokkaido", "title": "Emus Rimse \/ Sword Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01485-BIG.jpg", "copyright": "2006, by Ainu Association of Hokkaido", "title": "Ermun Koyki \/ Mouse-trapping" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01486-BIG.jpg", "copyright": "2008, by Ainu Association of Hokkaido", "title": "Ku Rimse \/ Bow Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01487-BIG.jpg", "copyright": "2006, by Ainu Association of Hokkaido", "title": "Saroruncikap Rimse \/ Crane Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01488-BIG.jpg", "copyright": "2007, by Ainu Association of Hokkaido", "title": "Pattaki Upopo \/ Grasshopper Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01489-BIG.jpg", "copyright": "2007, by Ainu Association of Hokkaido", "title": "Hararki \/ Flying Crane Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01490-BIG.jpg", "copyright": "2007, by Ainu Association of Hokkaido", "title": "Hussa Hero \/ Dance for Purification" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01491-BIG.jpg", "copyright": "2006, by Ainu Association of Hokkaido", "title": "Humpe Rimse \/ Whale Dance" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=bKaw7ShYIYQ", "copyright": "Ainu Association of Hokkaido, 2008", "title": "" } ], "sustainability": "" } }, "element_279": { "type": "element", "label": "Radif of Iranian music", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01366-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01366-HUG.jpg" }, "description": "The Radif of Iranian music is the traditional repertoire of the classical music of Iran that forms the essence of Persian musical culture. More than 250 melodic units, called ''gushe,'' are arranged into cycles, with an underlying modal layer providing the backdrop against which a variety of melodic motifs are set. Although the main performance practice of Iranian traditional music unfolds through improvisation according to the mood of the performer and in response to the audience, musicians spend years learning to master the radif as the set of musical tools for their performances and compositions. The radif may be vocal or instrumental, performed on a variety of instruments with different performance techniques including the long- necked lutes ''t\u0101r'' and ''set\u0101r,'' as well as the ''santur'' hammered zither, ''kam\u0101nche'' spike fiddle and ''ney'' reed pipe. Passed from master to disciple through oral instruction, the radif embodies both the aesthetic practice and the philosophy of Persian musical culture. Learning the radif stretches over at least a decade of self devotion during which the students memorize the radif\u2019s repertoire and engage in a process of musical asceticism intended to open the gates of spirituality. This rich treasury lies at the heart of Iranian music and reflects the cultural and national identity of the Iranian people.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/radif-of-iranian-music-00279", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01361-BIG.jpg", "copyright": "House of Music of Iran", "title": "Khojasteh Ensemble, S. Aslani (Santur & Leader)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01362-BIG.jpg", "copyright": "House of Music of Iran", "title": "Ney and Mr Kasayi, Ney Player" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01363-BIG.jpg", "copyright": "House of Music of Iran", "title": "Tar Lessons of Mr Hooshang Zarif" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01365-BIG.jpg", "copyright": "House of Music of Iran", "title": "Tar & Se-Tar Lessons of Dr Talayi at Tehran University" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01366-BIG.jpg", "copyright": "House of Music of Iran", "title": "Santur Lessons of Dr M. Kiani at Tehran University" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01368-BIG.jpg", "copyright": "House of Music of Iran", "title": "Kamanche Lessons of Dr Ganjei" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01369-BIG.jpg", "copyright": "House of Music of Iran", "title": "Mr Hosein Alizadeh Ensemble of Traditional Iranian Music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01370-BIG.jpg", "copyright": "House of Music of Iran", "title": "Mr Shajarian Ensemble of Traditional Iranian Music" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TihGLGuDABI", "copyright": "2008 by House of Music", "title": "" } ], "sustainability": "" } }, "element_281": { "type": "element", "label": "Ramman, religious festival and ritual theatre of the Garhwal Himalayas, India", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01765-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01765-HUG.jpg" }, "description": "Every year in late April, the twin villages of Saloor-Dungra in the state of Uttarakhand (northern India) are marked by Ramman, a religious festival in honour of the tutelary god, Bhumiyal Devta, a local divinity whose temple houses most of the festivities. This event is made up of highly complex rituals: the recitation of a version of the epic of Rama and various legends, and the performance of songs and masked dances. The festival is organized by villagers, and each caste and occupational group has a distinct role. For example, youth and the elders perform, the Brahmans lead the prayers and perform the rituals, and the Bhandaris \u2013 representing locals of the Kshatriya caste \u2013 are alone entitled to wear one of the most sacred masks, that of the half-man, half-lion Hindu deity, Narasimha. The family that hosts Bhumiyal Devta during the year must adhere to a strict daily routine. Combining theatre, music, historical reconstructions, and traditional oral and written tales, the Ramman is a multiform cultural event that reflects the environmental, spiritual and cultural concept of the community, recounting its founding myths and strengthening its sense of self-worth. In order to ensure that it remains viable, the community\u2019s priorities are to promote its transmission and to obtain its recognition beyond the geographical area in which it is practised.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ramman-religious-festival-and-ritual-theatre-of-the-garhwal-himalayas-india-00281", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01763-BIG.jpg", "copyright": "IGNCA, Ministry of Culture", "title": "Saloor Dungra village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01764-BIG.jpg", "copyright": "IGNCA, Ministry of Culture", "title": "Bhumiyal Devta" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01765-BIG.jpg", "copyright": "IGNCA, Ministry of Culture", "title": "Hariyali, newly sprouted barley plant" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01766-BIG.jpg", "copyright": "IGNCA, Ministry of Culture", "title": "Bur-Deva dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01767-BIG.jpg", "copyright": "IGNCA, Ministry of Culture", "title": "Mwar - Mwarin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01768-BIG.jpg", "copyright": "IGNCA, Ministry of Culture", "title": "Enactment of Ramkatha" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01769-BIG.jpg", "copyright": "IGNCA, Ministry of Culture", "title": "Gurkhas, Maal Nritya" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01770-BIG.jpg", "copyright": "IGNCA, Ministry of Culture", "title": "Make up of artists" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01771-BIG.jpg", "copyright": "IGNCA, Ministry of Culture", "title": "Masks" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01772-BIG.jpg", "copyright": "IGNCA, Ministry of Culture", "title": "Musicians" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TNvPNwOvWOg", "copyright": "2008 by IGNCA \/ Ministry of Culture", "title": "" } ], "sustainability": "" } }, "element_288": { "type": "element", "label": "Katta Ashula", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01789-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01789-HUG.jpg" }, "description": "Katta Ashula (literally \u2018big song\u2019) is a type of traditional song that forms part of the identity of various peoples of the Ferghana Valley in Uzbekistan, which is also home to Tajiks, Uyghurs and Turks, and of some regions of Kyrgyzstan, Tajikistan and Kazakhstan. An original genre, Katta Ashula combines performing arts, singing, instrumental music, Eastern poetry and sacred rites. It covers a range of subjects, from love to philosophical and theological concepts of the universe and nature, while leaving some room for improvisation. Transmitted orally from master to pupil from one generation to another during a demanding apprenticeship, it is interpreted by a minimum of two and a maximum of five singers. Nowadays, Katta Ashula is an important expression of Uzbek cultural identity that can promote dialogue between cultures. To keep this tradition viable, festivals, contests and various other activities already organized by the Government of Uzbekistan and the local authorities are to be reinforced through the introduction of programmes for transmitting the tradition to young people and research (creation of a database, organization of conferences, publications, etc.).", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/katta-ashula-00288", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01780-BIG.jpg", "copyright": "2008 by Rustambek Abdullaev", "title": "Otamirzo Abdurahimov, Meliquzi Yusupov, Abbos Qori (Kokand)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01781-BIG.jpg", "copyright": "2008 by Rustambek Abdullaev", "title": "Ibrohimjon Ishoqov, Musajon Orifjonov (Margilon)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01782-BIG.jpg", "copyright": "2008 by Rustambek Abdullaev", "title": "Mollaboy Khamidov, Ibragim Iskhakov, Abdulla Gaziyev (Namangan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01783-BIG.jpg", "copyright": "2008 by Rustambek Abdullaev", "title": "Goibota Tuychiyev with his student (Margilon)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01784-BIG.jpg", "copyright": "2008 by Rustambek Abdullaev", "title": "Turgunboy Mirzayev (Qoqon)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01785-BIG.jpg", "copyright": "2008 by Rustambek Abdullaev", "title": "Gaibota Tuychiev (Margilon)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01786-BIG.jpg", "copyright": "2008 by Rustambek Abdullaev", "title": "The Tuychiyevs\u2019 family ensemble (Margilon)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01787-BIG.jpg", "copyright": "2008 by Rustambek Abdullaev", "title": "Isaboy Musoboyev, Soboqul Karimov, Bahodir Qoraboyev (Fergana)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01788-BIG.jpg", "copyright": "2008 by Rustambek Abdullaev", "title": "S. Alokhodjaev, T. Orziqulov (Andijan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01789-BIG.jpg", "copyright": "2008 by Rustambek Abdullaev", "title": "Arifbay Qoroboyev, Nuriddin Tashmatov (Fergana)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=FyZ3FKq54iE", "copyright": "2008 by Rustambek Abdullaev", "title": "" } ], "sustainability": "" } }, "element_290": { "type": "element", "label": "Manden Charter, proclaimed in Kurukan Fuga", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01519-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01519-HUG.jpg" }, "description": "In the early thirteenth century, following a major military victory, the founder of the Mandingo Empire and the assembly of his wise men proclaimed in Kurukan Fuga the new Manden Charter, named after the territory situated above the upper Niger River basin, between present-day Guinea and Mali. The Charter, one of the oldest constitutions in the world albeit mainly in oral form, contains a preamble of seven chapters advocating social peace in diversity, the inviolability of the human being, education, the integrity of the motherland, food security, the abolition of slavery by razzia (or raid), and freedom of expression and trade. Although the Empire disappeared, the words of the Charter and the rituals associated with it are still transmitted orally from father to son in a codified way within the Malinke clans. To keep the tradition alive, commemorative annual ceremonies of the historic assembly are organized in the village of Kangaba (adjacent to the vast clearing of Kurukan Fuga, which now lies in Mali, (close to the Guinean border). The ceremonies are backed by the local and national authorities of Mali and, in particular, the traditional authorities, who see it as a source of law and as promoting a message of love, peace and fraternity, which has survived through the ages. The Manden Charter continues to underlie the basis of the values and identity of the populations concerned.", "list": "RL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/manden-charter-proclaimed-in-kurukan-fuga-00290", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01517-BIG.jpg", "copyright": "DNPC, mai 2008", "title": "Procession des chasseurs sur le site de Kouroukan Fouga" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01518-BIG.jpg", "copyright": "DNPC, 2003", "title": "A griot telling the story of Manden" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01519-BIG.jpg", "copyright": "DNPC, mai 2008", "title": "Hommage des chasseurs aux initiateurs de la Charte du Manden" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01520-BIG.jpg", "copyright": "DNPC, mai 2008", "title": "Kouroukan Fouga lors du forum culturel de D\u00e9gu\u00e9la" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01521-BIG.jpg", "copyright": "DNPC, mai 2008", "title": "Les participants au forum culturel de D\u00e9guela sur Kouroukan Fouqa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11421-BIG.jpg", "copyright": "DNPC, d\u00e9c. 2008", "title": "Monument indiquant le site de Kouroukan Fouga" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11422-BIG.jpg", "copyright": "DNPC, d\u00e9c. 2008", "title": "Vue d'ensemble du site Kouroukan Fouga" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11423-BIG.jpg", "copyright": "DNPC, d\u00e9c. 2008", "title": "Chercheurs sur le site de Kouroukan Fouga, vue d'ensemble" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11424-BIG.jpg", "copyright": "DNPC, 2003", "title": "Une des pierres sur laquelle se seraient assis les digniatires lors de la prestation du serment du Manden" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11425-BIG.jpg", "copyright": "DNPC, 2003", "title": "Vue des deux pierres sur lesquelles se seraient assis les digniatires lors de la prestation du serment du Manden" } ], "video": [], "sustainability": "Proclaimed in Kurukan Fuga in the thirteenth century, the Manden Charter is one of the oldest constitutions in the world. In addition to its historical significance, it is highly valued as a source of customary laws by the Malinke clans situated in villages in Mali. The charter contains chapters that advocate peace, diversity, respect for motherland, food security abolition of slavery, and freedom of expression and trade. Orally transmitted through the male lineage, the living tradition is a significant promoter of peace and justice. It also resonates with SDG #2 Zero Hunger and #3 Quality Education." } }, "element_289": { "type": "element", "label": "Sank\u00e9 mon, collective fishing rite of the Sank\u00e9", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01860-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01860-HUG.jpg" }, "description": "The Sank\u00e9 mon collective fishing rite takes place in San in the S\u00e9gou region of Mali every second Thursday of the seventh lunar month to commemorate the founding of the town. The rite begins with the sacrifice of roosters, goats and offerings made by village residents to the water spirits of the Sank\u00e9 pond. The collective fishing then takes place over fifteen hours using large and small mesh fishing nets. It is immediately followed by a masked dance on the public square featuring Buwa dancers from San and neighbouring villages who wear traditional costumes and hats decorated with cowrie shells and feathers and perform specific choreography to the rhythms of a variety of drums. Traditionally, the Sank\u00e9 mon rite marks the beginning of the rainy season. It is also is an expression of local culture through arts and crafts, knowledge and know-how in the fields of fisheries and water resources. It reinforces collective values of social cohesion, solidarity and peace between local communities. In recent years, the rite has seen a decrease in popularity that threatens to endanger its existence, contributory factors including ignorance of the event\u2019s history and importance, a gradual decrease in attendance, occasional accidents during the event itself and the degradation of the Sank\u00e9 lake due to poor rainfall and the effects of urban development. ", "list": "USL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/sanke-mon-collective-fishing-rite-of-the-sanke-00289", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01848-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel, Minist\u00e8re de la culture du Mali", "title": "Allaye Daou, propri\u00e9taire des g\u00e9nies des eaux de la mare" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01853-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel, Minist\u00e8re de la culture du Mali", "title": "Bouillie de brisure de mil offerte aux invit\u00e9s" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01854-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel, Minist\u00e8re de la culture du Mali", "title": "Danseurs Buwa lors des festivit\u00e9s" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01855-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel, Minist\u00e8re de la culture du Mali", "title": "Danseurs Buwa lors des festivit\u00e9s" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01856-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel, Minist\u00e8re de la culture du Mali", "title": "Engagement des femmes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01857-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel, Minist\u00e8re de la culture du Mali", "title": "Festivit\u00e9s apr\u00e8s la p\u00eache, danse des masques" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01858-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel, Minist\u00e8re de la culture du Mali", "title": "Festivit\u00e9s nocturnes \u00e0 la veille" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01859-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel, Minist\u00e8re de la culture du Mali", "title": "Jeune gar\u00e7on d\u00e9guis\u00e9 en fille" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01860-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel, Minist\u00e8re de la culture du Mali", "title": "La p\u00eache dans la mare" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01861-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel, Minist\u00e8re de la culture du Mali", "title": "Les enfants en liesse dans la mare" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=vMAoxH2f9Xc", "copyright": "Direction Nationale du Patrimoine Culturel (Mali), 2009", "title": "" } ], "sustainability": "" } }, "element_304": { "type": "element", "label": "Meshrep", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03280-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03280-HUG.jpg" }, "description": "Found among the Uygur people concentrated largely in China\u2019s Xinjiang Uygur Autonomous Region, Meshrep constitutes the most important cultural carrier of Uygur traditions. A complete Meshrep event includes a rich collection of traditions and performance arts, such as music, dance, drama, folk arts, acrobatics, oral literature, foodways and games. Uygur muqam is the most comprehensive art form included in the event, integrating song, dance and entertainment. Meshrep functions both as a \u2018court\u2019, where the host mediates conflicts and ensures the preservation of moral standards, and as a \u2018classroom\u2019, where people can learn about their traditional customs. Meshrep is mainly transmitted and inherited by hosts who understand its customs and cultural connotations, by the virtuoso performers who participate, and by all the Uygur people who attend. However, there are numerous factors endangering its viability, such as social changes resulting from urbanization and industrialization, the influence of national and foreign cultures, and the migration of young Uygur to cities for work. Frequency of occurrence and the number of participants are progressively diminishing, while the number of transmitters who understand the traditional rules and rich content of the event has sharply decreased from hundreds to tens.", "list": "USL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/meshrep-00304", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03276-BIG.jpg", "copyright": "ICH Protection and Research Center, Xinjiang Uyghur Autonomous Region of China, 2009", "title": "Tea time before Maxirap" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03277-BIG.jpg", "copyright": "ICH Protection and Research Center, Xinjiang Uyghur Autonomous Region of China, 2009", "title": "Presenter announces commencement of Meshrep" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03278-BIG.jpg", "copyright": "ICH Protection and Research Center, Xinjiang Uyghur Autonomous Region of China, 2009", "title": "Ballad singing at Maxirap" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03279-BIG.jpg", "copyright": "ICH Protection and Research Center, Xinjiang Uyghur Autonomous Region of China, 2009", "title": "Animal mimicking:audience burst out laughing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03280-BIG.jpg", "copyright": "ICH Protection and Research Center, Xinjiang Uyghur Autonomous Region of China, 2009", "title": "Cheering up the Audience" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03281-BIG.jpg", "copyright": "ICH Protection and Research Center, Xinjiang Uyghur Autonomous Region of China, 2009", "title": "Bowl-balancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03282-BIG.jpg", "copyright": "ICH Protection and Research Center, Xinjiang Uyghur Autonomous Region of China, 2009", "title": "Girl putting on make-up before Maxirap" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03283-BIG.jpg", "copyright": "ICH Protection and Research Center, Xinjiang Uyghur Autonomous Region of China, 2009", "title": "Egg-hitting: a Maxirap game" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03284-BIG.jpg", "copyright": "ICH Protection and Research Center, Xinjiang Uyghur Autonomous Region of China, 2009", "title": "Sapayi Dance at Maxirap" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03285-BIG.jpg", "copyright": "ICH Protection and Research Center, Xinjiang Uyghur Autonomous Region of China, 2009", "title": "Delivering young crop to the Maxirap site" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=THrgsbH2UGY", "copyright": "2009 by ICH Protection and Research Centre, Xinjiang Uyghur Autonomous Region of China", "title": "Maxirap" } ], "sustainability": "" } }, "element_308": { "type": "element", "label": "Rite of the Kalyady Tsars (Christmas Tsars)", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01695-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01695-HUG.jpg" }, "description": "The Kalyady Tsars (Christmas Tsars) is a ritual and festive event celebrated in the village of Semezhava in the Minsk region of Belarus. Typical Belarusian New Year celebrations take place according to the \u2018old\u2019 Julian style calendar and are combined with distinctive local performing arts. About 500 men participate annually in the event, of which seven are chosen to play the roles of \u2018Kalyady Tsars\u2019 in the national historical-religious drama \u2018Tsar Maximilian\u2019. Additional comic characters of the ''dzad'' (old man) and ''baba'' (old lady), played by a young girl and boy respectively, interact with the audience. During the drama, \u2018tsars\u2019 visit the local houses of unmarried girls to give comic performances and receive good wishes and awards. The procession continues into the night, lit by torchlight. The incorporation of dramatic allusions to aspects of modern life as well as to ethnic communities, groups and individuals has established the drama as a vivid example of cultural diversity. At present, the ceremony, although popular with older residents, is diminishing in popularity with the younger generation. This may result in a gap in transmission of knowledge regarding the production of costumes, instruments, interior decorations and particular dishes associated with the event \u2013 intangible heritage that may not outlast the present generation of residents.", "list": "USL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/rite-of-the-kalyady-tsars-christmas-tsars-00308", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01688-BIG.jpg", "copyright": "2007 by Vyacheslau Kalatsey\/Belarusian State University of Culture and Arts", "title": "Semezhava village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01689-BIG.jpg", "copyright": "2007 by Vyacheslau Kalatsey\/Belarusian State University of Culture and Arts", "title": "Performers of rite" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01691-BIG.jpg", "copyright": "2007 by Belarusian State University of Culture and Arts Archives Collection", "title": "Performers of rite" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01692-BIG.jpg", "copyright": "2007 by Vyacheslau Kalatsey\/Belarusian State University of Culture and Arts", "title": "Aged villagers telling about the rite" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01693-BIG.jpg", "copyright": "2007 by Vyacheslau Kalatsey\/Belarusian State University of Culture and Arts", "title": "Beginning of the ritual" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01694-BIG.jpg", "copyright": "2007 by Vyacheslau Kalatsey\/Belarusian State University of Culture and Arts", "title": "The \"Tsars\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01695-BIG.jpg", "copyright": "2007 by Vyacheslau Kalatsey\/Belarusian State University of Culture and Arts", "title": "Presentation of the \"Tsars\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01696-BIG.jpg", "copyright": "2007 by Vyacheslau Kalatsey\/Belarusian State University of Culture and Arts", "title": "Tsar \"Mamay\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01697-BIG.jpg", "copyright": "2007 by Vyacheslau Kalatsey\/Belarusian State University of Culture and Arts", "title": "Tsars procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01698-BIG.jpg", "copyright": "2007 by Vyacheslau Kalatsey\/Belarusian State University of Culture and Arts", "title": "Tsars evening procession" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=H3XRz0uLwUg", "copyright": "2008 by Tatiata Kukharenok\/ Belarusian cinema center to the Arts History, Ethnography and Folklore Institute, National Academy of Science", "title": "" } ], "sustainability": "" } }, "element_309": { "type": "element", "label": "Ca tr\u00f9 singing", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01906-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01906-HUG.jpg" }, "description": "Ca tr\u00f9 is a complex form of sung poetry found in the north of Viet Nam using lyrics written in traditional Vietnamese poetic forms. Ca tr\u00f9 groups comprise three performers: a female singer who uses breathing techniques and vibrato to create unique ornamented sounds, while playing the clappers or striking a wooden box, and two instrumentalists who produce the deep tone of a three-stringed lute and the strong sounds of a praise drum. Some Ca tr\u00f9 performances also include dance. The varied forms of Ca tr\u00f9 fulfill different social purposes, including worship singing, singing for entertainment, singing in royal palaces and competitive singing. Ca tr\u00f9 has fifty-six different musical forms or melodies, each of which is called th\u1ec3 c\u00e1ch. Folk artists transmit the music and poems that comprise Ca tr\u00f9 pieces by oral and technical transmission, formerly, within their family line, but now to any who wish to learn. Ongoing wars and insufficient awareness caused Ca tr\u00f9 to fall into disuse during the twentieth century. Although the artists have made great efforts to transmit the old repertoire to younger generations, Ca tr\u00f9 is still under threat of being lost due to the diminishing number and age of practitioners.", "list": "USL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/ca-tru-singing-00309", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01890-BIG.jpg", "copyright": "2006. Vietnamese Institute for Musicology. Ministry of Culture, Sports and Tourism of Vietnam", "title": "The carved board of a person playing the dan day three-stringed lute in the 16th century in the Lo Hanh communal house, Hiep Hoa district, Bac Giang province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01891-BIG.jpg", "copyright": "2006. Vietnamese Institute for Musicology. Ministry of Culture, Sports and Tourism of Vietnam", "title": "The statues of two Ca tru ancestors, Your Grace Dinh Du Thanh Xa and Princess Man Duong Hoa worshipped in the temple of the Ca tru's founder in Lo KM hamlet, Lien Ha commune, Bang Anh district, Hanoi." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01902-BIG.jpg", "copyright": "2006. Vietnamese Institute for Musicology. Ministry of Culture, Sports and Tourism of Vietnam", "title": "Relic of songstress Ha Thi Tham (Legend has it that she was an imperial concubine of the King Le) worshipped in Ha's family line in Den village, HoangTrinh commune, Thanh Hoa province." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01903-BIG.jpg", "copyright": "2006. Vietnamese Institute for Musicology. Ministry of Culture, Sports and Tourism of Vietnam", "title": "Ca tru Hat tha thanh (singing for worshipping deities) at the village communal house." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01904-BIG.jpg", "copyright": "2006. Vietnamese Institute for Musicology. Ministry of Culture, Sports and Tourism of Vietnam", "title": "Ca tru Hat Chuc ho (Singing in Royal palace) at the King and Lord's palace" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01905-BIG.jpg", "copyright": "2006. Vietnamese Institute for Musicology. Ministry of Culture, Sports and Tourism of Vietnam", "title": "Ca tru Hat choi (singing for entertainment) at private house" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01906-BIG.jpg", "copyright": "2006. Vietnamese Institute for Musicology. Ministry of Culture, Sports and Tourism of Vietnam", "title": "Bo bo dance in Ca tru cua dinh (singing in the village communal house)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01907-BIG.jpg", "copyright": "2006. Vietnamese Institute for Musicology. Ministry of Culture, Sports and Tourism of Vietnam", "title": "Bang dance in Ca tru cua dinh (singing in the village communal house)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01908-BIG.jpg", "copyright": "2006. Vietnamese Institute for Musicology. Ministry of Culture, Sports and Tourism of Vietnam", "title": "The students learning to sing Ca tru in Hanoi held by the Performing ArtsDepartment and Hanoi National Conservatory of Music in 2002 took part inthe National Ca tru Festival in Nghi Xuam, Ha Tinh province in 2005. Thefinance for organizing is aided by the Ford Foundation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01909-BIG.jpg", "copyright": "2006. Vietnamese Institute for Musicology. Ministry of Culture, Sports and Tourism of Vietnam", "title": "Deputy Minister Huynh Vinh Ai of the Ministry of Culture, Sports andTourism in The night honoring Ca tru at Hanoi Opera House in December 2007" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XrzGeo8GQX8", "copyright": "2008 Vietnamese Institute for Musicology, Hanoi, Vietnam", "title": "" } ], "sustainability": "" } }, "element_310": { "type": "element", "label": "Mongol Tuuli, Mongolian epic", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01896-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01896-HUG.jpg" }, "description": "The Mongolian Tuuli is an oral tradition comprising heroic epics that run from hundreds to thousands of lines and combine benedictions, eulogies, spells, idiomatic phrases, fairy tales, myths and folk songs. They are regarded as a living encyclopaedia of Mongolian oral traditions and immortalize the heroic history of the Mongolian people. Epic singers are distinguished by their prodigious memory and performance skills, combining singing, vocal improvisation and musical composition coupled with theatrical elements. Epic lyrics are performed to musical accompaniment on instruments such as the ''morin khuur'' (horse-head fiddle) and ''tovshuur'' (lute). Epics are performed during many social and public events, including state affairs, weddings, a child\u2019s first haircut, the ''naadam'' (a wrestling, archery and horseracing festival) and the worship of sacred sites. Epics evolved over many centuries, and reflect nomadic lifestyles, social behaviours, religion, mentalities and imagination. Performing artists cultivate epic traditions from generation to generation, learning, performing and transmitting techniques within kinship circles, from fathers to sons. Through the epics, Mongolians transmit their historical knowledge and values to younger generations, strengthening awareness of national identity, pride and unity. Today, the number of epic trainers and learners is decreasing. With the gradual disappearance of the Mongol epic, the system of transmitting historic and cultural knowledge is degrading.", "list": "USL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/mongol-tuuli-mongolian-epic-00310", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01892-BIG.jpg", "copyright": "2008 by Duurenjargal.A", "title": "A. Baldandorj, 29 years old, reciting the \"Narankhuu Khaan\" epic" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01893-BIG.jpg", "copyright": "2008 by Duurenjargal.A", "title": "Kh.Seseer, 65 years old, reciting the \"Doloon tumen nastai dovon Khar bukh\" epic" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01894-BIG.jpg", "copyright": "2008 by Duurenjargal.A", "title": "Learners, reciting the \"Altain Maqtaal\" epic" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01895-BIG.jpg", "copyright": "2008 by Duurenjargal.A", "title": "N.Namsrai, 18 years old, recitinq the \"Danikhurel\" epic" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01896-BIG.jpg", "copyright": "2008 by Duurenjargal.A", "title": "Tovshuur, (a Western Mongolian traditional lute-like instrument) left by Uriankhai ethnic group to the 3rd qeneration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01897-BIG.jpg", "copyright": "2008 by Duurenjargal.A", "title": "Ya.Tsegeen, reciting the \"Dunun nast huleg erdene\" epic" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01898-BIG.jpg", "copyright": "2008 by Duurenjargal.A", "title": "Ya.Tsegeen-2, ritual before the epic reciting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01899-BIG.jpg", "copyright": "2008 by Bayasgalan.T", "title": "A. Dorjpalam, 45 years old, reciting the \"50 duruu damjij morddog, tas khar moritoi Talyn Khar Bodon\" epic" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01900-BIG.jpg", "copyright": "2008 by Bayasgalan.T", "title": "N.Damdindorj, 42 years old, reciting the \"Narankhuu Khaan\" epic" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01901-BIG.jpg", "copyright": "2008 by Bayasgalan.T", "title": "N.Ankhbayar, 28 years old, reciting the \"Uridiin ulaan khonqor\" epic" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ZPVyKJinpf4", "copyright": "2009 by Mongolian National Commission for UNESCO", "title": "" } ], "sustainability": "" } }, "element_311": { "type": "element", "label": "Mongol Biyelgee, Mongolian traditional folk dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01886-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01886-HUG.jpg" }, "description": "The Mongol Biyelgee \u2013 Mongolian Traditional Folk Dance is performed by dancers from different ethnic groups in the Khovd and Uvs provinces of Mongolia. Regarded as the original forebear of Mongolian national dances, Biyelgee dances embody and originate from the nomadic way of life. Biyelgee dances are typically confined to the small space inside the ger (nomadic dwelling) and are performed while half sitting or cross-legged. Hand, shoulder and leg movements express aspects of Mongol lifestyle including household labour, customs and traditions, as well as spiritual characteristics tied to different ethnic groups. Biyelgee dancers wear clothing and accessories featuring colour combinations, artistic patterns, embroidery, knitting, quilting and leather techniques, and gold and silver jewellery specific to their ethnic group and community. The dances play a significant role in family and community events such as feasts, celebrations, weddings and labour-related practices, simultaneously expressing distinct ethnic identities and promoting family unity and mutual understanding among different Mongolian ethnic groups. Traditionally, Mongol Biyelgee is transmitted to younger generations through apprenticeships or home-tutoring within the family, clan or neighbourhood. Today, the majority of transmitters of Biyelgee dance are elderly, and their numbers are decreasing. The inherent diversity of Mongol Biyelgee is also under threat as there remain very few representatives of the distinct forms of Biyelgee from different ethnic groups.", "list": "USL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/mongol-biyelgee-mongolian-traditional-folk-dance-00311", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01880-BIG.jpg", "copyright": "2008 by T. Bayasgalan", "title": "J.Khumbaa, Bayad Bielgee dance Zalkhuu Elkendeg" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01881-BIG.jpg", "copyright": "2008 by T. Bayasgalan", "title": "T. Tsembel, performing the \"Tsatsal\" biyelgee in Khovd province, Bulgan soum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01882-BIG.jpg", "copyright": "2008 by A. Duurenjargal", "title": "A. Chuluun, Durvud Biyelgee dance \"Tsatsal\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01883-BIG.jpg", "copyright": "2008 by A. Duurenjargal", "title": "A.Enkhtaivan, Torguud Biyelgee dance \"Mongol Naadam\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01884-BIG.jpg", "copyright": "2008 by A. Duurenjargal", "title": "D.Usnee, Khoton Biyelgee dance \"Khovoq\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01885-BIG.jpg", "copyright": "2008 by A. Duurenjargal", "title": "G.Tsend-Ayush, Torguud Biyelgee dance \"Ereen Khavirga\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01886-BIG.jpg", "copyright": "2008 by A. Duurenjargal", "title": "M.Jalkh, Bayad Biyelgee dance \"Elkendeg\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01887-BIG.jpg", "copyright": "2008 by A. Duurenjargal", "title": "N.Battulga, Zakhchin Biyelgee dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01888-BIG.jpg", "copyright": "2008 by A. Duurenjargal", "title": "T.Khorloo, Zakhchin Biyelgee dance \"Khudulmur\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01889-BIG.jpg", "copyright": "2008 by A. Duurenjargal", "title": "Ts.Urjinbadam, Torguud Biyelgee dance \"Judar\"" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=yAfUZ81E42I", "copyright": "2009 by Mongolian National Commission for UNESCO", "title": "" } ], "sustainability": "" } }, "element_312": { "type": "element", "label": "Traditional music of the Tsuur", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01870-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01870-HUG.jpg" }, "description": "Tsuur music is based on a combination of instrumental and vocal performance \u2013 a blending of sounds created simultaneously by both the musical instrument and the human throat. Tsuur music has an inseparable connection to the Uriankhai Mongolians of the Altai Region, and remains an integral part of their daily life. Its origins lie in an ancient practice of worshipping nature and its guardian spirits by emulating natural sounds. The Tsuur is a vertical pipe-shaped wooden wind instrument with three fingerholes. Simultaneously touching the mouthpiece of the pipe with one\u2019s front teeth and applying one\u2019s throat produces a unique timbre comprising a clear and gentle whistling sound and a drone. The Tsuur is traditionally played to ensure success for hunts, for benign weather, as a benediction for safe journeys or for weddings and other festivities. The music reflects one\u2019s inner feelings when travelling alone, connects a human to nature, and serves as a performing art. The Tsuur tradition has faded over recent decades as a consequence of negligence and animosity toward folk customs and religious faith, leaving many locales with no Tsuur performer and no families possessing a Tsuur. The forty known pieces preserved among the Uriankhai Mongolians are transmitted exclusively through the memory of successive generations \u2013 a feature making this art highly vulnerable to the risk of disappearing.", "list": "USL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/traditional-music-of-the-tsuur-00312", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01870-BIG.jpg", "copyright": "2006 by Yu. Boldbaatar", "title": "Young performer of tsuur, B.Naranbat (grand-in-son of the well-known tsuur performer, P.Narantsogt)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01871-BIG.jpg", "copyright": "2006 by Yu. Boldbaatar", "title": "Learners of the tsuur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01872-BIG.jpg", "copyright": "2007 by B. Naranbat", "title": "Young performer of tsuur, B.Nemekhjargal (grand-in-son of the well-known tsuur performer, P.Narantsogt)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01873-BIG.jpg", "copyright": "2007 by B. Naranbat", "title": "N. Buyandelger, son of the well-known tsuur performer, P.Narantsogt" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01874-BIG.jpg", "copyright": "2000 by B. Naranbat", "title": "N. Gombojav, son of the well-known tsuur performer, P. Narantsogt" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01875-BIG.jpg", "copyright": "2001 by B. Naranbat", "title": "Family of P.Narantsogt, the well-known tsuur performer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01876-BIG.jpg", "copyright": "2002 by Yu. Boldbaatar", "title": "Tsuur players in the future" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01877-BIG.jpg", "copyright": "2006 by S. Yundenbat", "title": "Tsuur performer G.Tseden-lsh, Buyant soum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01878-BIG.jpg", "copyright": "2006 by S. Yundenbat", "title": "D.Ganwlga, young performer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01879-BIG.jpg", "copyright": "2006 by S. Yundenbat", "title": "Young performer of tsuur Kh.Chuluun (grand-in\u00b7son oflhe well-known tsuur performer, P.Narantsogt)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LHAe9LOY_Fs", "copyright": "2009 by National Centre for the Intangible Cultural Heritage", "title": "" } ], "sustainability": "" } }, "element_313": { "type": "element", "label": "Traditions and practices associated with the Kayas in the sacred forests of the Mijikenda", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01821-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01821-HUG.jpg" }, "description": "The Mijikenda include nine Bantu-speaking ethnic groups in the Kaya forests of coastal Kenya. The identity of the Mijikenda is expressed through oral traditions and performing arts related to the sacred forests, which are also sources of valuable medicinal plants. These traditions and practices constitute their codes of ethics and governance systems, and include prayers, oath-taking, burial rites and charms, naming of the newly born, initiations, reconciliations, marriages and coronations. Kayas are fortified settlements whose cultural spaces are indispensable for the enactment of living traditions that underscore the identity, continuity and cohesion of the Mijikenda communities. The use of natural resources within the Kayas is regulated by traditional knowledge and practices that have contributed to the conservation of their biodiversity. The Kambi (Councils of Elders) acts as the custodians of these Kayas and the related cultural expressions. Today, Mijikenda communities are gradually abandoning the Kayas in favour of informal urban settlements. Due to pressure on land resources, urbanization and social transformations, the traditions and cultural practices associated to the Kaya settlements are fast diminishing, posing great danger to the social fabric and cohesiveness of the Mijikenda communities who venerate and celebrate them as their identity and symbol of continuity.
", "list": "USL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/traditions-and-practices-associated-with-the-kayas-in-the-sacred-forests-of-the-mijikenda-00313", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01743-BIG.jpg", "copyright": "2007 by National Museums of Kenya", "title": "View of Kaya Chonyi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01812-BIG.jpg", "copyright": "2007 by National Museums of Kenya", "title": "Koma memorial stakes at Kaya Giriama" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01813-BIG.jpg", "copyright": "2007 by National Museums of Kenya", "title": "Kadzumba with spirit offerings at Kaya Crtriama" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01814-BIG.jpg", "copyright": "2007 by National Museums of Kenya", "title": "Traditional Giriama dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01816-BIG.jpg", "copyright": "2008 by National Museums of Kenya", "title": "Dance drama at Kaya Giriama" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01818-BIG.jpg", "copyright": "2007 by National Museums of Kenya", "title": "Kaya eders with Heritage Minister at Kaya Giriama" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01821-BIG.jpg", "copyright": "2007 by National Museums of Kenya", "title": "Kaya Rabai elders offering libation to the spirits" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01822-BIG.jpg", "copyright": "2007 by National Museums of Kenya", "title": "Lwanda ritual hut in Kaya Rabai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01825-BIG.jpg", "copyright": "2007 by National Museums of Kenya", "title": "Rabai Kaya elders in traditional regalia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01827-BIG.jpg", "copyright": "2007 by National Museums of Kenya", "title": "Prayer site by Mwache River at Kaya Mtswakam" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=vwM1RV_j2Q4", "copyright": "Department of Culture, 2009", "title": "Community consent included" } ], "sustainability": "Kayas are the sacred forests of the Mijikenda people of coastal Kenya. The Mijikenda establish their fortified settlements within the forest. The Kambi (Council of Elders) conserve the biodiversity of the Kayas by restricting access to outsiders and limiting use of the forest resources to the gathering of medicinal herbs. The Kayas are also at the heart of Mijikenda cultural identity, as expressed through beliefs and social practices, including prayers, oath-taking, burial rites, reconciliations and marriages. While the traditional practices related to the sacred Kaya continue, social and economic transformations such as urbanization currently threaten their future viability. The safeguarding of the Mijikenda community\u2019s living heritage related to the Kayas is imperative for the sustainable conservation of Kenya\u2019s biodiversity. This element also links to SDG # 3: Good Health and Well-being." } }, "element_314": { "type": "element", "label": "Suiti cultural space", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01849-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01849-HUG.jpg" }, "description": "The Suiti are a small Catholic community in the Protestant (Lutheran) western part of Latvia. The Suiti cultural space is characterized by a number of distinct features, including vocal drone singing performed by Suiti women, wedding traditions, colourful traditional costumes, the Suiti language, local cuisine, religious traditions, celebrations of the annual cycle, and a remarkable number of folk songs, dances and melodies recorded in this community. Older forms of extended family structures are still common here, and such families, where the transfer of skills from generation to generation takes place, are important bastions of Suiti cultural heritage. The synthesis of pre-Christian traditions and religious rituals has created a unique blend of intangible cultural heritage in the Suiti community. The pillar of Suiti identity \u2013 the Catholic Church \u2013 successfully recovered following the Soviet period and as a result, the Suiti cultural space has experienced a gradual renaissance. However, today only a few, mostly old people, have a good knowledge of Suiti cultural heritage, and thus there is an urgent need to disseminate this knowledge and to involve more people in its preservation by recovering elements preserved only in written documents, film archives and museum depositaries.", "list": "USL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/suiti-cultural-space-00314", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01829-BIG.jpg", "copyright": "2008 by Juris Lipsnis", "title": "An old hope chest - an important element of the traditional Suiti wedding" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01830-BIG.jpg", "copyright": "2008 by Juris Lipsnis", "title": "Transfer of traditions in the Alsunga weaving workshop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01831-BIG.jpg", "copyright": "2008 by Juris Lipsnis", "title": "This is how the best Suiti bread is still made" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01832-BIG.jpg", "copyright": "2008 by Juris Lipsnis", "title": "Such wooden crosses are an integral part of the Suiti landscape" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01845-BIG.jpg", "copyright": "2008 by Juris Lipsnis", "title": "Celebration of Meteni marks the end of a cold and dark winter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01846-BIG.jpg", "copyright": "2008 by Juris Lipsnis", "title": "When the young Suiti leave school, they have to choose their future career" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01849-BIG.jpg", "copyright": "2008 by Juris Lipsnis", "title": "There can never be too much joy and noise at mid-summer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01850-BIG.jpg", "copyright": "2008 by Juris Lipsnis", "title": "Will these Suiti children continue the old traditions?" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01851-BIG.jpg", "copyright": "2008 by Juris Lipsnis", "title": "This small altar of the Gudenieki church may be carried by women only" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=R1T6BxnOgls", "copyright": "2009 by Ethnic Culture Center \"Suiti\" Foundation (Biedr\u00efba EKC \"Suiti\") and Ltd. Labvakar.", "title": "" } ], "sustainability": "" } }, "element_315": { "type": "element", "label": "Cantu in paghjella, a secular and liturgical oral tradition of Corsica", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01735-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01735-HUG.jpg" }, "description": "The paghjella is a male Corsican singing tradition. It combines three vocal registers that always enter the song in the same order: a segonda, which begins, give the pitch and carries the main melody; u bassu, which follows, accompanies and supports it, and finally a terza, the highest placed, which enriches the song. Paghjella makes substantial use of echo and is sung a capella in a variety of languages including Corsican, Sardinian, Latin and Greek. As both a secular and liturgical oral tradition, it is performed on festive, social and religious occasions: in the bar or village square, as part of liturgical masses and processions and during agricultural fairs. The principle mode of transmission is oral, largely through observation and listening, imitation and immersion, commencing first as part of young boys\u2019 daily liturgical offices and then later at adolescence through the local Church choir. Despite the efforts of its practitioners to revitalize its repertoires, paghjella has gradually diminished in vitality, due a sharp decline in intergenerational transmission caused by emigration of the younger generation and the consequent impoverishment of its repertoire. Unless action is taken, paghjella will cease to exist in its current form, surviving only as a tourist product devoid of the community links that give it real meaning.", "list": "USL", "year": 2009, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/cantu-in-paghjella-a-secular-and-liturgical-oral-tradition-of-corsica-00315", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01733-BIG.jpg", "copyright": "Mich\u00e8le Guelfucci-Glinatsis, 2009", "title": "Cantu in paghjella de Corse, Paul Mariani, originaire de Sermanu, doyen des paghjellaghji, place de l'Eglise de Sermanu, France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01734-BIG.jpg", "copyright": "Mich\u00e8le Guelfucci-Glinatsis, 2009", "title": "Cantu in paghjella de Corse, voix de bassu: Filippu Rocchi et Petru Santu Guelfucci, voix de seconda: Petru Guelfucci, voix de terza: Dum\u00e8 Leschi , Eglise de Sermanu, France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01735-BIG.jpg", "copyright": "Mich\u00e8le Guelfucci-Glinatsis, 2009", "title": "Cantu in paghjella de Corse, voix de bassu: Filippu Rocchi et Petru Santu Guelfucci, voix de seconda: Petru Guelfucci, voix de terza: Dum\u00e8 Leschi , Eglise de Sermanu, France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01737-BIG.jpg", "copyright": "Mich\u00e8le Guelfucci-Glinatsis, 2009", "title": "Cantu in paghjella de Corse, voix de bassu: Filippu Rocchi et Petru Santu Guelfucci, Eglise de Sermanu, France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01738-BIG.jpg", "copyright": "Mich\u00e8le Guelfucci-Glinatsis, 2009", "title": "Cantu in paghjella de Corse, voix de seconda:Petru Guelfucci, voix de terza: Dum\u00e8 Leschi, Eglise de Sermanu, France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01739-BIG.jpg", "copyright": "Mich\u00e8le Guelfucci-Glinatsis, 2009", "title": "Cantu in paghjella de Corse, voix de bassu: Filippu Rocchi et Petru Guelfucci, voix de seconda: Petru Santu Guelfucci, voix de terza:Dum\u00e8 Leschi, Eglise de Sermanu, France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01740-BIG.jpg", "copyright": "Mich\u00e8le Guelfucci-Glinatsis, 2009", "title": "Cantu in paghjella de Corse, voix de bassu: Filippu Rocchi et Petru Guelfucci, voix de seconda: Petru Santu Guelfucci, voix de terza:Dum\u00e8 Leschi, Eglise de Sermanu, France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01741-BIG.jpg", "copyright": "Mich\u00e8le Guelfucci-Glinatsis, 2009", "title": "Cantu in paghjella de Corse, voix de seconda: Petru Santu Guelfucci, voix de terza:Dum\u00e8 Leschi, Eglise de Sermanu, France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01742-BIG.jpg", "copyright": "Mich\u00e8le Guelfucci-Glinatsis, 2009", "title": "Cantu in paghjella de Corse, voix de seconda: Filippu Rocchi et voix de terza: Petru Guelfucci, Eglise de Sermanu, France" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=FU4_MCEjUlM", "copyright": "2009 Michele Guelfucci-Glinatsis", "title": "" } ], "sustainability": "" } }, "element_320": { "type": "element", "label": "Ojkanje singing", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03228-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03228-HUG.jpg" }, "description": "Ojkanje two-part singing, found in the Croatian regions of the Dalmatian hinterland, is performed by two or more singers (male or female) using a distinctive voice-shaking technique created by the throat. Each song lasts as long as the lead singer can hold his or her breath. Melodies are based on limited, mostly chromatic, tonal scales, and the lyrics cover diverse themes ranging from love to current social issues and politics. Ojkanje owes its survival to organized groups of local tradition bearers who continue to transmit the skills and knowledge, representing their villages at festivals in Croatia and around the world. Although Ojkanje is traditionally passed on orally, audio and video media and organized training within local folklore groups now play an increasing part in its transmission. However, the survival of individual voice-shaking techniques and numerous two-part forms depends greatly on talented, skilful singers and their capacity to perform and to pass on their knowledge to new generations. Recent conflicts and rural to urban migration that reduced the population of the region and changes in ways of life have caused a sharp decrease in the number of performers, resulting in the loss of many archaic styles and genres of solo singing.", "list": "USL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/ojkanje-singing-00320", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03226-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Man's and women's traditional costumes from Licko Lesce" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03227-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Mail singers from Licko Lesce in the traditional costumes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03228-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Circle Dance from Licko Lesce" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03229-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Two female singers and Mrs. Marija Prelas in traditional costumes from Srijane" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03230-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Two female singers and Mrs. Marija Prelas in traditional costumes from Srijane" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03231-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Two female singers and Mrs. Marija Prelas in traditional costumes from Srijane" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03232-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Man's and women's traditional costumes from Radovin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03233-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Circle Dance from Radovin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03234-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Mail singer Mr. Tomislav Pervan Garo from Kokorici" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03235-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Female singers in traditional costumes from Velika Jelsa" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=fjm9QXUVYLA", "copyright": "2008 by Ministry of Culture\r\n", "title": "Ojkanje singing" } ], "sustainability": "" } }, "element_321": { "type": "element", "label": "Watertight-bulkhead technology of Chinese junks", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07621-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07621-HUG.jpg" }, "description": "Developed in South China\u2019s Fujian Province, the watertight-bulkhead technology of Chinese junks permits the construction of ocean-going vessels with watertight compartments. If one or two cabins are accidentally damaged in the course of navigation, seawater will not flood the other cabins and the vessel will remain afloat. The junks are made mainly of camphor, pine and fir timber, and assembled through use of traditional carpenters\u2019 tools. They are built by applying the key technologies of rabbet-jointing planks together and caulking the seams between the planks with ramie, lime and tung oil. The construction is directed by a master craftsman who oversees a large number of craftsmen, working in close coordination. Local communities participate by holding solemn ceremonies to pray for peace and safety during construction and before the launch of the completed vessel. The experience and working methods of watertight-bulkhead technology are transmitted orally from master to apprentices. However, the need for Chinese junks has decreased sharply as wooden vessels are replaced by steel-hulled ships, and today only three masters can claim full command of this technology. Associated building costs have also increased owing to a shortage in raw materials. As a result, transmission of this heritage is decreasing and transmitters are forced to seek alternative employment.
", "list": "USL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/watertight-bulkhead-technology-of-chinese-junks-00321", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07615-BIG.jpg", "copyright": "Huang Liang, 2007", "title": "The installation of impermeable bases and bulkheads is nearly finished." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07616-BIG.jpg", "copyright": "Huang Liang, 2007", "title": "Workers are revising the wrong gradient of a few bulkheads." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07617-BIG.jpg", "copyright": "Huang Liang, 2007", "title": "The Worker is hitting the nail into the nail boom." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07618-BIG.jpg", "copyright": "Huang Liang, 2007", "title": "Bottom girders and dowel pins of frame are formed jointly." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07619-BIG.jpg", "copyright": "Huang Liang, 2007", "title": "Workers put the hierogram off God Xuantian on forefeet in order to bless the safety of construction." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07620-BIG.jpg", "copyright": "Huang Liang, 2007", "title": "Panoramic scene of the 12th bulkhead's facade." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07621-BIG.jpg", "copyright": "Huang Liang, 2007", "title": "The initial process of continuous deck." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07622-BIG.jpg", "copyright": "Huang Liang, 2007", "title": "The structured approach of bottom girder and single-end hooked nail of keel." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07623-BIG.jpg", "copyright": "Huang Liang, 2007", "title": "The manufacture of sheer plank (2)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07624-BIG.jpg", "copyright": "Huang Liang, 2007", "title": "The manufacture of sheer plank (1)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XZP9fFyitn4", "copyright": "2009 by Huang Yanyi", "title": "Chinese manufacturing technique for watertight division" } ], "sustainability": "" } }, "element_322": { "type": "element", "label": "Wooden movable-type printing of China", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03214-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03214-HUG.jpg" }, "description": "One of the world\u2019s oldest printing techniques, wooden movable-type printing is maintained in Rui\u2019an County, Zhejiang Province, where it is used in compiling and printing clan genealogies. Men are trained to draw and engrave Chinese characters, which are then set into a type-page and printed. This requires abundant historical knowledge and mastery of ancient Chinese grammar. Women then undertake the work of paper cutting and binding, until the printed genealogies are finished. The movable characters can be used time and again after the type-page is dismantled. Throughout the year, craftspeople carry sets of wooden characters and printing equipment to ancestral halls in local communities. There, they compile and print the clan genealogy by hand. A ceremony marks the completion of the genealogy, and the printers place it into a locked box to be preserved. The techniques of wooden movable-type printing are transmitted through families by rote and word of mouth. However, the intensive training required, the low income generated, popularization of computer printing technology and diminishing enthusiasm for compiling genealogies have all contributed to a rapid decrease in the number of craftspeople. At present, only eleven people over 50 years of age remain who have mastered the whole set of techniques. If not safeguarded, this traditional practice will soon disappear.", "list": "USL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/wooden-movable-type-printing-of-china-00322", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03182-BIG.jpg", "copyright": "Culture Ministry of China, 2009", "title": "Objects related to movable-type printing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03183-BIG.jpg", "copyright": "Culture Ministry of China, 2009", "title": "Character writing: writing characters reversely on the molds with a writing brush." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03208-BIG.jpg", "copyright": "Culture Ministry of China, 2009", "title": "Engraving: fixing the molds on the clamp and engraving the character with a knife to make it protruding" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03209-BIG.jpg", "copyright": "Culture Ministry of China, 2009", "title": "Inside page of \u201cgenealogy of clans\u201d made in movable-type printing technique." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03210-BIG.jpg", "copyright": "Culture Ministry of China, 2009", "title": "Finished product: \u201cGenealogy of Clans\u201d" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03211-BIG.jpg", "copyright": "Culture Ministry of China, 2009", "title": "Craftsmen are picking out characters and typesetting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03212-BIG.jpg", "copyright": "Culture Ministry of China, 2009", "title": "Working spot of movable-type printing." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03213-BIG.jpg", "copyright": "Culture Ministry of China, 2009", "title": "Looks of Exhibition Hall of Movable-Type Printing, Dongyuan Village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03214-BIG.jpg", "copyright": "Culture Ministry of China, 2009", "title": "Bearer of movable-type printing: Wang Chaohui" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03215-BIG.jpg", "copyright": "Culture Ministry of China, 2009", "title": "Bearer of movable-type printing: Lin Chuyin" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=SzHXXF0YLS8", "copyright": "2009 Culture Ministry\r\n", "title": "Special feature of \"Movable-Type Printing of China\"" } ], "sustainability": "" } }, "element_337": { "type": "element", "label": "Chhau dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03392-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03392-HUG.jpg" }, "description": "Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Its three distinct styles hail from the regions of Seraikella, Purulia and Mayurbhanj, the first two using masks. Chhau dance is intimately connected to regional festivals, notably the spring festival Chaitra Parva. Its origin is traceable to indigenous forms of dance and martial practices. Its vocabulary of movement includes mock combat techniques, stylized gaits of birds and animals and movements modelled on the chores of village housewives. Chhau is taught to male dancers from families of traditional artists or from local communities. The dance is performed at night in an open space to traditional and folk melodies, played on the reed pipes ''mohuri'' and ''shehnai.'' The reverberating drumbeats of a variety of drums dominate the accompanying music ensemble. Chhau is an integral part of the culture of these communities. It binds together people from different social strata and ethnic background with diverse social practices, beliefs, professions and languages. However, increasing industrialization, economic pressures and new media are leading to a decrease in collective participation with communities becoming disconnected from their roots.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chhau-dance-00337", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03387-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, 2009", "title": "Nataraj - Chhau (Mayur Bhanj)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03388-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, 2009", "title": "Sabar Toka - Chhau (Mayurbhanj)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03389-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, 2009", "title": "Prince S.N. Singh Deo with partner performing Nabik (Boat man) on the banks of River Subarna Rekha at Seraikella" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03390-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, 2009", "title": "Ratri - Chhau (Seraikella)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03391-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, 2009", "title": "Mask Making - Chhau (Purulia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03392-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, 2009", "title": "Mask Maker - Chhau (Seraikella)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03393-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, 2009", "title": "Rama and Lakshmana - Chhau (Purulia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03394-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, 2009", "title": "Kanta Path - A ritual performed during Chaitra Parva (Spring Festival)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03395-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, 2009", "title": "Practice session of Purulia Chha" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03396-BIG.jpg", "copyright": "Sangeet Natak Akademi, New Delhi, 2009", "title": "Dandi -Chhau (Mayurbhanj)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=u3YLq7CVavc", "copyright": "2009 Sangeet Natak Akademi, New Delhi", "title": "Chhau Dance" } ], "sustainability": "" } }, "element_340": { "type": "element", "label": "Kalbelia folk songs and dances of Rajasthan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03356-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03356-HUG.jpg" }, "description": "Songs and dances are an expression of the Kalbelia community\u2019s traditional way of life. Once professional snake handlers, Kalbelia today evoke their former occupation in music and dance that is evolving in new and creative ways. Today, women in flowing black skirts dance and swirl, replicating the movements of a serpent, while men accompany them on the ''khanjari'' percussion instrument and the ''poongi,'' a woodwind instrument traditionally played to capture snakes. The dancers wear traditional tattoo designs, jewellery and garments richly embroidered with small mirrors and silver thread. Kalbelia songs disseminate mythological knowledge through stories, while special traditional dances are performed during Holi, the festival of colours. The songs also demonstrate the poetic acumen of the Kalbelia, who are reputed to compose lyrics spontaneously and improvise songs during performances. Transmitted from generation to generation, the songs and dances form part of an oral tradition for which no texts or training manuals exist. Song and dance are a matter of pride for the Kalbelia community, and a marker of their identity at a time when their traditional travelling lifestyle and role in rural society are diminishing. They demonstrate their community\u2019s attempt to revitalize its cultural heritage and adapt it to changing socioeconomic conditions.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kalbelia-folk-songs-and-dances-of-rajasthan-00340", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01926-BIG.jpg", "copyright": "West Zone Cultural Centre, Udaipur, Rajasthan, 2009", "title": "Traditional Kalbelia male" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01928-BIG.jpg", "copyright": "West Zone Cultural Centre, Udaipur, Rajasthan, 2009", "title": "Kalbelia Poongi player" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01929-BIG.jpg", "copyright": "West Zone Cultural Centre, Udaipur, Rajasthan, 2009", "title": "Kalbelia Dera (camp\/dwelling)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01930-BIG.jpg", "copyright": "West Zone Cultural Centre, Udaipur, Rajasthan, 2009", "title": "Instruments and their playing during dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01931-BIG.jpg", "copyright": "2009 West Zone Cultural Centre, Udaipur, Rajasthan", "title": "Traditional Matku dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01932-BIG.jpg", "copyright": "West Zone Cultural Centre, Udaipur, Rajasthan, 2009", "title": "Traditional Matku dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01933-BIG.jpg", "copyright": "West Zone Cultural Centre, Udaipur, Rajasthan, 2009", "title": "Complete dress-up of a Kalbelia dancer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01934-BIG.jpg", "copyright": "West Zone Cultural Centre, Udaipur, Rajasthan, 2009", "title": "Kalbelia women singer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01935-BIG.jpg", "copyright": "West Zone Cultural Centre, Udaipur, Rajasthan, 2009", "title": "Traditional dance 'Loor'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03356-BIG.jpg", "copyright": "West Zone Cultural Center, Udaipur, Rajasthan, 2009", "title": "Kalbelia dance" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RGGmW5CQmdw", "copyright": "2009 by WZCC, Udaipur, Rajasthan", "title": "Kalbelia dance" } ], "sustainability": "" } }, "element_345": { "type": "element", "label": "Mudiyettu, ritual theatre and dance drama of Kerala", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01940-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01940-HUG.jpg" }, "description": "Mudiyettu is a ritual dance drama from Kerala based on the mythological tale of a battle between the goddess Kali and the demon Darika. It is a community ritual in which the entire village participates. After the summer crops have been harvested, the villagers reach the temple in the early morning on an appointed day. Mudiyettu performers purify themselves through fasting and prayer, then draw a huge image of goddess Kali, called as ''kalam'', on the temple floor with coloured powders, wherein the spirit of the goddess is invoked. This prepares the ground for the lively enactment to follow, in which the divine sage Narada importunes Shiva to contain the demon Darika, who is immune to defeat by mortals. Shiva instead commands that Darika will die at the hand of the goddess Kali. Mudiyettu is performed annually in \u2018Bhagavati Kavus\u2019, the temples of the goddess, in different villages along the rivers Chalakkudy Puzha, Periyar and Moovattupuzha. Mutual cooperation and collective participation of each caste in the ritual instils and strengthens common identity and mutual bonding in the community. Responsibility for its transmission lies with the elders and senior performers, who engage the younger generation as apprentices during the course of the performance. Mudiyettu serves as an important cultural site for transmission of traditional values, ethics, moral codes and aesthetic norms of the community to the next generation, thereby ensuring its continuity and relevance in present times.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mudiyettu-ritual-theatre-and-dance-drama-of-kerala-00345", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01936-BIG.jpg", "copyright": "IGNCA\/Government of India, 2009", "title": "Darika lights a lKeezhillam Unnikrishnan - Performer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01937-BIG.jpg", "copyright": "IGNCA\/Government of India, 2009", "title": "Darika lights a lamp" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01938-BIG.jpg", "copyright": "IGNCA\/Government of India, 2009", "title": "Goddess Kali in a ferocious mood" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01939-BIG.jpg", "copyright": "IGNCA\/Government of India, 2009", "title": "Narayanan Marar- Performer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01940-BIG.jpg", "copyright": "IGNCA\/Government of India, 2009", "title": "Darika and Dhanavendra, the two evil Kings" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01941-BIG.jpg", "copyright": "IGNCA\/Government of India, 2009", "title": "Muralidharan Marar- Chief musician and performer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01942-BIG.jpg", "copyright": "IGNCA\/Government of India, 2009", "title": "Crown & breast plate : decorations of Goddess Kali" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01943-BIG.jpg", "copyright": "IGNCA\/Government of India, 2009", "title": "Bull head for Shiva, the Hindu God" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01944-BIG.jpg", "copyright": "IGNCA\/Government of India, 2009", "title": "'Kalam' : Auspicious tantric drawing of goddess Kali" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01945-BIG.jpg", "copyright": "IGNCA\/Government of India, 2009", "title": "Mudiyettu 'veshas' visiting devotees' house" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=FEWXi2SHodk", "copyright": "IGNCA\/Government of India, 2009", "title": "Mudiyettu" } ], "sustainability": "" } }, "element_356": { "type": "element", "label": "Gingerbread craft from Northern Croatia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03328-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03328-HUG.jpg" }, "description": "The tradition of gingerbread making appeared in certain European monasteries during the Middle Ages and came to Croatia where it became a craft. Gingerbread craftspeople, who also made honey and candles, worked in the area of Northern Croatia. The process of making gingerbread requires skill and speed. The recipe is the same for all makers, utilizing flour, sugar, water and baking soda \u2013 plus the obligatory spices. The gingerbread is shaped into moulds, baked, dried and painted with edible colours. Each craftsperson decorates gingerbread in a specific way, often with pictures, small mirrors and verses or messages. The gingerbread heart is the most common motif, and is frequently prepared for marriages, decorated with the newlyweds\u2019 names and wedding date. Each gingerbread maker operates within a certain area without interfering with that of another craftsperson. The craft has been passed on from one generation to another for centuries, initially to men, but now to both men and women. Gingerbread has become one of the most recognizable symbols of Croatian identity. Today, gingerbread makers are essential participants in local festivities, events and gatherings, providing the local people with a sense of identity and continuity.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gingerbread-craft-from-northern-croatia-00356", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03326-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Gingerbread heart, Mahmet workshop, Marija Bistrica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03327-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Gingerbread, Blazekovic workshop, Osijek" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03328-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Christmas gingerbread, Northern Croatia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03329-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Kneading dough for gingerbread, Oslakovic workshop, Samobor" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03330-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Colouring of gingerbread. Mahmet workshop, Marija Bistrica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03331-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Gingerbread decorating, Ljubica Spicko, Koprivnica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03332-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Gingerbread decorating, Luksa workshop, Donji Vidovec" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03333-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Gingerbread decorating, Arko workshop, Samobor" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03334-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Sales outlet of the gingerbread producer Gordana Mahmet Habazin, Marija Bistrica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03335-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2008", "title": "Parish Fair St. Jana, Okic" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PgtgK83uQWI", "copyright": "2008 by Ministry of Culture", "title": "Gingerbread Craft from Northern Croatia" } ], "sustainability": "" } }, "element_357": { "type": "element", "label": "Sinjska Alka, a knights\u2019 tournament in Sinj", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01950-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01950-HUG.jpg" }, "description": "The Sinjska Alka is a chivalric tournament that takes place annually, as it has since the 18th century, in the town of Sinj, in the Cetinska krajina region. During the contest, knights ride horses at full gallop along a main street, aiming lances at an iron ring hanging on a rope. The name of the tournament derives from this ''alka'' or ring, a word whose Turkish origin reflects the historical co-existence and cultural exchange between two different civilizations. The tournament rules, codified in a 1833 statute, promote ethics and fair play, and stress the importance of participation in community life. Participants must be members of local families of Sinj and the Cetinska krajina region. The whole community helps to make, conserve, restore and reconstruct weapons, clothes and accessories to support the continuation of the tradition. The tournament is also entwined with local religious practices, social gatherings, family visits and festivities at home and in the open air. The Sinjska Alka is the only remaining example of the medieval knightly competitions that were regularly held in the Croatian coastal towns until the nineteenth century. It has become a marker of local history and a medium for transferring collective memory from one generation to another.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/sinjska-alka-a-knights-tournament-in-sinj-00357", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01947-BIG.jpg", "copyright": "2009 Ministry of Culture", "title": "Alkar's\/knight's men headed by \"(h)aramba\u0161a\", their commander" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01948-BIG.jpg", "copyright": "2008 Ministry of Culture", "title": "Procession of Alkar's escorts on the racetrack" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01949-BIG.jpg", "copyright": "2009 Ministry of Culture", "title": "Alkar's\/knight's men" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01950-BIG.jpg", "copyright": "2008 Ministry of Culture", "title": "The Alkar's escort leads the Vojvoda's (Duke) horse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01951-BIG.jpg", "copyright": "2009 Ministry of Culture", "title": "Banner bearer escorted by his adjutants, carrying the historic alkar's banner" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01952-BIG.jpg", "copyright": "2009 Ministry of Culture", "title": "Alkars - lancers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01953-BIG.jpg", "copyright": "2008 Ministry of Culture", "title": "The setter positioning the alka (ring)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01954-BIG.jpg", "copyright": "2008 Ministry of Culture", "title": "The Alkar on a galloping horse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01955-BIG.jpg", "copyright": "2009 Ministry of Culture", "title": "\u00ab Alaj\u010dau\u0161 \u00bb, the leader of the troop of alkar's men aims at alka (ring)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01956-BIG.jpg", "copyright": "2008 Ministry of Culture", "title": "The Alkar (contestant) hits the smallest central part of the three part ring target bringing him three points" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=h8895VO6oPE", "copyright": "", "title": "The Sinjska alka, a knights' tournament in Sinj" } ], "sustainability": "" } }, "element_358": { "type": "element", "label": "Be\u0107arac singing and playing from Eastern Croatia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03324-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03324-HUG.jpg" }, "description": "Be\u0107arac is a popular genre of music in eastern Croatia deeply rooted in the cultures of Slavonia, Baranja and Srijem. Communication among its performers is essential: lead singers interchange vocal lines, striving to out-sing one another while creating, emulating and combining decasyllabic verses and shaping the melody \u2013 all the while accompanied by a group of singers and tambura bands. The music conveys community values, but also enables singers to express thoughts and feelings that might be inappropriate if uttered directly or in other contexts. Each lead singer shapes his or her performance according to the context, with the performance lasting as long as the creativity and energy of the singers permit. Lead singers must possess both a powerful voice and a wide repertoire of old and new couplets, and be apt, quick and clever in choosing and combining them. Nowadays, men and women are almost equally represented among tradition bearers. The Be\u0107arac is spread widely throughout eastern Croatian communities and remains part of living practice \u2013 whether in completely informal situations of music-making or in contemporary festive events and celebrations. Many sub-types of Be\u0107arac also exist, in addition to particularities introduced by lead singers. Be\u0107arac is therefore an extraordinarily vivid, dynamic genre that is recreated in each performance.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/bearac-singing-and-playing-from-eastern-croatia-00358", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03316-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "- Recorded by Jankovic: notes of the becarae (folk song from Siavonia), Stari Mikanovci, Siavonia - Recorded by L. Lukic: Notes of the becarae, Brodski Varos - Recorded by Andric: Instrumental version of the becarac, Tavankut, Backa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03317-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "- Recorded by Andric: notes of the becarac, Rusevo, Pozestina, Siavonia - Recorded by Andric: notes of the becarac, Tavankut, Backa - Recorded by Andric: notes of the becarac, Sonta, Backa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03318-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "-Recorded by Julije Njikos: Notes of the becarac, Luc, of Culture Baranja" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03319-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Notes of the becarac, Bizovac, Baranja" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03320-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Notes of the becarac, Vinkovci, Slavonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03321-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Recorded by Martina Gajger Krajnovic: notes of the becarac, Vinkovci, Slavonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03322-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Recorded by Julije Njikos: notes of the becarac, Budrovci, Slavonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03323-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Recorded by Martina Gajger Krainovic: notes of the becarac, Klakar Siavonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03324-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Male singing group from the Cultural-artistic Society \"Kolo\" from Donja Bedrina performing the becarac" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03325-BIG.jpg", "copyright": "2008 by Ministry of Culture", "title": "Singers and tamburitza players from the Cultural-artistic Society \"Vranovci-Bukovlje\"" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=6_Kw18DWHP4", "copyright": "2008 by Ministry of Culture of Croatia", "title": "Be\u0107arac singing and playing from Eastern Croatia" } ], "sustainability": "" } }, "element_359": { "type": "element", "label": "Nijemo Kolo, silent circle dance of the Dalmatian hinterland", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01958-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01958-HUG.jpg" }, "description": "The Nijemo Kolo is practised by communities in the Dalmatian hinterland, in southern Croatia. Nijemo Kolo is performed in a closed circle with male dancers leading female partners in energetic, spontaneous steps \u2013 the male dancer publicly testing the skills of his female partner, seemingly without defined rules. The steps and figures, often vigorous and impressive, depend on the mood and desire of the participants. The defining feature of the silent circle dance is that it is performed exclusively without music, although vocal or instrumental performances may precede or follow the dance. Nijemo Kolo is traditionally performed at carnivals, fairs, feast days and weddings, and acts as a way for young women and men to meet and get to know each other. Differences in the performance of the Nijemo Kolo from one village to another are also a way for the residents to distinguish their identities. The dance is transmitted from generation to generation, although increasingly this occurs through cultural clubs where its movements have been standardized. Some villages of the Dalmatian hinterland, however, preserve the spontaneous performance of steps and figures. Today, Nijemo Kolo is mostly danced by village performing groups at local, regional or international festivals and at local shows, carnivals or on the saint days of their parish church.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nijemo-kolo-silent-circle-dance-of-the-dalmatian-hinterland-00359", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01957-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2008", "title": "Women's national costume from Glavice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01958-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2008", "title": "Silent Kola - Circle Dance from Glavice \"Skoci gori\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01959-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2008", "title": "Silent Kola - Circle Dance from Grebastica \"Poskocica\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01960-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2008", "title": "Silent Kola - Circle Dance from Grebastica \"Starinsko kolo\" (ald-fashioned)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01961-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2008", "title": "Silent Kola - Circle Dance from Mirlovi\u00e9 Zagora \"Po naski\" (our way)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01962-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2008", "title": "Bagpiper in the national costume from Mu\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01963-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2008", "title": "Silent Kola - Circle Dance from Mu\u00e9 \"Suplje kolo\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01964-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2008", "title": "Silent Kola - Circle Dance from Stankovci \"Kolanje\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01965-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2008", "title": "Man's and women's national costumes from Vrlika" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=69LOMscp5QU", "copyright": "2008 by Ministry of culture", "title": "Silent Kolo - Circle Dance of Dalmatian Hinterland" } ], "sustainability": "" } }, "element_360": { "type": "element", "label": "Chant of the Sybil on Majorca", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03481-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03481-HUG.jpg" }, "description": "The chant of the Sybil is performed at matins on the night of 24\u00a0December in churches throughout Majorca. The chant marks the annual Christmas Vigil, and is sung by a boy or girl accompanied by two or more altar boys or girls. During the chant they walk through the church towards the chancel, the singer carrying a sword in his or her hands, held upright in front of the face, while the altar boys or girls carry candles. At the end of the song a cross is drawn in the air with the sword. The versions of the chant performed on the island vary little from their Gregorian roots: each is sung a cappella with music between the verses provided by an organ. The costume worn by the singers usually consists of a white or coloured tunic, sometimes embroidered around the neck and hem, and often worn with a cape. The head is covered with a cap of the same colour as the tunic. The rite involves all the church parishes on Majorca with old and young generations working side-by-side as singers, costume-makers, celebrants and other helpers, thus ensuring its transmission. ", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chant-of-the-sybil-on-majorca-00360", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03472-BIG.jpg", "copyright": "Donald Murray", "title": "The Sybil in Mallorca Cathedral, A" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03473-BIG.jpg", "copyright": "Donald Murray", "title": "The Sybil in Mallorca Cathedral, B" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03474-BIG.jpg", "copyright": "Donald Murray", "title": "The Sybil in Mallorca Cathedral, C" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03475-BIG.jpg", "copyright": "Donald Murray", "title": "The Sybil in Mallorca Cathedral, D" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03476-BIG.jpg", "copyright": "Donald Murray", "title": "The Sybil in Sta Eulalia church, A" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03477-BIG.jpg", "copyright": "Donald Murray", "title": "The Sybil in Sta Eulalia church, B" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03478-BIG.jpg", "copyright": "Joan Ferr\u00e0", "title": "The Sybil in Lluc Monastry, 1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03479-BIG.jpg", "copyright": "Joan Ferr\u00e0", "title": "The Sybil in Lluc Monastry, 2" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03480-BIG.jpg", "copyright": "Joan Ferr\u00e0", "title": "The Sybil in Lluc Monastry, 3" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03481-BIG.jpg", "copyright": "Joan Ferr\u00e0", "title": "The Sybil in Lluc Monastry, 4" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TrNK8NG0nA4", "copyright": "2006 Gen-lock video", "title": "La Sibil.la, una tradici\u00f3 que batega" } ], "sustainability": "" } }, "element_363": { "type": "element", "label": "Flamenco", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01970-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01970-HUG.jpg" }, "description": "Flamenco is an artistic expression fusing song ''(cante),'' dance ''(baile)'' and musicianship ''(toque).'' Andalusia in southern Spain is the heartland of Flamenco, although it also has roots in regions such as Murcia and Extremadura. ''Cante'' is the vocal expression of flamenco, sung by men and women, preferably seated, with no backing singers. The gamut of feelings and states of mind \u2013 grief, joy, tragedy, rejoicing and fear \u2013 can be expressed through sincere, expressive lyrics characterized by brevity and simplicity. Flamenco ''baile'' is a dance of passion, courtship, expressing a wide range of situations ranging from sadness to joy. The technique is complex, differing depending on whether the performer is male (heavier use of the feet) or female (gentler, more sensual movements). ''Toque'' or the art of guitar playing has long surpassed its original role as accompaniment. Other instruments, including castanets, hand-clapping and foot-stamping are also employed. Flamenco is performed during religious festivals, rituals, church ceremonies and at private celebrations. It is the badge of identity of numerous communities and groups, in particular the Gitano (Roma) ethnic community, which has played an essential role in its development. Transmission occurs through dynasties, families, social groups and Flamenco clubs, all of which play a key role in its preservation and dissemination.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/flamenco-00363", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01920-BIG.jpg", "copyright": "Biennale de Flamenco de S\u00e9ville", "title": "Grand opening of the 2008 Seville Biennial Flamenco Festival. Manolo Sanlucar and Cristina Hoyos with the Youth Orchestra of Andalusia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01967-BIG.jpg", "copyright": "Biennale de Flamenco de S\u00e9ville", "title": "Female members of the Pena Tfo Jose de Paula. Zambomba Flamenca at Christmas in the district of Santiago in Jerez de la Frontera." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01968-BIG.jpg", "copyright": "Tourist Board - Provincial Council of Granada", "title": "A group of children dancing a flamenco number at the foot of the Sacromonte mountain and opposite the Alhambra during Grathe Romerfa de San Cecilio procession in Granada." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01969-BIG.jpg", "copyright": "Autonomous Government of Extremadura", "title": "Gypsy women singing at the Romerfa de los Remedios de Fre-genal procession (Badajoz-Extremadura, 1994)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01970-BIG.jpg", "copyright": "International Flamenco Festival in La Union", "title": "Sara Baras dancing during the 2008 edition of the International Cante de Las Minas Festival in La Union, Murcia." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01971-BIG.jpg", "copyright": "Andalusian Confederation of Flamenco Clubs", "title": "Recital by the cantaor Antonio Reyes to a full house in the Pena Torres Macarena in Seville (spring 2009)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01972-BIG.jpg", "copyright": "Carlos Sanchez.", "title": "Private flamenco fiesta one evening during the Festival de Jerez 2009." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01973-BIG.jpg", "copyright": "Tourist Board - Provincial Council of Granada", "title": "Gypsy woman singing in a cave on Sacromonte, Granada, accompanied by a guitarist." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01974-BIG.jpg", "copyright": "Carlos Sanchez.", "title": "A group of flamenco enthusiasts in an impromptu song and dance performance in the streets of Jerez in winter 2009." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01975-BIG.jpg", "copyright": "Seville Biennial Flamenco Festivall", "title": "The National Ballet of Spain performing Caf\u00e9 de Chinitas by Garcfa Lorca with a set by Dali during the Seville Biennial Flamenco Festival 2008." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=qEJAQuEgGzQ", "copyright": "2009 Agence Andalouse pour le D\u00e9veloppement du Flamenco", "title": "Flamenco" }, { "url": "https:\/\/www.youtube.com\/watch?v=Bnq4wSOgLTk", "copyright": "2009 Agence Andalouse pour le D\u00e9veloppement du Flamenco", "title": "Flamenco" }, { "url": "https:\/\/www.youtube.com\/watch?v=_1bwciS_VbM", "copyright": "2009 Agence Andalouse pour le D\u00e9veloppement du Flamenco", "title": "Flamenco" } ], "sustainability": "" } }, "element_364": { "type": "element", "label": "Human towers", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02014-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02014-HUG.jpg" }, "description": "''Castells'' are human towers built by members of amateur groups, usually as part of annual festivities in Catalonian towns and cities. The traditional setting is the square in front of the town hall balcony. The human towers are formed by ''castellers'' standing on the shoulders of one another in a succession of stages (between six and ten). Each level of the ''tronc,'' the name given to the second level upwards, generally comprises two to five heavier built men supporting younger, lighter-weight boys or girls. The ''pom de dalt''\u00a0\u2013\u00a0the three uppermost levels of the tower\u00a0\u2013 comprises young children. Anyone is welcome to form the ''pinya,'' the throng that supports the base of the tower. Each group can be identified by its costume, particularly the colour of the shirts, while the cummerbund serves to protect the back and is gripped by ''castellers'' as they climb up the tower. Before, during and after the performance, musicians play a variety of traditional melodies on a wind instrument known as a ''gralla,'' setting the rhythm to which the tower is built. The knowledge required for raising ''castells'' is traditionally passed down from generation to generation within a group, and can only be learned by practice. ", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/human-towers-00364", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02007-BIG.jpg", "copyright": "Castellers de Barcelona Archive, 2007", "title": "The Castellers de Barcelona attempt a September nine-stage castell in the Catalan capital's Sant Jaume square during the Merc\u00e8 festival." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02008-BIG.jpg", "copyright": "2006 by Rita Lamsdorff", "title": "Castells depend on the joint effort of young and old alike to achieve the greatest displays." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02009-BIG.jpg", "copyright": "2006 by Caries Castro", "title": "A three-of-ten foIre and manilles raised by the Castellers de Vilafranca. Achieving castells with ten stages in the late 20th century broke new boundaries." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02010-BIG.jpg", "copyright": "2004 by Carles Castro", "title": "The pinya - in this case by the Minyons de l'Arbo\u00e7 - is open to enthusiasts in the audience who want to take part." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02011-BIG.jpg", "copyright": "2009 by Tere Belmonte", "title": "White trousers, black cummerbund and the colla's distinctive colour shirt are the main elements of the castells group members' costume." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02012-BIG.jpg", "copyright": "Santi Terraza, 2006", "title": "The five-of-nine - like this one raised by the Minyons de Terrassa - is a composite tower that needs a foIre for it to be raised successfully." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02013-BIG.jpg", "copyright": "2007 by Caries Castro", "title": "The lower levels of the castells are normally occupied by strongly-built men." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02014-BIG.jpg", "copyright": "2006 by Rita Lamsdorff", "title": "The youngest children have been using head protection for the last three years, like in this castell by the Nens del Vendrell." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02015-BIG.jpg", "copyright": "2007 by Carles Castro", "title": "When the enxaneta, the small child who climbs the highest, reaches the top of the castell, he or she raises their hand and waves. This gesture is known as fer l'aleta." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02016-BIG.jpg", "copyright": "2009 by Guillermo Soler Garcia de Oteiza", "title": "The music played on the traditional gralla and the drums accompanies the raising of the castells." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=-iSHfrmGdyo", "copyright": "2009 by Departament de Cultura i Mitjans de Comunicaci\u00f3 de la Generalitat de Catalunya", "title": "Castells: human towers from Catalonia" }, { "url": "https:\/\/www.youtube.com\/watch?v=fTiCuUEUpmg", "copyright": "2009 by Departament de Cultura i Mitjans de Comunicaci\u00f3 de la Generalitat de Catalunya", "title": "Castells: human towers from Catalonia" }, { "url": "https:\/\/www.youtube.com\/watch?v=HB1D7JoH7_8", "copyright": "2009 by Departament de Cultura i Mitjans de Comunicaci\u00f3 de la Generalitat de Catalunya", "title": "Castells: human towers from Catalonia" }, { "url": "https:\/\/www.youtube.com\/watch?v=hFZ3-5Ql65Y", "copyright": "2009 by Departament de Cultura i Mitjans de Comunicaci\u00f3 de la Generalitat de Catalunya", "title": "Castells: human towers from Catalonia" } ], "sustainability": "" } }, "element_372": { "type": "element", "label": "Al-Bar\u2019ah, music and dance of Oman Dhofari valleys", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02053-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02053-HUG.jpg" }, "description": "Al-Bar\u2019ah is a Bedouin musical tradition from the Dhofar mountains in southern Oman. It takes the form of a warlike dance performed to drums and the chanting of poetry in a local tribal dialect. Al-Bar\u2019ah is performed in a half circle formed by ten to thirty men and women. As they chant and clap, two male dancers holding ''khanjars'' (daggers) perform codified dance movements, brandishing their daggers above shoulder level. The dancers\u2019 steps are uncomplicated, but coordination with other performers and the music requires considerable skill. Each tribe has its own characteristic form of al-Bar\u2019ah, possessing different drum rhythms and dance movements. The musical accompaniment is provided by the ''al-kasir, al-rahm\u00e2ni'' and ''ad-daff ''drums and ''al-qassaba'' flute. The dance is performed outdoors, on occasions such as weddings, circumcisions and religious feasts. As for other Omani Bedouin dances, class and other distinctions are erased, as tribal leaders perform alongside the most humble of the population. The tradition represents the chivalric spirit, strength, courage, generosity and hospitality associated with Bedouins. The dance also emphasizes poetic themes of love and flirtation. Al-Bar\u2019ah has many practitioners from Dhofar, who contribute to maintaining and transmitting its poetic variety and practice.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-bar-ah-music-and-dance-of-oman-dhofari-valleys-00372", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02047-BIG.jpg", "copyright": "[2009] by Ministry of Information", "title": "A group of people are sitting and performing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02048-BIG.jpg", "copyright": "[2009] by Ministry of Information", "title": "Two Ladies are performing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02049-BIG.jpg", "copyright": "[2009] by Ministry of Information", "title": "Two performing and standing while the others are singing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02050-BIG.jpg", "copyright": "[2009] by Ministry of Information", "title": "Playing the drums & performing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02051-BIG.jpg", "copyright": "[2009] by Ministry of Information", "title": "A group of people are Dancing & playing Drums" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02053-BIG.jpg", "copyright": "[2009] by Ministry of Information", "title": "Two persons are dancing and others performing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02054-BIG.jpg", "copyright": "[2009] by Ministry of Information", "title": "Three Ladies performing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02055-BIG.jpg", "copyright": "[2009] by Ministry of Information", "title": "Two persons performing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02056-BIG.jpg", "copyright": "2009 by Ministry of Information of Oman", "title": "Two persons are dancing and others performing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02057-BIG.jpg", "copyright": "2009 by Ministry of Information of OMan", "title": "A group of Ladies are sitting and performing" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=87h_TNLHRGY", "copyright": "2009 Oman Ministry of Information", "title": "Al Baraa" } ], "sustainability": "" } }, "element_377": { "type": "element", "label": "Ritual dramatic art of Ta\u2018z\u012bye", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02081-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02081-HUG.jpg" }, "description": "Ta\u2018z\u012bye (or Ta\u2019azyeh) is a ritual dramatic art that recounts religious events, historical and mythical stories and folk tales. Each performance has four elements: poetry, music, song and motion. Some performances have up to a hundred roles, divided into historical, religious, political, social, supernatural, real, imaginary and fantasy characters. Each Ta\u2018z\u012bye drama is individual, having its own subject, costumes and music. Performances are rich with symbolism, conventions, codes and signs understood by Iranian spectators, and take place on a stage without lighting or decoration. Performers are always male, with female roles being played by men, and most are amateurs who gain their living through other means but perform for spiritual rewards. While Ta\u2018z\u012bye has a prominent role in Iranian culture, literature and art, everyday proverbs are also drawn from its ritual plays. Its performances help promote and reinforce religious and spiritual values, altruism and friendship while preserving old traditions, national culture and Iranian mythology. Ta\u2018z\u012bye also plays a significant role in preserving associated crafts, such as costume-making, calligraphy and instrument-making. Its flexibility has led it to become a common language for different communities, promoting communication, unity and creativity. Ta\u2018z\u012bye is transmitted by example and word of mouth from tutor to pupil.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ritual-dramatic-art-of-tazye-00377", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02078-BIG.jpg", "copyright": "1996 by Iranian Dramatic Art Center", "title": "Tazieh of Abbass" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02079-BIG.jpg", "copyright": "2002 by Iranian Dramatic Art Center", "title": "Tazieh of Hamzeh" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02080-BIG.jpg", "copyright": "2002 by Iranian Dramatic Art Center", "title": "Tazieh of Kheybar War" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02081-BIG.jpg", "copyright": "2001 by Morteza Atabaki", "title": "Tazieh of Chivalrous Butcher" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02082-BIG.jpg", "copyright": "2009 by Iranian Dramatic Art Center", "title": "Tazieh of Barbarian War" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02083-BIG.jpg", "copyright": "2002 by Iranian Dramatic Art Center", "title": "Tazieh of Merchant Hormoz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02084-BIG.jpg", "copyright": "2003 by Morteza Atabaki", "title": "Tazieh of Imam Hosein" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02085-BIG.jpg", "copyright": "2009 by Iranian Dramatic Art Center", "title": "Tazieh of Jahalsa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02086-BIG.jpg", "copyright": "2009 by Iranian Dramatic Art Center", "title": "Tazieh of Soleyman and Queen of Sheba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02087-BIG.jpg", "copyright": "2009 by Iranian Dramatic Art Center", "title": "Tazieh of Anoushirvan Falling in Love" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PtMIjHteW9c", "copyright": "2009 by Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Ta'aziye" } ], "sustainability": "" } }, "element_378": { "type": "element", "label": "Pahlevani and Zoorkhanei rituals", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02121-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02121-HUG.jpg" }, "description": "Pahlevani is an Iranian martial art that combines elements of Islam, Gnosticism and ancient Persian beliefs. It describes a ritual collection of gymnastic and callisthenic movements performed by ten to twenty men, each wielding instruments symbolizing ancient weapons. The ritual takes place in a ''Zoorkhane,'' a sacred domed structure with an octagonal sunken arena and audience seats. The ''Morshed'' (master) who leads the Pahlevani ritual performs epic and Gnostic poems and beats out time on a ''zarb'' goblet drum. The poems he recites transmit ethical and social teachings and constitute part of Zoorkhanei literature. Participants in the Pahlevani ritual may be drawn from any social strata or religious background, and each group has strong ties to its local community, working to assist those in need. During training, students are instructed in ethical and chivalrous values under the supervision of a ''P\u012bshkesvat'' (champion). Those who master the individual skills and arts, observe religious principles and pass ethical and moral stages of Gnosticism may acquire the prominent rank of ''Pahlevan\u012b'' (hero), denoting rank and authority within the community. At present, there are 500\u00a0Zoorkhanes across Iran, each comprising practitioners, founders and a number of ''P\u012bshkesvats.''", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pahlevani-and-zoorkhanei-rituals-00378", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02118-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Palestra (Zoorkhane)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02119-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Training and Transmission to youth" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02120-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Performing of Milbazi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02121-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Performing of Shenow" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02122-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Performing of Milgiri" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02123-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Respectfulness of Gowd (Palestra Pit)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02124-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Performing of Kabadehkeshi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02125-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Performing of Charkh Zadan (rotating )" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02126-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Performing of Sang Giri" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02127-BIG.jpg", "copyright": "2009 by Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Morshad (Preceptor) and Performing of Shenow" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3ZOt13_ic5w", "copyright": "2009 Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "The Heroic (Pahlevani) and Palestra (Zoorkhanei) Rituals" } ], "sustainability": "" } }, "element_381": { "type": "element", "label": "Music of the Bakhshis of Khorasan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02128-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02128-HUG.jpg" }, "description": "In Khorasan Province, the Bakhshis are renowned for their musical skill with the ''dot\u0101r,'' a two-stringed, long-necked lute. They recount Islamic and Gnostic poems and epics containing mythological, historical or legendary themes. Their music, known as ''Maghami,'' consists of instrumental and\/or vocal pieces, performed in Turkish, Kurdish, Turkmen and Persian. ''Nav\u0101y\u012b'' is the most widespread magham: diverse, vocal, rhythmless, accompanied by Gnostic poems. Other examples include the Turkish maghams ''Tajn\u012bs'' and ''Ger\u0101yel\u012b,'' the religious themes of ''Sh\u0101khat\u0101y\u012b,'' and ''Loy,'' an antique romantic magham, belonging to the Kormanj Kurds of Northern Khorasan. Bakhshis consider one string of the ''dot\u0101r'' to be male and the other female; the male string remains open, while the female is used to play the main melody. Bakhshi music is passed on through traditional master-pupil training, which is restricted to male family members or neighbours, or modern methods, in which a master trains a wide range of students of both genders from diverse backgrounds. The music transmits history, culture, ethical and religious fundamentals. Therefore, the social role of the Bakhshis exceeds that of mere narrator, and defines them as judges, mediators and healers, as well as guardians of the ethnic and regional cultural heritage of their community.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/music-of-the-bakhshis-of-khorasan-00381", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02128-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Bakhshi is playing Dotar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02129-BIG.jpg", "copyright": "Iranian Cultural Heritage, Handicrafts and Tourism Organization, 2009", "title": "Bakhshi is playing Dotar while wearing traditional gear" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02130-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Bakhshi is playing Dotar in his workshop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02131-BIG.jpg", "copyright": "2009 by Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Bakhshi is making a Dotar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02132-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Oral transmission of techniques and skills to younger generation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02133-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "A young man is practising in the Dotar class" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02134-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Bakhshi is playing in a festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02135-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Bakhshi is playing in a festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02136-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "A young Bakhshi is playing in a festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02137-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Two Bakhshis, father and son are playing Datar" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TSRNKUL8MnU", "copyright": "2009 Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Music of Bakhshis of Khorassan" } ], "sustainability": "" } }, "element_382": { "type": "element", "label": "Traditional skills of carpet weaving in Fars", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02146-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02146-HUG.jpg" }, "description": "Iranians enjoy a global reputation in carpet weaving, and the carpet weavers of Fars, located in the south-west of Iran, are among the most prominent. Wool for the carpets is shorn by local men in spring or autumn. The men then construct the carpet loom \u2013 a horizontal frame placed on the ground \u2013 while the women convert the wool into yarn on spinning wheels. The colours used are mainly natural: reds, blues, browns and whites produced from dyestuffs including madder, indigo, lettuce leaf, walnut skin, cherry stem and pomegranate skin. The women are responsible for the design, colour selection and weaving, and bring scenes of their nomadic lives to the carpet. They weave without any cartoon (design) \u2013 no weaver can weave two carpets of the same design. Coloured yarn is tied to the wool web to create the carpet. To finish, the sides are sewn, extra wool is burned away to make the designs vivid, and the carpet is given a final cleaning. All these skills are transferred orally and by example. Mothers train their daughters to use the materials, tools and skills, while fathers train their sons in shearing wool and making looms.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-skills-of-carpet-weaving-in-fars-00382", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02141-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Scissors for sheep's hearing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02142-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Spinning (wool)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02143-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Natural Dye Workshop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02144-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Drying Coloured Wool" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02145-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Jajim Weaving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02146-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Rug Weaving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02147-BIG.jpg", "copyright": "2009 by Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Rug Weaving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02148-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Rug Weaving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02149-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Finishing Process (Korjin)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02150-BIG.jpg", "copyright": "2009- By Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Store for Carpet Products" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=xaBsaQwwV7Y", "copyright": "2009 by Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Traditional skills of carpet weaving in Fars" } ], "sustainability": "" } }, "element_383": { "type": "element", "label": "Traditional skills of carpet weaving in Kashan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02174-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02174-HUG.jpg" }, "description": "Long a centre for fine carpets, Kashan has almost one in three residents employed in carpet-making, with more than two-thirds of the carpet-makers being women. The carpet-weaving process starts with a design, elaborated from among a series of established styles, including motifs such as flowers, leaves, branches, animals and scenes taken from history. Woven on a loom known as a ''dar,'' the warp and woof are of cotton or silk. The pile is made by knotting wool or silk yarns to the warp with the distinctive Farsi knot, then held in place by a row of the woven woof, and beaten with a comb. The Farsi weaving style (also known as asymmetrical knotting) is applied with exemplary delicacy in Kashan, so that the back side of the carpet is finely and evenly knotted. The colours of Kashan carpets come from a variety of natural dyes including madder root, walnut skin, pomegranate skin and vine leaves. The traditional skills of Kashan carpet weaving are passed down to daughters through apprenticeship under instruction from their mothers and grandmothers. Apprenticeship is also the means by which men learn their skills of designing, dyeing, shearing, loom-building and tool-making.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-skills-of-carpet-weaving-in-kashan-00383", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02174-BIG.jpg", "copyright": "2009 by ICHHTO", "title": "Designing the map of the carpet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02175-BIG.jpg", "copyright": "2009 by ICHHTO", "title": "Dyeing workshop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02177-BIG.jpg", "copyright": "2009 by ICHHTO", "title": "Installing warp" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02178-BIG.jpg", "copyright": "2009 by ICHHTO", "title": "The knotting method" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02179-BIG.jpg", "copyright": "2009 by ICHHTO", "title": "Combing the carpet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02180-BIG.jpg", "copyright": "2009 by ICHHTO", "title": "Backside of the carpet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02181-BIG.jpg", "copyright": "2009 by ICHHTO", "title": "Uninstalling the half-woven carpet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02182-BIG.jpg", "copyright": "2009 by ICHHTO", "title": "Finishing (Cutting extra naps)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02183-BIG.jpg", "copyright": "2009 by ICHHTO", "title": "Woven carpet in bazaar" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=nUsUcfYnE7Q", "copyright": "2009 Iranian Cultural Heritage, Handicrafts and Tourism Organization", "title": "Traditional skills of carpet weaving in Kashan" } ], "sustainability": "" } }, "element_384": { "type": "element", "label": "Semah, Alevi-Bekta\u015fi ritual", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02221-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02221-HUG.jpg" }, "description": "Semahs can be described as a set of mystical and aesthetic body movements in rhythmic harmony. They constitute one of the twelve main services found in ''Cem'' rituals, religious practices performed by adherents of Alevi-Bekta\u015fi, a belief system based on admiration for Ali, the fourth caliph after the prophet Muhammed. Semahs are performed by ''semah\u00e7\u0131s'' (Semah dancers), accompanied by devout musicians playing the ''saz'' long-necked lute. Various forms of Semah exist in Alevi-Bekta\u015fi communities across Turkey, each with distinct musical characteristics and rhythmic structures. One consistent characteristic is the performance of the ritual by both men and women, side by side. Semah rituals are founded upon the concept of unity with God as part of a natural cycle: people come from God and return to God. There are two forms of Semah: ''\u0130\u00e7eri'' Semahs are performed in ''Cems'' only among adherents as part of the twelve services; ''D\u0131\u015far\u0131'' Semahs are performed independent of services to promote Semah culture to younger generations. Semahs are the most crucial means for the transmission of the Alevi-Bekta\u015fi tradition. All practices, traditional motifs and teachings are passed on orally, and distinct genres of art and literature associated with the tradition continue to thrive. In this way, Semahs play a crucial role in fostering and enriching the traditional music culture of Turkey.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/semah-alevi-bektai-ritual-00384", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02214-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "D\u0131\u0161ar\u0131 (Public) Semah-Mengi- in Denizli City" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02215-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Mengi in Denizli City" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02216-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Semah in Ayd\u0131n City" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02217-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Semah in Ayd\u0131n City" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02218-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Semah Statue in Hac\u0131bekta\u015f" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02219-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Ministry Culture And Tourism Semah Community" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02220-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Semah in Tokat City" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02221-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Semah in Tokat City" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02222-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Semah in Tokat City" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02223-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Semah in Tokat City" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=e2zsCoNnfg8", "copyright": "2009 Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "Anatolian Alawi Semahs" } ], "sustainability": "" } }, "element_385": { "type": "element", "label": "Traditional Sohbet meetings", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02225-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02225-HUG.jpg" }, "description": "Traditional Sohbet meetings play a crucial role in transmitting Turkish folk literature, folk dances and music, village plays as well as societal values. Turkish men meet regularly indoors, especially in winter, to discuss local social and cultural issues, safeguard traditions, and encourage solidarity, mutual respect and a sense of community. Meetings may include music, dances and plays, all enjoyed while consuming local dishes. A traditional Sohbet meeting may last until the early morning. Meetings are open to men above the age of 15 or 16, regardless of ethnicity, religion or status, with the basic requirement that members be of honest families, be trustworthy and respectful of their elders, and not gamble or display public drunkenness. Members may be penalized with a fine for missing a meeting, except under extenuating circumstances. Mothers and wives encourage male members to attend because of the associated social and cultural benefits. Communities usually comprise five to thirty persons and are guided by leaders, appointed by election or proposed by elders. Members of the community all have equal rights and commitments. The Sohbet meetings fulfil an important educational function by transferring ethical values such as social justice, tolerance, benevolence and respect. ", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-sohbet-meetings-00385", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02224-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Bal\u0131kesir-Dursunbey Barana Sohbet Meetings- Village Spectacle Plays" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02225-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Bal\u0131kesir-Dursunbey Barana Sohbet Meetings - Folk Dancer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02226-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "\u00c7ank\u0131r\u0131 Yaran Sohbet Meetings - Village Spectacle Plays" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02227-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "\u00c7ank\u0131r\u0131 Yaran Sohbet Meetings - Village Spectacle Plays" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02229-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Elazi\u011f K\u00fcrs\u00fcba\u015f\u0131 Sohbet Meetings - \u00c7ayda \u00c7\u0131ra Folk Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02230-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Elazi\u011f K\u00fcrs\u00fcba\u015f\u0131 Sohbet Meetings - Village Spectacle Plays" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02231-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Elazi\u011f K\u00fcrs\u00fcba\u015f\u0131 Sohbet Meetings - Village Spectacle Plays" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02232-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Elazi\u011f K\u00fcrs\u00fcba\u015f\u0131 Sohbet Meetings - Cup Game" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02233-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "\u015ean\u0399\u0131urfa S\u0131ra Night - Musicians" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=apYzLY8xP1o", "copyright": "2009 Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "Traditional Sohbet Meetings" } ], "sustainability": "" } }, "element_386": { "type": "element", "label": "K\u0131rkp\u0131nar oil wrestling festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02241-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02241-HUG.jpg" }, "description": "The K\u0131rkp\u0131nar oil wrestling festival takes place in Edirne, Turkey. Thousands of people from different age groups, cultures and regions travel every year to see ''Pehlivan'' (wrestlers) fight for the K\u0131rkp\u0131nar Golden Belt and the title of Chief Pehlivan. Each festival is launched by its patron, the ''K\u0131rkp\u0131nar Aga,'' in a ceremony featuring forty bands of ''davul'' drums and ''zurna'' shawms. The golden belt is carried through the city in a procession, followed by prayers recited in the Selimiye Mosque. The wrestling bouts customarily take place at the Men\u2019s Field. The master of ceremonies introduces the ''Pehlivans'' to the audience, reciting in verse their names, titles and skills. Next, the oil man oils the wrestlers assisted by the towel holder, before the warm-up exercises and greetings. The wrestlers each wear ''k\u0131spet,'' thick trousers made of water buffalo or cow leather. As the wrestling takes place, the drum and shawm bands play the traditional repertoire of the festival. K\u0131rkp\u0131nar oil wrestling is open to men from all cultures, regions and ages without discrimination between religion, language or race. ''Pehlivans'' are considered exemplary figures in society with attributes such as generosity, honesty, respectfulness and adherence to traditions and customs. All ''Pehlivans'' are trained in the master-apprentice tradition.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/krkpnar-oil-wrestling-festival-00386", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02234-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "Municipality Building Festival Executive Center" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02235-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "Davul and Zurna Players" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02236-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "Information and K\u0131rkp\u0131nar Aga Major Governor" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02237-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "K\u0131rkp\u0131nar House" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02238-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "Junior Pehlivans" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02239-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "Pehlivan Graveyard" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02240-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "Mevlit for Pehlivans in Selimiye" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02241-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "Pe\u015frev" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02242-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism of Turkey", "title": "Oil" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02243-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "People in the Festival Area" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=muljd2y3t-4", "copyright": "2009 Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism", "title": "K\u0131rkp\u0131nar Oil Wrestling Festival" } ], "sustainability": "" } }, "element_388": { "type": "element", "label": "Ceremonial Ke\u015fkek tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03258-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03258-HUG.jpg" }, "description": "Ke\u015fkek is a traditional Turkish ceremonial dish prepared for wedding ceremonies, circumcisions and religious holidays. Women and men work together to cook wheat and meat called \u2018Ke\u015fkek\u2019 in huge cauldrons, then serve it to the guests. The wheat is washed with prayers the preceding day, and then carried to a large stone mortar, to the accompaniment of music from the ''davul'' drum and zurna double-reed pipe. At the mortar it is hulled by two to four persons using gavels in a fixed rhythm. Cooking is usually carried out outdoors: hulled wheat, chunks of meat on the bone, onions, spices, water and oil are added to the cauldron and cooked all night. Towards noon, the strongest of the village youth are called to beat the Ke\u015fkek with wooden mallets, while the crowd cheers and zurna players perform musical pieces, announcing the thickening of the stew with a specific melody. Numerous expressions associated with the dish \u2013 used during the selection of wheat, the blessings, praying and carrying the wheat, as well as preparing and cooking it \u2013 have become common expressions in daily life. In addition, the tradition encompasses entertainment, plays and musical performances. Neighbouring towns and villages are invited to feast collectively in the ceremony premises. The cooking tradition is safeguarded and transmitted by master cooks to apprentices.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ceremonial-kekek-tradition-00388", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03256-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Torusim", "title": "Beating and hulling the wheat on the stone mortar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03257-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Torusim", "title": "Laying wheat to dry" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03258-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism of Turkey", "title": "Final cleaning of the wheat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03259-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism of Turkey", "title": "Carrying the wheat to keskek the cauldron with prayers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03260-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Torusim", "title": "Washing the wheat with songs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03261-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Torusim", "title": "Checking the beaten wheat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03262-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Torusim", "title": "Washing the beaten wheat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03263-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Torusim", "title": "Cooking keskek" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03264-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Torusim", "title": "Women eating keskek" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03265-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Torusim", "title": "Blessing the cooked keskek before serving" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=UDwhfotWAfw", "copyright": "2009 Information and Documentation Center of Folk Culture \/ Ministry of Culture and Tourism of Turkey", "title": "Ceremonial Ke\u015fkek Tradition" } ], "sustainability": "" } }, "element_389": { "type": "element", "label": "Traditional art of Azerbaijani carpet weaving in the Republic of Azerbaijan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02258-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02258-HUG.jpg" }, "description": "The Azerbaijani carpet is a traditional handmade textile of various sizes, with dense texture and a pile or pile-less surface, whose patterns are characteristic of Azerbaijan\u2019s many carpet-making regions. Carpet making is a family tradition transferred orally and through practice. Men shear sheep in spring and autumn, while women collect dyestuffs and spin and dye yarn in the spring, summer and autumn. The weaving is undertaken during winter by the female members of the extended family, girls learning from their mothers and grandmothers and wives assisting their mothers-in-law. The carpet is made on horizontal or vertical looms using multi-coloured wool, cotton or silk yarn coloured with natural dyes. Applying special techniques to create pile carpets, weavers knot the pile yarn around threads of the warp; pile-less carpets are variously made with interlacing structural warps, wefts, and patterning wefts. The cutting of a finished carpet from the loom is an unusually solemn celebration. Carpet weaving is closely connected with the daily life and customs of the communities involved, its role reflected in the meaning of the designs and their applications. Thus, girls seated on carpets tell fortunes and sing traditional songs at Novruz (the regional New Year). The carpet is widely used for home furniture and decoration, and special carpets are woven for medical treatment, for wedding ceremonies, the birth of a child, mourning rituals and prayer.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-art-of-azerbaijani-carpet-weaving-in-the-republic-of-azerbaijan-00389", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02254-BIG.jpg", "copyright": "R Taghiyeva\/Ministry of Culture and Tourism of Azerbaijan, 2005", "title": "A herd of sheep" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02255-BIG.jpg", "copyright": "R Taghiyeva\/Ministry of Culture and Tourism of Azerbaijan, 2005", "title": "A family of herders" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02256-BIG.jpg", "copyright": "R Taghiyeva\/Ministry of Culture and Tourism of Azerbaijan, 2005", "title": "A traditional dwelling" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02257-BIG.jpg", "copyright": "R Taghiyeva\/Ministry of Culture and Tourism of Azerbaijan, 2005", "title": "Wool shearing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02258-BIG.jpg", "copyright": "R Taghiyeva\/Ministry of Culture and Tourism of Azerbaijan, 2005", "title": "Yarn making" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02259-BIG.jpg", "copyright": "M Rahimov\/Ministry of Culture and Tourism of Azerbaijan, 2009", "title": "A collective yarn making (imaji)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02260-BIG.jpg", "copyright": "M Rahimov\/Ministry of Culture and Tourism of Azerbaijan, 2009", "title": "Yarn dyeing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02261-BIG.jpg", "copyright": "R Taghiyeva\/Ministry of Culture and Tourism of Azerbaijan, 2005", "title": "A rural carpet weaving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02262-BIG.jpg", "copyright": "M Rahimov\/Ministry of Culture and Tourism of Azerbaijan, 2009", "title": "A rural family at the loom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02263-BIG.jpg", "copyright": "M Rahimov\/Ministry of Culture and Tourism of Azerbaijan, 2009", "title": "Traditional performance 'Kilimarasi'" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=2CHy29iBEf4", "copyright": "2009 by M.Alekperzadeh \/ Ministry of Culture and Tourism", "title": "The Azerbaijani Carpet" } ], "sustainability": "" } }, "element_390": { "type": "element", "label": "Huaconada, ritual dance of Mito", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02295-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02295-HUG.jpg" }, "description": "Huaconada is a ritual dance performed in the village of Mito in the province of Concepci\u00f3n in the central Peruvian Andes. Every year, on the first three days of January, masked men known as ''huacones'' perform a choreographed series of dances in the centre of the town. The ''huacones'' represent the former council of elders, and for the duration of Huaconada they become the town\u2019s highest authority. The ''tronador'' (whip) they carry and their masks emphasize this role, the latter characterized by accentuated noses that evoke the beak of the condor, creature that represents the spirit of the sacred mountains. The dance involves two types of ''huacones:'' elders who wear traditional costumes and finely-carved masks inspiring respect and fear; and modern ''huacones'' who wear colourful dress, their masks embodying terror, sadness or mockery. During Huaconada, the modern ''huacones'' dance circumscribed steps around the elders, who have greater freedom to dance improvised movements because of their seniority. An orchestra plays different rhythms, beating out time on a small indigenous drum called a ''tinya.'' Huaconada synthesizes distinctive elements from the Andes and Spain while incorporating new, modern elements. Only those of good conduct and moral integrity may become ''huacones.'' The dance is traditionally passed on from father to son, while clothing and masks are also inherited.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/huaconada-ritual-dance-of-mito-00390", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02294-BIG.jpg", "copyright": "S. Mujica, 2001", "title": "Row of modern Huacones. Mito, Concepcion, Junin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02295-BIG.jpg", "copyright": "S. Mujica, 2001", "title": "Old Huacones in a gesture that uses the cape to resemble the wings of the condor. Mito, Concepcion, Junin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02296-BIG.jpg", "copyright": "S. Mujica, 2001", "title": "Orchestra performing the Huaconada music. At the center, a musician playing the \"tinya\" (small drum of pre-Columbian origin). Mito, Concepcion, Junin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02297-BIG.jpg", "copyright": "S. Mujica, 2001", "title": "Group of Huacones in the Mito square. At the center, in a smaller number, the old Huacones; at the sides, the modern Huacones. Mito, Concepcion, Junin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02298-BIG.jpg", "copyright": "S. Mujica, 2001", "title": "Profile of modern Huacon. Note the prominent nose, which resembles the beak of the condor. Mito, Concepcion, Junin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02299-BIG.jpg", "copyright": "S. Mujica, 2001", "title": "Modern Huacon making a defiant gesture to the public. Mito, Concepcion, Junin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02300-BIG.jpg", "copyright": "S. Mujica, 2001", "title": "Old Huacones at the center of the group of dancers. Mito, Concepcion, Junin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02301-BIG.jpg", "copyright": "S. Mujica, 2001", "title": "Old Huacones during the \"escaramuza\" (competition of acrobatic steps performed in couples). Mito, Concepcion, Junin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02302-BIG.jpg", "copyright": "S. Mujica, 2001", "title": "Modern Huacones. Mito, Concepcion, Junin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02303-BIG.jpg", "copyright": "S. Mujica, 2001", "title": "Modern Huacones passing through the Mito square. Mito, Concepcion, Junin" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Mw0s9ickdbg", "copyright": "2004 by S. Mujica", "title": "La Huaconada de Mito" } ], "sustainability": "" } }, "element_391": { "type": "element", "label": "Scissors dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02325-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02325-HUG.jpg" }, "description": "The scissors dance is performed by inhabitants of Quechua villages and communities in the south-central Andes of Peru, and now in urban settings. This competitive ritual dance is performed during dry months coinciding with the main phases of the agricultural calendar. The scissors dance takes its name from the pair of polished iron rods, resembling scissors blades, wielded by each dancer in his right hand. Together with a violinist and a harpist, a dancer forms a ''cuadrilla'' (team) that represents a given village or community. To perform, two or more ''cuadrillas'' face each other, and the dancers must strike the blades together in time to the rhythm of the accompanying musicians, while performing a choreographed duel of step-dancing, acrobatics and increasingly demanding movements. The competition or ''atipanakuy'' may last up to ten hours, and physical ability, quality of the instruments, and expertise of the accompanying musicians, are all evaluated to determine the winner. The dancers wear outfits embroidered with golden fringes, multicoloured sequins and small mirrors, but while in costume are forbidden from entering churches because of the tradition that their abilities are the result of a pact with the devil. Regardless, the scissors dance has become a popular part of Catholic festivities. The physical and spiritual knowledge implicit in the dance is passed on orally from master to student, with each ''cuadrilla'' of dancers and musicians giving pride to its village of origin.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/scissors-dance-00391", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02325-BIG.jpg", "copyright": "National Institute of Culture of Peru, 2004", "title": "Scissors dancer in the air. Feast of the Water. Andamarca, Lucanas,Ayacucho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02326-BIG.jpg", "copyright": "National Institute of Culture of Peru, 2004", "title": "\"Cuadrillas\" in the Andamarca square during the Feast of the Water. Andamarca, Lucanas, Ayacucho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02327-BIG.jpg", "copyright": "National Institute of Culture of Peru, 2004", "title": "\"Picaflor\" (hummingbird) dancer during the \"atipanakuy\" (competition). Feast of the Water. Andamarca, Lucanas, Ayacucho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02328-BIG.jpg", "copyright": "National Institute of Culture of Peru, 2004", "title": "Contortion of \"Picaflor\" (hummingbird) dancer during the \"atipanakuy\" (competition). Feast of the Water. Andamarca, Lucanas, Ayacucho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02329-BIG.jpg", "copyright": "National Institute of Culture of Peru, 2004", "title": "Violinist and dancer during the \"atipanakuy\" (competition). Feast of the Water. Andamarca, Lucanas, Ayacucho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02330-BIG.jpg", "copyright": "National Institute of Culture of Peru, 2004", "title": "\"Cuadrillas\" during \"pasacalle\" (street dance). Feast of the Water. Andamarca, Lucanas, Ayacucho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02331-BIG.jpg", "copyright": "National Institute of Culture of Peru, 2004", "title": "\"Chasca\" (star) and \"Picaflor\" (hummingbird) dancers. Feast of the Water. Andamarca, Lucanas, Ayacucho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02332-BIG.jpg", "copyright": "National Institute of Culture of Peru, 2005", "title": "Scissors Dancer paying homage to the Virgin moments before the performance. Huancasancos, Aacucho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02333-BIG.jpg", "copyright": "National Institute of Culture of Peru, 2004", "title": "\"Cuadrillas\" during the \"atipanakuy\" (competition). Feast of the Water. Andamarca, Lucanas, Ayacucho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02334-BIG.jpg", "copyright": "National Institute of Culture of Peru, 2004", "title": "\"Cuadrillas\" during the \"atipanakuy\" (competition). Feast of the Water. Andamarca, Lucanas, Ayacucho" } ], "video": [], "sustainability": "" } }, "element_392": { "type": "element", "label": "Hopping procession of Echternach", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02338-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02338-HUG.jpg" }, "description": "Each year, on the Tuesday of Pentecost (a Christian religious festival), the hopping procession of Echternach ''(Iechternacher Sprangpr\u00ebssioun)'' takes place in the medieval town centre of Echternach, the oldest city in Luxembourg. Documented since the year 1100, the procession is founded on the cult of Saint Willibrord, a monk and founder of the Abbey of Echternach, revered for his missionary activities, his kindness and gift of curing certain illnesses. Despite the opposition of the Church due to the pagan elements of the procession, its successive bans did nothing to stop it spreading to the rest of the region and permeating every social class. The procession begins early in the morning in the courtyard of the ancient abbey, in the presence of the highest ecclesiastical authorities in the country and of many other countries. Singers recite litanies and then some 8,000\u00a0dancers take over, split into 45\u00a0groups according to a ritual transmitted from generation to generation. It ends with a service in the basilica. The current procession is a religious event deeply rooted in the tradition expressed through prayer, songs and dance \u2013\u00a0the historical form of worship. Nowadays, the procession, supported by the civil and religious authorities is increasingly popular despite secularization, with an average each year of 13,000\u00a0participants coming from Luxembourg and the neighbouring regions.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/hopping-procession-of-echternach-00392", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02335-BIG.jpg", "copyright": "Nico Dom", "title": "Les groupes de danseurs attendent leur tour d'entrer dans la procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02336-BIG.jpg", "copyright": "Peuky Barone-Wagner", "title": "Les spectateurs attendent avec impatience le passage de la procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02337-BIG.jpg", "copyright": "Nico Dom", "title": "Le groupe des enfants d'Echternach avec leurs \u00e9ducateurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02338-BIG.jpg", "copyright": "Peuky Barone-Wagner", "title": "Le groupe des enfants d'Echternach avec leurs \u00e9ducateurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02339-BIG.jpg", "copyright": "Nico Dom", "title": "Des jeunes filles en pleine danse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02340-BIG.jpg", "copyright": "Nico Dom", "title": "Les groupes imposants des lyc\u00e9es sur le parvis de la basilique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02341-BIG.jpg", "copyright": "Nico Dom", "title": "Le groupe form\u00e9 par les professeurs et anciens du Lyc\u00e9e classique d'Echternach" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02342-BIG.jpg", "copyright": "Peuky Barone-Wagner", "title": "Un groupe de femmes d'Echternach" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02343-BIG.jpg", "copyright": "Nico Dom", "title": "Les danseurs de la paroisse de Mettlach" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02344-BIG.jpg", "copyright": "Nico Dom", "title": "Le long cort\u00e8ge des \u00e9v\u00eaques et pr\u00e9lats" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=FQ68OFEC_p8", "copyright": "2008 MCESR (Minist\u00e8re de la culture, de l'Enseignement Sup\u00e9rieur et de la Recherche)", "title": "Extraits de \u00ab Magno Tripudio - sur les pas de la procession dansante d'Echternach \u00bb" } ], "sustainability": "" } }, "element_393": { "type": "element", "label": "Indonesian Angklung", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02345-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02345-HUG.jpg" }, "description": "Angklung is an Indonesian musical instrument consisting of two to four bamboo tubes suspended in a bamboo frame, bound with rattan cords. The tubes are carefully whittled and cut by a master craftsperson to produce certain notes when the bamboo frame is shaken or tapped. Each Angklung produces a single note or chord, so several players must collaborate in order to play melodies. Traditional Angklungs use the pentatonic scale, but in 1938 musician Daeng Soetigna introduced Angklungs using the diatonic scale; these are known as ''angklung padaeng.'' The Angklung is closely related to traditional customs, arts and cultural identity in Indonesia, played during ceremonies such as rice planting, harvest and circumcision. The special black bamboo for the Angklung is harvested during the two weeks a year when the cicadas sing, and is cut at least three segments above the ground, to ensure the root continues to propagate. Angklung education is transmitted orally from generation to generation, and increasingly in educational institutions. Because of the collaborative nature of Angklung music, playing promotes cooperation and mutual respect among the players, along with discipline, responsibility, concentration, development of imagination and memory, as well as artistic and musical feelings.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/indonesian-angklung-00393", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02345-BIG.jpg", "copyright": "2009 by Centre for Research and Development of Culture, Indonesia", "title": "Traditional Pentatonic Angklung Buhun in Kanekes (Baduy) being played" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02346-BIG.jpg", "copyright": "2009 by Centre for Research and Development of Culture, Indonesia", "title": "Diatonic or Chromatic Angklung or Angklung Padaeng being played" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02347-BIG.jpg", "copyright": "2009 by Centre for Research and Development of Culture, Indonesia", "title": "Making of angklung by master craftsman Rahmat at Saung Angklung Udjo, Bandung" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02348-BIG.jpg", "copyright": "2009 by Centre for Research and Development of Culture, Indonesia", "title": "Students at SMA-N1 Jatinunggal Senior High School learning to make angklung" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02349-BIG.jpg", "copyright": "2009 by Centre for Research and Development of Culture, Indonesia", "title": "Children of Pelita Nusantara Kindergarten in Bandung learn to play angklung" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02350-BIG.jpg", "copyright": "2009 by Centre for Research and Development of Culture, Indonesia", "title": "Children of Isola 2 Elementary School in Bandung play Angklung" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02351-BIG.jpg", "copyright": "2009 by Centre for Research and Development of Culture, Indonesia", "title": "Students of the Foreign Language Academy in Bandung playing angklung" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02352-BIG.jpg", "copyright": "2009 by Centre for Research and Development of Culture, Indonesia", "title": "Foreign guests play angklung at Saung Angklung Udjo, Bandung" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02353-BIG.jpg", "copyright": "2009 by Centre for Research and Development of Culture, Indonesia", "title": "Angklung crafting at Sanggar Edas, Bogor" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02354-BIG.jpg", "copyright": "2009 by Centre for Research and Development of Culture, Indonesia", "title": "Children from 33 Provinces of Indonesia play angklung together during the 63rd Independence Day Celebrations on 17th August 2009 at the Presidential Palace in Jakarta." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=CNhLfbH3Nlc", "copyright": "2009 by the Center for Research and Development of Culture, Indonesia", "title": "Indonesian Angklung" } ], "sustainability": "" } }, "element_395": { "type": "element", "label": "Naadam, Mongolian traditional festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02731-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02731-HUG.jpg" }, "description": "Naadam is a national festival celebrated every year from 11\u00a0to 13\u00a0July across Mongolia that focuses on three traditional games: horseracing, wrestling and archery. Mongolian Naadam is inseparably connected to the nomadic civilization of the Mongols, who have long practiced pastoralism on Central Asia\u2019s vast steppe. Oral traditions, performing arts, national cuisine, craftsmanship, and cultural forms such as long song, Kh\u00f6\u00f6mei overtone singing, Bie biyelgee dance and Morin khuur fiddle also feature prominently during Naadam. Mongolians follow special rituals and practices during the festival, such as wearing unique costumes and using distinctive tools and sporting items. Festival participants revere the sportsmen, sportswomen, and children who compete, and winners are rewarded titles for their achievements. Ritual praise songs and poems are dedicated to the contestants in the events. Everyone is allowed and encouraged to participate in Naadam, thus nurturing community involvement and togetherness. The three types of sports are directly linked with the lifestyles and living conditions of the Mongols and their transmission is traditionally undertaken through home-schooling by family members, although formalized training regimens have recently developed for wrestling and archery. The rituals and customs of Naadam also accentuate respect for nature and the environment.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/naadam-mongolian-traditional-festival-00395", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02723-BIG.jpg", "copyright": "Ch. Batbold, 2009", "title": "Rehearsal for the wrestling" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02724-BIG.jpg", "copyright": "Ch. Batbold, 2009", "title": "Wrestling" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02725-BIG.jpg", "copyright": "Ch. Batbold, 2009", "title": "Audience of the Festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02726-BIG.jpg", "copyright": "Ch. Batbold, 2009", "title": "Singing the praise for the fast horse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02727-BIG.jpg", "copyright": "Ch. Batbold, 2009", "title": "Horse-racing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02728-BIG.jpg", "copyright": "A. Duurenjargal, 2009", "title": "Horse-racing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02729-BIG.jpg", "copyright": "Ch. Batbold, 2009", "title": "Wrestling" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02730-BIG.jpg", "copyright": "Ch. Batbold, 2009", "title": "Archery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02731-BIG.jpg", "copyright": "A. Duurenjargal, 2009", "title": "Archery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02732-BIG.jpg", "copyright": "A. Duurenjargal, 2009", "title": "Clouts of the archery" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RI67liJxJtQ", "copyright": "2009 by Mongolian National Commission for UNESCO", "title": "Mongol Naadam: Mongolian traditional festival" } ], "sustainability": "" } }, "element_396": { "type": "element", "label": "Mongolian traditional art of Kh\u00f6\u00f6mei", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03415-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03415-HUG.jpg" }, "description": "Kh\u00f6\u00f6mei is a form of singing originating in western Mongolia, in the Altai mountains. The performer imitates sounds of nature, simultaneously emitting two distinct vocal sounds: along with a continuous drone, the singer produces a melody of harmonics. Kh\u00f6\u00f6mei literally means pharynx, and it is believed to have been learned from birds, whose spirits are central to shamanic practices. The multitude of Kh\u00f6\u00f6mei techniques in Mongolia are grouped within two main styles: the ''kharkhiraa'' (deep Kh\u00f6\u00f6mei) and ''isgeree'' Kh\u00f6\u00f6mei (whistled Kh\u00f6\u00f6mei). In ''kharkhiraa'' the singer sings a drone in a normal voice, while emphasizing the undertone or subharmonic one octave below. In ''isgeree'' Kh\u00f6\u00f6mei, it is the overtones above the fundamental note of the drone that are emphasized, creating a higher-pitched whistle. In both cases, the drone is produced with very taut vocal cords, and the melody is created by modulating the size and shape of the mouth cavity, opening and closing the lips and moving the tongue. Kh\u00f6\u00f6mei is performed by Mongolian nomads in a variety of social occasions, from grand state ceremonies to festive household events. Kh\u00f6\u00f6mei is also sung during herding, and inside the yurt to lull babies to sleep. Traditionally, Kh\u00f6\u00f6mei is transmitted orally from bearer to learner, or via master-to-apprentice. ", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mongolian-traditional-art-of-khoomei-00396", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03409-BIG.jpg", "copyright": "2009 by S.Yundenbat", "title": "E.Sandagjav, bearer of the Khuumei folk art, citizen of Zavkhan province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03415-BIG.jpg", "copyright": "2009 by A. Duurenjargal", "title": "R.Davaadorj, Khuumei performer of Chandmani sum of Khovd province and N.Davaadorj, disciple." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03483-BIG.jpg", "copyright": "2009 by Johanni Curtet", "title": "Bapizan next a river in Tsengel soum, Bayan-Olgii aimag" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03484-BIG.jpg", "copyright": "2005 by Johanni Curtet", "title": "Young khoomeich with D.Tserendavaa at school in Chandmani soum, Khvod aimag" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03485-BIG.jpg", "copyright": "2009 by Johanni Curtet", "title": "D.Tserendavaa singing in front of Jargalant Altai Mont's waterfall, Khvod aimag" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03486-BIG.jpg", "copyright": "2009 by Johanni Curtet", "title": "N.Sengedorj playing the tsuur flute next the Buyant gol river, Khovd aimag" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03487-BIG.jpg", "copyright": "2005 by Johanni Curtet", "title": "B.Odsuren teaching khoomei in his class, University of Culture and Art, Ulaanbaatar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03488-BIG.jpg", "copyright": "2004 by Johanni Curtet", "title": "T.Tsogtgerel and Khuubaatar singing khoomei with morin khuur fiddle under the ger, Chandmani soum, Khovd aimag" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03489-BIG.jpg", "copyright": "2004 by Johanni Curtet", "title": "D\u00f6rv\u00f6n Berkh Ensemble performing at Les Saulni\u00e8res theatre (a Routes Nomades production), Le Mans, France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03490-BIG.jpg", "copyright": "2004 by Johanni Curtet", "title": "Erdenchimeg singing khoomei in front of her ger, Chandmani soum, Khovd aimag" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=hV8EJOvvPvY", "copyright": "2009 by Mongolian National Commission for UNESCO", "title": "Mongolian traditional art of Kh\u00f6\u00f6mei" } ], "sustainability": "" } }, "element_397": { "type": "element", "label": "Shrovetide door-to-door processions and masks in the villages of the Hlinecko area", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03433-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03433-HUG.jpg" }, "description": "The Shrovetide processions take place in the town of Hlinsko and six nearby villages in the Hlinecko area of Eastern Bohemia in the Czech Republic. This popular carnival custom takes place at the end of winter, during Shrovetide \u2013\u00a0the period just before the Christian Lent. Village men and boys, disguised in masks that depict traditional characters (red masks for boys and black for married men), go from door to door around the village, accompanied by a brass band. The procession stops at each house and four of the men perform a ritual dance, with the householder\u2019s permission, to secure a rich harvest and prosperity for the family. In return, the masked men receive treats and collect a fee. A symbolic \u2018Killing of the Mare\u2019 ritual takes place after the last house has been visited, during which a mare is condemned for its alleged sins and a humorous and topical testament is read out. Following the \u2018execution\u2019 the mare is revived with alcohol, signalling the commencement of a dance as the masks frolic with onlookers. The Shrovetide processions \u2013\u00a0banned in turn by the Catholic Church in the eighteenth and nineteenth centuries and by the socialist government in the twentieth century\u00a0\u2013 play an important role in securing cohesion within the village community. Young people and children help with the preparations and parents make copies of traditional masks for their sons.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/shrovetide-door-to-door-processions-and-masks-in-the-villages-of-the-hlinecko-area-00397", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03431-BIG.jpg", "copyright": "I. Vojancov\u00e1\/NP\u00da \u00daOP v Pardubicich,2007", "title": "Spotted Man and Wife, Studnice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03432-BIG.jpg", "copyright": "I. Vojancov\u00e1\/NP\u00da \u00daOP v Pardubicich,2007", "title": "The Turks, Studnice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03433-BIG.jpg", "copyright": "I. Vojancov\u00e1\/NP\u00da \u00daOP v Pardubicich,2007", "title": "Straw Man, Studnice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03434-BIG.jpg", "copyright": "I. Vojancov\u00e1\/NP\u00da \u00daOP v Pardubicich,2007", "title": "Mare, Vortov\u00e1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03435-BIG.jpg", "copyright": "I. Vojancov\u00e1\/NP\u00da \u00daOP v Pardubicich,2007", "title": "Knacker, Vortov\u00e1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03436-BIG.jpg", "copyright": "I. Vojancov\u00e1\/NP\u00da \u00daOP v Pardubicich,2007", "title": "Huckster, Vortov\u00e1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03437-BIG.jpg", "copyright": "I. Vojancov\u00e1\/NP\u00da \u00daOP v Pardubicich,2007", "title": "Chimney Sweep, Studnice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03438-BIG.jpg", "copyright": "I. Vojancov\u00e1\/NP\u00da \u00daOP v Pardubicich,2007", "title": "Kole\u010dko (Round Dance),the Turks, ritual dance, Vortov\u00e1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03439-BIG.jpg", "copyright": "I. Vojancov\u00e1\/NP\u00da \u00daOP v Pardubicich,2007", "title": "Treats for the Shrovetide masks, Studnice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03440-BIG.jpg", "copyright": "I. Vojancov\u00e1\/NP\u00da \u00daOP v Pardubicich,2007", "title": "Musicians accompanying the Shrovetide door-to-door procession, Vortov\u00e1" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3TUC5KBXCTA", "copyright": "N\u00daLK Str\u00e1\u017enice", "title": "Shrovetide door-to-door processions and masks in the villages of the Hlinecko area" } ], "sustainability": "" } }, "element_398": { "type": "element", "label": "Pirekua, traditional song of the P\u2019urh\u00e9pecha", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03444-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03444-HUG.jpg" }, "description": "Pirekua is a traditional music of the indigenous P\u2019urh\u00e9pecha communities of the State of Michoac\u00e1n, Mexico, sung by both men and women. Its diverse mix of styles draws on African, European and indigenous American origins, with regional variations identified in 30\u00a0of the 165\u00a0P\u2019urh\u00e9pecha communities. A Pirekua, which is generally sung with a gentle rhythm, may also be presented in non-vocal styles using different beats such as ''sones'' (3\/8\u00a0time) and ''abaje\u00f1os'' (6\/8\u00a0time). Pirekua can be sung solo, in duets or trios, or accompanied by choral groups, string orchestras and mixed orchestras (with wind instruments). ''Pir\u00e9riecha'' (Pirekua singers and interpreters) are renowned for their creativity and interpretations of older songs. Lyrics cover a wide range of themes from historical events to religion, social and political thought and love and courtship, making extensive use of symbolism. Pirekua acts as an effective medium of dialogue between the P\u2019urh\u00e9pecha families and communities that practise it, helping to establish and reinforce bonds. ''Pir\u00e9riechas'' also act as social mediators, using songs to express sentiments and communicate events of importance to the P\u2019urh\u00e9pecha communities. Pirekua has traditionally been transmitted orally from generation to generation, maintaining its currency as a living expression, marker of identity and means of artistic communication for more than a hundred thousand P\u2019urh\u00e9pecha people.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pirekua-traditional-song-of-the-p-urhepecha-00398", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03441-BIG.jpg", "copyright": "(2008) by Secretar\u00eda de Turismo.", "title": "Tumbiecha group\r\nMusicians playing their pirekuas (songs)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03442-BIG.jpg", "copyright": "(2008) by Secretar\u00eda de Turismo.", "title": "Pir\u00e9riecha\r\nThree members of the Erandi group wearing typical \"jorongos\" of the P'urh\u00e9pecha Plateau region." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03443-BIG.jpg", "copyright": "(2008) by Secretar\u00eda de Turismo.", "title": "Zac\u00e1n Duet\r\nPir\u00e9riecha (interpreters) singing with their handmade guitars." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03444-BIG.jpg", "copyright": "(2008) by Secretar\u00eda de Turismo.", "title": "Dance of the old men\r\nFour old men dancers wearing colorful \"jorongos\", hats and masks." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03445-BIG.jpg", "copyright": "2008 by Secretar\u00eda de Turismo", "title": "P'urh\u00e9pecha Women 1\r\nEight women, one man and a girl playing their pirekuas (songs) for the wind band." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03446-BIG.jpg", "copyright": "(2009) by Secretar\u00eda de Turismo.", "title": "P'urh\u00e9pecha Women 2\r\nThree pir\u00e9riecha women (close up) of the wind band." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03447-BIG.jpg", "copyright": "(2009) by Secretar\u00eda de Turismo.", "title": "P'urh\u00e9pecha Musician\r\nP'urh\u00e9pecha violinist who plays his own pirekuas (songs)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03448-BIG.jpg", "copyright": "(2009) by Secretar\u00eda de Turismo.", "title": "Artistic festival of Zac\u00e1n\r\nCultural festival that promotes the Purepecha, music, folk dances and new pirekuas (songs)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03449-BIG.jpg", "copyright": "(2009) by Secretar\u00eda de Turismo.", "title": "Infants P'urh\u00e9pecha\r\nTwo children playing their pirekuas (songs) preserving traditions from\r\nthe past generation." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03450-BIG.jpg", "copyright": "(2009) by Secretar\u00eda de Turismo.", "title": "Aranza Orchestra\r\nOne of many wind orchestras organized in the P'urh\u00e9pecha communities, to preserve the pirekuas (songs)." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=s-F4jJH__uU", "copyright": "2009 by Montes\/Secretar\u00eda de Turismo", "title": "Pirekua, the P'urh\u00e9pecha sings to life" }, { "url": "https:\/\/www.youtube.com\/watch?v=OGY8qF5Xt6Y", "copyright": "2009 by Montes\/Secretar\u00eda de Turismo", "title": "Pirekua, the P'urh\u00e9pecha sings to life" } ], "sustainability": "" } }, "element_399": { "type": "element", "label": "Parachicos in the traditional January feast of Chiapa de Corzo", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02746-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02746-HUG.jpg" }, "description": "The traditional Great Feast takes place from 4\u00a0to 23\u00a0January every year in Chiapa de Corzo, Mexico. This celebration of music, dance, handicrafts, gastronomy, religious ceremonies and feasting takes place in honour of three Catholic saints: Saint Anthony Abbot, Our Lord of Esquipulas and, most importantly, Saint Sebastian. The dances of the Parachicos \u2013\u00a0the word refers both to the dancers and to the dance\u00a0\u2013 are considered a communal offering to these saints. They start in the morning and conclude at night, as the dancers carry statues of saints throughout the city, visiting places of worship. Each dancer wears a carved wooden mask with headdress, serape, embroidered shawl and multicoloured ribbons, and plays ''chinchines'' (maracas). The dancers are led by the severely-masked Patron, who carries a guitar and whip, while playing a flute accompanied by one or two drummers. As they dance, he intones praises to which the Parachicos respond with cheers. The dance is transmitted and learned simultaneous with its performance, with young children taking part, imitating the adult dancers. The technique of mask-making is passed from generation to generation, including cutting of the wood, drying, carving and decorating. The dance of the Parachicos during the Great Feast embraces all spheres of local life, promoting mutual respect among communities, groups and individuals.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/parachicos-in-the-traditional-january-feast-of-chiapa-de-corzo-00399", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02746-BIG.jpg", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03367-BIG.jpg", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "The new generations recreate the tradition through the graffitti." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03368-BIG.jpg", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "Visit to the church of Se\u00f1or del Calvario" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03369-BIG.jpg", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "Dance in the Parachicos' Square." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03370-BIG.jpg", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "A tradition that is transmitted from generation to generation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03371-BIG.jpg", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "The Patron of the Parachicos playing the flute to guide the dancers during the route, next to his drummer." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03372-BIG.jpg", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "The \"Enramas\" , traditional offering rendered to the Saints venerated" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03373-BIG.jpg", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "\"Pepita con tasajo\", traditional dish of the Great Feast of Chiapa de Corzo." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03374-BIG.jpg", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "Antonio Lopez, artesano mascarero" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03375-BIG.jpg", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "Guadalupe Rubisel G\u00f3mez Nigenda, Patron of the Parachicos" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=UBS3OzVwPHY", "copyright": "2009 Coordinaci\u00f3n Ejecutiva para la conmemoraci\u00f3n del Bicentenario de la Independencia Nacional y del Centenario de la Revoluci\u00f3n Mexicana del Estado de Chiapas", "title": "Ofrenda de cuerpo y alma" } ], "sustainability": "" } }, "element_400": { "type": "element", "label": "Traditional Mexican cuisine - ancestral, ongoing community culture, the Michoac\u00e1n paradigm", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02787-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02787-HUG.jpg" }, "description": "Traditional Mexican cuisine is a comprehensive cultural model comprising farming, ritual practices, age-old skills, culinary techniques and ancestral community customs and manners. It is made possible by collective participation in the entire traditional food chain: from planting and harvesting to cooking and eating. The basis of the system is founded on corn, beans and chili; unique farming methods such as milpas (rotating swidden fields of corn and other crops) and chinampas (man-made farming islets in lake areas); cooking processes such as nixtamalization (lime-hulling maize, which increases its nutritional value); and singular utensils including grinding stones and stone mortars. Native ingredients such as varieties of tomatoes, squashes, avocados, cocoa and vanilla augment the basic staples. Mexican cuisine is elaborate and symbol-laden, with everyday tortillas and tamales, both made of corn, forming an integral part of Day of the Dead offerings. Collectives of female cooks and other practitioners devoted to raising crops and traditional cuisine are found in the State of Michoac\u00e1n and across Mexico. Their knowledge and techniques express community identity, reinforce social bonds, and build stronger local, regional and national identities. Those efforts in Michoac\u00e1n also underline the importance of traditional cuisine as a means of sustainable development.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-mexican-cuisine-ancestral-ongoing-community-culture-the-michoacan-paradigm-00400", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02787-BIG.jpg", "copyright": "A. Rios\/Secretar\u00eda de Turismo del Estado de Michoac\u00e1n, 2006", "title": "MILPA - Milpa or maize plantation, is conformed by various crops grown together and around corn, and is the favorite form of farming in Mexico. For the native understanding the milpa is the representation of the universe in miniature that provides a fundamental source of sustenance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02788-BIG.jpg", "copyright": "A. R\u00edos\/Secretar\u00eda de Turismo del Estado de Michoac\u00e1n, 2006", "title": "MILPA - All year round numerous kinds of produce are grown in the milpa. According to the different farming cycle seasons various products add lavishness and abundance to the traditional Mexican cuisine. This traditional system of farming is not just a place of production, but also a distinctive feature of the Mexican culture \/ Selecting the best flowers and spices for cooking. Angahuan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02789-BIG.jpg", "copyright": "A. R\u00edos\/Secretar\u00eda de Turismo del Estado de Michoac\u00e1n, 2006", "title": "PRODUCTS OF MILPA- Among the plants grown in the milpa during the corn vegetation period there are beans, pumpkin, chilies, quelites, tomatoes, among others. Most of them are cultivated, but during the year many others grow spontaneously and are harvested \/ Corn, beans, squash and chiles, the basic elements of the prehispanic diet, at home of the Bautista family. Paracho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02790-BIG.jpg", "copyright": "A. R\u00edos\/Secretar\u00eda de Turismo del Estado de Michoac\u00e1n, 2006", "title": "NIXTAMAL - \"Nixtamalizaci\u00f3n\" is a process of the pre-Columbian origin where dry corn is boiled in water with limestone or another caustic substance. This process modifies the corn and tums it into a nutritious and easy-to-digest dish, the invention that Mexico offers the world \/ Grinding two types of corn in order to make dough for tones tortillas. Angahuan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02791-BIG.jpg", "copyright": "A. R\u00edos\/Secretar\u00eda de Turismo del Estado de Michoac\u00e1n, 2006", "title": "TOOLS AND UTENSILS - Many of the tools and cooking utensils used in the traditional Mexican cuisine nowadays come from pre-Columbian cultures. \"Metate\" used for grinding toasted chilies, pumpkin seeds, peanuts or cocoa beans, is one example." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02792-BIG.jpg", "copyright": "A. R\u00edos\/Secretar\u00eda de Turismo del Estado de Michoac\u00e1n, 2006", "title": "REGIONAL CULINARY DIVERSITY- The cultural and natural diversity of each region is reflected in every Mexican kitchen. These culinary practices with their peculiarities and techniques developed for centuries giving the Mexican cuisine its distinctive and unique character \/ The Purepecha diet is not only flavorful, it's eyepopping and aromatic as well. Capacuaro" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02793-BIG.jpg", "copyright": "A. R\u00edos\/Secretar\u00eda de Turismo del Estado de Michoac\u00e1n, 2006", "title": "THE KITCHEN, PLACE FOR SOCIALISING - One can observe family and social relationships in the Mexican kitchen and around the dining table. These represent cultural implications of food in everyday life as well as festivities and rituals \/ Unwrap the korundas (corn meal tamales) one by one to serve with food" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02794-BIG.jpg", "copyright": "A. R\u00edos\/Secretar\u00eda de Turismo del Estado de Michoac\u00e1n, 2006", "title": "PASSING OVER THE KNOWLEDGE - The transmission of knowledge and values guarantees the cultural continuity of each Mexican family, community and region. Thus, cuisine and its traditions are closely connected to this phenomenon \/ Mrs. Apolonia Mateo from Tacuro, teaches her granddaughter the way to make tzirita." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02795-BIG.jpg", "copyright": "A. R\u00edos\/Secretar\u00eda de Turismo del Estado de Michoac\u00e1n, 2006", "title": "FOOD AS A PART OF FESTIVALS AND RITUALS - In Mexico, meals are a social act present in multiple aspects of life, including festivities and rituals. They constitute an integral part of the cultural identity of any community and help strengthening the ties between the people that forrn it \/ \"Because I'm the groom's cousin, I give the bride a loaf of bread in the shape of a doll, so she has many children\". Zacan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02796-BIG.jpg", "copyright": "A. R\u00edos\/Secretar\u00eda de Turismo del Estado de M\u00edchoac\u00e1n, 2006", "title": "TRADITIONAL CUISINE, CULTURAL HERITAGE - There are certain patterns in the Mexican cuisine that identify this tradition and characterize a Iifestyle. Among them one can mention\r\nthe types of food, the time when it is consumed, people it is shared with, its presentation and ceremonial use \/ Kitchens get families together, we talk of important things when we gather in the kitchen with our children and grandchildren. Acachuen" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=VhZ-EKPPQkU", "copyright": "2009 by Conservatorio de la Cultura Gastron\u00f3mica Mexicana", "title": "Mexican cuisine an enduring culture" } ], "sustainability": "Traditional Mexican cuisine is a complex culinary system that includes various forms and dimensions of cultural and agricultural practice. The ancestral wisdom encompasses a wealth of sustainable food production systems that address the entire food chain. As the community members learn about the unique farming methods, nutritional value, utensils, ingredients, and related social customs and beliefs about the sanctity of food, they acquire a lifelong knowledge and techniques that promote their health and well-being through good nutrition. This element also links to SDG # 12: Responsible Production and Consumption, and SDG #15: Life on Land." } }, "element_401": { "type": "element", "label": "Krakelingen and Tonnekensbrand, end-of-winter bread and fire feast at Geraardsbergen", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02798-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02798-HUG.jpg" }, "description": "The city of Geraardsbergen holds its annual market on the first Monday in March and celebrates the end of winter on Sunday eight days earlier, with the festival of Krakelingen and Tonnekensbrad. In the days before, shopkeepers decorate their windows, bakers bake special ring-shaped breads called krakelingen, and schoolteachers recount a tale explaining the origins of the ritual. On the day of the feast, a thousand-strong parade leaves the church of Hunnegem, led by the church dean and city councillors in historical costume. Carrying bread, wine, fish and fire, the participants make their way to Oudenberg Hill, climbing to the Holy Mary Chapel on the hilltop. Inside, the dean blesses the krakelingen and recites a prayer. The religious and secular authorities then drink wine from a sixteenth-century silver goblet containing tiny live fish, which has recently become a controversial custom. They then throw ten thousand krakelingen into the crowd, one containing a winning ticket. The prize is a golden jewel, especially created for the event. At night people gather again on the hill to light a wooden barrel, the Tonnekensbrand, to celebrate the arrival of spring. Spectators carry burning torches back down the hill to bring light to the city. The festive ritual yields a strong sense of continuity and historical awareness for its participants, evoking historical events and legends passed on from generation to generation.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/krakelingen-and-tonnekensbrand-end-of-winter-bread-and-fire-feast-at-geraardsbergen-00401", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02797-BIG.jpg", "copyright": "Stad Geraardsbergen", "title": "Parade: druids and city authorities" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02798-BIG.jpg", "copyright": "Stad Geraardsbergen", "title": "Parade: knights" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02799-BIG.jpg", "copyright": "Stad Geraardsbergen", "title": "Parade: knights" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02802-BIG.jpg", "copyright": "Stad Geraardsbergen", "title": "Parade: wounded children" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02805-BIG.jpg", "copyright": "Stad Geraardsbergen", "title": "Church dean praying in Holy Mary chapel on top of the Oudenberg hill" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02806-BIG.jpg", "copyright": "Stad Geraardsbergen", "title": "Town councillor swallowing a tiny living fish with wine from 16 h-century goblet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02807-BIG.jpg", "copyright": "Stad Geraardsbergen", "title": "Alderman throwing krakelingen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02808-BIG.jpg", "copyright": "Stad Geraardsbergen", "title": "Catching the krakelingen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02809-BIG.jpg", "copyright": "Stad Geraardsbergen", "title": "Mayor and alderman lighting the Tonnekensbrand" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02810-BIG.jpg", "copyright": "Stad Geraardsbergen", "title": "Tonnekensbrand and Holy Mary Chapel" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=e3Jhys1urP0", "copyright": "2009 by Stad Geraardsbergen", "title": "Krakelingen & Tonnekensbrand" } ], "sustainability": "" } }, "element_403": { "type": "element", "label": "Houtem Jaarmarkt, annual winter fair and livestock market at Sint-Lievens-Houtem", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02822-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02822-HUG.jpg" }, "description": "Houtem Jaarmarkt is an annual trading fair taking place in the village of Sint-Lievens-Houtem in the south-east of the Belgian province of East Flanders. Every year, on 11\u00a0and 12\u00a0November, the village becomes the site of the country\u2019s last substantial open-air market for trading cattle and purebred horses. Hundreds of dealers proudly display their animals before judges, fellow traders, farmers and thousands of enthusiastic visitors. People travel from across the country to visit the five hundred stallholders and other traders: experiencing, seeing, touching and buying agricultural machinery or animals, and witnessing transactions that still retain old negotiating techniques such as handclapping. With more than six hundred horses and twice as many cows up for sale, the fair is a crucial date in the calendar and identity of professionals in the livestock trade. Each year a different foreign region is invited to present its attractions, regional products and craftsmanship at the fair, enabling the livestock breeders, farmers and artisans of different nations to meet and interact. The fair and market have a huge impact on the local community with private houses turned into public venues where one can enjoy music, drinks and food. For these two days the whole village is transformed into one open, welcoming space.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/houtem-jaarmarkt-annual-winter-fair-and-livestock-market-at-sint-lievens-houtem-00403", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02821-BIG.jpg", "copyright": "2006 by municipal council of Sint-Lievens-Houtem", "title": "Overview epicentre of Houtem Jaarmarkt - just before the beginning of the fair." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02822-BIG.jpg", "copyright": "2006 by municipal council of Sint-Lievens-Houtem", "title": "Showing horses on Houtem Jaarmarkt." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02823-BIG.jpg", "copyright": "2006 by municipal council of Sint-Lievens-Houtem", "title": "Farmers trading cattle in traditional fashion." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02824-BIG.jpg", "copyright": "2006 by municipal council of Sint-Lievens-Houtem", "title": "Cattle lined up for showing and trading, by night." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02825-BIG.jpg", "copyright": "2006 by municipal council of Sint-Lievens-Houtem", "title": "Visitors discover the produce of guest country Ireland." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02826-BIG.jpg", "copyright": "2007 by municipal council of Sint-Lievens-Houtem", "title": "The Livinus Cross, monument dedicated to Saint Livinus, in the centre of the village square." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02827-BIG.jpg", "copyright": "2008 by municipal council of Sint-Lievens-Houtem", "title": "From the left: Master chefs Guy Van Cauteren (B), Alain Longeval (F), Flemish Minister of Culture Bert Anciaux, Ministers of State Steve Stevaert and Herman De Croo at a culinary presentation of the guest region of Limousin, France." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02828-BIG.jpg", "copyright": "2006 by municipal council of Sint-Lievens-Houtem", "title": "Stallholders unpacking their goods." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02829-BIG.jpg", "copyright": "2005 by municipal council of Sint-Lievens-Houtem", "title": "Judging horses." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02830-BIG.jpg", "copyright": "2005 by municipal council of Sint-Lievens-Houtem", "title": "Impression of the market on the fair." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=QbUCZUn6-gg", "copyright": "2009 by Municipal council of Sint-Lievens-Houtem", "title": "\"The Houtem winter fair\"" } ], "sustainability": "" } }, "element_404": { "type": "element", "label": "Leuven age set ritual repertoire", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03248-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03248-HUG.jpg" }, "description": "The Leuven age set ritual repertoire is a rite of passage in a man\u2019s life centring on the ten years leading up to his fiftieth birthday. For men living in or around Leuven, Belgium, a journey of socio-cultural and philanthropic activities and ceremonies commences at the age of forty with the forming of an age set and culminates at the age of fifty on Abraham Day, with a celebration in the city\u2019s central park around the statue of the prophet Abraham. Each age set chooses its own medal, flag and uniform, and is fostered by a \u2018godfather\u2019, who belongs to an age set formed ten years before. The members celebrate and embrace life throughout the decade and beyond. An age set only disappears when its last member passes away. The age sets are characterized by intergenerational values of openness, friendship, solidarity and commitment to their age set and to the city. Differences of descent, rank or social status are of no importance, neither are political, philosophical or religious convictions. The only conditions for participation are to be a man and to be born in the same year. Women however increasingly take part as godmothers and supporters. The ritual stimulates identity and a sense of continuity for both the city and the members, and has become a strong part of Leuven\u2019s urban culture. Today, fifty-four age sets exist.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/leuven-age-set-ritual-repertoire-00404", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03246-BIG.jpg", "copyright": "2009 by Eric Dewaersegger, city of Leuven", "title": "City Council Cellars" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03247-BIG.jpg", "copyright": "2008 by Carolien Coenen", "title": "Block festivity in the central city park, 080808" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03248-BIG.jpg", "copyright": "2008 by Carolien Coenen", "title": "Planting ceremony of the Meyboom (block 9)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03249-BIG.jpg", "copyright": "2008 by Carolien Coenen", "title": "Parade of Age sets" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03250-BIG.jpg", "copyright": "2007 by Karel Rondou", "title": "Generations Block 0 and godmother" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03251-BIG.jpg", "copyright": "Karel Rondou, 2009", "title": "Board of management Alliance of Age Sets" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03252-BIG.jpg", "copyright": "2008 by Karel Rondou", "title": "Foundation Age Set 1969" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03253-BIG.jpg", "copyright": "2009 by Francois Dierickx", "title": "Meeting Age Set" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03254-BIG.jpg", "copyright": "2003 by Michel Meulemans", "title": "Children's day at the Leuven Fair" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03255-BIG.jpg", "copyright": "2009 by Karel Rondou", "title": "Inauguration of the flag" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=r9jGis5kQ5I", "copyright": "2009 by Heritage Cell Leuven", "title": "The Age Set Society Leuven 2009" } ], "sustainability": "" } }, "element_405": { "type": "element", "label": "Kumiodori, traditional Okinawan musical theatre", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03019-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03019-HUG.jpg" }, "description": "Kumiodori is a Japanese performing art found on the Okinawa islands. It is based upon traditional Okinawan music and dance, but also incorporates elements from mainland Japan, such as Nogaku or Kabuki, as well as from China. Kumiodori dramas recount local historical events or legends, accompanied by a traditional three-stringed instrument. The phrases have a particular rhythm, based upon traditional poetry and the distinctive intonation of the Ryukyu scale, and are performed in the ancient language of Okinawa. The physical movements of the performers evoke those of a pythoness at traditional rituals of ancient Okinawa. All parts are performed by male actors, and techniques unique to Okinawa can be seen in the methods of hair-dressing, costumes and decorations used on stage. The need to strengthen transmission motivated Kumiodori performers to establish the Traditional Kumiodori Preservation Society, which trains performers, revives discontinued dramas, and carries out performances on a regular basis. In addition to classical works that emphasize themes of loyalty and filial duty, new dramas have been produced with modern themes and choreography, but retaining the traditional Kumiodori style. Kumiodori plays a central role in preserving ancient Okinawan vocabulary as well as transmitting literature, performing arts, history and ethics.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kumiodori-traditional-okinawan-musical-theatre-00405", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03019-BIG.jpg", "copyright": "2006 by Traditional Kumiodori Preservation Society", "title": "Mekarushii" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03020-BIG.jpg", "copyright": "2006 by Traditional Kumiodori Preservation Society", "title": "Shuushin kaneiri" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03021-BIG.jpg", "copyright": "2006 by Traditional Kumiodori Preservation Society", "title": "Nidoo tekiuchi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03022-BIG.jpg", "copyright": "2006 by Traditional Kumiodori Preservation Society", "title": "Onna monogurui" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03023-BIG.jpg", "copyright": "2006 by Traditional Kumiodori Preservation Society", "title": "Kookoono maki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03024-BIG.jpg", "copyright": "2006 by Traditional Kumiodori Preservation Society", "title": "Hokuzan kuzure" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03025-BIG.jpg", "copyright": "2006 by Traditional Kumiodori Preservation Society", "title": "Manzai tekiuchi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03026-BIG.jpg", "copyright": "2006 by Traditional Kumiodori Preservation Society", "title": "Manzai tekiuchi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03027-BIG.jpg", "copyright": "2006 by Traditional Kumiodori Preservation Society", "title": "Hanaurino enn" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03028-BIG.jpg", "copyright": "2006 by Traditional Kumiodori Preservation Society", "title": "Ookawa tekiuchi" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=QTZ-nU_8MtM", "copyright": "Traditional Kumiodori Preservation Society, 2009", "title": "The origin of Kumiodori" } ], "sustainability": "" } }, "element_406": { "type": "element", "label": "Yuki-tsumugi, silk fabric production technique", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03032-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03032-HUG.jpg" }, "description": "Yuki-tsumugi is a Japanese silk-weaving technique found principally in Yuki City and Oyama City, along the Kinu River, north of Tokyo. The region boasts a warm climate and fertile lands, which are ideal for the growth of mulberry trees and sericulture. The Yuki-tsumugi technique is employed to produce pongee silk (also called raw silk) \u2013 a light and warm material with a characteristic stiffness and softness, traditionally used to make kimonos. Production of the material includes several stages: silk floss is spun into yarn by hand, with patterns added by hand-tying bundles of yarn before dyeing the yarn, then the silk is woven using a back-tension loom. The silk floss for the yarn in Yuki-tsumugi weaving is produced from empty or deformed silkworm cocoons, otherwise unusable for the production of silk yarn. This recycling process plays a significant role in supporting local sericulture communities. The traditional techniques to produce Yuki-tsumugi are transmitted by members of the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique. This association is directly engaged in maintaining traditions of spinning, dyeing and weaving, passed down from generation to generation within the community. It promotes transmission of Yuki-tsumugi through exchange of skills, training of young weavers, and practical demonstrations.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/yuki-tsumugi-silk-fabric-production-technique-00406", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03029-BIG.jpg", "copyright": "2009 by Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques", "title": "Mawatakake: Soften cocoons and expand into a sac-like form by hand" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03030-BIG.jpg", "copyright": "2009 by Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques", "title": "Ito tsumugi: Spin a silk floss" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03031-BIG.jpg", "copyright": "2009 by Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques", "title": "Sumi tsuke: Draw splash patterns using Japanese ink according to the design" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03032-BIG.jpg", "copyright": "2009 by Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques", "title": "Kasuri kubiri: Tie up each of the drawn spots with cotton thread" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03033-BIG.jpg", "copyright": "2009 by Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques", "title": "Tatakizome: Beat Kasuri-tied threads on a platform with the dye to make the color penetrate" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03034-BIG.jpg", "copyright": "2009 by Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques", "title": "Jibata ori: Weave on a primitive loom called Jibata" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03035-BIG.jpg", "copyright": "2009 by Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques", "title": "The Completed Products: Cloth necessary to make one kimono" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03036-BIG.jpg", "copyright": "2009 by Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques", "title": "Ito tsumugi training program: Hands-on training for general public" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03037-BIG.jpg", "copyright": "2009 by Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques", "title": "Jibata ori training program: Hands-on training for high school students" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03038-BIG.jpg", "copyright": "2009 by Association for the Preservation of Honba Yuki-tsumugi Weaving Techniques", "title": "Yukitsumugi kimono: Yuki-tsumugi is surprisingly light yet warm" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=s4T-x0ObDqE", "copyright": "2009 by Ibaraki Video Pack\r\n", "title": "Yuki-tsumugi - Its History and Technique" } ], "sustainability": "" } }, "element_411": { "type": "element", "label": "Mibu no Hana Taue, ritual of transplanting rice in Mibu, Hiroshima", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04753-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04753-HUG.jpg" }, "description": "Mibu no Hana Taue is a Japanese agricultural ritual carried out by the Mibu and Kawahigashi communities in Kitahiroshima Town, Hiroshima Prefecture to assure an abundant rice harvest by celebrating the rice deity. On the first Sunday of June, after the actual rice transplanting has ended, the ritual enacts the stages of planting and transplanting. Villagers bring cattle to Mibu Shrine to be dressed with elaborately decorated saddles and colourful necklaces. An elder carrying a sacred stick then leads them to a rice field specially kept in reserve for the ritual. After the cattle have ploughed the field, colourfully dressed girls place seedlings inside a case while singing a song under the direction of an elder. Then the rice field is levelled with an implement ''(eburi),'' said to contain the deity of rice fields. The girls then transplant the seedlings one by one, walking backwards, followed by the ''eburi''-user and the person carrying the seedlings, who level the field as they pass. Ritual songs are sung accompanied by drums, flutes and small gongs. Once this ritual transplantation is completed, the ''eburi'' is placed upside down in water with three bunches of rice seedlings. Transmission is ensured by the elders, who know the songs and music for rice planting and oversee the ritual\u2019s smooth execution.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mibu-no-hana-taue-ritual-of-transplanting-rice-in-mibu-hiroshima-00411", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04747-BIG.jpg", "copyright": "2009 by Kitahiroshima-cho", "title": "Saotome\" and Musical band" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04748-BIG.jpg", "copyright": "2009 by Kitahiroshima-cho", "title": "\"Hanagura\" is installed on a cow" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04749-BIG.jpg", "copyright": "2009 by Kitahiroshima-cho", "title": "Sirokaki by a cow" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04750-BIG.jpg", "copyright": "2009 by Kitahiroshima-cho", "title": "Sirokaki by \"Omouzi\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04751-BIG.jpg", "copyright": "2009 by Kitahiroshima-cho", "title": "Sirokaki by a cow (2)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04752-BIG.jpg", "copyright": "2009 by Kitahiroshima-cho", "title": "\" Sanbai\" rubbing\" Sasara\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04753-BIG.jpg", "copyright": "2009 by Kitahiroshima-cho", "title": "Rice planting by \"Saotome\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04954-BIG.jpg", "copyright": "2009 by Kitahiroshima-cho", "title": "Panorama of \"Hana Taue\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04955-BIG.jpg", "copyright": "2009 by Kitahiroshima-cho", "title": "Musical band performing lively" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04956-BIG.jpg", "copyright": "2009 by Kitahiroshima-cho", "title": "Three bunches of rice plant on \"Eburi\"" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=AMlkwgFb0CE", "copyright": "2009 by Kitahiroshima-cho", "title": "Mibu no Hana Taue" } ], "sustainability": "" } }, "element_412": { "type": "element", "label": "Sada Shin Noh, sacred dancing at Sada shrine, Shimane", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04758-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04758-HUG.jpg" }, "description": "Sada Shin Noh comprises a series of ritual purification dances performed every year on 24 and 25 September at the Sada Shrine in Matsue City, Shimane Prefecture, Japan as part of the ''gozakae'' ritual of the changing of the rush mats. The dances are undertaken to purify new rush mats ''(goza)'', upon which the tutelary deities of the shrine will sit. The replacement of mats elicits their blessings for the community. Diverse types of dance are performed on a stage specially constructed within the shrine. In some, performers carry swords, holy wooden sticks and bells; in others, dancers wear masks depicting the faces of old men or deities and re-enact Japanese myths. During the ''gozamai'' ritual dance, performers hold the rush mats to purify them before they are offered to the deities. Singing, flute and drums accompany the dances, played by musicians sitting around the stage. People believe that Sada Shin Noh should be performed regularly in order to re-enact the power of the tutelary deities, and to guarantee a rich and peaceful future for the people, their families and the community. Sada Shin Noh is transmitted from generation to generation by the people of the community and is actively safeguarded by members of the Association for the Preservation of Sada Shin Noh.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/sada-shin-noh-sacred-dancing-at-sada-shrine-shimane-00412", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04754-BIG.jpg", "copyright": "2005 by Matsue City Board of Education", "title": "The Sada Shrine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04755-BIG.jpg", "copyright": "2005 by Matsue City Board of Education", "title": "\"Goza\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04756-BIG.jpg", "copyright": "2005 by Matsue City Board of Education", "title": "\"Kiyome\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04757-BIG.jpg", "copyright": "2005 by Matsue City Board of Education", "title": "\"Shikisamba\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04758-BIG.jpg", "copyright": "2005 by Matsue City Board of Education", "title": "\"Ohyasiro\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04759-BIG.jpg", "copyright": "2005 by Matsue City Board of Education", "title": "\"Yamato-dake\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04760-BIG.jpg", "copyright": "2005 by Matsue City Board of Education", "title": "\"Yaegaki\" 1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04761-BIG.jpg", "copyright": "2005 by Matsue City Board of Education", "title": "\"Yaegaki\" 2" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04762-BIG.jpg", "copyright": "2005 by Matsue City Board of Education", "title": "\"Yaegaki\" 3" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04763-BIG.jpg", "copyright": "2009 by Matsue City Board of Education", "title": "To the next generation" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=e0r3Bhu7Ozg", "copyright": "2009 by Shimane Prefectural Board of Education", "title": "Sada Shin Noh (Ritual Performance)" } ], "sustainability": "" } }, "element_413": { "type": "element", "label": "Nachi no Dengaku, a religious performing art held at the Nachi fire festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04765-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04765-HUG.jpg" }, "description": "Nachi no Dengaku is a Japanese folk performing art with a deep connection to Kumano Sanzan, a sacred site in Nachisanku. It is performed on a stage inside Kumano Nachi Shrine during the annual Nachi Fire Festival, celebrated on 14 July. It is a key component of the festival and takes the form of ritual dancing to flute music and drums for an abundant harvest of rice crops. Nachi no Dengaku is performed by one flute player, four drummers with drums tied around their waists, four players of Binzasara, a musical string instrument, and two others. Eight to ten performers dance to the music in a variety of formations. There are 22 repertoires, each performed in 45 minutes. The dance is currently performed and transmitted by the Association for the Preservation of Nachi Dengaku, consisting of local residents of Nachisanku. Nachi no Dengaku is transmitted against a backdrop of a belief in Kumano Sanzan and its shrine. The local people and transmitters respect and worship the shrine as a source of mental and spiritual comfort.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nachi-no-dengaku-a-religious-performing-art-held-at-the-nachi-fire-festival-00413", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04764-BIG.jpg", "copyright": "2007 by Cultural Heritage Division, Wakayama Prefectural Board of Education", "title": "Ranjo: first performance. The dancers are about to begin." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04765-BIG.jpg", "copyright": "2007 by Cultural Heritage Division, Wakayama Prefectural Board of Education", "title": "Nokogiri-ba I: a dance accompanied by the Binzasara and drum. The same movement is repeated over and over." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04766-BIG.jpg", "copyright": "2007 by Cultural Heritage Division, Wakayama Prefectural Board of Education", "title": "Nokogiri-ba II: the Binzasara and drum players dance energetically." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04767-BIG.jpg", "copyright": "2007 by Cultural Heritage Division, Wakayama Prefectural Board of Education", "title": "Honza-komabiki: the performers dance in a symmetrical manner." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04768-BIG.jpg", "copyright": "2007 by Cultural Heritage Division, Wakayama Prefectural Board of Education", "title": "Kata-kumu: performers change position and continue to dance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04769-BIG.jpg", "copyright": "2007 by Cultural Heritage Division, Wakayama Prefectural Board of Education", "title": "Teyari: forming a circle, the performers dance while playing their instruments." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04770-BIG.jpg", "copyright": "2007 by Cultural Heritage Division, Wakayama Prefectural Board of Education", "title": "Instruments: Binzasara" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04771-BIG.jpg", "copyright": "2007 by Cultural Heritage Division, Wakayama Prefectural Board of Education", "title": "Instruments: Koshidaiko" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04772-BIG.jpg", "copyright": "2009 by Cultural Heritage Division, Wakayama Prefectural Board of Education", "title": "Practice of Dengaku" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04773-BIG.jpg", "copyright": "2009 by Cultural Heritage Division, Wakayama Prefectural Board of Education", "title": "Transmission from generation to generation" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=pcRBzaiq8wM", "copyright": "Association for the Preservation of Nachi Dengaku, 2008", "title": "Nachi no Dengaku" } ], "sustainability": "" } }, "element_418": { "type": "element", "label": "Peking opera", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02462-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02462-HUG.jpg" }, "description": "Peking opera is a performance art incorporating singing, reciting, acting, martial arts. Although widely practised throughout China, its performance centres on Beijing, Tianjin and Shanghai. Peking opera is sung and recited using primarily Beijing dialect, and its librettos are composed according to a strict set of rules that prize form and rhyme. They tell stories of history, politics, society and daily life and aspire to inform as they entertain. The music of Peking opera plays a key role in setting the pace of the show, creating a particular atmosphere, shaping the characters, and guiding the progress of the stories. 'Civilian plays' emphasize string and wind instruments such as the thin, high-pitched ''jinghu ''and the flute ''dizi, ''while 'military plays' feature percussion instruments like the ''bangu ''or ''daluo. ''Performance is characterized by a formulaic and symbolic style with actors and actresses following established choreography for movements of hands, eyes, torsos, and feet. Traditionally, stage settings and props are kept to a minimum. Costumes are flamboyant and the exaggerated facial make-up uses concise symbols, colours and patterns to portray characters\u2019 personalities and social identities. Peking opera is transmitted largely through master-student training with trainees learning basic skills through oral instruction, observation and imitation. It is regarded as an expression of the aesthetic ideal of opera in traditional Chinese society and remains a widely recognized element of the country's cultural heritage.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/peking-opera-00418", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02453-BIG.jpg", "copyright": "Zhao Yiping \/ Beijing Bureau of Culture, 2009", "title": "Stage photo of \"The Tipsy Imperial Concubine\", Yang Yuhuan starred by Mei , Baojiu, a national-Ievel practitioner" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02454-BIG.jpg", "copyright": "Zhao Yiping \/ Beijing Bureau of Culture, 2009", "title": "Performance in Huguang Guild Hall" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02455-BIG.jpg", "copyright": "Chen Dahua\/ Beijing Bureau of Culture, 2009", "title": "Stage photo of \"How Third Madam Educated Her Son\", Xue Bao starred by Zhang Xuejin, a national-Ievel practitioner" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02457-BIG.jpg", "copyright": "Chen Ming\/Beijing Bureau of Culture, 2009", "title": "Stage photo of 'The Autumn River'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02460-BIG.jpg", "copyright": "Chen Ming\/ Beijing Bureau of Culture, 2009", "title": "Teaching and Learning" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02461-BIG.jpg", "copyright": "Chen Ming\/ Beijing Bureau of Culture, 2009", "title": "Kids love Peking Opera" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02462-BIG.jpg", "copyright": "Wang Tianhu\/ Beijing Bureau of Culture, 2009", "title": "The facial make-up of Monkey King" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02466-BIG.jpg", "copyright": "Wang Tianhu\/ Beijing Bureau of Culture, 2009", "title": "Phoenix coronet worn by Qingyi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02467-BIG.jpg", "copyright": "Wang Tianhu\/ Beijing Bureau of Culture, 2009", "title": "Jinghu (A two-stringed bowed instrument with a high register)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02468-BIG.jpg", "copyright": "Liu Yuanxia\/ Beijing Bureau of Culture, 2009", "title": "Kids Outside Kennedy Center" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=vtV3iAuYN48", "copyright": "2009 by Han wen \/ Beijing Bureau of Culture", "title": "Performance of the Peking Opera" } ], "sustainability": "" } }, "element_421": { "type": "element", "label": "Chinese shadow puppetry", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04835-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04835-HUG.jpg" }, "description": "Chinese shadow puppetry is a form of theatre acted by colourful silhouette figures made from leather or paper, accompanied by music and singing. Manipulated by puppeteers using rods, the figures create the illusion of moving images on a translucent cloth screen illuminated from behind. Many elder shadow puppetry artists can perform dozens of traditional plays, which are orally transmitted or found in written form. They master special techniques such as improvisational singing, falsetto, simultaneous manipulation of several puppets, and the ability to play various musical instruments. Many puppeteers also carve the puppets, which can have between twelve and twenty-four moveable joints. Shadow plays are performed by large troupes with seven to nine performers and smaller troupes of only two to five, primarily for entertainment or religious rituals, weddings and funerals and other special occasions. Some puppeteers are professional, while others are amateurs performing during slack farming seasons. The relevant skills are handed down in families, in troupes, and from master to pupil. Chinese shadow puppetry also passes on information such as cultural history, social beliefs, oral traditions and local customs. It spreads knowledge, promotes cultural values and entertains the community, especially the youth.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chinese-shadow-puppetry-00421", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04834-BIG.jpg", "copyright": "China Puppet and Shadow Art Society, 2009", "title": "The Shadow play courtyard in Huanxian County,Gansu Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04835-BIG.jpg", "copyright": "China Puppet and Shadow Art Society, 2009", "title": "Qin ligang was performing shadow play in Yunmeng teahouse in Hubei Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04836-BIG.jpg", "copyright": "China Puppet and Shadow Art Society, 2009", "title": "Shadow play was performed in the countryside alley in Anhui Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04837-BIG.jpg", "copyright": "China Puppet and Shadow Art Society, 2009", "title": "The performance of Hebei Fengrun Shadow Puppetry Troupe behind the backdrop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04838-BIG.jpg", "copyright": "China Puppet and Shadow Art Society, 2009", "title": "Portraits of Shadow Puppet from Shaanxi Province and TanQshan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04839-BIG.jpg", "copyright": "China Puppet and Shadow Art Society, 2009", "title": "Making of shadow puppets in Yunnan Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04840-BIG.jpg", "copyright": "China Puppet and Shadow Art Society, 2009", "title": "Hand-written script of Shaanxi traditional shadow play" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04841-BIG.jpg", "copyright": "China Puppet and Shadow Art Society, 2009", "title": "Shadow play stage in the temple in Tengchong,Yunnan Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04842-BIG.jpg", "copyright": "China Puppet and Shadow Art Society, 2009", "title": "Stage photo of Shaanxi shadow play 'Hong Hai'er'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04843-BIG.jpg", "copyright": "China Puppet and Shadow Art Society, 2009", "title": "The inheritor of Haining shadow puppetry in Zhejiang Province was training the student" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=8-mzqxZNp2g", "copyright": "China Puppet and Shadow Art Society, 2009\r\n", "title": "Chinese Shadow Puppetry" } ], "sustainability": "" } }, "element_424": { "type": "element", "label": "Taijiquan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13533-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13533-HUG.jpg" }, "description": "Taijiquan is a traditional physical practice characterized by relaxed, circular movements that works in concert with breath regulation and the cultivation of a righteous and neutral mind. Originating during the mid-seventeenth century in Wenxian County in the Henan Province of central China, the element is now practised throughout the country by people of all ages and by different ethnic groups. Taijiquan\u2019s basic movements center upon wubu (five steps) and bafa (eight techniques) with a series of routines, exercises and tuishou (hand-pushing skills performed with a counterpart). Influenced by Daoist and Confucian thought and theories of traditional Chinese medicine, the element has developed into several schools (or styles) named after a clan or a master\u2019s personal name. The element is passed down through clan-based transmission or the master-apprentice model. The latter relationship is established through the traditional ceremony of baishi. Taijiquan has also been incorporated into the formal education system. The element builds upon the yin and yang cycle and the cultural understanding of the unity of heaven and humanity. It has been disseminated through legends, proverbs and rituals, among other vehicles of expression. Safeguarding the element would increase its visibility and dialogue about the diverse ways Taijiquan is practised by different communities.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/taijiquan-00424", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04864-BIG.jpg", "copyright": "2006", "title": "Chen Xiaowang, Representative of the Chen-Style Taichi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13532-BIG.jpg", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "Taijiquan masters conduct a ritual for worshiping the founder of Taijiquan Chen Wangting at the Ancestral Hall of the Chen Clan, Chenjiagou Village, Wenxian County, Henan Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13533-BIG.jpg", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "In an early morning, Taijiquan amateurs practice at Renmin Park, Jiaozuo City, Henan Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13534-BIG.jpg", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "Chen Bing, one of the representative bearers of the Chen School Taijiquan, introduces the knowledge of the element to the pupils" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13536-BIG.jpg", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "Chen Peiju (right), a representative bearer of the Chen School Taijiquan, practices tuishou (hand-pushing skills) with her apprentice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13537-BIG.jpg", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "Representative bearer He Youlu delivers a lecture on the He School Taijiquan at a local school" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13538-BIG.jpg", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "Representative bearer Yang Zhenhe (middle) teaches the Yang School Taijiquan at Taiji Square in Yongnian District, Handan City" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13540-BIG.jpg", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "Representative bearer Zhai Weichuan (silver-haired) gives instructions on the Wuu School Taijiquan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13542-BIG.jpg", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "Zhang Quanliang, the representative bearer of the Wu School Taijiquan, trains family members at his home" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13543-BIG.jpg", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "Representative bearer Jia Shiwen (second from the left) instructs his apprentices in practicing the Li School Taijiquan" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=fozrIyhZlh0", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "Taijiquan" }, { "url": "https:\/\/www.youtube.com\/watch?v=bpkRvsGMqxE", "copyright": "Department of Culture and Tourism of Henan Province, China, 2019", "title": "Taijiquan" } ], "sustainability": "" } }, "element_425": { "type": "element", "label": "Acupuncture and moxibustion of traditional Chinese medicine", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02506-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02506-HUG.jpg" }, "description": "Acupuncture and moxibustion are forms of traditional Chinese medicine widely practised in China and also found in regions of south-east Asia, Europe and the Americas. The theories of acupuncture and moxibustion hold that the human body acts as a small universe connected by channels, and that by physically stimulating these channels the practitioner can promote the human body\u2019s self-regulating functions and bring health to the patient. This stimulation involves the burning of moxa (mugwort) or the insertion of needles into points on these channels, with the aim to restore the body\u2019s balance and prevent and treat disease. In acupuncture, needles are selected according to the individual condition and used to puncture and stimulate the chosen points. Moxibustion is usually divided into direct and indirect moxibustion, in which either moxa cones are placed directly on points or moxa sticks are held and kept at some distance from the body surface to warm the chosen area. Moxa cones and sticks are made of dried mugwort leaves. Acupuncture and moxibustion are taught through verbal instruction and demonstration, transmitted through master-disciple relations or through members of a clan. Currently, acupuncture and moxibustion are also transmitted through formal academic education.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/acupuncture-and-moxibustion-of-traditional-chinese-medicine-00425", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02495-BIG.jpg", "copyright": "Institute of Acupuncture and Moxibustion, 2009", "title": "Representative Classics of Acupuncture and Moxibustion:Huang Di Ling Shu Jing (Huangdi\u2019s Classic of Miraculous Pivot\u9ec4\u5e1d\u7075\u67a2\u7ecf) ( 2nd -3rd century B.C.)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02500-BIG.jpg", "copyright": "Institute of Acupuncture and Moxibustion, 2009", "title": "Picture of Channels and Points of Acupuncture and Moxibustion carved in 1819" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02501-BIG.jpg", "copyright": "Institute of Acupuncture and Moxibustion, 2009", "title": "Modern needles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02504-BIG.jpg", "copyright": "Institute of Acupuncture and Moxibustion, 2009", "title": "Disciple of He Puren, representative successor, was demonstrating the fire needling technique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02506-BIG.jpg", "copyright": "Institute of Acupuncture and Moxibustion, 2009", "title": "Disciple of He Puren, representative successor, was demonstrating the fire needling technique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02514-BIG.jpg", "copyright": "Institute of Acupuncture and Moxibustion, 2009", "title": "Cheng Xinnong, representative successor, was treating the patient with his reformed \"three-depth needling technique\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02515-BIG.jpg", "copyright": "Institute of Acupuncture and Moxibustion, 2009", "title": "Cheng Xinnong, representative successor, was supervising foreign students in learning acupuncture." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02516-BIG.jpg", "copyright": "Institute of Acupuncture and Moxibustion, 2009", "title": "Acupuncture and moxibustion was applied in the treatment of knee joint pain." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02517-BIG.jpg", "copyright": "Institute of Acupuncture and Moxibustion, 2009", "title": "The curator of the Acupuncture and Moxibustion Museum was explaining the history of the Bronze Figure to the public." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02722-BIG.jpg", "copyright": "Institute of Acupuncture and Moxibustion, 2009", "title": "Acupunture and Moxibustion in community." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=G87SfHPHj0A", "copyright": "Institute of Acupuncture and Moxibustion, 2009\r\n", "title": "Acupuncture and moxibustion of traditional Chinese medicine (\u4e2d\u533b\u9488\u7078)" }, { "url": "https:\/\/www.youtube.com\/watch?v=-0cgREA2io8", "copyright": "Institute of Acupuncture and Moxibustion, 2009\r\n", "title": "Acupuncture and moxibustion of traditional Chinese medicine (\u4e2d\u533b\u9488\u7078)" } ], "sustainability": "Acupuncture and moxibustion are important forms of traditional Chinese medicine which restore the body\u2019s balance and maintain health through the use of herbal medicine and physical treatment. These healing practices reflect Chinese theories and traditional knowledge of the human body as an integrated system. Practiced widely in China as well as other regions of the world, acupuncture and moxibustion play an important role in promoting public health. " } }, "element_433": { "type": "element", "label": "Sutartin\u0117s, Lithuanian multipart songs", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03336-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03336-HUG.jpg" }, "description": "Sutartin\u0117s (from the word ''sutarti ''\u2013\u00a0to be in concordance) is a form of polyphonic music performed by female singers in north-east Lithuania. The songs have simple melodies, with two to five pitches, and comprise two distinct parts: a meaningful main text and a refrain that may include nonce words. There are almost forty different styles and ways of performing Sutartin\u0117s. Mainly, they can be performed by two singers in parallel seconds; by three singers in strict canon, all performing both phrases of the melody at staggered intervals; or by two groups of singers, the lead singer of each pair singing the main text, while the partner sings the refrain, before the second pair repeats. The poetic texts encompass many themes, including work, calendar rituals, weddings, family, wars, history and moments of daily life. Choreography is uncomplicated and movements are moderate, often austere, such as walking in the form of a circle or star while linking arms and stamping feet. Sutartin\u0117s are performed on solemn occasions, as well as festivals, concerts and social gatherings. Their performance promotes the sharing of cultural values and provides a feeling of cultural identity, continuity and self-esteem. Sutartin\u0117s are usually sung by women, but men perform instrumental versions on pan-pipes, horns, long wood trumpets, fipple flutes and plucked zithers.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/sutartins-lithuanian-multipart-songs-00433", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03336-BIG.jpg", "copyright": "(2004) by Egidijus Skiparis, Vilnius Ethnic Culture Centre", "title": "Sutartin\u0117s' performers \"Trys keturiose\" at International Folklore Festival \"Skamba skamba kankliai\", Vilnius" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03337-BIG.jpg", "copyright": "(2009) by Andrius Morkunas", "title": "Folk group \"Dij\u00fbta\" dancing \"Sutartin\u00e8s\" at International Folklore Festival \"Skamba skamba kankliai\", Vilnius" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03338-BIG.jpg", "copyright": "(2004) by Egidiju Skiparis, Vilnius Ethnic Culture Centre", "title": "'Sutartin\u00e8s' bearer Emilija Me\u0161kuotiene's students at International Folklore Festival \"Skamba skamba kankliai\", Vilnius" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03340-BIG.jpg", "copyright": "(2007) by Jurgita Treinyt\u00e9-Jor\u00e9", "title": "\"Sutartin\u00e8s\" performers \"Trys keturiose\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03344-BIG.jpg", "copyright": "(2007) by Zaneta Svobonaite", "title": "Dancing 'Sutartines' performers from the Lithuanian Academy of Music and Theatre" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Wij_cgVGOxw", "copyright": "2009 by Lithuanian Folk Culture Center", "title": "Lithuanian Multipart Songs -Sutartin\u00e8s" } ], "sustainability": "" } }, "element_434": { "type": "element", "label": "Armenian cross-stones art. Symbolism and craftsmanship of Khachkars", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02832-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02832-HUG.jpg" }, "description": "Khachkars are outdoor steles carved from stone by craftspeople in Armenia and communities in the Armenian diaspora. They act as a focal point for worship, as memorial stones and as relics facilitating communication between the secular and divine. Khachkars reach 1.5\u00a0metres in height, and have an ornamentally carved cross in the middle, resting on the symbol of a sun or wheel of eternity, accompanied by vegetative-geometric motifs, carvings of saints and animals. Khachkars are created usually using local stone and carved using chisel, die, sharp pens and hammers. The carvings are then ground using fine sand. Small breaks and rough surfaces are eliminated by plaster of clay or lime, and then painted. Once finished, the Khachkar is erected during a small religious ceremony. After being blessed and anointed, the Khachkar is believed to possess holy powers and can provide help, protection, victory, long life, remembrance and mediation towards salvation of the soul. Among more than 50,000\u00a0Khachkars in Armenia, each has its own pattern, and no two are alike. Khachkar craftsmanship is transmitted through families or from master to apprentice, teaching the traditional methods and patterns, while encouraging regional distinctiveness and individual improvisation.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/armenian-cross-stones-art-symbolism-and-craftsmanship-of-khachkars-00434", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02832-BIG.jpg", "copyright": "2008, H.L Petrosyan", "title": "\u00abBeautiful Cross\u00bb, 13c, Dsegh village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02833-BIG.jpg", "copyright": "2008, H.L. Petrosyan", "title": "Kachkar at a spring, 12c." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02834-BIG.jpg", "copyright": "2008, H. L. Petrosyan", "title": "\u00ab AII-Savior\u00bb khachkar, Haghpat church, which is included in the UNESCO World Heritage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02835-BIG.jpg", "copyright": "2008, H.L Petrosyan", "title": "Khachkar by a famous medieval Master Momik, beg. 14c" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02836-BIG.jpg", "copyright": "2009, R.Nalbandyan", "title": "Master R. Nalbandyan with apprentices" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02837-BIG.jpg", "copyright": "2009, H.L. Petrosyan", "title": "\u00ab Victorious Khachkar \u00bb, 1965" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02838-BIG.jpg", "copyright": "2008, H.L.Petrosyan", "title": "Khachkar dedicated to the memory of the Catholicos of All Armenians Vazgen A, 1976" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02839-BIG.jpg", "copyright": "2008, H.L.Petrosyan", "title": "First Khachkar of the famous medieval Master Poghos, 1291" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02840-BIG.jpg", "copyright": "2009, A. Panosyan", "title": "Fragment of the complex of 13 khachkars dedicated to the 1700th Anniversary of the Adoption of Christianity as State Religion in Armenia, by Masters S. Panosyan and his sons" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02841-BIG.jpg", "copyright": "2008, H.L.Petrosyan", "title": "\u00ab Healing\u00bb khachkars, 17c" } ], "video": [], "sustainability": "" } }, "element_435": { "type": "element", "label": "Wayuu normative system, applied by the P\u00fctchip\u00fc\u2019\u00fci (palabrero)", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03378-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03378-HUG.jpg" }, "description": "The Wayuu community inhabits the Guajira Peninsula straddling Colombia and Venezuela. Its legislative system comprises a body of principles, procedures and rites that govern the social and spiritual conduct of the community. The system, inspired by principles of reparation and compensation, is applied by the local moral authorities, the P\u00fctchip\u00fc\u2019\u00fci or palabreros (orators), who are experts in resolving conflicts and disputes between the local matrilineal clans. When problems arise, the authority of the P\u00fctchip\u00fc\u2019\u00fci is sought by both parties in a dispute, the offender and those offended against. After analysing the situation, the P\u00fctchip\u00fc\u2019\u00fci informs the authorities concerned of his intention to resolve the conflict peacefully. In the event that the word \u2013\u00a0''P\u00fctchikal\u00fc''\u00a0\u2013 is accepted, dialogue is established, wherein the P\u00fctchip\u00fc\u2019\u00fci acts with diplomacy, caution and intelligence. The compensation system employs symbolism, represented primarily by the offering of necklaces made of precious stones or sacrifices of cattle, sheep and goats. Even the most serious crimes are compensated, compensations being offered at special events to which the disputing families are invited to re-establish social harmony through reconciliation. The P\u00fctchip\u00fc\u2019\u00fci acquires his role by virtue of being a maternal uncle \u2013\u00a0an honoured role in the Wayuu system of matrilineal clans\u00a0\u2013 and by possessing a character grounded in ethics and morals.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/wayuu-normative-system-applied-by-the-putchipu-ui-palabrero-00435", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03377-BIG.jpg", "copyright": "2009 by Jayariyu", "title": "Asakiraa (salut)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03378-BIG.jpg", "copyright": "2009 by Jayariyu", "title": "Yootopulee (atelier)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03379-BIG.jpg", "copyright": "2009 by Jayariyu", "title": "Yootopulee 2 (atelier)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03380-BIG.jpg", "copyright": "2009 by Jayariyu", "title": "Yootopulee 3 (atelier)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03381-BIG.jpg", "copyright": "2009 by Jayariyu", "title": "Tepichi (enfants)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03382-BIG.jpg", "copyright": "2009 by Jayariyu", "title": "Ayonnajulii (danseurs)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03383-BIG.jpg", "copyright": "2009 by Jayariyu", "title": "Amoulii (messieurs)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03384-BIG.jpg", "copyright": "2009 by Jayariyu", "title": "P\u00fctchip\u00fc'\u00fcirua 2 (Palabreros)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03385-BIG.jpg", "copyright": "2009 by Jayariyu", "title": "Yootopulee 7 (atelier)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03386-BIG.jpg", "copyright": "2009 by Jayariyu", "title": "Yootopulee 8 (atelier)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=V_vM_i4yorA", "copyright": "2009 Leiqui Uriana Henriquez, Guillermo Ojeda Jayariyu", "title": "Sistema Normativo Wayuu applicado por el P\u00fctchip\u00fc'\u00fci" } ], "sustainability": "" } }, "element_437": { "type": "element", "label": "Gastronomic meal of the French", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02890-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02890-HUG.jpg" }, "description": "The gastronomic meal of the French is a customary social practice for celebrating important moments in the lives of individuals and groups, such as births, weddings, birthdays, anniversaries, achievements and reunions. It is a festive meal bringing people together for an occasion to enjoy the art of good eating and drinking. The gastronomic meal emphasizes togetherness, the pleasure of taste, and the balance between human beings and the products of nature. Important elements include the careful selection of dishes from a constantly growing repertoire of recipes; the purchase of good, preferably local products whose flavours go well together; the pairing of food with wine; the setting of a beautiful table; and specific actions during consumption, such as smelling and tasting items at the table. The gastronomic meal should respect a fixed structure, commencing with an ap\u00e9ritif (drinks before the meal) and ending with liqueurs, containing in between at least four successive courses, namely a starter, fish and\/or meat with vegetables, cheese and dessert. Individuals called gastronomes who possess deep knowledge of the tradition and preserve its memory watch over the living practice of the rites, thus contributing to their oral and\/or written transmission, in particular to younger generations. The gastronomic meal draws circles of family and friends closer together and, more generally, strengthens social ties. ", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gastronomic-meal-of-the-french-00437", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02870-BIG.jpg", "copyright": "Damien Reinier, 2007", "title": "Affiche d'invitation au repas gastronomique des seniors" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02871-BIG.jpg", "copyright": "Eb Macelion, 2006", "title": "Le cadre du repas gastronomique : la table dress\u00e9e" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02872-BIG.jpg", "copyright": "Roger-Viollet, 1890", "title": "Un repas de famille en 1890" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02873-BIG.jpg", "copyright": "Roger-Viollet, 1920", "title": "Banquet de mariage vers 1920" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02874-BIG.jpg", "copyright": "Christiane Viltard, 2005", "title": "Un repas gastronomique, dimanche entre amis, \u00e0 la maison" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02875-BIG.jpg", "copyright": "Camille Dequilt, 2009", "title": "La c\u00e9l\u00e9bration de la r\u00e9ussite aux examens" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02876-BIG.jpg", "copyright": "O. Chamussy, 2009", "title": "Le d\u00eener de l'\u00e2ge d'or, ville de Dradignan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02877-BIG.jpg", "copyright": "Isabelle Guisard, Ch\u00e2teau de Bourron-Marlotte, 2008", "title": "Le d\u00eener en blanc dans le parc d'un monument historique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02885-BIG.jpg", "copyright": "Christiane Viltard, 2005", "title": "Mon premier repas gastronomique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02890-BIG.jpg", "copyright": "Lionel Gauci, 2008", "title": "La transmission par l'\u00e9cole" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=6nKBBb72J4k", "copyright": "MFPCA 2009", "title": "Le repas gastronomique des Fran\u00e7ais" }, { "url": "https:\/\/www.youtube.com\/watch?v=RQcPkkcrn7Q", "copyright": "MFPCA 2009", "title": "Le repas gastronomique des Fran\u00e7ais" } ], "sustainability": "" } }, "element_438": { "type": "element", "label": "Craftsmanship of Alen\u00e7on needle lace-making", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02898-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02898-HUG.jpg" }, "description": "The technique of ''point d\u2019Alen\u00e7on'' is a rare technique of needle lace-making, practised in the town of Alen\u00e7on in Normandy in north-west France. Alen\u00e7on needle lace is unusual because of the high level of craftsmanship required and the very long time that it takes to produce (seven hours per square centimetre). The pieces of openwork textile using the technique are used for decorative purposes in civil and religious life. The piece is made up of design elements held together by a finely stitched net. Its process comprises a number of successive stages: drawing and pricking of the design on parchment, creating the outline of the design and the background netting, then the typical stitching of the patterns, shading with filling stitches, decorating with designs, and embroidering to create relief. Then the lace is removed from the parchment with a razor blade; trimmed and, finally, the filling stitches are polished with a lobster claw. Each Alen\u00e7on lace-maker knows how to complete all the stages of the process \u2013\u00a0knowledge that can only be transmitted through a practical apprenticeship. To fully master Alen\u00e7on needle lace-making requires seven to ten years of training. The learning method relies on a close relationship between the specialized lace-maker and the apprentice, and is exclusively based on oral transmission and practical teaching.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/craftsmanship-of-alencon-needle-lace-making-00438", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02895-BIG.jpg", "copyright": "S\u00e9bastien Collet, service communication de la ville d'Alen\u00e7on", "title": "Les dentelli\u00e8res d'Alen\u00e7on : la communaut\u00e9." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02896-BIG.jpg", "copyright": "S\u00e9bastien Collet, service communication de la ville d'Alen\u00e7on", "title": "Les dentelli\u00e8res \u00e0 l'ouvrage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02897-BIG.jpg", "copyright": "S\u00e9bastien Collet, service communication de la ville d'Alen\u00e7on", "title": "Une technique d'exception: r\u00e9alisation d'une maille de r\u00e9seau, 4\u00e8me \u00e9tape" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02898-BIG.jpg", "copyright": "S\u00e9bastien Collet, service communication de la ville d'Alen\u00e7on", "title": "Une technique d'exception: le rempli, S\u00e8me \u00e9tape" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02899-BIG.jpg", "copyright": "S\u00e9bastien Collet, service communication de la ville d'Alen\u00e7on", "title": "Une technique d'exception: r\u00e9alisation d'un picot d'un motif d'ornementation, 6\u00e8me \u00e9tape" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02900-BIG.jpg", "copyright": "S\u00e9bastien Collet, service communication de la ville d'Alen\u00e7on", "title": "N\u00e9cessaire de dentelli\u00e8re d'Alen\u00e7on" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02901-BIG.jpg", "copyright": "S\u00e9bastien Collet, service communication de la ville d'Alen\u00e7on", "title": "Une cr\u00e9ation contemporaine: dessin de Corinne Santou, 2009" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02902-BIG.jpg", "copyright": "Gilles Kervella, 2009", "title": "Un volant moderne (1998-2006) : technique de l'assemblage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02903-BIG.jpg", "copyright": "Gilles Kervella, 2009", "title": "Un volant ancien (XIX\"me si\u00e8cle) : volant aux iris" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02904-BIG.jpg", "copyright": "Gilles Kervella, 2009", "title": "Un volant ancien \u00abXIXeme si\u00e8cle) : grand volant aux glycines" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=M8tNgeG3FPA", "copyright": "ACCAAN, 2003", "title": "Le Point d'Alen\u00e7on" } ], "sustainability": "" } }, "element_440": { "type": "element", "label": "Equitation in the French tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02978-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02978-HUG.jpg" }, "description": "Equitation in the French tradition is a school of horseback riding that emphasizes harmonious relations between humans and horses. The fundamental horse-training principles and processes are guided by non-violence and lack of constraint, blending human demands with respect for the horse\u2019s body and mood. Knowledge of the animal itself (physiology, psychology, anatomy) and human nature (emotions and the body) , are complemented by a horseman\u2019s state of mind that combines skill and respect for the horse. Fluidity of movements and flexibility of joints ensure that the horse participates in the exercises without coercion. Although practised throughout France and elsewhere, the most widely known community is the Cadre Noir of Saumur, based at the National School of Equitation. The common denominator among riders is the desire to establish close relations with the horse, build mutual respect and work towards achieving \u2018lightness\u2019. Cooperation between generations is strong, with respect for the experience of older riders, galvanized by the enthusiasm of younger riders. The Saumur region is also home to instructors, horse breeders, craftspeople (saddlers, boot-makers), veterinary services and blacksmiths. Frequent public displays and galas hosted by the Cadre Noir of Saumur help to sustain the visibility of equitation in the French tradition.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/equitation-in-the-french-tradition-00440", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02971-BIG.jpg", "copyright": "ENE\/Alain Laurioux, 2009", "title": "Ecuyers sont des sp\u00e9cialistes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02972-BIG.jpg", "copyright": "ENE\/Alain Laurioux, 2009", "title": "Terre-\u00e0-terre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02973-BIG.jpg", "copyright": "ENE\/Alain Laurioux, 2009", "title": "Saut d'\u00e9cole, fleuron des traditions conserv\u00e9es \u00e0 Saumur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02974-BIG.jpg", "copyright": "ENE\/Alain Laurioux, 2009", "title": "Cabriole" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02975-BIG.jpg", "copyright": "ENE\/Alain Laurioux, 2009", "title": "Tenue de gala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02976-BIG.jpg", "copyright": "ENE\/Alain Laurioux, 2009", "title": "Pr\u00e9sentation des sauteurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02977-BIG.jpg", "copyright": "ENE\/Alain Laurioux, 2009", "title": "Bride de gala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02978-BIG.jpg", "copyright": "ENE\/Alain Laurioux, 2009", "title": "Courbette" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02979-BIG.jpg", "copyright": "ENE\/Alain Laurioux, 2009", "title": "Croupade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02980-BIG.jpg", "copyright": "ENE\/Alain Laurioux, 2009", "title": "Reprise de Man\u00e8ge" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3wYRaHPvzVs", "copyright": "2009 Ecole Nationale d'Equitation", "title": "L'\u00e9quitation de tradition fran\u00e7aise : le Cadre Noir de Saumur" } ], "sustainability": "" } }, "element_441": { "type": "element", "label": "Compagnonnage, network for on-the-job transmission of knowledge and identities", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02982-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02982-HUG.jpg" }, "description": "The French Compagnonnage system is a unique way of conveying knowledge and know-how linked to the trades that work with stone, wood, metal, leather, textiles and food. Its originality lies in its synthesis of varied methods and processes of transmitting knowledge: national and international educational travel (known as the \u2018Tour de France\u2019 period), initiation rituals, school-based teaching, customary learning and technical apprenticeship. The Compagnonnage movement involves almost 45,000 people, who belong to one of three groups of ''compagnons.'' Those aged 16 years or over who wish to learn and\/or develop their skills in a given profession can apply to join a Compagnonnage community. Training lasts on average five years, during which apprentices regularly move from town to town, both in France and internationally, to discover types of knowledge and ways of passing them on. To be eligible to transmit this knowledge the apprentice must produce a \u2018masterwork\u2019, examined and assessed by the ''compagnons.'' Compagnonnage is popularly perceived as the last movement to practice and teach certain ancient craft techniques, to deliver true excellence in craft training, to closely integrate the development of the person and the training of the worker, and the last to perform trade initiation rites. ", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/compagnonnage-network-for-on-the-job-transmission-of-knowledge-and-identities-00441", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01923-BIG.jpg", "copyright": "2009 - FNCMB", "title": "Chefs-d\u2019\u0153uvre des charpentiers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01924-BIG.jpg", "copyright": "2009 - FNCMB", "title": "Dans la cit\u00e9 \u2013 Une guitarde \u00e0 Ch\u00e2teauroux" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/01925-BIG.jpg", "copyright": "2009 - UCDDU", "title": "D\u00e9fil\u00e9 et mont\u00e9e \u00e0 la Sainte-Baume" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02981-BIG.jpg", "copyright": "2009 - AOCDTF", "title": "Des symboles \u2013 Cannes et Couleurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02982-BIG.jpg", "copyright": "2009 - FNCMB", "title": "F\u00eate de la Sainte-Anne pour les menuisiers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02983-BIG.jpg", "copyright": "2009 - UCDDU", "title": "La cha\u00eene d\u2019alliance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02984-BIG.jpg", "copyright": "2009 - AOCDTF", "title": "Repas communautaire" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02985-BIG.jpg", "copyright": "2009 - AOCDTF", "title": "Un changement \u2013 jeunes femmes aspirants" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02986-BIG.jpg", "copyright": "2009 - FNCMB", "title": "Une \u00e9pure \u2013 l\u2019Art du Trait" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02987-BIG.jpg", "copyright": "2009 - UCDDU", "title": "Une tradition \u2013 La guilbrette" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=JsJPNObwUeM", "copyright": "2009-AOCDTF", "title": "Le compagnonnage" } ], "sustainability": "The French Compagnonnage network is a traditional system for transmitting the knowledge of various kinds of trades and craftsmanship. Its operation is based on a combined approach of training on the job, customary learning, initiation rituals, and educational travel. Apprentices develop their skills directly from masters and get to experience different types of transmission during their apprenticeship in various towns in France and in other countries. The network and its activities strengthen members\u2019 skills, enhance their employment opportunities, and promote safeguarding of traditional craft techniques and associated cultural identities. . This element also links to SDG #3 Quality Education and SDG #17 Partnerships." } }, "element_443": { "type": "element", "label": "Gi\u00f3ng festival of Ph\u00f9 \u00d0\u00f4ng and S\u00f3c temples", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02992-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02992-HUG.jpg" }, "description": "The Gi\u00f3ng festival of Ph\u00f9 \u0110\u1ed5ng and S\u00f3c temples is celebrated annually in outlying districts of Hanoi, the capital of Viet Nam. Each spring, before the rice harvest, the Vi\u1ec7t people honour the mythical hero, god and saint, Th\u00e1nh Gi\u00f3ng, who is credited with defending the country from foreign enemies, and is worshipped as the patron god of the harvest, national peace and family prosperity. The festival at Ph\u00f9 \u0110\u1ed5ng temple, which takes place in the fourth lunar month in the village of his birth, symbolically re-enacts his feats through the riding of a white horse into battle and the orchestration of an elaborate flag dance to symbolize the battle itself. Young men receive extensive training to play the roles of Flag Master, Drum Master, Gong Master, Army Master and Children\u2019s Master, while 28\u00a0girls aged 9\u00a0to 13\u00a0are selected to play the enemy generals. The Flag Master\u2019s dancing movements and drum and gong sounds convey the development of the battle, and paper butterflies released from the flag symbolically disperse the invaders. The arrival of rains after the festival is seen as a blessing from the saint for an abundant harvest. The celebrations at S\u00f3c temple, where saint Gi\u00f3ng ascended to heaven, take place in the first lunar month and include the ritual of bathing his statue and a procession of bamboo flowers to the temple as offerings to the saint.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/giong-festival-of-phu-djong-and-soc-temples-00443", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02988-BIG.jpg", "copyright": "Institut Vietnamien de la Culture et des Arts", "title": "The Panorama of Th\u01b0\u1ee3ng Temple dedicated to Th\u00e1nh Gi\u00f3ng, Ph\u00f9 \u0110\u1ed5ng Commune, Gia L\u00e2m District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02989-BIG.jpg", "copyright": "Institut Vietnamien de la Culture et des Arts", "title": "Th\u01b0\u1ee3ng Temple on S\u00f3c Mountain, V\u1ec7 Linh village, Ph\u00f9 Linh Commune, S\u00f3c S\u01a1n District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02990-BIG.jpg", "copyright": "Institut Vietnamien de la Culture et des Arts", "title": "Statue of Th\u00e1nh Gi\u00f3ng at Ph\u00f9 \u0110\u1ed5ng Temple, Ph\u00f9 \u0110\u1ed5ng Commune, Gia L\u00e2m District." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02991-BIG.jpg", "copyright": "Institut Vietnamien de la Culture et des Arts", "title": "The ritual of making bamboo flowers for Gi\u00f3ng Festival, S\u00f3c Temple, V\u1ec7 Linh village, Ph\u00f9 Linh Commune, S\u00f3c S\u01a1n District." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02992-BIG.jpg", "copyright": "Mus\u00e9e d'Ethnographie du Vietnam", "title": "Water procession at Gi\u00f3ng Festival, Ph\u00f9 \u0110\u1ed5ng commune, Gia L\u00e2m District." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02993-BIG.jpg", "copyright": "Institut Vietnamien de la Culture et des Arts", "title": "Th\u00e1nh Gi\u00f3ng\u2019s horse in the enacted battle at Gi\u00f3ng Festival, Ph\u00f9 \u0110\u1ed5ng Temple, Ph\u00f9 \u0110\u1ed5ng Commune, Gia L\u00e2m District." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02994-BIG.jpg", "copyright": "Institut Vietnamien de la Culture et des Arts", "title": "The enemy\u2019s female general at Gi\u00f3ng Festival, Ph\u00f9 \u0110\u1ed5ng Temple, Ph\u00f9 \u0110\u1ed5ng Commune, Gia L\u00e2m District in 2001" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02995-BIG.jpg", "copyright": "Institut Vietnamien de la Culture et des Arts", "title": "The enemy's female general at Gi\u00f3ng Festival, Ph\u00f9 \u0110\u1ed5ng Temple, Ph\u00f9 \u0110\u1ed5ng Commune, Gia L\u00e2m District in 2001" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02996-BIG.jpg", "copyright": "Institut Vietnamien de la Culture et des Arts", "title": "The Inventory Meeting of Intangible Cultural Heritage for Gi\u00f3ng Festival, S\u00f3c Temple, S\u00f3c S\u01a1n District." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02997-BIG.jpg", "copyright": "Institut Vietnamien de la Culture et des Arts", "title": "Discussion for the safeguarding and promoting of intangible cultural heritage: Gi\u00f3ng Festival, at Ph\u00f9 \u0110\u1ed5ng Commune, Gia L\u00e2m District." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=uWI1TR7hbBI", "copyright": "2009 Vietnam Institute of Culture and Arts Studies\r\n", "title": "Gi\u00f3ng Festival (Ph\u00f9 \u0110\u1ed5ng abd S\u00f3c Temples)" }, { "url": "https:\/\/www.youtube.com\/watch?v=XXKQ279lHrU", "copyright": "2009 Vietnam Institute of Culture and Arts Studies\r\n", "title": "Gi\u00f3ng Festival (Ph\u00f9 \u0110\u1ed5ng abd S\u00f3c Temples)" } ], "sustainability": "" } }, "element_444": { "type": "element", "label": "Gagok, lyric song cycles accompanied by an orchestra", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03006-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03006-HUG.jpg" }, "description": "Gagok is a genre of traditional Korean vocal music sung by men and women to the accompaniment of a small orchestra, one of several forms of singing that together constitute ''jeongga,'' or \u2018right song\u2019. Formerly a music associated with the higher classes, Gagok is today widely popular throughout the country. Gagok comprises twenty-six ''namchang'' or songs for men, and fifteen ''yeochang'' or songs for women. ''Namchang'' are characterized by strong, deep, resonant voices, while ''yeochang'' are characterized by high-pitched, thin voices. Gagok songs are composed either in a solemn, peaceful key or a melancholic one, and use 10-beat or 16-beat rhythm. The traditional instrumentation of the orchestra includes the ''geomungo'' six-string zither, ''daegeum'' bamboo transverse flute, ''gayageum'' twelve-string zither and ''piri'' (small double-reed pipe). Gagok songs are acclaimed for their lyrical patterns, balance, refined melodies and advanced musical composition. Acquiring skill as a singer takes extensive time and effort and performance requires dedication and extreme control. Gagok is preserved and transmitted by practitioners, their communities and related organizations in local heritage training centres. Gagok has played an important role in the establishment of Korean identity.", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gagok-lyric-song-cycles-accompanied-by-an-orchestra-00444", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02998-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2009", "title": "Skill holder Kim Kyung-bae sings in woojo (in the key of \u2018woo\u2019, with a cheery sound)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/02999-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2009", "title": "Skill holder Kim Kyung-bae at a traditional music performance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03000-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2009", "title": "Skill holder Kim Kyung-bae at heritage education. (1)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03001-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2009", "title": "Skill holder Kim Kyung-bae at heritage education. (2)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03002-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2009", "title": "Skill holder Kim Young-ki sings in woojo (song in the key of \u2018woo\u2019, with a cheery sound)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03003-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2009", "title": "Kim Young-ki and Lee Dong-gyu performing a duet at the Wednesday performance at Korea Cultural House." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03004-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2009", "title": "A gagok class for the general public." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03005-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2009", "title": "Heritage trainees hard at work." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03006-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2009", "title": "Skill holder Cho Soonja sings in gyemyeonjo (a melancholy key)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03007-BIG.jpg", "copyright": "National Research Institute of Cultural Heritage, 2009", "title": "Skill holder Cho Soonja training students." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=-G1XDRZ7s84", "copyright": "2009 by Cultural Heritage Administration of the Republic of Korea", "title": "Gagok" } ], "sustainability": "" } }, "element_445": { "type": "element", "label": "Arirang, lyrical folk song in the Republic of Korea", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08207-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08207-HUG.jpg" }, "description": "Arirang is a popular form of Korean folk song and the outcome of collective contributions made by ordinary Koreans throughout generations. Essentially a simple song, it consists of the refrain \u2018Arirang, arirang, arariyo\u2019 and two simple lines, which differ from region to region. While dealing with diverse universal themes, the simple musical and literary composition invites improvisation, imitation and singing in unison, encouraging its acceptance by different musical genres. Experts estimate the total number of folk songs carrying the title \u2018Arirang\u2019 at some 3,600 variations belonging to about sixty versions. A great virtue of Arirang is its respect for human creativity, freedom of expression and empathy. Everyone can create new lyrics, adding to the song\u2019s regional, historical and genre variations, and cultural diversity. Arirang is universally sung and enjoyed by the Korean nation. At the same time, an array of practitioners of regional versions, including local communities, private groups and individuals, actively lead efforts for its popularization and transmission, highlighting the general and local characteristics of individual versions. Arirang is also a popular subject and motif in diverse arts and media, including cinema, musicals, drama, dance and literature. It is an evocative hymn with the power to enhance communication and unity among the Korean people, whether at home or abroad.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/arirang-lyrical-folk-song-in-the-republic-of-korea-00445", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04243-BIG.jpg", "copyright": "Jeongseon County, 2009", "title": "Transmission activities of heritage trainer Hong Dong-ju for elementary, middle, and high school students (22 schools within the region)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08206-BIG.jpg", "copyright": "Jeongseon Arirang Research Institute, 2009", "title": "Poster for a movie title 'Arirang'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08207-BIG.jpg", "copyright": "Jeongseon County, 2009", "title": "Ordinary Koreans singing Jeongseon Arirang" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08208-BIG.jpg", "copyright": "Jeongseon Arirang Research Institute, 2009", "title": "Professional practitioners and ordinary people singing Arirang together" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08209-BIG.jpg", "copyright": "Jeongseon Arirang Research Institute, 2009", "title": "High school students learning Arirang" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08210-BIG.jpg", "copyright": "Korean Traditional Performing Arts Foundation, 2011", "title": "Joint Arirang performance held in 2011" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08211-BIG.jpg", "copyright": "Korean Traditional Performing Arts Foundation, 2011", "title": "Safeguarding societies participating in the joint Arirang performance in 2011" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08212-BIG.jpg", "copyright": "Korean Traditional Performing Arts Foundation, 2010", "title": "Arirang festival in 2010" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08213-BIG.jpg", "copyright": "Korean Traditional Performing Arts Foundation, 2010", "title": "Performance of professional practitioners at the 2010 Arirang festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08214-BIG.jpg", "copyright": "Video Archives, 2002", "title": "Arirang sung by Korean people at the 2002 World Cup" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Yrz49xxOC24", "copyright": "2012 by Cultural Heritage Administration of Korea", "title": "Arirang" } ], "sustainability": "" } }, "element_448": { "type": "element", "label": "Jultagi, tightrope walking", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07543-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07543-HUG.jpg" }, "description": "Tightrope walking is a widespread form of entertainment that in most countries focuses purely on acrobatic skill. The traditional Korean performing art of Jultagi is distinctive in that it is accompanied by music and witty dialogue between the tightrope walker and an earthbound clown. Jultagi is performed outside. The tightrope walker executes a variety of acrobatic feats on the rope, along with jokes, mimicry, songs and dance, while a clown engages the tightrope walker in joking banter, and a team of musicians plays music to accompany the entertainment. The tightrope walker starts with simpler feats, gradually moving to more difficult acrobatics, displaying some forty different rope techniques in a performance that can last several hours. Today, tightrope walking performers are frequently invited to local festivals that take place throughout the country, particularly in spring and autumn. Currently, transmission of tightrope walking in Korea is centred on the Jultagi Safeguarding Association in Gyeonggi Province. There are two types of training: apprenticeship education where masters educate practitioners and take on students, and public education which takes various forms such as school training, experience classes and summer camps.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/jultagi-tightrope-walking-00448", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07542-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Traditional music is played during the performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07543-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "A tightrope walker on the rope" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07544-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "A performer mimicking a middle-aged woman's walk on the tightrope" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07545-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "A clown dressed up in the nobleman's robe amuses people, pretending tightrope waling on the ground" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07546-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Kneeling down on a rope" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07547-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "A rite praying for safety of the performer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07548-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "A lesson of Jultagi for children" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07549-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "A tightrope walker dressed up in the Buddhist monk's robe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07550-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "The master singing on the life of Buddhist monks" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07551-BIG.jpg", "copyright": "Cultural Heritage Administration, 2000", "title": "Cross-legged on a rope" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=k12z7MsIKxw", "copyright": "2009 by Cultural Heritage Administration of the Republic of Korea", "title": "Jultagi Rope Walking" } ], "sustainability": "" } }, "element_452": { "type": "element", "label": "Taekkyeon, a traditional Korean martial art", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07567-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07567-HUG.jpg" }, "description": "Taekkyeon is a traditional Korean martial art that makes use of fluid, rhythmic dance-like movements to strike or trip up an opponent. The graceful movements of a well-trained Taekkyeon performer are gentle and circular rather than straight and rigid, but can explode with enormous flexibility and strength. The feet play as important a role as the hands. In spite of its gentle impression, Taekkyeon is an effective martial art highlighting a broad variety of offensive and defensive skills employing all available fighting methods. It also teaches consideration: a skilled Taekkyeon practitioner can rapidly dominate an opponent, but a true master knows how to make an opponent withdraw without incurring damage. As a part of seasonal farming-related traditions, Taekkyeon serves to facilitate community integration, and as a sport accessible to all plays a major role in promoting public health. Taekkyeon is also practised by a great number of people as a daily activity. There are approximately fifty recognized practitioners of Taekkyeon at present, and the Korean Taekkyeon Association plays a significant role in the transmission and promotion of this traditional martial art.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/taekkyeon-a-traditional-korean-martial-art-00452", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07562-BIG.jpg", "copyright": "Cultural Heritage Administration, 2007", "title": "Attacking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07563-BIG.jpg", "copyright": "Cultural Heritage Administration, 1998", "title": "Taekkyeon featured in a tomb mural of the Goguryeo Kingdom (37 B.C.-A.D. 668)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07564-BIG.jpg", "copyright": "Cultural Heritage Administration, 1998", "title": "Throwing down the opponent by hauling his legs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07565-BIG.jpg", "copyright": "Cultural Heritage Administration, 1998", "title": "Pushing the neck of the opponent" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07566-BIG.jpg", "copyright": "Cultural Heritage Administration, 1998", "title": "Tapping the knees" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07567-BIG.jpg", "copyright": "Cultural Heritage Administration, 1998", "title": "Attacking each other" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07568-BIG.jpg", "copyright": "Cultural Heritage Administration, 1998", "title": "Taekkyeon appears in a 18th-century painting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07569-BIG.jpg", "copyright": "Cultural Heritage Administration, 1998", "title": "Boys performing taekkyeon in the 19th century (photo)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07570-BIG.jpg", "copyright": "Cultural Heritage Administration, 1998", "title": "One-to-one combat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07571-BIG.jpg", "copyright": "Cultural Heritage Administration, 1998", "title": "A posture of taekkyeon" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Ga1Im-3ZtH8", "copyright": "2009 by Cultural Heritage Administration of the Republic of Korea", "title": "Taekkyeon" } ], "sustainability": "" } }, "element_453": { "type": "element", "label": "Weaving of Mosi (fine ramie) in the Hansan region", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07575-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07575-HUG.jpg" }, "description": "Weaving of Mosi in Hansan is transmitted by middle-aged women in the township located in South Chungcheong Province, Republic of Korea. The region boasts fertile land and sea winds that allow ramie plants to thrive. Weaving ramie cloth involves a number of processes, including harvesting, boiling and bleaching ramie plants, spinning yarn out of ramie fibre, and weaving it on a traditional loom. Ramie cloth is comfortable in hot summer weather and is used to produce a variety of clothing from dress suits and military uniforms to mourning garments. The whiteness of the bleached ramie fabric, as well as its refined quality and neatness, makes it suitable for high-end clothing as well as for clothing for ordinary people. Weaving of Mosi traditionally takes place in the form of women-led family operations in which mothers transmit techniques and experience to their daughters or daughters-in-law. The tradition also binds the community together with neighbours gathered and working in a designated section of the town. At present, around 500 people in the province are engaged in the diverse activities of weaving fine ramie.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/weaving-of-mosi-fine-ramie-in-the-hansan-region-00453", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07572-BIG.jpg", "copyright": "Cultural Heritage Administration, 2003", "title": "A lesson for high school students" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07573-BIG.jpg", "copyright": "Cultural Heritage Administration, 2003", "title": "Weaving mosi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07574-BIG.jpg", "copyright": "Cultural Heritage Administration, 2003", "title": "Examination" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07575-BIG.jpg", "copyright": "Cultural Heritage Administration, 2003", "title": "Trading mosi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07576-BIG.jpg", "copyright": "Cultural Heritage Administration, 2003", "title": "Mosi thread" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07577-BIG.jpg", "copyright": "Cultural Heritage Administration, 2003", "title": "Weaving mosi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07578-BIG.jpg", "copyright": "Cultural Heritage Administration, 2003", "title": "A session for training techniques of weaving mosi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07579-BIG.jpg", "copyright": "Cultural Heritage Administration, 2003", "title": "Weaving mosi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07580-BIG.jpg", "copyright": "Cultural Heritage Administration, 2003", "title": "Weaving mosi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07581-BIG.jpg", "copyright": "Cultural Heritage Administration, 2003", "title": "Drying mosi thread" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=AUpXye1YjsY", "copyright": "2009 by Cultural Heritage Administration of the Republic of Korea", "title": "Hansan Mosi-jjagi" } ], "sustainability": "" } }, "element_461": { "type": "element", "label": "Daemokjang, traditional wooden architecture", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03009-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03009-HUG.jpg" }, "description": "The term \u2018Daemokjang\u2019 refers to traditional Korean wooden architecture and specifically to the woodworkers who employ the traditional carpentry techniques. The activities of these practitioners also extend to the maintenance, repair and reconstruction of historic buildings, ranging from traditional Korean houses to monumental wooden palaces and temples. The Daemokjang are in charge of the entire construction process, including the planning, design and construction of buildings, and the supervision of subordinate carpenters. The wooden structures created by Daemokjang are smooth, simple and unadorned \u2013 distinctive features of traditional Korean architecture. The traditional construction processes require both technical skills to design the building with consideration to its size, site and function, and aesthetic sense to select the lumber for the construction materials, cut and shape the wood, and assemble and interlock the separate wooden pieces without using nails, creating the so-called \u2018joints that withstand a millennium\u2019. The know-how of Daemokjang has been handed down from generation to generation and takes decades of education and field experience to master. In working to restore monumental buildings using traditional techniques, Daemokjang practitioners reinterpret the beauty of traditional architecture with their artistic creativity and re-create it with their technical skills. ", "list": "RL", "year": 2010, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/daemokjang-traditional-wooden-architecture-00461", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03008-BIG.jpg", "copyright": "1999 by National Research Institute of Cultural Heritage", "title": "Checking if pillars stand upright." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03009-BIG.jpg", "copyright": "1999 by National Research Institute of Cultural Heritage", "title": "Installing ancons and brackets after installing headpieces on columns." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03010-BIG.jpg", "copyright": "1999 by National Research Institute of Cultural Heritage", "title": "Assembling collar beams and wing-shaped bracket arms." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03011-BIG.jpg", "copyright": "1999 by National Research Institute of Cultural Heritage", "title": "Connecting pillars with header beams." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03012-BIG.jpg", "copyright": "1999 by National Research Institute of Cultural Heritage", "title": "Installed rafters" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03013-BIG.jpg", "copyright": "1999 by National Research Institute of Cultural Heritage", "title": "Daemokjang Sin Eung-su recording lumber quantity on a blueprint." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03014-BIG.jpg", "copyright": "1999 by National Research Institute of Cultural Heritage", "title": "Daemokjang Sin Eung-su and his disciple Mun Gi-hyeon, wielding an adze." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03015-BIG.jpg", "copyright": "1999 by National Research Institute of Cultural Heritage", "title": "Sin Eung-su drawing lines with an inking spatula." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03016-BIG.jpg", "copyright": "1999 by National Research Institute of Cultural Heritage", "title": "Restoration of Heungryemun Gate in Gyeongbokgung Palace" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03017-BIG.jpg", "copyright": "1999 by National Research Institute of Cultural Heritage", "title": "The protruding corners of eaves, rafters, and brackets in Guinsa Temple." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Gx7_n9AqSkc", "copyright": "2009 by Cultural Heritage Administration of the Republic of Korea", "title": "Daemokjang" } ], "sustainability": "" } }, "element_515": { "type": "element", "label": "T\u00e1nch\u00e1z method: a Hungarian model for the transmission of intangible cultural heritage", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07746-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07746-HUG.jpg" }, "description": "The T\u00e1nch\u00e1z (\u2018dance-house\u2019) model of teaching folk dance and music combines traditional forms of acquisition with modern pedagogical and academic methods. Participants acquire dance knowledge from experienced members or tradition bearers by direct observation and imitation, to the accompaniment of live music, while using their own individual level of creativity to develop their competence and dancing ability. The dancing is complemented by singing instruction, handicraft activities and ethnographic presentations. Anyone regardless of age, competence or prior exposure can become an active participant. The aim is to establish a value-based, community-building, entertaining yet educational form of recreational activity through the practice and transmission of intangible cultural heritage. T\u00e1nch\u00e1z methods are also utilized in art schools and all levels of education, and influence folk dance and music performance. An annual National T\u00e1nch\u00e1z Festival and Fair constitutes the largest meeting of bearers, mediators and enthusiasts, yet age or content-specific T\u00e1nch\u00e1z-es have developed, as well as workshops, camps, playhouses and handicraft clubs. Increasing numbers of publications popularize T\u00e1nch\u00e1z and assist in refining and transmitting its methodology, while folk dance and music resource centres enable the public to access archival recordings. The model is easily adaptable for the safeguarding and transmission of any community\u2019s intangible cultural heritage through hands-on acquisition, thereby sustaining its diversity.", "list": "GSP", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/tanchaz-method-a-hungarian-model-for-the-transmission-of-intangible-cultural-heritage-00515", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07743-BIG.jpg", "copyright": "2012 by Hungarian Open Air Museum", "title": "Authentic dance event in Sz\u00e9k - the village, whose t\u00e1nch\u00e1z was chosen to be the example for the t\u00e1nch\u00e1z-movement in Budapest" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07744-BIG.jpg", "copyright": "2012 by S\u00e1ndor Cso\u00f3ri Jr.", "title": "Transmission of heritage between generations." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07745-BIG.jpg", "copyright": "2012 by Hungarian Heritage House Danse House Archive", "title": "Documentation of traditional culture in a bearing community. Zolt\u00e1n Kall\u00f3s on a fieldwork in Sz\u00e9k - the village, whose t\u00e1nch\u00e1z was chosen to be the example for the t\u00e1nch\u00e1z-movement in Budapest." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07746-BIG.jpg", "copyright": "2012 by Hungarian Open Air Museum", "title": "Learning folk music from a local musician" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07747-BIG.jpg", "copyright": "2012 by Hungarian Heritage House Dance House archive", "title": "Learning from local tradition bearers. Well-known Hungarian folk singer M\u00e1rta Sebesty\u00e9n and one of the founders of the T\u00e1nch\u00e1z movement B\u00e9la Halmos are learning and collecting folk songs from a local singer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07748-BIG.jpg", "copyright": "2012 by Hungarian Heritage House Danse House Archive", "title": "Wedding in Kalotaszeg. Authentic dance event in a community bearing traditional culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07749-BIG.jpg", "copyright": "2012 by Dance House Guild", "title": "Traditionalist dancers teaching folk dances at the National T\u00e1nch\u00e1z Festival and Fair in the capital of Hungary" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07750-BIG.jpg", "copyright": "2012 by Hungarian Open Air Museum", "title": "The joy of dancing at a T\u00e1nch\u00e1z event in Budapest" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07751-BIG.jpg", "copyright": "2012 by Dance House Guild", "title": "Japanese visitor learning hungarian folk dance from a traditionalist at the National T\u00e1nch\u00e1z Festival and Fair in the capital of Hungary" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07752-BIG.jpg", "copyright": "2012 by Dance House Guild", "title": "Istv\u00e1n P\u00e1l, shepherd, Master of folk Art telling stories to children in a folk music camp" } ], "video": [], "sustainability": "" } }, "element_502": { "type": "element", "label": "Fandango's Living Museum", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07758-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07758-HUG.jpg" }, "description": "Fandango is a popular music and dance expression in coastal communities in southern and south-eastern Brazil. Fandango songs are called ''modas'' and are played with handmade instruments \u2013 viola, fiddle and frame drum. Traditionally, fandangos were offered as payment for collective activities, such as planting, harvesting and fishing. However, a decline in collective work has led to fandango losing its prestige and sense of identity: many representatives have died and new generations are indifferent to it. Fandango's Living Museum was conceived to promote safeguarding actions for fandango as an important part of their cultural heritage. The initiative came from a non-governmental organization, Cabur\u00e9 Cultural Association. Approximately 300 local practitioners or ''fandangueiros'' have participated to create an open-air community museum and a circuit of visiting and exchanging experience, which includes houses of ''fandangueiros'' and musical instrument makers, cultural and research centres, and places for selling local handicrafts. The museum has promoted awareness-raising by organizing local performances, running workshops in partnership with schoolteachers, publishing books and CDs, creating a website, and making bibliographic and audiovisual collections available. The model is based on cooperation, and can be adapted for other cultural expressions and similar regional contexts, taking into account their local characteristics.", "list": "GSP", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/fandango-s-living-museum-00502", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07755-BIG.jpg", "copyright": "Felipe Varanda - collection of the Fandango's Living Museum, 2005", "title": "The making of the fiddle by Anderson Prado, in Iguape\/SP, using the technique of carving the body of the instrument" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07756-BIG.jpg", "copyright": "Felipe Varanda - collection of the Fandango's Living Museum, 2005", "title": "Artisan fishing technique that uses a seine (fishing net) called cai\u00e7ara, in Canan\u00e9ia\/SP" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07757-BIG.jpg", "copyright": "Joana Corr\u00eaa - collection of the Fandango's Living Museum, 2005", "title": "Mestre Alcides Rodrigues dancing fandango at the Akdov Bar, Ilha de Superagui (Superagui Island), Guraque\u00e7aba\/PR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07758-BIG.jpg", "copyright": "Felipe Varanda - collection of the Fandango's Living Museum, 2005", "title": "Fandango dance with members of the Pereira Family, in Guaraque\u00e7aba\/PR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07759-BIG.jpg", "copyright": "Felipe Varanda - collection of the Fandango's Living Museum, 2005", "title": "Leonildo Pereira at his workshop, in the Abacateiro village, Guraque\u00e7aba\/PR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07760-BIG.jpg", "copyright": "Felipe Varanda - collection of the Fandango's Living Museum, 2005", "title": "Eug\u00eanio dos Santos at Casa Fandango (Fandango House), in Paranagu\u00e1\/PR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07761-BIG.jpg", "copyright": "Felipe Varanda - collection of the Fandango's Living Museum, 2005", "title": "Fandango Group Jovens da Jur\u00e9ia (Youth of Jureia), from Iguape\/SP, dancing the passadinho" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07762-BIG.jpg", "copyright": "Felipe Varanda - collection of the Fandango's Living Museum, 2005", "title": "Leonardo dos Santos with the Fandango Group Professora Helmosa, from Morretes\/PR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07763-BIG.jpg", "copyright": "Felipe Varanda - collection of the Fandango's Living Museum, 2005", "title": "Group Violas de Ouro from S\u00e3o Paulo Bagre, Canan\u00e9ia\/SP" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07764-BIG.jpg", "copyright": "Felipe Varanda - collection of the Fandango's Living Museum, 2005", "title": "Z\u00e9 Pereira with his sons Laerte and Wilson, in the Varadouro village, Cananeia\/SP" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=nyWAbW5ErfU", "copyright": "", "title": "15 minutes" }, { "url": "https:\/\/www.youtube.com\/watch?v=F3dnZJgXeNA", "copyright": "", "title": "15 minutes" } ], "sustainability": "" } }, "element_504": { "type": "element", "label": "Call for projects of the National Programme of Intangible Heritage", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07773-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07773-HUG.jpg" }, "description": "Each year, a national call for projects from the Programa Nacional de Patrim\u00f4nio Imaterial encourages and supports safeguarding initiatives and practices proposed by the Brazilian society for the safeguarding of intangible cultural heritage. The projects must involve the participation of the community and groups concerned, promote social inclusion and improvement of the life conditions of creators and bearers of such heritage, and respect individual and collective rights. Most projects includes activities such as mapping, inventories and ethnographic research; information systematization and database creation and\/or implementation; production or preservation of documentation and ethnographic archives; promotion and transmission of traditional knowledge to new generations; and strengthening communities\u2019 capacities for research, safeguarding and education. Projects can be presented by local government institutions or non-profit private organizations, but must have the prior agreement of the communities involved. The selection process is organized by the Intangible Heritage Department of IPHAN (National Historical and Artistic Heritage Institute) in Brasilia, with projects evaluated by a national committee of specialists. Each project selected receives approximately R$100,000 (US$50,000) and is frequently realized within twelve months. The call for projects aims to strengthen community safeguarding processes and institutions, and to create networks between different institutional and social actors. As such, the process constitutes a model for financing and fostering initiatives of the civil society for safeguarding intangible cultural heritage.", "list": "GSP", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/call-for-projects-of-the-national-programme-of-intangible-heritage-00504", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07765-BIG.jpg", "copyright": "Ra\u00edssa Ladeira, 2007", "title": "Woman cracking baba\u00e7u coconuts. Project: Island of S\u00e3o Jos\u00e9, Tocantins" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07766-BIG.jpg", "copyright": "Paulo Anchieta, 2006", "title": "Mestre Benedito's Coco Group from Cabedelo. Project: Documental Mapping of Para\u00edba." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07767-BIG.jpg", "copyright": "Paulo Anchieta, 2006", "title": "Mestre Benedito's coco group from Cabedelo. Project: Documental Mapping of Para\u00edba." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07768-BIG.jpg", "copyright": "2009 by Jana\u00edna Lobo", "title": "Man playing the drum. Project: Knowledge and musical ritual Practices of the Quicumbi Pledge in Rio Grande do Sul." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07769-BIG.jpg", "copyright": "Vincent Carelli, 2008", "title": "Mestre Bimi teaches her daughter to weave the Kene graphism. Project: Kene - Kaxinaw\u00e1 Traditional Paintings, Acre." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07770-BIG.jpg", "copyright": "Renato Delarole, 2007", "title": "Myr\u00e1 making japepai (vase) using the acordelado technique (superposition of clay strings). Project: Documentation and Transmission of the Traditional Knowledge of the Asurin\u00ed from Xingu, Par\u00e1." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07771-BIG.jpg", "copyright": "Paulo Barreto, 2010", "title": "Revelers greeting the flag. Project: the Magi Kings Celebration of the devotees of the Magi - Federal District and surroundings." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07772-BIG.jpg", "copyright": "Paulo Barreto, 2010", "title": "Boys playing the accordion. Project: The Magi Kings Celebration of the Devotees of the Magi - Federal District and surroundings." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07773-BIG.jpg", "copyright": "Van\u00fasia Assis, 2004", "title": "Feast of the Rosary of Pombal. Project: Documental Mapping of Para\u00edba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07774-BIG.jpg", "copyright": "Denise Fajardo, 2006", "title": "Tiriy\u00f3 girl preparing seeds. Project: Artisans of Maramar\u00e1, Amap\u00e1." } ], "video": [], "sustainability": "" } }, "element_509": { "type": "element", "label": "Saman dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03544-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03544-HUG.jpg" }, "description": "The Saman dance is part of the cultural heritage of the Gayo people of Aceh province in Sumatra. Boys and young men perform the Saman sitting on their heels or kneeling in tight rows. Each wears a black costume embroidered with colourful Gayo motifs symbolizing nature and noble values. The leader sits in the middle of the row and leads the singing of verses, mostly in the Gayo language. These offer guidance and can be religious, romantic or humorous in tone. Dancers clap their hands, slap their chests, thighs and the ground, click their fingers, and sway and twist their bodies and heads in time with the shifting rhythm \u2013 in unison or alternating with the moves of opposing dancers. These movements symbolize the daily lives of the Gayo people and their natural environment. The Saman is performed to celebrate national and religious holidays, cementing relationships between village groups who invite each other for performances. The frequency of Saman performances and its transmission are decreasing, however. Many leaders with knowledge of the Saman are now elderly and without successors. Other forms of entertainment and new games are replacing informal transmission, and many young people now emigrate to further their education. Lack of funds is also a constraint, as Saman costumes and performances involve considerable expense.", "list": "USL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/saman-dance-00509", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03544-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "The Saman players sit on their heels or kneel, clap their hands, chests and knees, while singing verses responsively following the leader or Penangkat." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03545-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "Alternate players rise to kneel while holding hands, while the others bow to the ground. The moves symbolize nature and daily life of Gayo people." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03546-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "Villages invite each other for Saman competitions, which build friendly and fraternal relationships between them." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03547-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "Saman is often part of the festivities at marriages, circumscissions, and other celebrations." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03548-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "Saman is a game of Gayo village children. Small boys play Saman on the back of a buffaloe, after bathing in the river." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03549-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "Small boys would learn and play Saman from their friends under the Mersah or boys dormitory. Such informal transmission is unfortunately decreasing." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03550-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "Many schools have Saman groups made up of boys who have learned in their villages, as there are no Saman lessons at school. They perform only on special occasions. (Pondok Modern Shallahudin Religious School, Gayo Lues)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03551-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "Drs. Harry Waluyo and the Saman research team interviewed, recorded and filmed 83 Saman community members, including elderly Saman expert Alat Am Mastinah (70 yrs.)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03552-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "Head of Gayo Lues District (Bupati) H. Ibnu Hasim and local government officials spontaneously perform Saman. Saman is a medium for friendship and cooperation." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03553-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "Saman community members state their free, prior and informed consent and sign a Declaration of mutual respect and cooperation for safeguarding Saman, after the Verification Seminar of the Saman nomination file on 22nd February 2010" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=E2RZaxW_-A0", "copyright": "2010 by Centre for Research and Development of Culture, Indonesia", "title": "Saman Dance" } ], "sustainability": "" } }, "element_511": { "type": "element", "label": "Revitalization of the traditional craftsmanship of lime-making in Mor\u00f3n de la Frontera, Seville, Andalusia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15156-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15156-HUG.jpg" }, "description": "The traditional practice of lime-making was a source of employment for Mor\u00f3n de la Frontera and a marker of its identity. When production was eclipsed by industrial lime, kilns fell into disuse and transmission of knowledge ceased. The project\u2019s primary goals are to raise awareness of the practice and importance of lime-making and to improve living conditions for craftspeople. To this end, the Cultural Association of the Lime Kilns of Mor\u00f3n was established, and gave birth to an ethnographic centre and a living museum that displays the craft process in situ. Kilns have been restored and the project actively promotes transmission of techniques to new generations. Outreach activities in cooperation with lime craftspeople focus on recovering expertise and techniques for use in sustainable construction. The project has also produced audiovisual and print publications, presented displays at trade shows and is organizing the Iberian Lime Congress in 2012. The Association has been involved in a national project to raise awareness of fresco painting, as well as an international project \u2018Transfer to Morocco (North Africa) of the Crafts Promotion Centres model\u2019. The project has involved stakeholders and inhabitants of Mor\u00f3n de la Frontera in its decision making.", "list": "GSP", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/revitalization-of-the-traditional-craftsmanship-of-lime-making-in-moron-de-la-frontera-seville-andalusia-00511", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15156-BIG.jpg", "copyright": "2009 By Instituto Andaluz del Patrimonio Hist6rico", "title": "Producci\u00f3n de cal. Mor\u00f3n de la Frontera. (Sevilla)" } ], "video": [], "sustainability": "" } }, "element_513": { "type": "element", "label": "Programme of cultivating ludodiversity: safeguarding traditional games in Flanders", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07732-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07732-HUG.jpg" }, "description": "Ludodiversity refers to the wide diversity in games, sports, physical exercises, dances and acrobatics. The non-governmental organization Sportimonium, together with local communities and associations, has taken measures to safeguard the heritage of games and sports in Flanders, Belgium, including twenty-three types of traditional games, among them forms of shooting games, bowl games, throwing games and ball games. Safeguarding measures undertaken by Sportimonium include support to specialized and umbrella organizations, publications, festivals, demonstrations, exchanges of expertise, promotion activities, loan services providing people with traditional games equipment, and a Traditional Games Park. The basis for the programme is systematic documentation and research: information on traditional games and sports has been gathered worldwide and can be consulted in a documentation centre in the Sportimonium. Another key safeguarding strategy is promoting awareness among players about the cultural significance of their intangible cultural heritage. Special attention is devoted to attracting new members, especially young people and women. The model of Sportimonium can be applied elsewhere. One advantage of the programme is its modular design, divided into different phases that can be implemented according to local, regional, national and international contexts.", "list": "GSP", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/programme-of-cultivating-ludodiversity-safeguarding-traditional-games-in-flanders-00513", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07729-BIG.jpg", "copyright": "1996 by Sportimonium", "title": "Pelota ball contest Courcelles vs Meerbeke, Brussels: Grand Place" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07730-BIG.jpg", "copyright": "1995 by VlaS", "title": "Demonstration of 'beugelen' (mobile installation) at the national gathering day of traditional games in Zonnebeke" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07731-BIG.jpg", "copyright": "2011 by Sportimonium", "title": "Demonstration of the Catalan 'castellers' in Leuven at the Sports- and Games dday of the university hospitals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07732-BIG.jpg", "copyright": "2003 by VlaS", "title": "World Championship 'krulbol' ???" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07733-BIG.jpg", "copyright": "2012 by Sportimonium", "title": "Series of the game 'tonspel' in the Sportimonium loan service for traditional games" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07734-BIG.jpg", "copyright": "2011 by Sportimonium", "title": "Pub games section in the Sportimonium" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07735-BIG.jpg", "copyright": "2006 by Sportimonium", "title": "Pole climbing in the Traditional Games Park of the Sportimonium" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07736-BIG.jpg", "copyright": "2012 by Sportimonium", "title": "General view of the traditional games section in the permanent exhibition of the Sportimonium" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07737-BIG.jpg", "copyright": "2012 by Sportimonium", "title": "One of the exhibition cabinets in the traditional games section in the permanent exhibition of the Sportimonium with the equipment of games from Australia, South-Africa, Brasil, Thailand, Congo, Mexico, Iran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07738-BIG.jpg", "copyright": "2006 by Sportimonium", "title": "View of a part of the Sportimonium Traditional Games Park" } ], "video": [], "sustainability": "" } }, "element_520": { "type": "element", "label": "Secret society of the K\u00f4r\u00eadugaw, the rite of wisdom in Mali", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03765-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03765-HUG.jpg" }, "description": "The secret society of the K\u00f4r\u00eadugaw is a rite of wisdom central to the cultural identity of the Bambara, Malink\u00e9, Senufo and Samogo peoples of Mali. Initiates dress in ragged coats adorned with red bean necklaces and a large quantity of miscellaneous items. They provoke laughter with behaviour characterized by gluttony, caustic humour and wit, but also possess great intelligence and wisdom. The society educates, trains and prepares children to cope with life and to deal with social problems. Its members also act as social mediators and play key roles in festivals and many other occasions. The K\u00f4r\u00eadugaw are also herbalists and traditional therapists whose knowledge of plants is used to cure illnesses, ward off bad luck, treat childless women and impart blessings. They symbolize generosity, tolerance, inoffensiveness and mastery of knowledge, embodying the rules of conduct that they advocate for others. Members come from all social and professional groups, irrespective of ethnicity, gender or religion, and one becomes a K\u00f4r\u00eaduga by inherited status, instruction by spirits or training with a master. Knowledge and know-how are transmitted during annual initiation ceremonies. Today, traditional modes of transmission are threatened by the decreasing number of initiates due to the predominance of urban lifestyles among younger generations, and ritual practices take place less and less regularly.", "list": "USL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/secret-society-of-the-koredugaw-the-rite-of-wisdom-in-mali-00520", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03764-BIG.jpg", "copyright": " 2010 DNPC", "title": "Artefacts des Kor\u00e8dugaw, S\u00e9golu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03765-BIG.jpg", "copyright": "2006 DNPC", "title": "Chapeau de vautour d'un Kor\u00e8duga" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03766-BIG.jpg", "copyright": " 2010 DNPC", "title": "Enfants des Kor\u00e8duga de Kougouala, Sikasso" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03767-BIG.jpg", "copyright": " 2010 DNPC", "title": "Kor\u00e8duga de Kougouala, Sikasso" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03771-BIG.jpg", "copyright": "2008 DNPC", "title": "Les femmes Kor\u00e8duga de Di\u00e9na" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03774-BIG.jpg", "copyright": "2008 DNPC", "title": "Les Kor\u00e8duqa de Di\u00e9na sur leurs chevaux de bois" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03778-BIG.jpg", "copyright": "2006 DNPC", "title": "Un Kor\u00e8duga mangeant les brisures de mil, Koumantou, Sikasso" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03779-BIG.jpg", "copyright": "2010 DNPC", "title": "Orchestre des Kor\u00e8duga de Kougouala, Sikasso" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03789-BIG.jpg", "copyright": "2010 DNPC", "title": "Coiffe capillaire, mode charognard du Kor\u00e8duga, Sikasso" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03790-BIG.jpg", "copyright": "2009 DNPC", "title": "Femmes Kor\u00e8duga animant la c\u00e9r\u00e9monie d'ouverture officielle du Festival Triangle du Balafon \u00e0 Sikasso" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=83cfnzauzEI", "copyright": "Direction Nationale du Patrimoine Culturel (Mali), 2010", "title": "La soci\u00e9t\u00e9 secr\u00e8te des Kor\u00e8dowgaw, rite de sagesse du Mali" } ], "sustainability": "" } }, "element_521": { "type": "element", "label": "Yaokwa, the Enawene Nawe people's ritual for the maintenance of social and cosmic order", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03822-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03822-HUG.jpg" }, "description": "The Enawene Nawe people live in the basin of the Juruena River in the southern Amazon rainforest. They perform the Yaokwa ritual every year during the drought period to honour the Yakairiti spirits, thereby ensuring cosmic and social order for the different clans. The ritual links local biodiversity to a complex, symbolic cosmology that connects the different but inseparable domains of society, culture and nature. It is integrated into their everyday activities over the course of seven months during which the clans alternate responsibilities: one group embarks on fishing expeditions throughout the area while another prepares offerings of rock salt, fish and ritual food for the spirits, and performs music and dance. The ritual combines knowledge of agriculture, food processing, handicrafts (costumes, tools and musical instruments) and the construction of houses and fishing dams. Yaokwa and the local biodiversity it celebrates represent an extremely delicate and fragile ecosystem whose continuity depends directly on its conservation. However, both are now seriously threatened by deforestation and invasive practices, including intensive mining and logging, extensive livestock activity, water pollution, degradation of headwaters, unregulated processes of urban settlement, construction of roads, waterways and dams, drainage and diversion of rivers, burning of forests and illegal fishing and trade in wildlife.", "list": "USL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/yaokwa-the-enawene-nawe-people-s-ritual-for-the-maintenance-of-social-and-cosmic-order-00521", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03815-BIG.jpg", "copyright": "IPHAN, 2008", "title": "Yaokwa's tent (Flute's tent)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03816-BIG.jpg", "copyright": "IPHAN, 2008", "title": "Construction of the Yaokwa fishing dam" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03817-BIG.jpg", "copyright": "IPHAN, 2008", "title": "Yaokwa's dam" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03818-BIG.jpg", "copyright": "IPHAN, 2008", "title": "Yaokwa Choreography" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03819-BIG.jpg", "copyright": "IPHAN, 2008", "title": "Women spinning" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03820-BIG.jpg", "copyright": "IPHAN, 2008", "title": "Danekwana - Yaokwa Choreoqraphy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03821-BIG.jpg", "copyright": "IPHAN, 2008", "title": "Portrait" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03822-BIG.jpg", "copyright": "IPHAN, 2008", "title": "Children playing Yaokwa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03823-BIG.jpg", "copyright": "IPHAN, 2008", "title": "Children playing Yaokwa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03824-BIG.jpg", "copyright": "IPHAN, 2008", "title": "Men - Yaokwa" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=8ZGDyjULWZg", "copyright": "IPHAN 2009", "title": "Yaokwa" } ], "sustainability": "The Enawene Nawe people of the southern Amazon rainforest practice an annual ritual called the Yaokwa, which ensures the continuity of the cosmic and social order. In the Enawene Nawe worldview, local biodiversity is part of a symbolic cosmology that links society, culture and nature. The Yaokwa ritual celebrates the forest\u2019s biodiversity and society\u2019s interdependence with nature through offerings to the spirits, music and dance. The Yaokwa instills a deep respect for nature and transmits indigenous knowledge to younger generations, thus contributing to the goal of conserving forests and thus reducing the impact of climate change. This element also links to SDG #2: Zero Hunger, SDG #4: Quality Education, SDG # 15: Life on Land, and SDG #16: Peace, Justice and Strong Institutions." } }, "element_524": { "type": "element", "label": "Moorish epic T\u2019heydinn", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03833-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03833-HUG.jpg" }, "description": "The T\u2019heydinn epic encompasses dozens of poems lauding the glorious feats of Moorish emirs and sultans. It propounds ancestral values underpinning the way of life of the Moorish community in Mauritania, and constitutes a literary and artistic manifestation of the Hassaniya language. Griots perform the epic accompanied by traditional stringed instruments such as the lute and harp, and the kettledrum. Griots preserve the collective memory of society through the poems, passing down knowledge and skills from father to son, with young griots first learning the instrumental skills before being initiated into the poetic tradition. The T\u2019heydinn constitutes a permanent bond between the griots and their tribe, with a particular repertoire distinguishing each griot family. The epic is performed at social events including weddings, reconciliation ceremonies and invitations. Performances are occasions for regional tribal and family reunions, strengthening social ties and promoting a culture of social peace and mutual assistance. Performance of the T\u2019heydinn epic is, however, in decline. Griots with full knowledge of the epic are few in number and most are elderly. Moreover, demand for performance has decreased and young griots tend to perform the epic in abridged form or know only certain episodes, which threatens the viability of the T\u2019heydinn epic.", "list": "USL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/moorish-epic-t-heydinn-00524", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03825-BIG.jpg", "copyright": "DPC-Minist\u00e8re mauritanien de la culture", "title": "Aspect de l'\u00e9pop\u00e9e maure T'heydinne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03826-BIG.jpg", "copyright": "DPC-Minist\u00e8re mauritanien de la culture", "title": "Aspect de l'\u00e9pop\u00e9e maure T'heydinne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03827-BIG.jpg", "copyright": "DPC-Minist\u00e8re mauritanien de la culture", "title": "Aspect de l'\u00e9pop\u00e9e maure T'heydinne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03828-BIG.jpg", "copyright": "DPC-Minist\u00e8re mauritanien de la culture", "title": "Aspect de l'\u00e9pop\u00e9e maure T'heydinne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03829-BIG.jpg", "copyright": "DPC-Minist\u00e8re mauritanien de la culture", "title": "Aspect de l'\u00e9pop\u00e9e maure T'heydinne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03830-BIG.jpg", "copyright": "DPC-Minist\u00e8re mauritanien de la culture", "title": "Aspect de l'\u00e9pop\u00e9e maure T'heydinne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03831-BIG.jpg", "copyright": "DPC-Minist\u00e8re mauritanien de la culture", "title": "Aspect de l'\u00e9pop\u00e9e maure T'heydinne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03832-BIG.jpg", "copyright": "DPC-Minist\u00e8re mauritanien de la culture", "title": "Aspect de l'\u00e9pop\u00e9e maure T'heydinne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03833-BIG.jpg", "copyright": "DPC-Minist\u00e8re mauritanien de la culture", "title": "Aspect de l'\u00e9pop\u00e9e maure T'heydinne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03834-BIG.jpg", "copyright": "DPC-Minist\u00e8re mauritanien de la culture", "title": "Aspect de l'\u00e9pop\u00e9e maure T'heydinne" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=wkY33dD0MSE", "copyright": "DPC-Minist\u00e8re mauritanien de la culture, 2010", "title": "T'heydinne" } ], "sustainability": "" } }, "element_531": { "type": "element", "label": "Esuwa, Harakbut sung prayers of Peru\u2019s Wachiperi people", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03763-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03763-HUG.jpg" }, "description": "The Wachiperi are an indigenous ethnic group speaking the Harakbut language and living in Peru\u2019s southern Amazon tropical forest. The Esuwa or sung prayer is an expression of Wachiperi religious myths, performed for healing or as part of traditional ceremonies such as the drinking of masato, a traditional beverage made of fermented manioc, and the initiation of new Esuwa singers. According to oral tradition, the Esuwa songs were learned directly from the forest\u2019s animals, and are sung to summon nature spirits to help to alleviate illness or discomfort or promote well-being. Esuwa songs are performed without musical instruments and sung only in the Harakbut language. As such they play a key role in safeguarding the language and preserving the group\u2019s values and worldview. Transmission takes place orally, with the singer teaching apprentices the specific function of each song according to the ailment it is meant to heal. Esuwa songs are at the risk of being lost, however, since transmission has been interrupted due to lack of interest on the part of Wachiperi youth, recent internal migration and the influence and assimilation of external cultural elements. At present, there are only twelve known singers among the Wachiperi.", "list": "USL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/esuwa-harakbut-sung-prayers-of-peru-s-wachiperi-people-00531", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03754-BIG.jpg", "copyright": "INC, 2010", "title": "Maloca or communal house in the Huachipaire community Santa Rosa de Huacaria" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03755-BIG.jpg", "copyright": "INC, 2010", "title": "Meeting of three Huachipaire community members" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03756-BIG.jpg", "copyright": "INC, 2010", "title": "Alberto Manqueriapa explains the meaning of Eshuva" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03757-BIG.jpg", "copyright": "INC, 2010", "title": "Three members of the community of Santa Rosa de Huacaria explaining the Eshuva" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03758-BIG.jpg", "copyright": "INC, 2010", "title": "Registering the Eshuva" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03759-BIG.jpg", "copyright": "INC, 2010", "title": "Singer of Eshuva Melchor Ramos Vitente" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03760-BIG.jpg", "copyright": "INC, 2010", "title": "Singing Eshuva 1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03761-BIG.jpg", "copyright": "INC, 2010", "title": "Singing Eshuva 2" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03762-BIG.jpg", "copyright": "INC, 2010", "title": "Singing Eshuva 3" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03763-BIG.jpg", "copyright": "INC, 2010", "title": "Singing Eshuva 4" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=VyEidlsVqFA", "copyright": "2010 by INC", "title": "Eshuva songs" } ], "sustainability": "" } }, "element_534": { "type": "element", "label": "Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03575-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03575-HUG.jpg" }, "description": "Iranian Lenj vessels are traditionally hand-built and are used by inhabitants of the northern coast of the Persian Gulf for sea journeys, trading, fishing and pearl diving. The traditional knowledge surrounding Lenjes includes oral literature, performing arts and festivals, in addition to the sailing and navigation techniques and terminology and weather forecasting that are closely associated with sailing, and the skills of wooden boat-building itself. The navigational knowledge used to sail Lenjes was traditionally passed on from father to son. Iranian navigators could locate the ship according to the positions of the sun, moon and stars; they used special formulae to calculate latitudes and longitudes, as well as water depth. Each wind was given a name, which along with the colour of water or the height of waves was used to help forecast the weather. Specific music and rhythms also constituted inseparable parts of sailing in the Persian Gulf, with sailors singing particular songs while working. Nowadays, the community of practitioners is small and mainly comprises older people. Wooden Lenjes are being replaced by cheaper fibreglass substitutes, and wooden Lenj construction workshops are being transformed into repair shops for older Lenjes. The philosophy, ritualistic background, culture and traditional knowledge of sailing in the Persian Gulf are gradually fading, although some of the associated ceremonies continue to be practised in a few places.", "list": "USL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/traditional-skills-of-building-and-sailing-iranian-lenj-boats-in-the-persian-gulf-00534", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03574-BIG.jpg", "copyright": "2009 by Asghar Besharati \/Hamshahri Sarzamin-e Man Journal\/Iranian Cultural and Geoghraphical Studies", "title": "Loft Port- B\u0101deb\u0101n-Kashi Ceremony. Until 30 years ago, whenever a sailing Lenj was about to go on a long journey, the sail was hoisted in a special ceremony accompanied by music. Nowadays this ceremony is performed on special occasions." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03575-BIG.jpg", "copyright": "2010 by Abdolhoseyn Rezvani \/Hamshahri Sarzamin-e Man Journal\/Iranian Cultural and Geoghraphical Studies", "title": "Kong- In old times, a person named Moallem (teacher) worked on Lenjes with the special duty to determine the location of the lenj on the sea, using this device. Nowadays this device is no longer used. The photo is taken in Ebrahimi Memorial House." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03576-BIG.jpg", "copyright": "2010 by Abdolhoseyn Rezvani \/Hamshahri Sarzamin-e Man Journal\/Iranian Cultural and Geoghraphical Studies", "title": "Salakh Village- Women sitting on the shore of the Persian Gulf on the day of Nowruz-e-Sayy\u0101d. On this day which is the beginning of the sailing year, fishermen don\u2019t go fishing, celebrating the day with their family." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03577-BIG.jpg", "copyright": "2009 by Asghar Besharati \/Hamshahri Sarzamin-e Man Journal\/Iranian Cultural and Geoghraphical Studies", "title": "Qeshm Island- Shrimping in the Persian Gulf. Fishing is still one of the premier sources of income for people on the coast of the Persian Gulf and the ability to guide the fishing ships is one of the special skills of the sailors." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03578-BIG.jpg", "copyright": "2008 by Abdolhoseyn Rezvani \/Hamshahri Sarzamin-e Man Journal\/Iranian Cultural and Geoghraphical Studies", "title": "Loft Port- Rezif Kh\u0101ni Ceremony. In this ritual, sailors sing and dance together. The songs tell the story of sailors and dangers of the voyage on the sea. Daf, Dohol and Damam are the instruments used in this ceremony." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03579-BIG.jpg", "copyright": "2005 by Raouf Mohseni \/Hamshahri Sarzamin-e Man Journal\/Iranian Cultural and Geoghraphical Studies", "title": "Bushehr-Despite the presence of big industrial ships in Persian Gulf, people here still uses the handmade Lenjes to fish and trade." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03580-BIG.jpg", "copyright": "2007 by Abdolhoseyn Rezvani \/Hamshahri Sarzamin-e Man Journal\/Iranian Cultural and Geographical Studies", "title": "Gour\u0101n- Lenj-building workshop. With modern ship-making technologies, wooden Lenj workshops have become rare on the coast of the Persian Gulf." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03581-BIG.jpg", "copyright": "2007 by Abdolhoseyn Rezvani \/Hamshahri Sarzamin-e Man Journal\/Iranian Cultural and Geoghraphical Studies", "title": "Qeshm- Lenj-Repairing workshop. These workshops are rarely found here. Sailors rarely have the money to fix their wooden Lenjes and this leads to gradual extinction of the Lenjes." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03582-BIG.jpg", "copyright": "2006 by Mansoureh Motamedi \/Hamshahri Sarzamin-e Man Journal\/Iranian Cultural and Geoghraphical Studies", "title": "Qeshm- Ghamm\u0101re, Captain\u2019s cabin. Little by little, captions are being equipped with modern devices. GPS and cell phones replace the traditional knowledge and devices for sailing and the wooden room of the captain won\u2019t be no more survive." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03583-BIG.jpg", "copyright": "2009 by Omid Salehi \/Hamshahri Sarzamin-e Man Journal\/Iranian Cultural and Geoghraphical Studies", "title": "Salakh Village- The Shush\u00ee ceremony is the permanent part of Nowruz-e-Sayy\u0101d. The characters of this show are inspired by the nature and they use palm branches for the hats, palm leaf for the hands and palm skin for the beard. Two men are covering themselves with cotton to resemble camels." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=rOlVE-CKNBY", "copyright": "Iranian Cultural Heritage, Handicrafts, and Tourism Organization (2010 & 2011)", "title": "Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf" } ], "sustainability": "The skills of building and sailing Iranian Lenj boats on the Persian Gulf reflect the traditional wisdom of the people in understanding their natural environment. Their vessels are hand-built using natural materials and used daily to travel, trade, fish and dive for pearls. The boats use wind power to sail, which is a clean source of energy. The navigators must acquire different sets of knowledge and skills related to nature which are essential for their seafaring. They study wind routes in the Persian Gulf and colors of the water and clouds as well as seasons to determine when to set sail. The positions of the sun, moon, and stars are also learned to locate ships. This intangible cultural heritage demonstrates the community\u2019s harmonious living with nature and respectful use of clean energy which also produces a small carbon footprint. This element also links to SDG # 12: Responsible Consumption and Production. " } }, "element_535": { "type": "element", "label": "Naqq\u0101li, Iranian dramatic story-telling", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06189-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06189-HUG.jpg" }, "description": "Naqq\u0101li is the oldest form of dramatic performance in the Islamic Republic of Iran and has long played an important role in society, from the courts to the villages. The performer \u2013 the Naqq\u0101l \u2013 recounts stories in verse or prose accompanied by gestures and movements, and sometimes instrumental music and painted scrolls. Naqq\u0101ls function both as entertainers and as bearers of Persian literature and culture, and need to be acquainted with local cultural expressions, languages and dialects, and traditional music. Naqq\u0101li requires considerable talent, a retentive memory and the ability to improvise with skill to captivate an audience. The Naqq\u0101ls wear simple costumes, but may also don ancient helmets or armoured jackets during performances to help recreate battle scenes. Female Naqq\u0101ls perform before mixed audiences. Until recently, Naqq\u0101ls were deemed the most important guardians of folk-tales, ethnic epics and Iranian folk music. Naqq\u0101li was formerly performed in coffeehouses, tents of nomads, houses, and historical venues such as ancient caravanserais. However, a decline in the popularity of coffeehouses, combined with new forms of entertainment, has resulted in diminishing interest in Naqq\u0101li performance. The aging of master performers ''(morsheds)'' and the decreasing popularity among younger generations have caused a steep drop in the number of skilled Naqq\u0101ls, threatening the survival of this dramatic art.", "list": "USL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/naqqli-iranian-dramatic-story-telling-00535", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06185-BIG.jpg", "copyright": "Department of Traditional Arts at the Research Center of ICHHTO, 2005", "title": "Morshed Valiollah Torabi in the middle of one of his performances" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06187-BIG.jpg", "copyright": "Department of Traditional Arts at the Research Center of ICHHTO, 2010", "title": "Morshed Abdol Hassan Mirza Ali, acting in front of a traditional painted screen (Qahve-khane style)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06188-BIG.jpg", "copyright": "Department of Traditional Arts at the Research Center of ICHHTO, 2005", "title": "Morshed Torabi, acting as the hero who talks to his cane as if it were his bride" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06189-BIG.jpg", "copyright": "Department of Traditional Arts at the Research Center of ICHHTO, 2010", "title": "Morshed Ahadi, acting in front of a traditional painted screen (Qahve-khane style)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06191-BIG.jpg", "copyright": "Department of Traditional Arts at the Research Center of ICHHTO, 2010", "title": "Morshed Mirza Ali (the father) points to the part of the screen he is reciting its story" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06193-BIG.jpg", "copyright": "Maryam Nemat Tavousi, 2011", "title": "Mohssen Mirza Ali (the son) performs in a coffee-house located in Ozgol (a former village that is now part of Tehran)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06194-BIG.jpg", "copyright": "Department of Traditional Arts at the Research Center of ICHHTO, 2005", "title": "Morshed Valiollah Torabi describes a critical situation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06195-BIG.jpg", "copyright": "Fateme Habibizad, 2011", "title": "Fateme Habibizad (Gord Afarid) and Morshed Torabi in Torabi's house during a training session" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06196-BIG.jpg", "copyright": "Department of Traditional Arts at the Research Center of ICHHTO, 2005", "title": "Morshed Torabi claps his hands to shift from one emotional state to another one" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06197-BIG.jpg", "copyright": "Fateme Habibizad, 2010", "title": "Fateme Habibizad (Gord Afarid) performing an open-space performance in Cimili (a village located in Khuzestan Province)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3pudGL0QmeU", "copyright": "Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2010 & 2011", "title": "Naqaali Iranian Dramatic Story-telling" } ], "sustainability": "" } }, "element_536": { "type": "element", "label": "Tsiattista poetic duelling", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07512-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07512-HUG.jpg" }, "description": "The lively, impromptu oral poetry known as Tsiattista is often performed to the accompaniment of violin or lute in \u2018jousts\u2019 in which one poet-singer attempts to outdo another with clever verses made up of rhyming couplets. It has long been a popular component of wedding feasts, fairs and other public celebrations, where eager crowds encourage poets to perform. The most common metrical form is the iambic fifteen-syllable verse in a rhyming couplet, although a poet may use eight-syllable, six-syllable or even nine-syllable verses. Successful ''tsiattistaes'' (poet-singers) exhibit ready wit, deep familiarity with poetic and musical traditions, a rich vocabulary and an active imagination. They have often been men of modest means and limited education who transmit their works only orally; these days, the poets are mostly old men but talented female poets have recently started performing. Poets must be well-versed in the Greek Cypriot dialect, possess adequate knowledge of the popular poetry of Cyprus and the ability to retrieve existing, well-known Tsiattista and, above all, must be able to improvise a new couplet on a specific theme within very strict time constraints and be able to respond to his or her opponent.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/tsiattista-poetic-duelling-00536", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07512-BIG.jpg", "copyright": "2011 Larnaca Municipality", "title": "ARTEMIS KAILIS AND ANTONIS CHRISTODOULOU JOUSTING" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07513-BIG.jpg", "copyright": "2011 Larnaca Municipality", "title": "YIANNIS TTIKIS AND PANAIS KYPRIANOU JOUSTING AT KATAKLUSMOS FAIR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07514-BIG.jpg", "copyright": "2011 Larnaca Municipality", "title": "ANDREAS PIERETTIS AND PANIKOS STASIS JOUSTING AT KATAKLUSMOS FAIR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07515-BIG.jpg", "copyright": "2011 Larnaca Municipality", "title": "ANDREAS PIRTAS ANAD ANDREAS LATSIS JOUSTING AT KATAKLUSMOS FAIR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07516-BIG.jpg", "copyright": "2011 Larnaca Municipality", "title": "STELIOS VIOLARIS AND DEMETRIS TZIAMBAZIS JOUSTING AT KATAKLUSMOS FAIR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07517-BIG.jpg", "copyright": "2011 Larnaca Municipality", "title": "OVERVIEW OF THE CONTESTANTS AT THE JOUSTING COMPETITION AT KATAKLUSMOS FAIR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07518-BIG.jpg", "copyright": "2011 Larnaca Municipality", "title": "ARTEMIS KAILIS AND ANDREAS PIERETTIS JOUSTING AT KATAKLUSMOS FAIR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07519-BIG.jpg", "copyright": "2011 Larnaca Municipality", "title": "YIANNIS TTIKIS AND FOTIS AKATHIOTIS JOUSTING AT KATAKLUSMOS FAIR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07520-BIG.jpg", "copyright": "2011 Larnaca Municipality", "title": "DEMETRIS TZIAMBAZIS AND CHARALAMBOS PAPA JOUSTING AT KATAKLUSMOS FAIR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07521-BIG.jpg", "copyright": "2011 Larnaca Municipality", "title": "ARTEMIS KAILIS AND DEMETRIS TZIAMBAZIS JOUSTING" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=C_bSKgkxsC0", "copyright": "George Sophocleous", "title": "Tsiattista" } ], "sustainability": "" } }, "element_543": { "type": "element", "label": "Folk long song performance technique of Limbe performances - circular breathing", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05874-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05874-HUG.jpg" }, "description": "The Limbe is a side-blown flute of hardwood or bamboo, traditionally used to perform Mongolian folk long songs. Through the use of circular breathing, Limbe performers are able to produce the continuous, wide-ranging melodies characteristic of the long song. Players breathe in through the nose while simultaneously blowing out through the mouth, using air stored in their cheeks to play the flute without interruption. Single stanzas of folk long song last approximately four to five minutes. A single song consists of three to five or more stanzas, which requires performance of the flute to continue uninterrupted for twelve to twenty-five minutes. Traditional training methods used to acquire this technique include continuously blowing at a candle flame without extinguishing it and blowing through a straw into a glass of water. Limbe playing is characterized by euphonious melodies, melisma, hidden tunes and skilful and delicate movements of the fingers and tongue. The small number of bearers of the element has become cause for concern with a considerable decrease in groups and individual practitioners. This has been caused in part by the predominance of international musical forms and training systems. At present, the frequency and extent of this traditional element\u2019s practice are unstable with only fourteen Limbe practitioners remaining.", "list": "USL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/folk-long-song-performance-technique-of-limbe-performances-circular-breathing-00543", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05869-BIG.jpg", "copyright": "Ts.Tsevegsuren (2010)", "title": "Solo long song perfomance of the Limbe together with Folk musical group" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05870-BIG.jpg", "copyright": "Ts.Tsevegsuren (2010)", "title": "Limbe performance of the Folk long song (Dariganga ethic group)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05871-BIG.jpg", "copyright": "Ts.Tsevegsuren (2010)", "title": "Limbe performer M.Badam in the middle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05872-BIG.jpg", "copyright": "Ts.Tsevegsuren (2010)", "title": "Recording the Limbe melody to the radio. (Limbe performer L.Tserendorj on the right side)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05873-BIG.jpg", "copyright": "Ts.Tsevegsuren (2010)", "title": "Long song Four seasons accompanied with Limbe performers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05874-BIG.jpg", "copyright": "Ts.Tsevegsuren (2010)", "title": "Home-tutoring apprenticeship method training" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05875-BIG.jpg", "copyright": "Ts.Tsevegsuren (2010)", "title": "Limbe performer U.Batjargal (Umnugobi Province)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05876-BIG.jpg", "copyright": "Ts.Tsevegsuren (2010)", "title": "Old Limbe performer Natsag" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05877-BIG.jpg", "copyright": "Ts.Tsevegsuren (2010)", "title": "3 generations of Limbe performers (in-class training with L.Tserendorj)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05878-BIG.jpg", "copyright": "Ts.Tsevegsuren 2010", "title": "Circular breathing technique of the blacksmith" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Sh73S0piXyA", "copyright": "2010 by Ts.Tsevegsuren (Mongolian Association of Limbe Performers)", "title": "Circular Breathing Performance of the Limbe" } ], "sustainability": "" } }, "element_563": { "type": "element", "label": "Fado, urban popular song of Portugal", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05076-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05076-HUG.jpg" }, "description": "Fado is a performance genre incorporating music and poetry widely practised by various communities in Lisbon. It represents a Portuguese multicultural synthesis of Afro-Brazilian sung dances, local traditional genres of song and dance, musical traditions from rural areas of the country brought by successive waves of internal immigration, and the cosmopolitan urban song patterns of the early nineteenth century. Fado songs are usually performed by a solo singer, male or female, traditionally accompanied by a wire-strung acoustic guitar and the Portuguese ''guitarra'' \u2013 a pear-shaped cittern with twelve wire strings, unique to Portugal, which also has an extensive solo repertoire. The past few decades have witnessed this instrumental accompaniment expanded to two Portuguese guitars, a guitar and a bass guitar. Fado is performed professionally on the concert circuit and in small \u2018Fado houses\u2019, and by amateurs in numerous grass-root associations located throughout older neighbourhoods of Lisbon. Informal tuition by older, respected exponents takes place in traditional performance spaces and often over successive generations within the same families. The dissemination of Fado through emigration and the world music circuit has reinforced its image as a symbol of Portuguese identity, leading to a process of cross-cultural exchange involving other musical traditions.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/fado-urban-popular-song-of-portugal-00563", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05067-BIG.jpg", "copyright": "Argentina Santos 2009 by Luis Carvalhal", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05068-BIG.jpg", "copyright": "Carlos do Camo 2009 by Jos\u00e9 Frade", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05069-BIG.jpg", "copyright": "Ana Sofia Varela 2008 by Jos\u00e9 Frade", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05070-BIG.jpg", "copyright": "Helder Moutinho e Misia 2009 by Jos\u00e9 Frade", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05071-BIG.jpg", "copyright": "Mariza 2005 by Jos\u00e9 Frade", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05072-BIG.jpg", "copyright": "Rodrigo 2009 by Jos\u00e9 Frade", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05073-BIG.jpg", "copyright": "6149 M\u00e1rio Pacheco, Lina Rodrigues e Cuca Roseta 2009 by Jos\u00e9 Frade", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05074-BIG.jpg", "copyright": "Carminho 2009 by Luis Carvalhal", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05075-BIG.jpg", "copyright": "K\u00e1tia Guerreiro 2006 by Jos\u00e9 Frade", "title": "" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05076-BIG.jpg", "copyright": "Argentina Santos 2009 by Jos\u00e9 Frade", "title": "" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=JxYZz7rwJag", "copyright": "2007 by DUVIDEO Fado Filmes, Zebra Produciones", "title": "Fados" } ], "sustainability": "" } }, "element_564": { "type": "element", "label": "Ride of the Kings in the south-east of the Czech Republic", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05077-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05077-HUG.jpg" }, "description": "The Ride of the Kings takes place during the spring, as a part of the Pentecost traditions, in the towns of Hluk and Kunovice and the villages of Skoronice and Vl\u010dnov. A group of young men ride through a village in a ceremonial procession. The ride is headed by chanters, followed by pageboys with unsheathed sabres who guard the King \u2013 a young boy with his face partially covered, holding a rose in his mouth \u2013 and the rest of the royal cavalcade. The King and pageboys are dressed in women\u2019s ceremonial costumes, while the other riders are dressed as men. The entourage rides on decorated horses, stopping to chant short rhymes that comment humorously on the character and conduct of spectators. The chanters receive donations for their performance, placed either in a money box or directly into the riders\u2019 boots. The King\u2019s retinue returns home after a few hours of riding, and celebrates in the evening at the house of the King with a small feast, music and dancing. The practices and responsibilities of the Ride of the Kings are transmitted from generation to generation. The traditional paper decorations for the horses and the ceremonial costumes, in particular, are made by women and girls familiar with the processes, colour patterns and shapes specific to each village.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ride-of-the-kings-in-the-south-east-of-the-czech-republic-00564", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05077-BIG.jpg", "copyright": "2010 by National Institute of Folk Culture", "title": "The King from Hluk." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05078-BIG.jpg", "copyright": "2010 by National Institute of Folk Culture", "title": "The Ride of the Kings riding through the town." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05079-BIG.jpg", "copyright": "2010 by National Institute of Folk Culture", "title": "The Ride of the Kings moving through the town." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05080-BIG.jpg", "copyright": "2010 by National Institute of Folk Culture", "title": "Pageboy wearing woman\u00b4s ceremonial costume." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05081-BIG.jpg", "copyright": "2010 by National Institute of Folk Culture", "title": "The royal entourage outside the Town Hall." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05082-BIG.jpg", "copyright": "2010 by National Institute of Folk Culture", "title": "King with his pageboys and horse handleers." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05083-BIG.jpg", "copyright": "2010 by National Institute of Folk Culture", "title": "The Ride of the Kings moving through the town." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05084-BIG.jpg", "copyright": "2010 by National Institute of Folk Culture", "title": "The King from Skoronice." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05085-BIG.jpg", "copyright": "2008 by National Institute of Folk Culture", "title": "The King from Vl\u010dnov." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05086-BIG.jpg", "copyright": "2010 by National Institute of Folk Culture", "title": "Rider from Vl\u010dnov." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=mOiDvoJWkQU", "copyright": "2010 by National Institute of Folk Culture ", "title": "The Ride of the Kings" } ], "sustainability": "" } }, "element_567": { "type": "element", "label": "Pilgrimage to the sanctuary of the Lord of Qoyllurit\u2019i", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05058-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05058-HUG.jpg" }, "description": "The Pilgrimage to the sanctuary of the Lord of Qoyllurit\u2019i combines elements from Catholicism and worship of pre-Hispanic nature deities. It begins fifty-eight days after the Christian celebration of Easter Sunday, when 90,000 people from around Cusco travel to the sanctuary, located in Sinakara hollow. Pilgrims are divided into eight \u2018nations\u2019 corresponding to their villages of origin: Paucartambo, Quispicanchi, Canchis, Acomayo, Paruro, Tawantinsuyo, Anta and Urubamba. The pilgrimage includes processions of crosses up and down the snow-capped mountain and a twenty-four hour procession, during which the Paucartambo and Quispicanchi nations carry images of the Lord of Tayancani and the Grieving Virgin to the village of Tayancani to greet the first rays of sunlight. Dance plays a central part in the pilgrimage: a hundred different dances are performed representing the different \u2018nations\u2019. The Council of Pilgrim Nations and the Brotherhood of the Lord of Qoyllurit\u2019i direct the pilgrimage activities, its rules and codes of behaviour, and supply food, while ''pablitos'' or ''pabluchas'', figures wearing garments of alpaca fibre and woven wool animal masks, maintain order. The pilgrimage encompasses a broad variety of cultural expressions and constitutes a meeting place for communities from different Andean altitudes engaged in different economic activities.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pilgrimage-to-the-sanctuary-of-the-lord-of-qoyllurit-i-00567", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05057-BIG.jpg", "copyright": "National Institute of Culture, 2004", "title": "Pilgrimage station" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05058-BIG.jpg", "copyright": "National Institute of Culture, 2004", "title": "Devotee on his arrival to the Sanctuary" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05059-BIG.jpg", "copyright": "National Institute of Culture, 2004", "title": "Sanctuary of the Lord of Qoyllurit\u2019i" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05060-BIG.jpg", "copyright": "National Institute of Culture, 2004", "title": "Pabluchas performing traditional ritual to the Apu, snowcapped mountain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05061-BIG.jpg", "copyright": "National Institute of Culture, 2004", "title": "Christ of Tayancani" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05062-BIG.jpg", "copyright": "National Institute of Culture, 2004", "title": "Traditional dancers performing Qhapaq chucho dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05063-BIG.jpg", "copyright": "National Institute of Culture, 2004", "title": "Pilgrims performing traditional ritual for the Apu, snowcapped mountain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05064-BIG.jpg", "copyright": "National Institute of Culture, 2004", "title": "Pilgrims performing traditional dances" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05065-BIG.jpg", "copyright": "National Institute of Culture, 2004", "title": "24-Hour procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05066-BIG.jpg", "copyright": "National Institute of Culture, 2010", "title": "Lord of Qoyllurit\u2019i" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KT7OwTol9RQ", "copyright": "National Institute of Culture, 2004", "title": "Andean Pilgrimage" } ], "sustainability": "" } }, "element_574": { "type": "element", "label": "Traditional knowledge of the jaguar shamans of Yurupar\u00ed", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07411-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07411-HUG.jpg" }, "description": "The mythical and cosmological structures that make up the traditional knowledge of the jaguar shamans of Yurupar\u00ed represent the cultural heritage of the many ethnic groups that live along the Pir\u00e1 Paran\u00e1 River in south-eastern Colombia, in the department of Vaup\u00e9s. According to ancestral wisdom, the Pir\u00e1 Paran\u00e1 forms the heart of a large area called the territory of the jaguars of Yurupar\u00ed, whose sacred sites contain vital spiritual energy that nurtures all living beings in the world. The jaguar shamans follow a calendar of ceremonial rituals, based upon their sacred traditional knowledge, to draw the community together, heal, prevent sickness and revitalize nature. The rituals feature songs and dances that embellish the healing process. The vital energy and traditional knowledge of the shamans are believed to be inherited from an all-powerful, mythical Yurupar\u00ed, an anaconda that lived as a person, and is embodied in treasured sacred trumpets fashioned from a palm tree. Each ethnic group conserves its own Yurupar\u00ed trumpets, which form the centre of the strict Hee Biki ritual. During this ritual, traditional guidelines for maintaining the health of the people and the territory are transmitted to male children as a part of their passage into adulthood. The traditional knowledge concerning care of children, pregnant women and food preparation is transmitted among women.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-knowledge-of-the-jaguar-shamans-of-yurupari-00574", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07410-BIG.jpg", "copyright": "2006 Sergio Bartelsman, ACAIPI, Fundaci\u00f3n Gaia Amazonas", "title": "Dancers with traditional rattles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07411-BIG.jpg", "copyright": "2006 Sergio Bartelsman, ACAIPI, Fundaci\u00f3n Gaia Amazonas", "title": "Barasano Shaman after a Traditional Ritual" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07412-BIG.jpg", "copyright": "2006 Sergio Bartelsman, ACAIPI, Fundaci\u00f3n Gaia Amazonas", "title": "Wodden \"pil\u00f3n\" for preparing coca" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07413-BIG.jpg", "copyright": "2006 Sergio Bartelsman, ACAIPI, Fundaci\u00f3n Gaia Amazonas", "title": "Children swiming in a stream" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07414-BIG.jpg", "copyright": "2006 Sergio Bartelsman, ACAIPI, Fundaci\u00f3n Gaia Amazonas", "title": "Ritual inside the Maloca" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07415-BIG.jpg", "copyright": "2006 Sergio Bartelsman, ACAIPI, Fundaci\u00f3n Gaia Amazonas", "title": "Barasano woman" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07416-BIG.jpg", "copyright": "2006 Sergio Bartelsman, ACAIPI, Fundaci\u00f3n Gaia Amazonas", "title": "Traditional Shaman\/Knowledge holder" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07417-BIG.jpg", "copyright": "2006 Sergio Bartelsman, ACAIPI, Fundaci\u00f3n Gaia Amazonas", "title": "Dance in movement" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07418-BIG.jpg", "copyright": "2006 Sergio Bartelsman, ACAIPI, Fundaci\u00f3n Gaia Amazonas", "title": "Youngsters preparing for the \"Chontaduro Ritual\"." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07419-BIG.jpg", "copyright": "2006 Sergio Bartelsman, ACAIPI, Fundaci\u00f3n Gaia Amazonas", "title": "Dancers performing during the \"Chontaduro Ritual\"" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=CqWoosEGy2Q", "copyright": "2010 ACAIPI, Fundaci\u00f3n Gaia Amazonas. 4 Direcciones Audiovisual. National Geographic T.V.", "title": "Hee Yaia Keti Oka, Traditional Knowledge of the Jaguar Shamans of Yurupar\u00ed" } ], "sustainability": "The jaguar shamans of Yurupari are the ritual custodians and protectors of a sacred, ancestral territory along the Pir\u00e1 Paran\u00e1 in south-eastern Colombia. The jaguar shamans and surrounding communities believe that the sacred sites within this territory contain the spiritual energy that nurtures all living beings. The shamans follow a calendar of rituals intended to maintain the vitality of mythical spirits that inhabit nature, and which, in turn, sustain the health and well-being of the community. The rituals also feature songs and dances that support the healing process. Healing knowledge is traditionally passed to the male children as part of their rite of passage into adulthood, while the knowledge related to the care of children and food preparation is transmitted to females. This element also links to SDG# 4: Quality Education, SDG #15: Life on Land and SDG #16: Peace, Justice and Strong Institutions." } }, "element_575": { "type": "element", "label": "Mariachi, string music, song and trumpet", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07363-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07363-HUG.jpg" }, "description": "Mariachi is a traditional Mexican music and a fundamental element of Mexican culture. Traditional Mariachi groups, made up of two or more members, wear regional costumes adapted from the charro costume and interpret a broad repertoire of songs on stringed instruments. Ensembles playing \u2018modern Mariachi\u2019 include trumpets, violins, the vihuela and ''guitarr\u00f3n'' (bass guitar), and may have four or more musicians. The wide repertoire includes songs from different regions, jarabes, minuets, polkas, ''valonas,'' schottisches, waltzes and serenades, in addition to ''corridos'' (typical Mexican ballads narrating stories of battles, outstanding deeds and love affairs) and traditional songs depicting rural life. Modern Mariachi music has adopted other genres such as ranchera songs, the bolero ranchero and even the ''cumbia'' from Colombia. The lyrics of Mariachi songs portray love of the earth, hometown, native land, religion, nature, fellow countrywomen and the strength of the country. Learning by ear is the main means of transmission of traditional Mariachi, and the skill is usually passed down from fathers to sons and through performance at festive, religious and civil events. Mariachi music transmits values of respect for the natural heritage of the regions of Mexico and local history in the Spanish language and the different Indian languages of Western Mexico.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mariachi-string-music-song-and-trumpet-00575", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07359-BIG.jpg", "copyright": "2009 by C\u00e1mara de Comercio de Guadalajara", "title": "\"Guineness Record\" of 549 Mariachis playing the same song for 10 minutes. In the framework of the XVI International Encounter Mariachi and Charreria. In: Esplanade Caba\u00f1as Cultural Institute, Heritage, Guadalajara, Jalisco, Mexico." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07360-BIG.jpg", "copyright": "2009 by C\u00e1mara de Comercio de Guadalajara", "title": "\"Public Gala Concert\" of the XVI International Encounter Mariachi and Charreria. In: Liberation Square. Guadalajara, Jalisco, Mexico" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07361-BIG.jpg", "copyright": "2009 by C\u00e1mara de Comercio de Guadalajara", "title": "\"Gala Concert\". XVI International Encounter Mariachi and Charreria. In: Theatre Degollado. Guadalajara, Jalisco, Mexico" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07362-BIG.jpg", "copyright": "2009 by C\u00e1mara de Comercio de Guadalajara", "title": "\"Inauguration of the Summit of leaders from North America, 9 and 10 August in Guadalajara. \"El Mariachi singing \"Guadalajara\", \"Cielito Lindo\" and \"Besame Mucho.\" In:Instituto Cultural Caba\u00f1as, a World Heritage Site. Guadalajara, Jalisco, Mexico" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07363-BIG.jpg", "copyright": "2006 by C\u00e1mara de Comercio de Guadalajara", "title": "\"Gala Concert\". XIII International Encounter Mariachi and Charreria. In: Theatre Degollado. Guadalajara, Jalisco, Mexico" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07364-BIG.jpg", "copyright": "2008 by C\u00e1mara de Comercio de Guadalajara", "title": "\"Public Gala Concert\" of the XV International Encounter Mariachi and Charreria. In: Liberation Square. Guadalajara, Jalisco, Mexico" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07365-BIG.jpg", "copyright": "2008 by Francisco Galindo Rizo", "title": "\"Traditional Mariachi Villa de Alvarez, Colima State, Mexico. National Encounter of Mariachi Tradicional. In: Founders Square, Guadalajara, Jalisco, Mexico." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07366-BIG.jpg", "copyright": "2010 by Francisco Galindo Rizo", "title": "\"Educational Concert Music and Instruments of Mariachi.\" Made for ages 2 to 12 years old. In: Culture house, Morelia Michoac\u00e1n, Mexico" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07367-BIG.jpg", "copyright": "2010 by Francisco Galindo Rizo", "title": "\"Public Concert\". Traditional mariachi \"Nubes de la Sierra\", Mezquitic Township, the State of Jalisco, Mexico. Wixarrica indigenous group, with traditional costumes. In: Culture house, Morelia Michoac\u00e1n, Mexico" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07368-BIG.jpg", "copyright": "2010 by Francisco Galindo Rizo", "title": "\"Fandango mariacheros.\" Public dance footwork on stage. In: Culture house, Morelia Michoac\u00e1n, Mexico" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=hNFWR4MjTVs", "copyright": "2010 by C\u00e1mara de comercio de Jalisco", "title": "The mariachi, string music, song and trumpet" }, { "url": "https:\/\/www.youtube.com\/watch?v=sWScR8ViAnk", "copyright": "2010 by C\u00e1mara de comercio de Jalisco", "title": "The mariachi, string music, song and trumpet" }, { "url": "https:\/\/www.youtube.com\/watch?v=iNwaSxeWkfg", "copyright": "2010 by C\u00e1mara de comercio de Jalisco", "title": "The mariachi, string music, song and trumpet" } ], "sustainability": "" } }, "element_576": { "type": "element", "label": "Festivity of \u2018la Mare de D\u00e9u de la Salut\u2019 of Algemes\u00ed", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05111-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05111-HUG.jpg" }, "description": "The Festivity of \u2018la Mare de D\u00e9u de la Salut\u2019 is celebrated in Algemes\u00ed in the Province of Valencia, Spain. Every 7 and 8 September almost 1,400 people participate in theatre, music, dance and performances organized in the historical areas of the city: Valencia, La Muntanya, Santa Barbara and La Capella. Processions run from the Bas\u00edlica Menor de San Jaime to the Capella de la Troballa. The festivities commence with bell-ringing from the basilica followed by a parade. The Schola Cantorum choir and orchestra perform vespers in the evening at the basilica, followed by bell-ringing and the Procession of the Betrothed, which features ''Els Misteris'' (short, religious theatrical pieces performed by children) human towers with traditional musical accompaniment, and dance performances. The next day, giant puppets representing the King and Queen of Aragon, James I and his wife Violante of Hungary, join the morning procession, while the General Grand Procession features representations of biblical characters and songs of the apostles. The involvement of the town\u2019s inhabitants is the foundation for the continuity of this celebration. All costumes, ornaments and accessories are handcrafted, and the dances and musical scores are passed from generation to generation.", "list": "RL", "year": 2011, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/festivity-of-la-mare-de-deu-de-la-salut-of-algemesi-00576", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05108-BIG.jpg", "copyright": "2010 by Generalitat Valenciana", "title": "Entry of the \"Mare de D\u00e9u\" in the Basilica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05109-BIG.jpg", "copyright": "2010 by Generalitat Valenciana", "title": "Muixeranga in the entry of the \"Mare de D\u00e9u\" in the Basilica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05110-BIG.jpg", "copyright": "2010 by Generalitat Valenciana", "title": "Muixeranga: Presentation of the newborn children" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05111-BIG.jpg", "copyright": "2010 by Generalitat Valenciana", "title": "Muixeranga: Staging of the Waterwheel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05112-BIG.jpg", "copyright": "2010 by Generalitat Valenciana", "title": "Dance of \"Els bastonets\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05113-BIG.jpg", "copyright": "2010 by Generalitat Valenciana", "title": "Dance of the \"Carxofa\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05114-BIG.jpg", "copyright": "2010 by Generalitat Valenciana", "title": "Dance of \"les pastoretes\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05115-BIG.jpg", "copyright": "2010 by Generalitat Valenciana", "title": "Dance of 'les Llauradores\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05116-BIG.jpg", "copyright": "2010 by Generalitat Valenciana", "title": "Dance of \"Els Tornejants\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05117-BIG.jpg", "copyright": "2010 by Generalitat Valenciana", "title": "Dance of \"Els Tornejants\"" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Ng0-VyrgDyI", "copyright": "2010 by servicio de Patrimonio Hist\u00f3rico de la Generalitat Valenciana", "title": "La festa de la Mare de D\u00e9u d'Algemes\u00ed" }, { "url": "https:\/\/www.youtube.com\/watch?v=5TG3fTfd-mU", "copyright": "2010 by servicio de Patrimonio Hist\u00f3rico de la Generalitat Valenciana", "title": "La festa de la Mare de D\u00e9u d'Algemes\u00ed" }, { "url": "https:\/\/www.youtube.com\/watch?v=jC7_xEfSpqY", "copyright": "2010 by servicio de Patrimonio Hist\u00f3rico de la Generalitat Valenciana", "title": "La festa de la Mare de D\u00e9u d'Algemes\u00ed" } ], "sustainability": "" } }, "element_580": { "type": "element", "label": "Q\u0101li\u0161uy\u0101n rituals of Ma\u0161had-e Ardeh\u0101l in K\u0101\u0161\u0101n", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08258-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08258-HUG.jpg" }, "description": "Q\u0101li\u0161uy\u0101n rituals are practised in Iran to honour the memory of Solt\u0101n Ali, a holy figure among the people of K\u0101\u0161\u0101n and Fin. According to legend, he was martyred, and his body found and carried in a carpet to a stream, where it was washed and buried by the people of Fin and X\u0101ve. Today, Solt\u0101n Ali mausoleum is the site of a ritual where a carpet is washed in the holy stream by a huge gathering. It takes place on the nearest Friday to the seventeenth day of the month of Mehr, according to the solar-agricultural calendar. In the morning, people of X\u0101ve gather at the mausoleum to sprinkle rosewater on the carpet. Having completed the wrapping rituals, they deliver it to the people of Fin outside, who rinse the carpet in running water, and sprinkle rosewater drops with neatly cut and beautifully decorated wooden sticks. The carpet is then returned to the mausoleum. People of K\u0101\u0161\u0101n contribute a prayer-carpet and the people of Na\u0161alg celebrate their ritual the following Friday. These communities maintain oral transmission of the procedures, but also recreate the tradition by adding new and festive elements. ", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/qlisuyn-rituals-of-mashad-e-ardehl-in-ksn-00580", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05228-BIG.jpg", "copyright": "2010 by the Research Center of ICHHTO", "title": "Rolled carpet in the presence of Khaveie people" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08254-BIG.jpg", "copyright": "ICHHTO, 2011", "title": "Delivery of the Holy Carpet people of Xave to People of Fin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08255-BIG.jpg", "copyright": "ICHHTO, 2011", "title": "Surrounded by rinsing sticks, the\r\nHoly Carpet is carried by people of\r\nFin to the Holy Spring" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08256-BIG.jpg", "copyright": "ICHHTO, 2011", "title": "Symbolic rinsing of the Holy Carpet\r\nin Ardehal Holy Spring by people of\r\nFin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08257-BIG.jpg", "copyright": "ICHHTO, 2011", "title": "Carpet Friday afternoon: Rinsing\r\nsticks are thrown in Soltan Ali Mausoleum pool to mark the end of the Qalisuyan Rituals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08258-BIG.jpg", "copyright": "ICHHTO, 2011", "title": "Practical transmission of the\r\nQalisuyan Rituals to younger generations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08259-BIG.jpg", "copyright": "ICHHTO, 2011", "title": "Weaving the Holy Carpet (the\r\nJowsaqani design recreated byimprovisation)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08260-BIG.jpg", "copyright": "ICHHTO, 2011", "title": "Carpet Friday: camping of people on the vast Ardeh\u0101l plain" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=yDqfs5F4URs", "copyright": "ICHHTO, 2012", "title": "Q\u0101li\u0161uy\u0101n rituals of Ma\u0161had-e Ardeh\u0101l in K\u0101\u0161\u0101n" } ], "sustainability": "" } }, "element_594": { "type": "element", "label": "Knowledge, skills and rituals related to the annual renewal of the Q\u2019eswachaka bridge", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05785-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05785-HUG.jpg" }, "description": "The Q\u2019eswachaka bridge is a rope suspension bridge over a gorge of the Apurimac River in the southern Andes. It is renewed every year, using traditional Inca techniques and raw materials. The Quechua-speaking peasant communities of Huinchiri, Chaupibanda, Choccayhua and Ccollana Quehue see it as a means of strengthening their social links and not simply as a transport route. The bridge is considered a sacred expression of the communities\u2019 bond with nature, tradition and history, and the annual renewal is accompanied by ritual ceremonies. Although the renewal lasts only three days, it structures the life of the participating communities all year round, establishing communication, strengthening centuries-old bonds and reaffirming their cultural identity. The process begins with families cutting and twisting straw to form thin ropes about 70 m long. Two bridge-builders then guide the process of twisting them together to form medium-sized ropes, which are then braided to form six great ropes. When these are ready, men from the community tie the ropes tightly to ancient stone bases. The craftspeople then lead the weaving of the bridge, each starting from opposite ends. Once finished, the communities hold a celebratory festival. The techniques of bridge weaving are taught and learned within the family circle.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/knowledge-skills-and-rituals-related-to-the-annual-renewal-of-the-q-eswachaka-bridge-00594", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05778-BIG.jpg", "copyright": "National Institute of Culture, 2010", "title": "Trimming the q\u2019oya (Andean straw used to make the bridge\u2019s ropes)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05779-BIG.jpg", "copyright": "National Institute of Culture, 2010", "title": "Twisting the q\u2019eswas (thin ropes)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05780-BIG.jpg", "copyright": "National Institute of Culture, 2010", "title": "Making the duros (long ropes)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05781-BIG.jpg", "copyright": "National Institute of Culture, 2010", "title": "Attaching the ropes to the anchorage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05782-BIG.jpg", "copyright": "National Institute of Culture, 2010", "title": "Paqo (Andean shaman) and chakaruwaq (bridge building craftsman) making a ritual offering" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05783-BIG.jpg", "copyright": "National Institute of Culture, 2010", "title": "Ritual offerings" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05784-BIG.jpg", "copyright": "National Institute of Culture, 2010", "title": "Bridge building craftsman, Mr. Arizapana, weaving the bridge" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05785-BIG.jpg", "copyright": "National Institute of Culture, 2010", "title": "Bridge building craftsmen, Mrs. Arizapana and Callo, finishing the renewall of the bridge" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05787-BIG.jpg", "copyright": "National Institute of Culture, 2010", "title": "Completed Q\u2019eswachaka bridge (side view)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=9xCpAy_8p3U", "copyright": "Ministry of Culture of Peru, 2010", "title": "EN: Q'eswachaka, engineering and Andean tradition" } ], "sustainability": "" } }, "element_602": { "type": "element", "label": "C\u00edrio de Nazar\u00e9 (The Taper of Our Lady of Nazareth) in the city of Bel\u00e9m, Par\u00e1", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06609-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06609-HUG.jpg" }, "description": "The C\u00edrio de Nazar\u00e9 festival in Bel\u00e9m honours Our Lady of Nazareth. The main procession concludes the festivities on the second Sunday of October, when a wooden image of Our Lady of Nazareth is carried from S\u00e9 Cathedral to Sanctuary Square\u00ac\u00ac\u00ac, but the celebrations start in August and run until fifteen days after the procession. Almost the entire city participates and vast numbers of pilgrims travel from across Brazil to attend what is one of the world\u2019s largest religious gatherings. The celebration incorporates numerous cultural elements that reflect Brazil\u2019s multicultural society, including Amazonian culture and cuisine, and crafts such as toys made of local palm wood. The blending of the sacred and the profane gives this event religious, aesthetic, touristic, social and cultural dimensions. Boats play a symbolic role in the procession as Our Lady of Nazareth is the patron saint of sailors. Devotees create small altars in their homes, shops, bars, markets and public institutions. Transmission occurs within families, with small children and teenagers accompanying their parents to the festivities. For many, the C\u00edrio is an annual homecoming; for others, it is a space for political demonstrations.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cirio-de-nazare-the-taper-of-our-lady-of-nazareth-in-the-city-of-belem-para-00602", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06608-BIG.jpg", "copyright": "Adriano Chedieck, 2008", "title": "Transfer from Bel\u00e9m to Ananindeua" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06609-BIG.jpg", "copyright": "Adriano Chedieck, 2008", "title": "Bicycle faith" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06610-BIG.jpg", "copyright": "Adriano Chedieck, 2008", "title": "Believers holding the rope" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06611-BIG.jpg", "copyright": "Adriano Chedieck, 2008", "title": "Devotion to Our Lady" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06612-BIG.jpg", "copyright": "Adriano Chedieck, 2008", "title": "The Transfer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06613-BIG.jpg", "copyright": "Adriano Chedieck, 2008", "title": "Tribute" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06614-BIG.jpg", "copyright": "Adriano Chedieck, 2008", "title": "Praise to Our Lady" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06615-BIG.jpg", "copyright": "Adriano Chedieck, 2008", "title": "Virgin of Nazareth" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06616-BIG.jpg", "copyright": "Adriano Chedieck, 2008", "title": "Garland" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=6n-T8tgnAR4", "copyright": "IPHAN, 2010", "title": "C\u00edrio de Nazar\u00e9" } ], "sustainability": "" } }, "element_603": { "type": "element", "label": "Frevo, performing arts of the Carnival of Recife", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06541-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06541-HUG.jpg" }, "description": "Frevo is a Brazilian artistic expression comprising music and dance, performed mainly during the Carnival of Recife. Its quick frenetic and vigorous rhythm draws upon the fusion of musical genres such as marching music, Brazilian tango, square dance, polka and pieces of classical repertoire, performed by martial bands and fanfares. The music is essentially urban, and like the accompanying dance, \u2018Passo\u2019, is vigorous and subversive. The dance stems from the skill and agility of capoeira fighters, who improvise leaps to the electrifying sound of steel orchestras and bands. Practitioners of Frevo and Passo are part of associations, each of which participates in parades for the carnival. Their headquarters provide support for the development, preservation and transmission of knowledge and skills related to Frevo. The element also has a close connection to the beliefs and symbolic universe of the practitioners\u2019 religion. Several associations have colours related to the members\u2019 devotion and various embellishments have religious meanings. Frevo is formed through the creativity and cultural riches that comes from the great mix of music, dance, capoeira and crafts, among others, demonstrating the ingenuity and creative ability of its practitioners. This ability to promote human creativity and respect for cultural diversity is inherent to Frevo.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/frevo-performing-arts-of-the-carnival-of-recife-00603", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06533-BIG.jpg", "copyright": "Acervo PCR, 2010", "title": "Frevo Dancer. Recife" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06536-BIG.jpg", "copyright": "Acervo PCR, 2007", "title": "Revellers. Frevo's Great Parade. Recife" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06537-BIG.jpg", "copyright": "Acervo PCR, 2006", "title": "Galo da Madrugada. Recife" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06538-BIG.jpg", "copyright": "Acervo PCR, 2006", "title": "Galo da Madrugada. Recife" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06540-BIG.jpg", "copyright": "Acervo PCR, 2007", "title": "Revellers. Recife" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06541-BIG.jpg", "copyright": "Acervo PCR, 2007", "title": "Frevo dancers Wing. Mangueira Samba School's Parade. Rio de Janeiro" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06543-BIG.jpg", "copyright": "Acervo PCR, 2007", "title": "\"Front Commission\". Mangueira Samba School's Parade. Rio de Janeiro" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06545-BIG.jpg", "copyright": "Acervo PCR, 2008", "title": "Female orchestra at Mercado da Boa Vista. Recife" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06546-BIG.jpg", "copyright": "Acervo PCR, 2006", "title": "Great Tro\u00e7as Parade. Recife" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=dOjtXpl77_E", "copyright": "Acervo (PCR), 2010", "title": "Frevo" } ], "sustainability": "" } }, "element_610": { "type": "element", "label": "Craftsmanship of Horezu ceramics", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06510-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06510-HUG.jpg" }, "description": "Horezu ceramics are a unique traditional craft. Handmade in the northern part of V\u00e2lcea County, Romania, they reflect generations of knowledge and craftsmanship. Men and women generally divide the fabrication processes. Men select and extract the earth, which is then cleaned, cut, watered, kneaded, trampled and mixed \u2013 transforming it into a clay body from which the potters of Horezu produce a red pottery. The potters then shape each object with a special finger technique requiring concentration, strength and agility. Each person has his own method of shaping, but everyone respects the sequence of operations. The women decorate the objects using specific techniques and tools to draw traditional motifs. Their skill in combining decoration and colour defines the personality and uniqueness of these ceramics. The colours are vivid shades of dark brown, red, green, blue and \u2018Horezu ivory\u2019. The object is then fired. The potters use traditional tools: a mixer for cleaning the earth, a potter's wheel and comb for shaping, a hollowed-out bull's horn and a fine wire-tipped stick for decoration, and a wood-burning stove for firing. The craft is transmitted through families, in workshops from master to apprentice, and at fairs and exhibitions. The element gives the community a sense of identity, while maintaining a social function in everyday existence.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/craftsmanship-of-horezu-ceramics-00610", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06509-BIG.jpg", "copyright": "2011 by Centre National pour la Pr\u00e9servation et la Promotion de la Culture Traditionnelle (CNCPCT)\/Minist\u00e8re de la Culture et du Patrimoine national (MCPN)", "title": "Le coq-\u00e9l\u00e9ment sp\u00e9cifique de la d\u00e9coration, dont la technique traditionnelle seulement les potiers de Horezu d\u00e9tiennent et la transmettent de g\u00e9n\u00e9ration en g\u00e9n\u00e9ration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06510-BIG.jpg", "copyright": "2011 by CNCPCT\/MCPN", "title": "Ma\u00eetre potier de Horezu, pratiquant l\u2019ancienne technique du modelage de l\u2019argile,\r\ndans son atelier" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06515-BIG.jpg", "copyright": "2011 by CNCPCT\/MCPN", "title": "La peinture au cornet de b\u0153uf \u00e9vid\u00e9 exige de la part des potiers le maniement des instruments de travail, un grand sens des proportions dans le dessin des mod\u00e8les, d\u2019un effet qui conjugue au mieux la d\u00e9coration et la couleur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08245-BIG.jpg", "copyright": "CNCPCT\/MCPN, 2011", "title": "Derni\u00e8res \u00e9tapes du modelage d\u2019une forme difficile \u00e0 faire: la cruche; la main gauche introduite dans le goulot, le potier colle l\u2019anse en faisant un trou dans la panse pour que l\u2019eau passe dans l\u2019anse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08246-BIG.jpg", "copyright": "CNCPCT\/MCPN, 2011", "title": "Le savoir faire est d\u00e9tenu et transmis dans les ateliers familiale; le plan second, on ex\u00e9cute l\u2019engobage - le blanchissement des pi\u00e8ces de c\u00e9ramique, proc\u00e9d\u00e9 qui pr\u00e9c\u00e8de la d\u00e9coration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08247-BIG.jpg", "copyright": "CNCPCT\/MCPN, 2011", "title": "Le <>, proc\u00e9d\u00e9 d\u00e9corative unique: on tire la couleur \u00e9tal\u00e9e sur la poterie, \u00e0 l\u2019aide du cornet, en d\u00e9pla\u00e7ant le mod\u00e8le premier \u00e0 l\u2019aide de \u00abgai\u0163a\u00bb, un petit b\u00e2tonnet, un fil m\u00e9tallique au bout" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08248-BIG.jpg", "copyright": "CNCPCT\/MCPN, 2011", "title": "La peinture au cornet de b\u0153uf \u00e9vid\u00e9 exige de la part des potiers le maniement des instruments de travail, un grand sens des proportions dans le dessin des mod\u00e8les, d\u2019un effet qui conjugue au mieux la d\u00e9coration et la couleur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08249-BIG.jpg", "copyright": "CNCPCT\/MCPN, 2011", "title": "M\u00e8re apprend son fils \u00e0 pratiquer la poterie traditionnelle; le savoir-faire est transmis dans les ateliers de Horezu d\u2019une g\u00e9n\u00e9ration \u00e0 l\u2019autre, de p\u00e8re en fils" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08250-BIG.jpg", "copyright": "CNCPCT\/MCPN, 2011", "title": "A l\u2019occasion des foires, des expositions, les potiers de Horezu participent aux d\u00e9monstrations pratiques, en vue de la mise en valeur du savoir-faire de cet \u00e9l\u00e9ment du patrimoine culturel immat\u00e9riel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08251-BIG.jpg", "copyright": "CNCPCT\/MCPN, 2011", "title": "Les potiers de Horezu, en participant aux foires nationales de poterie, assurent aussi la visibilit\u00e9 du savoir-faire de leur c\u00e9ramique traditionnelle" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=jKeurSq8lB8", "copyright": "Centre National pour la Pr\u00e9servation et Promotion de la Culture Traditionnelle (CNCPCT)\/Minist\u00e8re de la Culture et du Patrimoine National, 2012", "title": "Le savoir-faire de la c\u00e9ramique traditionnelle de Horezu" } ], "sustainability": "" } }, "element_617": { "type": "element", "label": "Three genres of traditional dance in Bali", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06477-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06477-HUG.jpg" }, "description": "There are three genres of traditional Balinese dance \u2013 sacred, semi-sacred and that meant for enjoyment by communities at large. Traditional Balinese dances are performed by male and female dancers dressed in traditional costumes consisting of brightly coloured cloth painted with gold floral and faunal motifs, with gold-leafed and jewelled accessories. The dances are inspired by nature and symbolize particular traditions, customs and religious values. They combine a variety of different movements including a basic posture with the knees outward and the stomach held in, locomotive movements in different tempos and directions, transitional movements with dynamic changes, and facial expressions with eye movements revealing happiness, sadness, anger, fear and love \u2013 all accompanied by the music of the ''gamelan''. In addition to being technically-skilled dancers, performers must have charisma, humility and discipline and a special spiritual energy that enlivens the performance. In Balinese communities, dances are mainly transmitted informally to children from an early age, within groups. Training begins with basic dance movements and positions and progresses to more intricate dances. The sessions continue until the students have memorized the sequence of movements. Traditional Balinese dances provide participants with a solid cultural identity grounded in the understanding that they are safeguarding the cultural heritage of their ancestors.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/three-genres-of-traditional-dance-in-bali-00617", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06462-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture", "title": "Rejang Dewa (Klungkung District). Sacred ceremonial dance by young girls in traditional ceremonial dress, their heads decorated with intricate flower arrangements." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06463-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture", "title": "Sanghyang Dedari (Karangasem District). Sacred trance dance to conteract negative supernatural forces. Performed by two specially trained young girls." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06470-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture", "title": "Saris Upacara (Bangli District) Performed at Pura Batur Temple. A religious dance conveying heroic spirit by even numbers of male dancers." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06472-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture", "title": "Gambuh Dancedrama (Gianyar District). Formerly royal theatrical performance, now accompaniment to ceremonies, by 25-40 dancers. Performed at Batuan Temple, Gianyar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06475-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture", "title": "Legong Kraton (Denpasar City). Exquisitely beautiful dance by 2 or 3 girls. Developed from Sanghyang Dedari, and Gambuh." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06477-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture", "title": "Barong Ket \"Kuntisraya\" (Badung District). Represents a fight between\r\ntwo mythological characters, Barong in the form of a lion symbolizing goodness and Rangda, an evil witch." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06483-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture", "title": "Traditional Balinese dance is mostly transmitted informally in dance schools called sanggar\/sekaha" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06485-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture", "title": "Traditional Balinese dance is also taught to students at various educational levels in schools in Bali" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06487-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture", "title": "Communities gather to watch Balinese Traditional Dance, stimulating cultural dialogue and mutual respect among the dancers, supporting musicians, craftspersons, and audiences." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06488-BIG.jpg", "copyright": "2010 by Centre for Research and Development of Culture", "title": "Community representatives attendeda Verification Seminar (17th June \r\n2010 at Indonesian Institute of Arts, Denpasar, Bali), and gave their input for revision of the draft nomination file, and have given their free, prior and\r\ninformed consent to the revised file." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=h0hnblBc1YM", "copyright": "2014 by Directorate of Internalization of Value and Cultural Diplomacy", "title": "Traditional Dances of Bali" } ], "sustainability": "" } }, "element_619": { "type": "element", "label": "Noken multifunctional knotted or woven bag, handcraft of the people of Papua", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05914-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05914-HUG.jpg" }, "description": "Noken is a knotted net or woven bag handmade from wood fibre or leaves by communities in Papua and West Papua Provinces of Indonesia. Men and women use it for carrying plantation produce, catch from the sea or lake, firewood, babies or small animals as well as for shopping and for storing things in the home. Noken may also be worn, often for traditional festivities, or given as peace offerings. The method of making Noken varies between communities, but in general, branches, stems or bark of certain small trees or shrubs are cut, heated over a fire and soaked in water. The remaining wood fibre is dried then spun to make a strong thread or string, which is sometimes coloured using natural dyes. This string is knotted by hand to make net bags of various patterns and sizes. The process requires great manual skill, care and artistic sense, and takes several months to master. The number of people making and using Noken is diminishing, however. Factors threatening its survival include lack of awareness, weakening of traditional transmission, decreasing numbers of craftspeople, competition from factory-made bags, problems in easily and quickly obtaining traditional raw materials, and shifts in the cultural values of Noken. ", "list": "USL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/noken-multifunctional-knotted-or-woven-bag-handcraft-of-the-people-of-papua-00619", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05911-BIG.jpg", "copyright": "2011 by Centre for Research and development of Culture", "title": "The day-to-day function of large size noken is for carrying plantation produce, catch from the sea or lake, wood, babies, small animals, shopping, etc., and for hanging at home to store things" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05912-BIG.jpg", "copyright": "2011 by Centre for Research and development of Culture", "title": "Small size noken is for carrying personal effects such as betel nut, food, books, etc.. Noken may be used to cover the head or body. Noken is an accessory to traditional dress, and is used in traditional ceremonies." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05913-BIG.jpg", "copyright": "2011 by Centre for Research and development of Culture", "title": "The forms, patterns, local motifs and\r\ncolours of noken made by each ethnic\r\nI Copyright 2011 by\r\nThe forms, patterns, local motifs and colours of noken made by each ethnic community in Papua differ, indicating cultural diversity. Noken is a part of the cultural identity of each ethnic community and of the people of Papua." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05914-BIG.jpg", "copyright": "2011 by Centre for Research and development of Culture", "title": "Noken is generally made by women, \"The Mamas of Papua\", Women play a special role in safeguarding noken culture. Numbers of noken craftspersons are very few and decreasing in most places..(photo\r\nfrom Wamena)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05915-BIG.jpg", "copyright": "2011 by Centre for Research and development of Culture", "title": "People in Papua, especially young people, have begun to prefer to use bags imported from outside Papua, rather than noken, In markets eg. Oyeye market in Nabire, almost all of the merchants were only selling modern imported bags." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05916-BIG.jpg", "copyright": "2011 by Centre for Research and Development of Culture", "title": "In Biak Island, we found no more than 10 ladies most of whom were already elderly, in two groups, still making noken. People feel that by making and wearing noken, they are carrying on the tradition of their forefathers." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05917-BIG.jpg", "copyright": "2011 by Centre for Research and Development of Culture", "title": "Noken from Paniai District have special decoration made from yellow,\r\nbrown and black fibres obtained from orchid stems. Making noken requires great manual skill, care, and artistic sense. Craftspersons often make noken while singing traditional songs. Craftspersons are becoming rare." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05918-BIG.jpg", "copyright": "2011 by Centre for Research and Development of Culture", "title": "Maybrat community craftspersons colour the fibres with natural colours. The fibres, leaves or grass are woven in various attractive patterns with symbolic meanings. Local government in Wayer, South Sorong, has tried to help craftspersons, but their numbers still remain few." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05919-BIG.jpg", "copyright": "2011 by Centre for Research and Development of Culture", "title": "Representatives of noken communities, culture experts, provincial and district\/municipal officials, religious and community leaders attended the 1st Verfication Seminar (15 Februari 2011) at Yasmin Hotel Yasmin, Jayapura City, Papua and have given their imput for correction of the nomination file" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05920-BIG.jpg", "copyright": "2011 by Centre for Research and Development of Culture", "title": "2nd Verification Seminar (22nd February 2011) at Mariat Hotel, Sorong City, West Papua. Noken community members signed a statement giving them free, prior and informed consent to the nomination file, and declaring mutual respect and cooperation for safeguarding noken culture." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=R_-wyEK2NVQ", "copyright": "2011 Centre for Research and Development of Culture", "title": "Noken Handicraft of the People of Papua" } ], "sustainability": "" } }, "element_622": { "type": "element", "label": "Safeguarding foster care heritage in the merciful city of Geel: a community-based care model", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16790-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16790-HUG.jpg" }, "description": "The Belgian town of Geel is known for its tradition of hosting people with mental disorders in the homes of foster families. A form of psychiatric care, the community-based practice encourages the social participation of mentally-vulnerable people while destigmatizing mental illness. Over time, the practice has evolved into a scientifically and medically supported programme, with laws and decrees defining the conditions, responsibilities and rights of foster families, guests and the Public Psychiatric Care Centre. Despite its resilience, this tradition is challenged by changes in modern society and mental health care. To respond to these challenges, local organizations and councils work together on a multi-layered safeguarding programme aimed at: (a) transmitting the practice and its history; (b) researching the model from historical, medical and anthropological perspectives; and (c) cultivating a caring ecosystem. The programme highlights the complementarity of diverse health care approaches by nurturing a warm-hearted ecosystem where cultural and health care practices and medical institutions merge. It is an inexpensive model that leverages existing community assets and generates strong health outcomes for the mentally ill. It is a cost-effective mental health service which ensures healthy lives and promotes well-being for all at all ages.", "list": "GSP", "year": 2023, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/safeguarding-foster-care-heritage-in-the-merciful-city-of-geel-a-community-based-care-model-00622", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16790-BIG.jpg", "copyright": "OPZ Geel, 2021", "title": "Foster Family in Geel: Ann (l.) with her son (r.) and two boarders" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16791-BIG.jpg", "copyright": "OPZ Geel, 2019", "title": "At the visitor center of the OPZ Geel visitors can obtain information about the psychiatric care in Geel. Experts by experience are involved in the realization and operation of the visitor center. Their testimonials are essential part" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16792-BIG.jpg", "copyright": "Tussen de mensen, 2010", "title": "Students interview their neighbor, a foster parent and former OPZ nurse for the oral history project 'Among the people. The remarkable history of PFC in Geel'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16793-BIG.jpg", "copyright": "OPZ Geel, 2019", "title": "A mentally vulnerable artist and expert by experience gives students of a local high school a tour of the Art Centre 'Yellow Art' after they have completed a workshop together" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16794-BIG.jpg", "copyright": "Gasthuismuseum Geel, 2018", "title": "In the Hospital Museum there is a separate route on Dympna and the origin of the psychiatric foster care. The silver shrine (1612-1613) that used to house relics of Saint Dympna is still carried around every Dympna procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16795-BIG.jpg", "copyright": "Toerisme Geel, 2015", "title": "Visitors hosted by an expert by experience on the grounds of OPZ Geel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16796-BIG.jpg", "copyright": "Toerisme Geel, 2015", "title": "The GheelaMania theatre project during the quinquennial Dympna Days involves a large part of the population, including a lot of youngsters" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16797-BIG.jpg", "copyright": "Toerisme Geel, 2015", "title": "During the rehearsal of GheelaMania, the artistic director Luc Stevens gives instructions to the actors" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16798-BIG.jpg", "copyright": "Toerisme Geel, 2015", "title": "The Geel community is closely involved in the Saint Dympna procession. This scene depicts the beheading of Dympna by her father" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16799-BIG.jpg", "copyright": "Huis Perrekes, 2012", "title": "Inclusive, intergenerational Choir 'The Betties'', an initiative of 'Huis Perrekes', an organisation that takes care of people with dementia. The mental healthcare programme of Huis Perrekes is built on a hulan and community-based approach, reflecting the caretaking tradition of Geel" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=yVC_FetGpaE", "copyright": "CJM, 2022", "title": "Safeguarding foster care heritage in the merciful city of Geel: a community-based care model" } ], "sustainability": "" } }, "element_624": { "type": "element", "label": "Strategy for training coming generations of Fujian puppetry practitioners ", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08229-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08229-HUG.jpg" }, "description": "Fujian puppetry is a Chinese performing art consisting mainly of string and hand puppetry. Puppetry in Fujian Province in south-eastern China has developed a set of characteristic techniques of performance and crafting puppets, as well as a repertoire of plays and music. Since the 1980s, however, the number of young people learning puppetry has diminished due to socioeconomic changes transforming their lifestyles, on the one hand, and the long period of training required to master the sophisticated performing techniques, on the other. In response, concerned communities, groups and bearers formulated the 2008-2020 Strategy for the Training of Coming Generations of Fujian Puppetry Practitioners. The key objectives are to safeguard the transmission of Fujian Puppetry and to enhance its sustainability through professional training to create a new generation of puppetry practitioners; compilation of teaching materials; setting up of performing venues, training institutes and exhibition halls; sensitization of people through non-formal and formal education; regional and international cooperation; and artistic exchange. This strategy has witnessed a wide participation of practitioners, local people and educational institutions. In consequence, 200 potential practitioners have received professional training; 20 public puppetry groups have been established; and financial support has been provided to representative bearers.", "list": "GSP", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/strategy-for-training-coming-generations-of-fujian-puppetry-practitioners-00624", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08227-BIG.jpg", "copyright": "Fujian Provincial Intangible Cultural Heritage Safeguarding Center", "title": "Jinjiang Hand Puppetry Troupe performing for kids of Jinjiang Kindergarten" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08228-BIG.jpg", "copyright": "Fujian Provincial Intangible Cultural Heritage Safeguarding Center", "title": "Mr. Wang Jiansheng, representative bearer of Fujian Puppetry, giving lessons in Ouanzhou Art School" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08229-BIG.jpg", "copyright": "Fujian Provincial Intangible Cultural Heritage Safeguarding Center", "title": "Performers of Ouanzhou Puppetry Troupe imparting Fujian Puppetry by way of teaching school teachers first, \r\nthen having school teachers teach their students" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08230-BIG.jpg", "copyright": "Fujian Provincial Intangible Cultural Heritage Safeguarding Center", "title": "Quanzhou Puppetry Troupe insisting for a long time on making performance on campus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08231-BIG.jpg", "copyright": "Fujian Provincial Intangible Cultural Heritage Safeguarding Center", "title": "Ms Fu Duanfeng, bearer of Fujian Puppetry, performing for folks of community" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08232-BIG.jpg", "copyright": "Fujian Provincial Intangible Cultural Heritage Safeguarding Center", "title": "Mr. Zhuang Chenhua, representative bearer of Fujian Puppetry, teaching his apprentice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08233-BIG.jpg", "copyright": "Fujian Provincial Intangible Cultural Heritage Safeguarding Center", "title": "Performers of Zhangzhou Puppetry performing during the Shenzhen International Cultural Fair" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08234-BIG.jpg", "copyright": "Fujian Provincial Intangible Cultural Heritage Safeguarding Center", "title": "Performers of Zhangzhou Puppetry\r\nTroupe making public performance at Minnan (southern Fujian)-characterized temple fair in Taizhong,Taiwan" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=8rDxjTkMr3E", "copyright": "zhangyuzhou", "title": "The Training Plan of Later-Generation Practitioners of Fujian Puppetry" } ], "sustainability": "" } }, "element_627": { "type": "element", "label": "Ichapekene Piesta, the biggest festival of San Ignacio de Moxos ", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06085-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06085-HUG.jpg" }, "description": "Every year, the inhabitants, both young and old, of San Ignacio de Moxos in Bolivia celebrate Ichapekene Piesta, a syncretic festival that reinterprets the Moxe\u00f1o founder myth of the Jesuit victory of Ignacio de Loyola and melds it with indigenous beliefs and traditions. The festivities begin in May with firework displays, singing and praises, and continue in July with daily and nightly celebrations of masses, funeral wakes, alms-giving and feasts. The main representation of the victory of Saint Ignatius involves twelve sun warriors, wearing spectacular feathers, who battle the guardians of the holy flag \u2013 the original \u2018owners\u2019 of the forest and water \u2013 before converting them finally to Christianity. These rites are an act of faith and constant rebirth, allowing the Moxe\u00f1os to be reborn into the Christian tradition in the presence of the spirits of their ancestors. The main procession involves 48 groups of participants disguised as masked ancestors and animals, reinforcing the importance of respect for nature. They play tricks and dance to the accompaniment of the Baroque-era music of the Jesuit missions, then around midnight fireworks pop from the top of their wide-brimmed hats, symbolizing the gift of light and vision to live respectfully.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ichapekene-piesta-the-biggest-festival-of-san-ignacio-de-moxos-00627", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06082-BIG.jpg", "copyright": "Fama Producciones, 2010", "title": "Dance Achu repr\u00e9sente l'homme blanc, c'est l'esprit de la for\u00eat, l'anc\u00eatre des moxe\u00f1os" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06084-BIG.jpg", "copyright": "Fama Producciones, 2010", "title": "\"Chasquero\", chapeau avec des feux d'artifice incorpor\u00e9s \u00e0 une structure qui donne aujourd'hui la lumi\u00e8re aux moxe\u00f1os" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06085-BIG.jpg", "copyright": "Fama Producciones, 2010", "title": "Bajon, instrument \u00e0 vent fabriqu\u00e9 \u00e0 partir de feuilles de palmier, fils de cotonet de cuir" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06086-BIG.jpg", "copyright": "Fama Producciones, 2010", "title": "\"Japutuqui\", danseur solitaire un repr\u00e9sentant de la divinit\u00e9 tut\u00e9laire de la montagne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06087-BIG.jpg", "copyright": "Fama Producciones, 2010", "title": "Dance du cerf (Kajawana) incarn\u00e9e chez les jeunes et les enfants qui sont masqu\u00e9s, orn\u00e9e de rubans et de foulards" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06088-BIG.jpg", "copyright": "Fama Producciones, 2010", "title": "Le guerrier du soleil avec les plumes sacr\u00e9es (Machetero)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06089-BIG.jpg", "copyright": "Fama Producciones, 2010", "title": "\"Meme\" o madame charg\u00e9 du travail de cuisine dans le Conseil Indig\u00e8ne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06090-BIG.jpg", "copyright": "Fama Producciones, 2010", "title": "\"Moperita\" fille indienne avec de la peinture c\u00e9r\u00e9monielle sur son visage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06091-BIG.jpg", "copyright": "Fama Producciones, 2010", "title": "Dance \"Torito\" incorpor\u00e9 avec la pr\u00e9sence des j\u00e9suites" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06092-BIG.jpg", "copyright": "Fama Producciones, 2010", "title": "Dance du Tigre (Ichinisiri), un personnage avec masque qui est respect\u00e9 par les moxe\u00f1os et qu'ils adorent" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=qu5AMFLuWFc", "copyright": "2010 by Fama Producciones", "title": "Ichapekene Piesta. La fiesta mayor de San Ignacio de Moxos" }, { "url": "https:\/\/www.youtube.com\/watch?v=Ab2jSPf3l1s", "copyright": "2010 by Fama Producciones", "title": "Ichapekene Piesta. La fiesta mayor de San Ignacio de Moxos" } ], "sustainability": "" } }, "element_630": { "type": "element", "label": "Pujllay and Ayarichi, music and dances of the Yampara culture", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06013-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06013-HUG.jpg" }, "description": "Pujllay and Ayarichi are the main musical and choreographic forms of the Yampara culture. They complement each other and form a whole: Pujllay linked to the rainy season and Ayarichi to the dry. Pujllay is performed primarily by males, during the ritual of the same name celebrating the renewal of life and abundance brought on by rains. The sounds, dances and costumes evoke the \u2018Tata Pujllay\u2019, a demonic and fruitful entity with boundless energy. A group of musicians play flutes and a horn clarinet. Dancers, lavishly dressed as Tata Pujllay, tirelessly circle around a large altar decorated with food. Ayarichi is danced during festivals dedicated to various Catholic saints who govern the social and cosmic order and influence the preservation of life. The group comprises four male dancer-musicians playing panpipes and drums, and two to four young female dancers. Craftswomen are responsible for weaving costumes meticulously to the smallest detail. Extensive community networks are mobilized to organize the ritual and provide abundant food and drink. Transmission of musical and choreographic knowledge to children occurs without adult participation, often through collective games and observation. Pujllay and Ayarichi create unity among Yampara communities as a favoured way to communicate with nature.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pujllay-and-ayarichi-music-and-dances-of-the-yampara-culture-00630", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06013-BIG.jpg", "copyright": "Martinez 2010", "title": "Danseurs Pujllay de la communaut\u00e9 San Jos\u00e9 de Pared\u00f3n au village de Tarabuco, lors du lancement de la candidature \u00e0 l'inscription dans la Liste Repr\u00e9sentative" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06014-BIG.jpg", "copyright": "Martinez 1994", "title": "Pujllay. Fl\u00fbtes \u00e0 conduit d'air pinkillo. Les musiciens portent le chapeau \"montera\" des conquistadors espagnols devenu aujourd'hui embl\u00e9matique des Yampara" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06015-BIG.jpg", "copyright": "Martinez 2010", "title": "Pujllay. Fl\u00fbte Toqoro \u00e0 insufflation lat\u00e9rale. Aujourd'hui elle est en train de dispara\u00eetre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06016-BIG.jpg", "copyright": "Martinez 2010", "title": "Pujllay. Les \u00e9perons des danseurs rappellent le Tata Pujllay, entit\u00e9 d\u00e9moniaque d\u00e9crite comme un cheval ou son cavalier. Les danseurs font constamment sonner leurs \u00e9perons qui constituent un v\u00e9ritable instrument de musique (sistre)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06018-BIG.jpg", "copyright": "Martinez 2010", "title": "Pujllay. Autel Pukara couvert de toutes sortes de nourriture en signe d'abondance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06020-BIG.jpg", "copyright": "Martinez 2010", "title": "Pujllay. Costume d'un danseur. Le chapeau est orn\u00e9 avec des fleurs blanches en tissu qui repr\u00e9sentent les premiers bourgeons du ma\u00efs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06021-BIG.jpg", "copyright": "Martinez 2010", "title": "Musicien danseur d'Ayarichi. Il joue simultan\u00e9ment le fl\u00fbte de Pan et le tambour \"caja\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06022-BIG.jpg", "copyright": "Martinez 2010", "title": "Ayarichi. Mach K'umu, personnage comique dont le r\u00f4le est d'introduir le d\u00e9sordre dans le rituel en faisant constamment des blagues" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06024-BIG.jpg", "copyright": "Martinez 2010", "title": "Ayarichi. Jeunes filles danseuses Taki. Elles portent des bijoux qui \u00e9voquent le monde c\u00e9leste, le soleil et la lune" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06027-BIG.jpg", "copyright": "Martinez 2010", "title": "Ayarichi. Image de Saint Jacques (Tata Santiago). Nombreuses communaut\u00e9s dansent l'Ayarichi pour attirer sa protection. En haut des volets du support sont repr\u00e9sent\u00e9s les musiciens-danseurs et les jeunes danseuses" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=0z_s2GkumLc", "copyright": "2011 par Rosalia Martinez", "title": "Pujllay and Ayarichi: Music and Dances of the Yampara Culture" }, { "url": "https:\/\/www.youtube.com\/watch?v=Q17JzEN80_k", "copyright": "2011 par Rosalia Martinez", "title": "Pujllay and Ayarichi: Music and Dances of the Yampara Culture" }, { "url": "https:\/\/www.youtube.com\/watch?v=APTE_HsTS40", "copyright": "2011 par Rosalia Martinez", "title": "Pujllay and Ayarichi: Music and Dances of the Yampara Culture" } ], "sustainability": "" } }, "element_633": { "type": "element", "label": "Folk art of the Maty\u00f3, embroidery of a traditional community", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08020-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08020-HUG.jpg" }, "description": "The folk art of the Roman Catholic Maty\u00f3 community in and around the town of Mez\u0151k\u00f6vesd in north-eastern Hungary is characterized by floral motifs that are found in flat-stitch embroidery and ornamented objects. Maty\u00f3 embroidery decorates the traditional dress of the region, worn by local people in celebratory events and in folk dancing and singing. The floral motifs have played a crucial part in strengthening the self-image and identity of the Maty\u00f3 community and are employed in interior decoration, contemporary fashion and architecture, in addition to embroidery. Community members established the Maty\u00f3 Folk Art Association in 1991 to transmit the skills of embroidery and organize numerous cultural events and performances. In its Bors\u00f3ka Embroidery Circle, anyone can learn the art, techniques and motifs of embroidery from experienced masters. In its Folk Dance Ensemble, members wear the finely embroidered traditional costumes, thereby contributing to their perpetuation. The national popularity of Maty\u00f3 embroidery has made it into a form of auxiliary income, enabling women to buy the fine fabrics and supplies necessary for making elaborate costumes. Most often practised as a communal activity, embroidery strengthens interpersonal relationships and community cohesion, while allowing for individual artistic expression.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/folk-art-of-the-matyo-embroidery-of-a-traditional-community-00633", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06529-BIG.jpg", "copyright": "Museum of Herman Ott\u00f3, 2005", "title": "Traditional 'billowing-sleeved' Maty\u00f3 men's festive shirt. The embroidery pattern was designed by the famous Master of Folk Art, Kisjank\u00f3 Bori and embroidered with cotton thread by the wearer's mother (Mrs. Erzs\u00e9bet T\u00f3th Kert\u00e9sz, Master of Folk Art) - made in 1938." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06535-BIG.jpg", "copyright": "G\u00e1bor B\u00e1rdos, 2010", "title": "Szabolcs Kov\u00e1cs-applied folk artist of ornamental furniture painting, operating in one of the workshops in the 'Hadas' Quarter. At the 2-day Cultural Heritage Days event communities could introduce their element - a demonstration following ministerial announcement of National Inventory inscriptions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06539-BIG.jpg", "copyright": "Kriszti\u00e1n Csap\u00f3, 2010", "title": "Performance by the Maty\u00f3 Folkdance Group at the Cultural Heritage Days in Budapest - 2010" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06542-BIG.jpg", "copyright": "Eszter Csonka-Tak\u00e1cs, 2010", "title": "Restored traditional peasant house in the 'Hadas' Quarter - characteristic housing arrangement: close residential quarters of 'clans' with narrow streets - zoned for preservation by the city of Mez\u0151k\u00f6vesd in 2002" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08015-BIG.jpg", "copyright": "P\u00e9ter Kohalmi, 2012", "title": "Teaching in the Bors\u00f3ka Embroidery Circle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08016-BIG.jpg", "copyright": "P\u00e9ter Kohalmi, 2012", "title": "Maty\u00f3 textiles in an interior" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08017-BIG.jpg", "copyright": "P\u00e9ter Kohalmi, 2012", "title": "Maty\u00f3 Easter Sprinkling in the Hadas Quarter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08018-BIG.jpg", "copyright": "P\u00e9ter Kohalmi, 2012", "title": "Maty\u00f3 Easter Sprinkling in the Hadas Quarter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08019-BIG.jpg", "copyright": "Hungarian Open Air Museum, 2012", "title": "Detail of Maty\u00f3 embroidery with \"shoe and bird\" pattern" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08020-BIG.jpg", "copyright": " Hungarian Open Air Museum, 2012", "title": "Detail of the floral patterns of flat-stitch Maty\u00f3 embroidery" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=gqVNUGOLzdk", "copyright": "2011 by Hungarian Open Air Musum", "title": "Maty\u00f3 Heritage: Embroidery, Costumes and Folklore of a Traditional Community" } ], "sustainability": "" } }, "element_639": { "type": "element", "label": "Venezuela's Dancing Devils of Corpus Christi", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06358-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06358-HUG.jpg" }, "description": "The small communities along the central coastal region of Venezuela have a special way to celebrate the Feast of Corpus Christi, an annual Roman Catholic holiday commemorating the presence of Christ in the Sacrament. Groups of adults, young men and children disguised as masked devils dance backwards in penitence as an official of the Catholic Church carries forth the Blessed Sacrament. String and percussion instruments provide musical accompaniment and worshippers carry maracas to ward off evil spirits. At the climax of the celebration the devils surrender to the Sacrament, symbolizing the triumph of good over evil. The dancers or promeseros (promise-keepers) are lifelong members of a confraternity that transmit the historical memory and ancestral traditions. Each confraternity crafts its own devil masks, which are worn with crosses, scapulars and blessed palm leaves. Dancers also use bells, handkerchiefs and strips of ribbon as protection from evil spirits. Women oversee the spiritual preparation of children, organize the stages of the ritual, prepare food, provide support for the dances, and raise altars along the procession route; in recent years, some communities have begun to welcome them as dancers. The practice is steeped in creativity, organization and faith, and promotes a strong sense of communal and cultural identity.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/venezuela-s-dancing-devils-of-corpus-christi-00639", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06358-BIG.jpg", "copyright": "2008 Fundaci\u00f3n Centro de la Diversidad Cultural", "title": "The Diablos Danzantes de Corpus Christi have endured as an expression of popular faith and as an example of how the three cultures comprising Venezuela's current identity (Indo-American, European and African) interact among each other" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06359-BIG.jpg", "copyright": "2010 Fundaci\u00f3n Centro de la Diversidad Cultural", "title": "Diablos Danzantes de Yare: young and old wear amulets as protection during a ritual to commemorate Corpus Christi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06360-BIG.jpg", "copyright": "(2010) Fundaci\u00f3n Centro de la Diversidad Cultural", "title": "Diablos Danzantes de Naiguat\u00e1: fulfilling promises year after year to the beat of drums" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06361-BIG.jpg", "copyright": "(2002) Fundaci\u00f3n Centro de la Diversidad Cultural", "title": "A line of dancing devils from the confraternity of Chuao surrenders in front of the Blessed Sacrament" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06362-BIG.jpg", "copyright": "(2010) Fundaci\u00f3n Centro de la Diversidad Cultural", "title": "Having surrendered in front of the Blessed Sacrament and no longer wearing his mask, a dancing devil of Turiamo shows his veiled face" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06364-BIG.jpg", "copyright": "2006 Fundaci\u00f3n Centro de la Diversidad Cultural", "title": "Mask worn by the Diablos Danzantes de Yare, an artifact that belies the creativity, technical skill and craftsmanship of the artist" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06365-BIG.jpg", "copyright": "(2010) Fundaci\u00f3n Centro de la Diversidad Cultural", "title": "Group of Diablos Danzantes de Chuao, tradition bearers who pass knowledge orally from one generation to the next" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06366-BIG.jpg", "copyright": "2010 Fundaci\u00f3n Centro de la Diversidad Cultural", "title": "In recent years some confraternities, such as those of Naiguat\u00e1 and Tinaquillo, have started to accept female promeseras ( a person keeping a promise) in the role of dancing devil" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06377-BIG.jpg", "copyright": "(2010) Fundaci\u00f3n Centro de la Diversidad Cultural", "title": "The continuity of the Dancing Devils of Corpus Christi is guarantee by the incorporation of new generations of Dancing Devils" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=rIZ3J24rk-8", "copyright": "(2011) Fundaci\u00f3n Centro de la Diversidad Cultural ", "title": "Diablos Danzantes de Corpus Christi Venezuela" } ], "sustainability": "" } }, "element_640": { "type": "element", "label": "Festival of Saint Francis of Assisi, Quibd\u00f3", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06743-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06743-HUG.jpg" }, "description": "Every year from 3 September to 5 October the twelve Franciscan districts of Quibd\u00f3, Colombia, hold the Fiesta de San Pacho, a celebration of the community\u2019s Afro-descendant Choc\u00f3 identity, embedded in popular-rooted religion. It begins with the Catholic \u2018Inaugural Mass\u2019 at the Cathedral blended with traditional dances and chirim\u00eda music performed by the San Francis of Assisi Band. This is followed by a parade of carnival groups featuring costumes, dances and chirim\u00eda. Each district offers a morning mass and allegorical floats and carnival groups in the afternoon. On 3 October, the patron saint travels the Atrato River in boats, and on 4 October people celebrate the dawn with devotional hymns and perform the Grand Procession of the Saint in the afternoon. Local artists and craftspersons make the floats, district altars, costumes and street decorations with young people learning alongside. Certain families per district act as custodians and work through the Franciscan Festival Foundation to organize events, preserve know-how and keep the tradition alive. The festival is the main symbolic space in the life of Quibd\u00f3. It strengthens Choc\u00f3 identity and promotes social cohesion within the community, while promoting creativity and innovation through its revival and recreation of traditional knowledge and respect towards nature.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/festival-of-saint-francis-of-assisi-quibdo-00640", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06736-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, 2009", "title": "The carnival groups ('comparsas') in the districts' parades have a new theme each year. This one represents the African ancestor" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06737-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, 2005", "title": "The carnival groups (\"comparsas\") in the districts' parades have a new theme each year, enriched with colourful costumes (cach\u00e9s)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06738-BIG.jpg", "copyright": " Le\u00f3n Dario Pel\u00e1ez, 2005", "title": "The carnival groups ('comparsas') in the parades have a new theme each year. This costume ('cach\u00e9') represents 'The Church in the head, Choc\u00f3 in the hand and Colombia on the body'." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06739-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, 2008", "title": "Hairdresser shop 'House of Queens, Misael and Gabino'. Infinite joy in the eyes of Victor Palacio, as he prepares for the Yesca Grande district's parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06740-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, 2007", "title": "District's boat on October 3rd, day of the St. Francis procession on the Atrato River ('Balsadas'). Chirim\u00eda music and carnival groups gather on each of the 12 district's boat, to 'dance' around the main boat where the Saint's altar stands" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06741-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, 2008", "title": "Governing Committee boat on October 3rd, day of the St. Francis procession on the Atrato River ('Balsadas'). Followed by the 12 district boats, St. Francis of Assisi navigates the river recalling the patron saint's popular celebrations of the region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06742-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, 2008", "title": "The 'cach\u00e9' (costume) is the key factor for the success of the carnaval groups (comparsas). Dancing in choreography with the chirimiaa music, the San Pacho Festival is embrighten the cach\u00e9's colours and themes, refection of the Quibd\u00f3 people creativity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06743-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, 2008", "title": "Miss Luz Eulogia Agualimpia Moreno offering jewels to St. Francis of Assisi. People who have been favored by the Saint though miracles offer him a piece of their jewelry on October 4th, the 'Grand Procession' day" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06744-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, 2008", "title": "On October 4th, the Quibd\u00f3 people celebrate the dawn with devotional hymns ('Gozos') in a procession leaded by the 'Franciscan Band' : the Saint stops in each one of the 12 Franciscan Districts, where he is adored by candles and gozos." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06745-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, 2008", "title": "The traditional chirim\u00eda music is one of the most important aspects for the San Pacho Festival, and represents Choco's identity. At night, the chirim\u00eda animates the celebration in the 'bundes', traditional parties where the music alternates with chorus from the audience" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=MKVkhFpMI0k", "copyright": "2012 by Fundaci\u00f3n Fiestas Franciscanas de Quibd\u00f3", "title": "Festival of St. Francis of Assisi. Quibd\u00f3 (Fiesta de San Francisco de As\u00eds, Quibd\u00f3)" } ], "sustainability": "" } }, "element_641": { "type": "element", "label": "Cherry festival in Sefrou", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06003-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06003-HUG.jpg" }, "description": "For three days in June each year, the local population of Sefrou celebrates the natural and cultural beauty of the region, symbolized by the cherry fruit and that year\u2019s newly chosen Cherry Queen, selected during a pageant that draws competitors from the region and entire country. The highlight of the festival is a parade with performing troupes, rural and urban music, majorettes and bands, and floats featuring local producers. At the centre is the Cherry Queen, who offers cherries to onlookers while dressed ornately and surrounded by attendants. The whole population contributes to the success of the festival: craftswomen make silk buttons for traditional dresses, fruit growers supply cherries, local sports clubs participate in competitions, and music and dancing troupes animate the entire festival. The cherry festival provides an opportunity for the entire city to present its activities and achievements. The younger generation are also integrated into festival activities to ensure their sustainability. The festival is a source of pride and belonging that enhances the self-esteem of the city and its people and constitutes a fundamental contribution to their local identity.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cherry-festival-in-sefrou-00641", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06000-BIG.jpg", "copyright": "Conseil municipal de Sefrou, 2010", "title": "Couronnement de Miss Cerisette par Ie Pr\u00e9sident du Conseil municipal de la ville, moment fort du festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06001-BIG.jpg", "copyright": "Conseil municipal de Sefrou, 2010", "title": "Dauphine en costume traditionnel et bijoux traditionnels \u00e9lements incontournables du festival et reflet de la richesse de l'artisanat traditionnel de la ville" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06002-BIG.jpg", "copyright": "Conseil municipal de Sefrou, 2010", "title": "Dauphine en costume traditionnel avec boutons de soie qui sont caract\u00e9ristiques de l'artisanat de la ville de Sefrou et un savoir ancestral des femmes de la ville qui les con\u00e7oivent sp\u00e9cifiquement pour le festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06003-BIG.jpg", "copyright": "Conseil municipal de Sefrou, 2010", "title": "Enfants en danse mixte d'ahidous, v\u00e9ritable symbole de la transmission de ce type d'art de spectacle aux\r\ng\u00e9n\u00e9rations futures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06004-BIG.jpg", "copyright": "Conseil municipal de Sefrou, 2010", "title": "Fantasia le jour du couronnement de Miss Cerisette et participation de plusieurs troupes du Maroc, garant d'\u00e9change interculturel et du dialogue" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06005-BIG.jpg", "copyright": "Conseil municipal de Sefrou, 2010", "title": "Les cerises de la r\u00e9gion de Sefrou, fruit embl\u00e9matique autour duquel s'organise le festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06006-BIG.jpg", "copyright": "Conseil municipal de Sefrou, 2010", "title": "Majorettes de la ville de Sefrou qui symbolisent la mobilisation et la participation de toute la population de la ville de Sefrou, d\u00e9tentrice du festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06007-BIG.jpg", "copyright": "Conseil municipal de Sefrou, 2010", "title": "Miss Cerisette 2010 et ses dauphines. Le concours est actuellement ouvert \u00e0\r\ntoutes les filles du Maroc et assur\u00e9 par un comit\u00e9 sp\u00e9cialis\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06008-BIG.jpg", "copyright": "Conseil municipal de Sefrou, 2010", "title": "Miss cerisette \u00e9lue en 2010 v\u00eatue d'un kaftan portant des boutons en soie sous forme de cerises" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06009-BIG.jpg", "copyright": "Conseil municipal de Sefrou, 2010", "title": "Troupe de danse d'Ahidous, forme d'art de spectacle amazighophone de\r\nla r\u00e9gion de Sefrou" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3NlEk6RtyVQ", "copyright": "", "title": "The lord of festivals of Morocco - The feast of the Cherry" } ], "sustainability": "" } }, "element_642": { "type": "element", "label": "Mesir Macunu festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06816-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06816-HUG.jpg" }, "description": "The Mesir Macunu festival of Manisa, Turkey, commemorates the recovery of Hafsa Sultan, mother of Suleiman the Magnificent, who was cured of a disease by the invention of a paste known as mesir macunu. The Sultan then ordered that the paste be disseminated to the public. So, every year from 21 to 24 March, the paste is prepared by a chef and apprentices from 41 fresh spices and herbs according to traditional practice. A team of 14 women wrap the paste in small pieces of paper, and 28 imams and apprentices bless it before scattering the paste from the top of the minaret and the domes of the Sultan Mosque. Thousands of people come from different regions of Turkey to compete to catch the pieces as they fall. Many believe that by so doing their wishes for marriage, work and children will come true within a year. A 45-piece orchestra dressed in traditional clothing perform historical Ottoman music during the preparation of the paste and throughout the festival. Inhabitants of Manisa have a deep emotional attachment to the festival. The strength of tradition creates a strong sense of solidarity among local communities, and the city welcomes guests from almost all regions of Turkey.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mesir-macunu-festival-00642", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06808-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Preperation of Mesir Macunu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06809-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Preperation of Mesir Macunut" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06810-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Stirring of Mesir Macunut" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06811-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Merkez Efendi (Inventor of Mesir Macunu)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06812-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Reenactment of Merkez Efendi and Hafsa Sultant" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06813-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Distribution of Mesir Macunu to people from Sutlun Mosque" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06814-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Distribution of Mesir Macunu to people from Sutlun Mosque" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06815-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Distribution of Mesir Macunu to people from Sutlun Mosque" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06816-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Crowd trying to catch Mesirt" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06817-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Scene from Festive Area" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Mi3V1PF3Y30", "copyright": "Researcher of Folklore working for Ministry of Culture and Tourism", "title": "Mesir Macunu Festivities" } ], "sustainability": "" } }, "element_644": { "type": "element", "label": "Ebru, Turkish art of marbling", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08977-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08977-HUG.jpg" }, "description": "Ebru is the traditional Turkish art of creating colourful patterns by sprinkling and brushing colour pigments onto a pan of oily water and then transferring the patterns to paper. Known as marbling, the designs and effects include flowers, foliage, ornamentation, latticework, mosques and moons, and are used for decoration in the traditional art of bookbinding. The practitioner uses natural methods to extract colours from natural pigments, which are then mixed with a few drops of ox-gall, a kind of natural acid, before sprinkling and brushing the colours onto a preparation of condensed liquid, where they float and form swirling patterns. Ebru artists, apprentices and practitioners consider their art to be an integral part of their traditional culture, identity and lifestyle. Their knowledge and skills, as well as the philosophy behind this art, are transmitted orally and through informal practical training within master-apprentice relationships. Achieving basic skills in Ebru takes at least two years. The tradition is practised without barrier of age, gender or ethnicity, and plays a significant role in the empowerment of women and the improvement of community relationships. The collective art of Ebru encourages dialogue through friendly conversation, reinforces social ties and strengthens relations between individuals and communities.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ebru-turkish-art-of-marbling-00644", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06788-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Making Ebru (Marbling Art), Fuat Ba\u015far (who was declared Living Human Treasure in 2009 by Turkey) is working at the workshop in the Foundation of Classic Turkish Arts (Istanbul)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06789-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Fuat Ba\u015far (who was declared Living Human Treasure in 2009 by Turkey) is working at the workshop in the Foundation of Classic Turkish Arts (Istanbul)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06790-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Hikmet Barut\u00e7ugil teaching how to prepare dye for ebru at the workshop, (Istanbul)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06791-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Hikmet Barut\u00e7ugil teaching ebru to his apprentice at the workshop, (Istanbul)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06792-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Y\u0131lmaz Enes performing ebru at the workshop, (Istanbul)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06794-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Ayla Makas performing ebru at the workshop, (Istanbul)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06796-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "A Sample of Battal Ebru. Created by Sadrettin \u00d6z\u00e7imi (Istanbul)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06797-BIG.jpg", "copyright": "Information and Documentation Center of Folk Culture\/Ministry of Culture and Tourism", "title": "Bahtiyar H\u0131ra performing ebru at the workshop (Ankara)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08976-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2011", "title": "Outer cover of a book ornamented with art of Ebru. \r\nIts published date is estimated as 17th century." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08977-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, 2011", "title": "Practicing and seeing art of Ebru is a mesmerizing experience. \r\nThe artist flicks his or her wrist and draws the pattern \r\nwith brighthful color onto the liquid surface." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=6fPSwshIkv4", "copyright": "2011 by Emel Durmus, Ministry of Culture and Tourism ", "title": "Ebru: Turkish art of marbling" } ], "sustainability": "" } }, "element_645": { "type": "element", "label": "Turkish coffee culture and tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08435-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08435-HUG.jpg" }, "description": "Turkish coffee combines special preparation and brewing techniques with a rich communal traditional culture. The freshly roasted beans are ground to a fine powder; then the ground coffee, cold water and sugar are added to a coffee pot and brewed slowly on a stove to produce the desired foam. The beverage is served in small cups, accompanied by a glass of water, and is mainly drunk in coffee-houses where people meet to converse, share news and read books. The tradition itself is a symbol of hospitality, friendship, refinement and entertainment that permeates all walks of life. An invitation for coffee among friends provides an opportunity for intimate talk and the sharing of daily concerns. Turkish coffee also plays an important role on social occasions such as engagement ceremonies and holidays; its knowledge and rituals are transmitted informally by family members through observation and participation. The grounds left in the empty cup are often used to tell a person\u2019s fortune. Turkish coffee is regarded as part of Turkish cultural heritage: it is celebrated in literature and songs, and is an indispensable part of ceremonial occasions.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/turkish-coffee-culture-and-tradition-00645", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08432-BIG.jpg", "copyright": "Ministry of Culture and Tourism", "title": "Serving Turkish Coffee with silver coffee cup set and tray." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08433-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey", "title": "Serving Turkish Coffee with Turkish delight. The coffee cup and coffee pot indicate traditional handicrafts related to tradition." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08434-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey", "title": "Handicraftman making Turkish Coffee Tools in the city of Gaziantep." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08435-BIG.jpg", "copyright": "Ministry of Culture and Tourism", "title": "Turkish coffee cups and pot on the tray, coffee jug, mill and coffee seeds." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08436-BIG.jpg", "copyright": "Ministry of Culture and Tourism", "title": "Coffehouse as cultural space for people who are spending time with other people." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08437-BIG.jpg", "copyright": "Ministry of Culture and Tourism", "title": "Preparing and brewing Turkish Coffee with Turkish coffee pot." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08438-BIG.jpg", "copyright": "Ministry of Culture and Tourism", "title": "Tahmis Coffehouse has been a center of attraction for individuals in Gaziantep since 1635." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08439-BIG.jpg", "copyright": "Ministry of Culture and Tourism", "title": "Overturned coffee cups for fortune telling. If someone wishes to be married s\/he should put wedding rings on top of the cup while it is cooling." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08440-BIG.jpg", "copyright": "Ministry of Culture and Tourism", "title": "To get rid of daily problems and as a part of entertainment and therapy, people interpret symbols of grounds in the coffee cup." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08441-BIG.jpg", "copyright": "Ministry of Culture and Tourism", "title": "Serving Turkish Coffee at engagement ceremony." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=CLo_GwNxR1E", "copyright": "2011 by Ministry of Culture and Tourism", "title": "Turkish Coffee, Culture and Tradition" } ], "sustainability": "" } }, "element_647": { "type": "element", "label": "The Twenty-Four Solar Terms, knowledge in China of time and practices developed through observation of the sun\u2019s annual motion", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10113-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10113-HUG.jpg" }, "description": "The ancient Chinese divided the sun\u2019s annual circular motion into 24 segments. Each segment was called a specific \u2018Solar Term\u2019. The element of Twenty-Four Solar Terms originated in the Yellow River reaches of China. The criteria for its formulation were developed through the observation of changes of seasons, astronomy and other natural phenomena in this region and has been progressively applied nationwide. It starts from the Beginning of Spring and ends with the Greater Cold, moving in cycles. The element has been transmitted from generation to generation and used traditionally as a timeframe to direct production and daily routines. It remains of particular importance to farmers for guiding their practices. Having been integrated into the Gregorian calendar, it is used widely by communities and shared by many ethnic groups in China. Some rituals and festivities in China are closely associated with the Solar Terms for example, the First Frost Festival of the Zhuang People and the Ritual for the Beginning of Spring in Jiuhua. The terms may also be referenced in nursery rhymes, ballads and proverbs. These various functions of the element have enhanced its viability as a form of intangible cultural heritage and sustain its contribution to the community\u2019s cultural identity. Knowledge of the element is transmitted through formal and informal means of education.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/the-twenty-four-solar-terms-knowledge-in-china-of-time-and-practices-developed-through-observation-of-the-sun-s-annual-motion-00647", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10109-BIG.jpg", "copyright": "China Agricultural Museum, 2014", "title": "Students from the primary and middle schools are instructed to measure sun shadow and calculate solar terms through on-the-spot trainings, facilitated by the local communities, at the ancient observatory which is located in Gaocheng Township, Dengfeng City, Henan Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10110-BIG.jpg", "copyright": "China Agricultural Museum, 2014", "title": "During the term beginning of spring, folks in Yuxi Village, Suichang County, Zhejiang Province, hold the ceremony to initiate spring plowing to encouraging farming" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10111-BIG.jpg", "copyright": "China Agricultural Museum, 2014", "title": "Upon the term spring equinox, the weather in Zhaoping County, Guangxi Zhuang Autonomous Region, features a moderate temperature with plenty of rain that helps tea budding; hence the local communities seize the best season to pick and manufacture spring tea." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10112-BIG.jpg", "copyright": "China Agricultural Museum, 2014", "title": "On the day of Fresh Green, villagers from Qianjin community, Guangan City, Sichuan, hold the Qingming Grand Ceremony to offer sacrifice to ancestors, paying solemn tribute to their deceased members and ancestors." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10113-BIG.jpg", "copyright": "China Agricultural Museum, 2014", "title": "On Grain in Ear, farmers in the fields of Tancheng County are harvesting ripe wheat while planting autumn crops, as the peasant proverb goes, 'Being engaged on Grain in Ear, farmers always reap and seed at the same time'." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10114-BIG.jpg", "copyright": "China Agricultural Museum, 2014", "title": "During summer solstice, masters on acupuncture and massage in a community clinic of Tangshan City apply medicinal plasters to patients to preserve good health according to TCM theory of 'treating winter diseases in summer'." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10115-BIG.jpg", "copyright": "China Agricultural Museum, 2014", "title": "On beginning of autumn, a good harvest is in sight. The communities in Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture in Hunan Province, are performing origination dance to celebrate the traditional autumn fair of the Miao People." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10116-BIG.jpg", "copyright": "China Agricultural Museum, 2014", "title": "On autumnal equinox, the folks in Fanwang Village, Qingzhou City, Shandong Province, take instant actions to reap crops and sun-cure corns, as they say, 'Doing farm work in the right season'." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10117-BIG.jpg", "copyright": "China Agricultural Museum, 2014", "title": "On beginning of winter, the farmers living in Beijing suburbs are taking full advantage of the dropped temperature to carry out winter wheat irrigation." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=qTrd010vMp8", "copyright": "China Agricultural Museum, 2015", "title": "The twenty-four solar terms, Chinese knowledge of time and practices developed through observation of the sun's annual motion" }, { "url": "https:\/\/www.youtube.com\/watch?v=apzXgM9Lc0c", "copyright": "China Agricultural Museum, 2015", "title": "The twenty-four solar terms, Chinese knowledge of time and practices developed through observation of the sun's annual motion" } ], "sustainability": "" } }, "element_648": { "type": "element", "label": "Methodology for inventorying intangible cultural heritage in biosphere reserves: the experience of Montseny", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08679-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08679-HUG.jpg" }, "description": "Initiated by the UNESCO Centre in Catalonia, a non-governmental organization, the project focuses on the identification of intangible cultural heritage in a biosphere reserve and the drawing up of inventories. The project was undertaken in an area covering the Montseny Biosphere Reserve and National Park in the Autonomous Community of Catalonia, in cooperation with local stakeholders and institutions working in the fields of ethnology and traditional and popular Catalan culture. Its main objectives and outcomes were threefold: to design a methodology for preparing inventories; to draw up an inventory; and to prepare a document on the contributions of intangible cultural heritage to sustainable development. Through its participation plan and fieldwork, the project has also encouraged the involvement of the local population in identifying its intangible cultural heritage. The methodology developed for this project could be reproduced at the regional and international levels, and is suitable for developing countries. The observations on the contributions of intangible cultural heritage to sustainable development could also be useful for countries that have a rich natural and intangible heritage and are seeking ways to improve the conditions of their populations, without jeopardizing the opportunities for future generations.", "list": "GSP", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/methodology-for-inventorying-intangible-cultural-heritage-in-biosphere-reserves-the-experience-of-montseny-00648", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08676-BIG.jpg", "copyright": "Josep Lluis \u00d2dena, 2010", "title": "Deux hommes r\u00e9cup\u00e8rent du miel dans le commune de Montseny" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08677-BIG.jpg", "copyright": "Josep Lluis \u00d2dena, 2010", "title": "Des figures festives qui sont port\u00e9es pendant des f\u00eates collectives" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08678-BIG.jpg", "copyright": "Josep Lluis \u00d2dena, 2010", "title": "Transport du pin pour la f\u00eate du village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08679-BIG.jpg", "copyright": "Josep Lluis \u00d2dena", "title": "Un jeu traditionnel et tr\u00e8s populaire \u00e0 Viladrau" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08680-BIG.jpg", "copyright": "Josep Lluis \u00d2dena", "title": "Des enfants apprennent des l\u00e9gendes dans le milieu naturel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08681-BIG.jpg", "copyright": "Josep Lluis \u00d2dena", "title": "Des villageois partagent leurs connaissances pour l'inventaire" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08682-BIG.jpg", "copyright": "Josep Lluis \u00d2dena", "title": "Le p\u00e2turage est une activit\u00e9 traditionnelle au Montseny" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08683-BIG.jpg", "copyright": "Josep Lluis \u00d2dena", "title": "L'exploitation du li\u00e8ge entra\u00eene des connaissances environnementales et techniques" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08684-BIG.jpg", "copyright": "Ernest Traveria", "title": "Pr\u00e9paration d'une meule pour obtenir du charbon de bois" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08685-BIG.jpg", "copyright": "Ernest Traveria", "title": "Le pomarium d'Arb\u00facies accueille des dizaines de vari\u00e9t\u00e9s de pommes, produites par l'homme au cours de l'histoire" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=c17-z49GHW0", "copyright": "Diputaci\u00f3 de Barcelona, 2013", "title": "Methodology for the inventory of Intangible Cultural Heritage in biosphere reserves: The Montseny experience" }, { "url": "https:\/\/www.youtube.com\/watch?v=1Kw2R4LrkCY", "copyright": "Diputaci\u00f3 de Barcelona, 2013", "title": "Methodology for the inventory of Intangible Cultural Heritage in biosphere reserves: The Montseny experience" }, { "url": "https:\/\/www.youtube.com\/watch?v=bZWSVMqEa3Q", "copyright": "Diputaci\u00f3 de Barcelona, 2013", "title": "Methodology for the inventory of Intangible Cultural Heritage in biosphere reserves: The Montseny experience" } ], "sustainability": "The main objective of the UNESCO Biosphere Reserve is to promote learning sites for sustainable development and to support interdisciplinary approaches to managing social and ecological systems. This project in the Montseny Biosphere Reserve and National Park of the Autonomous Region of Catalonia involved local community stakeholders, civil society and the UNESCO Centre in Catalonia in the development of a participatory methodology for inventorying intangible cultural heritage with the aim of contributing to sustainable development. The methodology, which actively involves the local community, can be replicated at regional and international levels. This element links to SDG #4: Quality Education and SDG #16: Peace, Justice and Strong Institutions." } }, "element_655": { "type": "element", "label": "Traditional Ahlat stonework", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15933-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15933-HUG.jpg" }, "description": "Traditional Ahlat stonework refers to the knowledge, methods, skills and aesthetic understanding surrounding the extraction of volcanic Ahlat stones, shaping and ornamenting the stones, and then using them to create structures and artefacts. Ahlat stone is a volcanic stone extracted by miners from the foothills of the Mountain Nemrut in T\u00fcrkiye. The extracted stone is cut and shaped, then ornamented by stone carvers with hand-held tools. The ornamentation on the Ahlat stone is formed by scraping, relief and carving techniques, generally using organic, geometric and calligraphic shapes. Building a structure with Ahlat stone requires specific techniques and knowledge. Folk calendars and traditional knowledge of nature play important roles in the extraction of the stone by the miners as well as in construction. In addition to architectural works such as houses, mosques, mausoleums and bridges, the stones are also used in tombstones, inscriptions, fountains and other artefacts. The practice has been transmitted from generation to generation for centuries, but its viability has faced serious threats in the last decades, including demographic changes (difficulty finding new apprentices due to the sharp decline in population and migration to big cities) and the widespread use of modern building techniques and materials in the region.", "list": "USL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/traditional-ahlat-stonework-00655", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15929-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2021", "title": "Ulu K\u00fcmbet (tomb) and houses built by using Ahalat stonework" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15930-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2021", "title": "Ahalat tombstones dated 12th Century" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15931-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2021", "title": "A stone quarry from Ahlat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15932-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2021", "title": "Stones are extracted from quarries through 'nailing technique' which has used for centuries" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15933-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2021", "title": "Stone miners have extracted stone from quarry collectively for centuries" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15934-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2021", "title": "Trainee carvers and motif designers are practicing element in the course" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15935-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2021", "title": "A stone carver is decorating wet Ahlat stone by hand tools" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15936-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2021", "title": "Stone carvers are decorating Ahlat stone by hand tools" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15937-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2021", "title": "A building constructed in 2020 by using Ahlat stonework" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15938-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2021", "title": "People praying in front of the tomb which is made by Ahlat stonemasons" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=IiMJJCETPEM", "copyright": "Ministry of Culture and Tourism, General Directorate of Research and Training, 2021", "title": "Traditional Ahlat stonework" } ], "sustainability": "" } }, "element_658": { "type": "element", "label": "Whistled language", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11072-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11072-HUG.jpg" }, "description": "Whistled language is a method of communication that uses whistling to simulate and articulate words. The practice developed as a result of the steep mountains and rugged topography of the region, which required the local population to find an alternative way to communicate across long distances. The practitioners are mainly agricultural communities who spend most of their lives outdoors. The communities concerned consider this practice to be a key reflection of their cultural identity, which reinforces interpersonal communication and solidarity. Although the community is aware of the importance of this practice, technological developments and socioeconomic changes have led to a decline in the number of practitioners and areas where it is spoken. One of the key threats to the practice is the use of mobile phones. The new generation\u2019s interest in whistled language has diminished considerably and there is a risk that the element will be gradually torn from its natural environment, becoming an artificial practice. In spite of such threats, the communities have been actively promoting this linguistic practice both nationally and internationally to ensure its sustainability, and whistled language is still transmitted from generation to generation in the context of parent-child relations through both formal and informal methods.", "list": "USL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/whistled-language-00658", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11071-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2016", "title": "The steep mountains, rugged topography and dispersed settlements of the region where is used whistled language" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11072-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2016", "title": "Nedim K\u00fc\u00e7\u00fck, bearer of the element, communicating with other bearers across the river through using whistled language" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11073-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2016", "title": "Father Mustafa Civelek and his daughter Muazzez K\u00f6\u00e7ek, who are bearers of the whistled language" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11074-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2016", "title": "Mustafa Civelek, one of the oldest bearer of the Ku\u015fk\u00f6y village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11075-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2016", "title": "The signboard on the left side in the photo writes 'Welcome to the Ku\u015fk\u00f6y, Homeland of the Birds Language'. Ku\u015fk\u00f6y is meaning 'bird village'. Name of the village shows that community perceive the element as their cultural belonging and identity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11076-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2016", "title": "Community Education Center in \u00c7anak\u00e7\u0131 district has been providing training programs on whistled language to primary school students in the villages since 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11077-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2016", "title": "Girls who learned whistled language in Community Education Center" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11078-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2016", "title": "General View of the Bird Language Festival in 2014. The Bird Language Festival has been held in Ku\u015fk\u00f6y, a village in \u00c7anak\u00e7\u0131 district of Giresun since 1997" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11079-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2016", "title": "Erol Civelek, who has been winning first place in the 'Best Speaker of Whistled Language' competition that has been held as part of Bird Language Festival for the last eight years" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11080-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2016", "title": "Bearers, when they are writing consent letters for Whistled language nomination file" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=OSoP5qNuNOI", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2014", "title": "Whistled language" } ], "sustainability": "" } }, "element_660": { "type": "element", "label": "Annual pilgrimage to the mausoleum of Sidi \u2018Abd el-Qader Ben Mohammed (Sidi Cheikh)", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06596-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06596-HUG.jpg" }, "description": "Every year, nomadic and settled Sufi communities undertake a pilgrimage to the mausoleum of the Muslim mystic, Sidi \u2018Abd el-Qader Ben Mohammed (Sidi Cheikh), located in El Abiodh Sidi Cheikh. Beginning on the last Thursday of June, three days of religious rituals and secular festive events honour the founder of the brotherhood. The pilgrimage renews ties and secular alliances among the Sufi brotherhood and ensures peace and stability between communities. It has also contributed to the recent growth in Sufism and helped to promote community values such as hospitality and collective practices including praises to Sidi Cheikh, Koran recitations, secular chants and dances. The rituals begin with a choral recital of the Koran, followed by a dawn ceremony that renews the communities\u2019 affiliation to the Sufi brotherhood. The secular festivities include fencing, dances and equestrian competitions that involve more than 300 riders from different communities. The spiritual knowledge is learned and transmitted within families, while Sufi masters convey the key Sufi rituals and prayers to the initiated through formal teaching. Men\u2019s and women\u2019s dances and secular games are taught within associations or transmitted through practice.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/annual-pilgrimage-to-the-mausoleum-of-sidi-abd-el-qader-ben-mohammed-sidi-cheikh-00660", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06588-BIG.jpg", "copyright": "CNRPAH\/2011", "title": "Mausol\u00e9e de Sidi Cheikh et jeux \u00e9questres" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06589-BIG.jpg", "copyright": "CNRPAH\/2011", "title": "Int\u00e9rieur du Mausol\u00e9e de Sidi Cheikh et femme en pri\u00e8re" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06590-BIG.jpg", "copyright": "CNRPAH\/2011", "title": "Gyn\u00e9c\u00e9e. Hymnes \u00e0 Sidi Cheikh" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06591-BIG.jpg", "copyright": "CNRPAH\/2011", "title": "Gyn\u00e9c\u00e9e. Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06593-BIG.jpg", "copyright": "CNRPAH\/2011", "title": "Jeune femme en pri\u00e8re. Mains teinte au h\u00e9nn\u00e9." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06594-BIG.jpg", "copyright": "CNRPAH\/2011", "title": "Pri\u00e8re \u00e0 Thniy\u00e8t Ezziyar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06596-BIG.jpg", "copyright": "CNRPAH\/2011", "title": "Groupe de musiciens" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06598-BIG.jpg", "copyright": "CNRPAH\/2011", "title": "Dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06599-BIG.jpg", "copyright": "CNRPAH\/2011", "title": "Jeux \u00e9questres. Au pas." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06601-BIG.jpg", "copyright": "CNRPAH\/2011", "title": "Jeux \u00e9questres. Au galop" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PQopeFgPuVM", "copyright": "CNRPAH, 2011", "title": "Rakb Sidi Cheikh" } ], "sustainability": "" } }, "element_665": { "type": "element", "label": "Ritual and ceremonies of Sebe\u00efba in the oasis of Djanet, Algeria", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06661-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06661-HUG.jpg" }, "description": "The ritual and ceremonies of Sebe\u00efba are practised by two communities living in Djanet during ten days in the first month of the Islamic lunar calendar. Male dancers and female singers compete for the right to represent their communities during a nine-day contest called Timoulawine. The chosen winners take part in the Sebe\u00efba ritual and ceremonies the next day. The male dancers, dressed as warriors, and female singers walk to a place called Loghya for the performance of the ritual. Once there, the male dancers parade and present their weapons, then stand in a ritual circle rattling their swords continuously as the women sing traditional songs to the rhythm of the tambourine. At the end of the day, the participants disperse. Knowledge related to the ritual and ceremonies is transmitted directly from older to younger members. Local craftspeople produce and repair the uniforms, weapons, jewellery and musical instruments required for the ritual and ceremonies. The Sebe\u00efba ritual and ceremonies are an important marker of cultural identity for Tuareg people living in the Algerian Sahara. They reinforce social cohesion, symbolically warding off potential violence between rival communities by simulating and transposing it to the realm of artistic competition.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ritual-and-ceremonies-of-sebeiba-in-the-oasis-of-djanet-algeria-00665", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06657-BIG.jpg", "copyright": "S.AMOKRANE\/Parc culturel du Tassili, 2010", "title": "Loghya, lieu sacr\u00e9 du rituel de Sebeiba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06658-BIG.jpg", "copyright": "S.AMOKRANE\/Parc culturel du Tassili, 2009", "title": "Joueuse de Ganga, annon\u00e7ant le d\u00e9but des Timoulawine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06659-BIG.jpg", "copyright": "S.AMOKRANE\/Parc culturel du Tassili, 2009", "title": "Danseur du rituel lors de la phase de pr\u00e9paration Timoulawine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06660-BIG.jpg", "copyright": "S.AMOKRANE\/Parc culturel du Tassili, 2008", "title": "Tenfar, premi\u00e8re \u00e9tape du rituel Sebeiba Tilliline" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06661-BIG.jpg", "copyright": "S.AMOKRANE\/Parc culturel du Tassili, 2009", "title": "Adjdim, chorale f\u00e9minine chant et po\u00e9sie lors du rituel de Sebeiba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06662-BIG.jpg", "copyright": "S.AMOKRANE\/Parc culturel du Tassili, 2009", "title": "Danseurs lors du rituel de Sebeiba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06663-BIG.jpg", "copyright": "S.AMOKRANE\/Parc culturel du Tassili, 2010", "title": "Takembout tenue sacr\u00e9e du danseur de Sebeiba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06664-BIG.jpg", "copyright": "S.AMOKRANE\/Parc culturel du Tassili, 2008", "title": "Tikemssine seconde \u00e9tape du rituel de Sebeiba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06665-BIG.jpg", "copyright": "S.AMOKRANE\/Parc culturel du Tassili, 2009", "title": "Aghalay n'Awatay troisi\u00e8me \u00e9tapes de Sebeiba" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=e07dNBZnEGg", "copyright": "CNRPAH, 2014", "title": "Sebeiba de Djanet" }, { "url": "https:\/\/www.youtube.com\/watch?v=DtE6J3eoSao", "copyright": "CNRPAH, 2014", "title": "Sebeiba de Djanet" } ], "sustainability": "The rituals and ceremonies of Sebe\u00efba are practiced by two communities of Tuareg people living in the oasis of Djanet. During the rites, the two groups of men, who are dressed as warriors, symbolically present their weapons while women sing traditional songs in a ceremonial circle. The ritual serves the function of maintaining peace and social cohesion by transforming potential conflict between the two groups into a ritualized performance." } }, "element_666": { "type": "element", "label": "Xtaxkgakget Makgkaxtlawana: the Centre for Indigenous Arts and its contribution to safeguarding the intangible cultural heritage of the Totonac people of Veracruz, Mexico", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06262-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06262-HUG.jpg" }, "description": "The Center for Indigenous Arts was designed as a response to a long-term desire of the Totonac people to create an educational institution to transmit their teachings, art, values and culture, while also providing favourable conditions for indigenous creators to develop their art. The structure of the centre represents a traditional settlement comprising house-schools, with each \u2018House\u2019 specialized in one of the Totonac arts for apprentices to follow, such as pottery, textiles, paintings, art of healing, traditional dance, music, theatre and cuisine. At the \u2018House of Elders\u2019, students acquire the essential values of the Totonac and an orientation in the meaning of creative practice. The transmission of knowledge is integral and holistic. The house-schools embrace creative practice as something intrinsically linked to its spiritual nature. The centre proposes cultural regeneration, revitalizing the Totonac cultural practices through such means as the use of the Totonac language as the vehicle for teaching, the recovery of forgotten traditional techniques, artistic production, reestablishment of traditional governing bodies and reforestation of the plants and trees needed for cultural practice. The centre also promotes ongoing cooperation with creators and cultural agencies from other states of the country and from around the world.", "list": "GSP", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/xtaxkgakget-makgkaxtlawana-the-centre-for-indigenous-arts-and-its-contribution-to-safeguarding-the-intangible-cultural-heritage-of-the-totonac-people-of-veracruz-mexico-00666", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06260-BIG.jpg", "copyright": "Cumbre Tajin, 2009", "title": "Voladores dans Ie Centre C\u00e9r\u00e9moniel de EI Tajin, lors de la Rencontre Internationale de Voladores r\u00e9alis\u00e9e durant Ie Festival Cumbre Taj\u00edn 2009" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06261-BIG.jpg", "copyright": "Cumbre Tajin, 2009", "title": "The Kantiyan (Council of Great Parents) of the Center for Indigenous Arts" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06262-BIG.jpg", "copyright": "Cumbre Tajin, 2010", "title": "Maison de la Poterie : la ma\u00eetresse de la tradition Do\u00f1a Cirila mod\u00e8le une pi\u00e8ce en argile" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06263-BIG.jpg", "copyright": "Cumbre Tajin, 2009", "title": "\u00c9l\u00e8ve de la Maison des Peintures r\u00e9alise un paysage Totonaque avec des teintures naturelles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06264-BIG.jpg", "copyright": "Cumbre Tajin, 2010", "title": "Int\u00e9grantes de la Maison de la Cuisine Traditionnelle re\u00e7oivent Ie Conseil des Grands Parents pour discuter sur Ie mod\u00e8le p\u00e9dagogique." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06265-BIG.jpg", "copyright": "Cumbre Tajin, 2009", "title": "M\u00e9decins traditionnels de la Maison l'Art de soigner font des massages de pied." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06266-BIG.jpg", "copyright": "Cumbre Tajin, 2008", "title": "Isabel P\u00e9rez Villanueva, ma\u00eetresse de la tradition de la Maison du Monde du Coton, montre sa pi\u00e8ce en coton faite avec son m\u00e9tier \u00e0 tisser." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06267-BIG.jpg", "copyright": "Cumbre Tajin, 2010", "title": "Nouvel int\u00e9grant de la Maison de la Musique Traditionnelle. Les orchestres d'instruments \u00e0 vent sont une tradition de la r\u00e9gion du Totonacapan." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06268-BIG.jpg", "copyright": "Cumbre Tajin, 2007", "title": "Nouveaux int\u00e9grants du projet Radio Tajin invit\u00e9s durant Ie Festival Kani Tajin pour enfants" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06269-BIG.jpg", "copyright": "Cumbre Tajin, 2009", "title": "\"Litlan\", C\u00e9r\u00e9monie du pardon o\u00f9 les m\u00e9decins de la maison L'art de soigner incluent dans I'offrande c\u00e9r\u00e9moniale face \u00e0 la pyramide des Niches du Tajin, Ie Dossier de Registre des Meilleures pratiques qui se pr\u00e9sente \u00e0 l'UNESCO." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=kLMyMm4VXWg", "copyright": "Cumbre Tajin, 2011", "title": "The splendor of our artists" } ], "sustainability": "The Center for Indigenous Arts is an educational institution that exemplifies the synergistic efforts of various stakeholders to establish a holistic and creative system for the transmission and promotion of intangible cultural heritage. Focused on the regeneration of indigenous Totonac culture and language, the center brings together multiple generations\u2014from youths to elders\u2014in its \u201chouse-school\u201d apprenticeship system. The center also involves formal and nonformal educational institutions and other relevant professional and traditional organizations and associations. The center recognizes the importance of indigenous knowledge and the need for cultural expressiveness and creativity. Its broad scope covers many areas of sustainable development, such as nature conservation, cultural regeneration, traditional craftsmanship, and artistic performance. " } }, "element_667": { "type": "element", "label": "Sbu\u00e2, annual pilgrimage to the zawiya of Sidi El Hadj Belkacem in Gourara", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06651-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06651-HUG.jpg" }, "description": "Each year, pilgrims from Zenata communities in the south-west Algerian Sahara visit mausoleums of saints to commemorate the birth of the Prophet Mohammed. Sbu\u00e2 is a pilgrimage, which runs for a week and entails cultural practices that focus on group activities, which include celebrations with singing and dancing. On the seventh day, pilgrims conclude the journey in a square outside a ''zawiya'' (community institution) in the centre of Gourara, which houses the mausoleum of Sidi El Hadj Belkacem. Different groups of pilgrims symbolically merge around a bearer carrying the standard of a saint before returning to their respective groups to continue the ritual, which is governed by the oldest pilgrims. Women participate by ululating and presiding over the \u2018millstone\u2019 ritual a week before the ceremony, during which they grind the first handful of cereal used to make couscous for the pilgrims. Tradition bearers can trace their lineage back to the saints and describe themselves as descendants. Children and youth are involved formally in various aspects (acts, prayers and chants), gradually becoming knowledge bearers themselves. Sbu\u00e2 is considered by the communities, given the body of beliefs and rites enacted as part of the pilgrimage, to be an expression of their history and the links that bind them.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/sbua-annual-pilgrimage-to-the-zawiya-of-sidi-el-hadj-belkacem-in-gourara-00667", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06647-BIG.jpg", "copyright": "CNRPAH, 2011", "title": "Mausol\u00e9e de Lalla Hijja Rahim" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06648-BIG.jpg", "copyright": "CNRPAH, 2011", "title": "Chaulage du mausol\u00e9e de Sidi H'Sayen \u00e0 Amzegagh" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06649-BIG.jpg", "copyright": "CNRPAH, 2011", "title": "P\u00e8lerins \u00e0 Ouled Sa\u00eed" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06650-BIG.jpg", "copyright": "CNRPAH, 2011", "title": "Jonction des p\u00e8lerins venus de Tabelkoza avec ceux des Igouzoulen (O. Sa\u00efd)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06651-BIG.jpg", "copyright": "CNRPAH, 2011", "title": "Groupe de p\u00e8lerins de la zawiya de Sidi Abbad." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06652-BIG.jpg", "copyright": "CNRPAH, 2011", "title": "Vers Massine." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06653-BIG.jpg", "copyright": "CNRPAH, 2011", "title": "Baroud des gens de l'Aougrout \u00e0 Timimoun." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06654-BIG.jpg", "copyright": "CNRPAH, 2011", "title": "Hadra" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06655-BIG.jpg", "copyright": "CNRPAH, 2011", "title": "Rencontre des \u00e9tendards \u00e0 Hoffra." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=pQC7XFsH_20", "copyright": "CNRPAH, 2011", "title": "Le Sbu\u00e2 au Gourara" } ], "sustainability": "" } }, "element_668": { "type": "element", "label": "Rites and craftsmanship associated with the wedding costume tradition of Tlemcen", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06578-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06578-HUG.jpg" }, "description": "The wedding ritual of Tlemcen in northwestern Algeria commences in the parents\u2019 home, where the bride is dressed in a traditionally woven golden silk dress, surrounded by her friends and married female relations, the latter wearing their own wedding costumes. Symbolic henna designs are applied to her hands, and an older woman helps her don a caftan of embroidered velvet, jewellery and a conical hat. Rows of baroque pearls protect her vital and reproductive organs against evil spirits. On leaving the house, the bride is covered with a golden veil of silk. During the wedding feast a married woman from the bride\u2019s inner circle draws red and silver designs beneath the veil on the bride\u2019s cheeks and under her lower lip to purify and protect her. Once protected by her caftan, jewels and make-up, the bride removes her veil, ready to be wed. Girls in Tlemcen are initiated into the costume tradition at an early age, while the craftsmanship involved in making the precious wedding costume is transmitted from generation to generation. The rite symbolizes the alliance between families and continuity between generations, while the craftsmanship plays a major role in perpetuating the creativity and identity of the Tlemcen community.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/rites-and-craftsmanship-associated-with-the-wedding-costume-tradition-of-tlemcen-00668", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06570-BIG.jpg", "copyright": "Belka\u00efd, 2011", "title": "La mari\u00e9e tlemc\u00e9nienne porte la \"lebset el-arftane\", composante principale du costume nuptial. Coiffe conique brod\u00e9e au fil d'or, diad\u00e8mes sertis de diamants et temporaux de perles baroques composent son couvre-chef." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06571-BIG.jpg", "copyright": "Belka\u00efd, 2011", "title": "La tradition exige que les soeurs et les cousines qui se sont mari\u00e9es r\u00e9cemment rev\u00eatent la \"lebset el-arftane\" nuptiale pour accompagner la mari\u00e9e, au moment o\u00f9 elle se pr\u00e9pare \u00e0 quitter le domicile de ses parents." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06576-BIG.jpg", "copyright": "Belka\u00efd, 2011", "title": "La s\u00e9quence du maquillage rituel qui se d\u00e9roule sous un ample voile de soie dor\u00e9e, \u00e0 l'abri des regards des convives et du mari\u00e9, inaugure la c\u00e9r\u00e9monie." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06578-BIG.jpg", "copyright": "Belka\u00efd, 2011", "title": "Les motifs circulaires dessin\u00e9s sur les joues et sous la l\u00e8vre inf\u00e9rieure de la mari\u00e9e sont cens\u00e9s prot\u00e9ger sa fertilit\u00e9 des esprits mal\u00e9fiques. On retriuve cette tradition antique dans la plupart des c\u00e9r\u00e9monies nuptiales berb\u00e8res d'Afrique du Nord." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06580-BIG.jpg", "copyright": "Belka\u00efd, 2011", "title": "Les soeurs de la mari\u00e9e la pr\u00e9parent \u00e0 entamer la parade \"tasdir\" au milieu des convives. Elles ajustent le \"ha\u00efk\" en \"mansouj\" dor\u00e9 sur le sommet de sa coiffe conique." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06583-BIG.jpg", "copyright": "Belka\u00efd, 2011", "title": "La \"lebset el-arftane\" comprend la \"fouta\", pagne ray\u00e9 d'origine berb\u00e8re, qui recouvre partiellement le caftan. La \"fouta\" et la ceinture qui la fixe \u00e0 la taille sont tiss\u00e9es en soie \"mansouj\", technique artisanale h\u00e9rit\u00e9e de l'\u00e9poque m\u00e9di\u00e9vale almohade." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07911-BIG.jpg", "copyright": "Belka\u00efd, 2011", "title": "Le lendemain des noces, la mari\u00e9e compl\u00e8te son costume par deux \u00e9l\u00e9ments suppl\u00e9mentaires\u00a0: le pagne rituel et la ceinture dont les rayures sont cens\u00e9es repousser les esprits mal\u00e9fiques pour prot\u00e9ger la fertilit\u00e9 de la mari\u00e9e." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07912-BIG.jpg", "copyright": "Belka\u00efd, 2011", "title": "L'artisan qui dessine les broderies du caftan nuptial combine les\r\nmotifs traditionnels anciens et les motifs l\u00e9g\u00e8rement modernis\u00e9s. Les symboles prophylactiques, comme la main cens\u00e9e prot\u00e9ger le buste de la mari\u00e9e contre le mauvais \u0153il, sont incontournables." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07913-BIG.jpg", "copyright": "Belka\u00efd, 2011", "title": "Le tisseur de soie utilise la technique du \u00ab mensouj \u00bb, h\u00e9rit\u00e9e\r\nartisanaux associ\u00e9s de l'\u00e9poque m\u00e9di\u00e9vale almohade et andalouse. Le \u00ab\u00a0mensouj \u00bb dor\u00e9 sert \u00e0 r\u00e9aliser le voile nuptial, la robe \"blousa\", le foulard, le pagne ray\u00e9 et la ceinture de la mari\u00e9e." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RXrbbgHFMI4", "copyright": "CNRPAH\/2011", "title": "Costume nuptial feminin de Tlemcen" }, { "url": "https:\/\/www.youtube.com\/watch?v=RXrbbgHFMI4", "copyright": "CNRPAH, 2012", "title": "The Rituals and the Craft Skills linked to the Tradition of the Tlemcen Bridal Costume" } ], "sustainability": "" } }, "element_669": { "type": "element", "label": "Traditional art and symbolism of Kelaghayi, making and wearing women\u2019s silk headscarves", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06454-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06454-HUG.jpg" }, "description": "Rooted in traditions found along the Great Silk Road, the art of Kelaghayi is concentrated in two locations in the Republic of Azerbaijan: the city of Sheki and the Basgal settlement. Kelaghayi making consists of several stages: fabric weaving, dyeing and woodblock decoration. Weavers choose thin silk threads from sericulture producers and weave fabrics on looms and then boil and dry them to make square-shaped cloths. Using vegetable substances, masters then dye the cloths various colours and decorate them with patterns using wooden stamps, covered with solutions made from rosin, paraffin and solid oil. The colours of headscarves have symbolic meanings and are often tied to specific social occasions, such as weddings, mourning ceremonies, daily activities and celebrations. The art of Kelaghayi making is transmitted through non-formal apprenticeship only, and is primarily a family occupation. Each family has its own stylistic features and patterns of decoration. The traditional practice of making and wearing headscarves is an expression of cultural identity and religious traditions and a symbol of social cohesion, reinforcing the role of women and strengthening the cultural unity of Azerbaijani society.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-art-and-symbolism-of-kelaghayi-making-and-wearing-women-s-silk-headscarves-00669", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06443-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "A valuable gift of the nature is used over the centuries for the kelaghayi making" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06444-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "The traditional loom, used in kelaghayi making is exhibited in the Basgal silk museum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06445-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "The first stage of the kelaghayi making process is scouring of a silk fibers in order to make them more flexible and delicate" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06447-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Kelaghayi are decorated with various patterns using the stamp called \"galib\". There are two types of such stamps: wooden and metallic, producing thin and thick patterns." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06448-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Symbols and patterns used in kelaghayi art have their own names and represent various signs and geometric forms. They reflect the world-view and the values of the local people." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06450-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "There are various colors and shades of kelaghayi that are usually colored with natural substances and thus do not fade during a long time." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06452-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "The colors of kelaghayi have symbolic meaning. They may have various colors depending on the circumstances (wedding, mourning, daily activities, celebrations) and the social position of the owner." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06453-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "After the dying kelaghayis are dried in the open air." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06454-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Kelaghayi is widely used by Azerbaijani women of all ages" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Z4u6o17FFL0", "copyright": "Asif Abramov, 2011", "title": "Kelaghayi Art" } ], "sustainability": "The art of making and wearing women\u2019s silk headscarves, or Kelaghayi, is a tradition found mainly in the city of Sheki and the Basgal settlement in the Republic of Azerbaijan. Linked to craft traditions along the Silk Road, the Kelaghayi involves the weaving and dyeing of square pieces of silk with symbolic colors and patterns reserved for different occasions, such as weddings, celebrations, and daily life. The art of Kelaghayi is transmitted within the family, and the wearing of the headscarf is an expression of cultural identity which strengthens community cohesion and reinforces the role of women in Azerbaijani society. This element also links to SDG #8: Decent Work and Economic Growth." } }, "element_670": { "type": "element", "label": "Marches of Entre-Sambre-et-Meuse", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06880-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06880-HUG.jpg" }, "description": "The Marches of Entre-Sambre-et-Meuse are a major component of the cultural identity of the eponymous region found between the rivers of Sambre and Meuse in Wallonia, Belgium. The marches commemorate the dedication of churches of many villages and small towns honouring the Saint to whom the religious buildings are dedicated. The whole villages and towns participate. The escorted processions consist of several companies, based on a military model, and each company group tens, even hundreds of marchers. The participants dress in military uniforms, forming one or more companies that escort the religious procession. A committee and\/or a statutory body manage each company, organizing the course of the march and ensuring the correct formations. Young people march alongside their parents in the Young Guard or other companies. The transmission of traditions occurs orally, often within the family circle, but also during gatherings, meetings, banquets or balls necessary for the organization of the march. Dynasties of fifes and drums have been created that transmit their knowledge, songs and music to new musicians. Similarly, drum and fife manufacturers and dozens of artisan clothes designers pass on their craftsmanship in reconstituting and creating instruments, costumes, flags and accessories. The marches play a key role in enhancing integration, assembling men and women from different backgrounds and promoting social cohesion.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/marches-of-entre-sambre-et-meuse-00670", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06878-BIG.jpg", "copyright": "Belmar, 2010", "title": "Thuin, marche Saint-Roch, les sapeurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06879-BIG.jpg", "copyright": "Belmar, 2010", "title": "Thuin, marche Saint-Roch, les Zouaves" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06880-BIG.jpg", "copyright": "Belmar, 2010", "title": "Thuin, marche Saint-Roch, les Zouaves Pontificaux ont le privil\u00e8ge de garder la statue de saint Roch" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06881-BIG.jpg", "copyright": "Belmar, 2010", "title": "Gerpinnes, tour Sainte-Rolende, la compagnie de Gougnies" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06882-BIG.jpg", "copyright": "Belmar, 2010", "title": "Gerpinnes, tour Sainte-Rolende, les marcheurs entrent sur la prairie du Sartia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06884-BIG.jpg", "copyright": "Belmar, 2010", "title": "Gerpinnes, tour Sainte-Rolende, Sergent-sapeur sur la prairie du Sartia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06885-BIG.jpg", "copyright": "Belmar, 2009", "title": "Jumet, tour de la Madeleine, la soci\u00e9t\u00e9 des Matelots \u00e0 la T\u00eare al Danse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06886-BIG.jpg", "copyright": "Belmar, 2009", "title": "Jumet, tour de la Madeleine, les tambours de la Garde royale anglaise lors de la rentr\u00e9e" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06887-BIG.jpg", "copyright": "Belmar, 2009", "title": "Jumet, tour de la Madeleine, la soci\u00e9t\u00e9 des Fantassins fran\u00e7ais lors de la remise des m\u00e9dailles" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RwPaSRUfzkw", "copyright": "T\u00e9l\u00e9sambre, 2010", "title": "Les marches folkloriques de l'Entre-Sambre-et-Meuse" } ], "sustainability": "" } }, "element_671": { "type": "element", "label": "Craftsmanship and performance art of the Tar, a long-necked string musical instrument", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06499-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06499-HUG.jpg" }, "description": "The Tar is a long-necked plucked lute, traditionally crafted and performed in communities throughout Azerbaijan. Considered by many to be the country\u2019s leading musical instrument, it features alone or with other instruments in numerous traditional musical styles. Tar makers transmit their skills to apprentices, often within the family. Craftsmanship begins with careful selection of materials for the instrument: mulberry wood for the body, nut wood for the neck, and pear wood for the tuning pegs. Using various tools, crafters create a hollow body in the form of a figure eight, which is then covered with the thin pericardium of an ox. The fretted neck is affixed, metal strings are added and the body is inlaid with mother-of-pearl. Performers hold the instrument horizontally against the chest and pluck the strings with a plectrum, while using trills and a variety of techniques and strokes to add colour. Tar performance has an essential place in weddings and different social gatherings, festive events and public concerts. Players transmit their skills to young people within their community by word of mouth and demonstration, and at educational musical institutions. Craftsmanship and performance of the tar and the skills related to this tradition play a significant role in shaping the cultural identity of Azerbaijanis.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/craftsmanship-and-performance-art-of-the-tar-a-long-necked-string-musical-instrument-00671", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06499-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Professor Ramiz Guliyev brought in the 70-th years a completely new performing style to the ancient art of mugam. He has been honored with various awards, among which is the UNESCO's diploma for the \"High mastery\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06500-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Majnun Kerim, author of the nomination file, with 40-years experience of tar performing art teaching. Doctor of arts, professor in the State museum of musical culture of Azerbaijan." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06501-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Talat Kabulov is an expert of tar handicraft, his tars are decorating many of world museum collections" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06502-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Some expensive examples of tar are incrustated with the mother-of-pearl or semi precious stones" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06503-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "A skilled artisan is teaching his pupil in the workshop. A precious knowledge lives on" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06504-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Tar is being taught almost in all 237 musical schools of Azerbaijan, in the art school, as well as musical colleges, Azerbaijani State National Conservatory, University of Culture and Arts" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06505-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Laureate of national and international competitions, concertmaster and soloist of an Orchestra of National Musical Instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06506-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Tar has a principal role in the mugam trio" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06507-BIG.jpg", "copyright": "2010 by M.Rahimov\/Ministry of Culture and Tourism", "title": "The beauty of tar sounding is emphasized by the orchestra instruments" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=JxnD27E0tyA", "copyright": "2010 by N.Abba\/Ministry of Culture and Tourism", "title": "The art of Azerbaijani tar performing" } ], "sustainability": "" } }, "element_673": { "type": "element", "label": "Shrimp fishing on horseback in Oostduinkerke", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06946-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06946-HUG.jpg" }, "description": "Twelve households in Oostduinkerke are actively engaged in shrimp fishing: each has its own speciality, such as weaving nets or an extensive knowledge of Brabant draft horses. Twice a week, except in winter months, the strong Brabant horses walk breast-deep in the surf in Oostduinkerke, parallel to the coastline, pulling funnel-shaped nets held open by two wooden boards. A chain dragged over the sand creates vibrations, causing the shrimp to jump into the net. Shrimpers place the catch (which is later cooked and eaten) in baskets hanging at the horses\u2019 sides. A good knowledge of the sea and the sand strip, coupled with a high level of trust and respect for one\u2019s horse, are the shrimpers\u2019 essential attributes. The tradition gives the community a strong sense of collective identity and plays a central role in social and cultural events, including the two-day Shrimp Festival for which the local community spends months building floats, preparing street theatre and making costumes. The shrimp parade, and a contest involving hundreds of children being initiated into shrimp catching, attract over 10,000 visitors every year. The shrimp fishers function on principles of shared cultural values and mutual dependence. Experienced shrimpers demonstrate techniques and share their knowledge of nets, tides and currents with beginners.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/shrimp-fishing-on-horseback-in-oostduinkerke-00673", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06943-BIG.jpg", "copyright": "Dirk Van Hove, Gemeente Koksijde Paardenvissers_01 2009", "title": "Arriv\u00e9e des p\u00eacheurs \u00e9questres sur la plage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06944-BIG.jpg", "copyright": "Dirk Van Hove, Gemeente Koksijde Paardenvissers_02 2007", "title": "Filets \u00e0 panneaux utilis\u00e9 de nos jours" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06945-BIG.jpg", "copyright": "Dirk Van Hove, Gemeente Koksijde Paardenvissers_03 2009", "title": "Ouverture du filet gr\u00e2ce \u00e0 la pression de l'eau" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06946-BIG.jpg", "copyright": "Dirk Van Hove, Gemeente Koksijde Paardenvissers_04 2007", "title": "La p\u00eache" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06947-BIG.jpg", "copyright": "Dirk Van Hove, Gemeente Koksijde Paardenvissers, 2009", "title": "3 p\u00eacheurs en train de p\u00eacher" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06949-BIG.jpg", "copyright": "Dirk Van Hove, Gemeente Koksijde Paardenvissers_06 2009", "title": "Le p\u00eacheur s'appr\u00eate \u00e0 ouvrir le filet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06953-BIG.jpg", "copyright": "Dirk Van Hove, Gemeente Koksijde Paardenvissers_07 2009", "title": "Un p\u00eacheur donne des explications aux int\u00e9ress\u00e9s" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06958-BIG.jpg", "copyright": "Dirk Van Hove, Gemeente Koksijde Paardenvissers_08 2009", "title": "Premier triage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06961-BIG.jpg", "copyright": "Dirk Van Hove, Gemeente Koksijde Paardenvissers_09 2009", "title": "Fin de la p\u00eache" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06962-BIG.jpg", "copyright": "Dirk Van Hove, Gemeente Koksijde Paardenvissers_10 2009", "title": "Cuisson des crevettes" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=P1c6L-rI8tY", "copyright": "2010 by NAVIGO - Nationaal Visserijmuseum", "title": "Garnaalvissers te paard - La p\u00eache aux crevettes \u00e0 cheval \u00e0 Oostduinkerke" } ], "sustainability": "Twelve households in the coastal community of Oostduinkerke carry on the tradition of shrimp fishing on horseback. There are numerous forms of traditional know-how associated with shrimp fishing, including the craft of weaving nets, care for the Brabant draft horses, and knowledge of the sea and sand. Twice a week, shrimpers ride along the coast on horseback, dragging a net through the surf to catch the shrimp. This sustainable method of harvesting a marine resource reflects the goal of the sustainable use of oceans. The practice also contributes to community solidarity, as it plays a central role in cultural events, such as the Annual Shrimp Festival, which involves hundreds of children and attracts visitors. This element also links to SDG # 12: Responsible Consumption and Production." } }, "element_675": { "type": "element", "label": "Copper craftsmanship of Lahij", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09931-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09931-HUG.jpg" }, "description": "Copper craftsmanship of Lahij is the traditional practice of making and using copperware concentrated in the Lahij community in the Caucasus. The copper-smelting master coordinates the entire process and is accompanied by an apprentice who learns the necessary techniques while helping the master. The coppersmith-hammerer pumps the air into the ovens and hammers the smelted copper into thin plates. A craftsperson then polishes the hammered copper plates and decorates the ready copperware with engravings. This final stage of the process is said to be particularly important as the designs used often have an environmental focus, reflecting the bearer\u2019s traditional knowledge and cultural values. The master is responsible for selling the copperware in the workshops and remunerating the work of the other craftspeople involved. The tradition is transmitted within families from father to son. Numerous families in Azerbaijan come to buy copperware in Lahij and use it in their daily lives believing it improves the health benefits of food. For artisans, the tradition represents a major source of living and provides a strong sense of identity and community pride. Copper craftsmanship also reinforces family relationships within the Lahij community and is perceived as a clear marker of Lahij identity.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/copper-craftsmanship-of-lahij-00675", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09928-BIG.jpg", "copyright": "2010 by M.Rahimov \/ Ministry of Culture and Tourism", "title": "Copper craftsman-misger at his workshop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09929-BIG.jpg", "copyright": "2010 by M.Rahimov \/ Ministry of Culture and Tourism", "title": "Copper craftsman-misger decorating a copper plate" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09930-BIG.jpg", "copyright": "2010 by M.Rahimov \/ Ministry of Culture and Tourism", "title": "Apprentice learning the skills of decoration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09931-BIG.jpg", "copyright": "2010 by M.Rahimov \/ Ministry of Culture and Tourism", "title": "Apprentice learning the skills of decoration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09932-BIG.jpg", "copyright": "2010 by M.Rahimov \/ Ministry of Culture and Tourism", "title": "Craftsman Keblemi Aliyev and his apprentice hammering copper" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09933-BIG.jpg", "copyright": "2010 by M.Rahimov \/ Ministry of Culture and Tourism", "title": "Craftsman Keblemi Aliyev and his apprentice in a copper workshop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09934-BIG.jpg", "copyright": "2010 by M.Rahimov \/ Ministry of Culture and Tourism", "title": "Apprentice of craftsman Keblemi Aliyev assisting in copper smelting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09935-BIG.jpg", "copyright": "2010 by M.Rahimov \/ Ministry of Culture and Tourism", "title": "A young girl using huge copper jars to fill and carry spring water" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09936-BIG.jpg", "copyright": "2010 by M.Rahimov \/ Ministry of Culture and Tourism", "title": "Copper plates exhibited for sale at a facade of a copper craftsman's workshop" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=wE8mf8axTMQ", "copyright": "Ministry of Culture and Tourism (Azerbaijan), 2014", "title": "Lahij copper craftsmanship" } ], "sustainability": "Copper craftsmanship provides the main source of livelihood for the local communities of Lahij in Azerbaijan. Lahij traditional copperware is in high demand throughout the country for its intricate features and believed curative properties. The traditional craft knowledge is passed down within families and supports their economic and social development by providing a stable source of income and strengthening their Lahij cultural identity. Young apprentices have a deep respect for their centuries-old practice and are highly motivated to continue the craft, which provides them with a sense of pride and a sustainable source of livelihood. This element also links to SDG #3: Good Health and Well-being and SDG #8: Decent Work and Economic Growth." } }, "element_683": { "type": "element", "label": "Kwagh-Hir theatrical performance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06368-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06368-HUG.jpg" }, "description": "Kwagh-Hir theatrical performance is a composite art form encompassing a spectacle that is both visually stimulating and culturally edifying. Kwagh-hir has its roots in the story-telling tradition of the Tiv people called \u2018kwagh-alom\u2019, a practice where the family was treated to a storytelling session by creative storytellers, usually in the early hours of the night after the day\u2019s farming work. With time, creative storytellers began to dramatize these stories, culminating in the present stage and status of Kwagh-hir. The practice is a social performance with the potential to entertain and teach moral lessons through the dramatization and performance of past and current social realities. As a form of total theatre, Kwagh-hir incorporates puppetry, masquerading, poetry, music, dance and animated narratives in articulating the reality of the Tiv people. People\u2019s daily struggles, aspirations, successes and failures are all given expression through creative dramatization. Khwagh-hir theatre is owned by the community, with knowledge and skills being transmitted through apprenticeship. People who indicate an interest in the troupe\u2019s activities are trained and mentored until they reach a certain level of proficiency; they are then accepted into the troupe. Regular performances are held to ensure the art is kept alive and that the younger generation continues to identify with it.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kwagh-hir-theatrical-performance-00683", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06367-BIG.jpg", "copyright": "2008 Kwagh-Hir Performing Association", "title": "Masquerade dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06368-BIG.jpg", "copyright": "2008 Kwagh-Hir Performing Association", "title": "Masquerade dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06369-BIG.jpg", "copyright": "2008 Kwagh-Hir Performing Association", "title": "Face of a Masquerade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06370-BIG.jpg", "copyright": "2008 Kwagh-Hir Performing Association", "title": "Masquerade dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06371-BIG.jpg", "copyright": "2008 Kwagh-Hir Performing Association", "title": "Two Masquerades dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06372-BIG.jpg", "copyright": "2008 Kwagh-Hir Performing Association", "title": "Three dimensional puppets" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06373-BIG.jpg", "copyright": "2008 Kwagh-Hir Performing Association", "title": "Masquerade on stills" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06374-BIG.jpg", "copyright": "2008 Kwagh-Hir Performing Association", "title": "Masquerade dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06375-BIG.jpg", "copyright": "2008 Kwagh-Hir Performing Association", "title": "Masquerade dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06376-BIG.jpg", "copyright": "2008 Kwagh-Hir Performing Association", "title": "Monstrous puppet" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RPQlFzjlZ4I", "copyright": "", "title": "Kwagh-Hir theatrical performance" } ], "sustainability": "" } }, "element_693": { "type": "element", "label": "Ala-kiyiz and Shyrdak, art of Kyrgyz traditional felt carpets", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05904-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05904-HUG.jpg" }, "description": "Traditional felt carpets are one of the foremost arts of the Kyrgyz people and an integral part of their cultural heritage. The Kyrgyz traditionally produce two types of felt carpets: Ala-kiyiz and Shyrdaks. Knowledge, skills, diversity, the semantics of ornamentation, and the ceremonies of creating carpets are all important cultural components, providing Kyrgyz people with a sense of identity and continuity. The making of Kyrgyz felt carpets is inseparably linked to the everyday life of nomads, who used felt carpets to warm and decorate their homes. Creation of felt carpets demands unity among the community and fosters the transmission of traditional knowledge \u2013 as a rule by older women who are normally concentrated in rural and mountainous areas, to younger women within the family. The Ala-kiyiz and Shyrdak traditional art is in danger of disappearing, however. The number of practitioners is diminishing, with most over forty years of age. The lack of governmental safeguarding, the disinterest of the younger generation, the dominance of inexpensive synthetic carpets, and the poor quality and low availability of raw materials are exacerbating the situation. As a result, Ala-kiyiz carpets have practically disappeared from Kyrgyz homes and Shyrdaks are under serious threat of being lost.", "list": "USL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/ala-kiyiz-and-shyrdak-art-of-kyrgyz-traditional-felt-carpets-00693", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05901-BIG.jpg", "copyright": "by Urmat Osmoev", "title": "Ala-kiyiz carpet in Issyk-Kul district" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05902-BIG.jpg", "copyright": "by Urmat Osmoev", "title": "Ala-kiyiz carpet in Talas district" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05903-BIG.jpg", "copyright": "by Urmat Osmoev", "title": "Common view of unrespect to felt carpets in nowdays" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05904-BIG.jpg", "copyright": "by Urmat Osmoev", "title": "Cutting felt for Shyrdak carpet in Alai district" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05905-BIG.jpg", "copyright": "by Urmat Osmoev", "title": "Pressing felt by arms" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05906-BIG.jpg", "copyright": "by Urmat Osmoev", "title": "Pressing felt by feets" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05907-BIG.jpg", "copyright": "by Urmat Osmoev", "title": "Putting out the pattern of Ala-kiyiz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05908-BIG.jpg", "copyright": "by Urmat Osmoev", "title": "Shyrdak carpet, At-Bashy district" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05909-BIG.jpg", "copyright": "by Urmat Osmoev", "title": "Shyrdak carpet, At-Bashy district" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05910-BIG.jpg", "copyright": "by Urmat Osmoev", "title": "Yurta decoration by traditional felt carpets" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=mO2VxDmy4y4", "copyright": "2011 by Murat Mambetov\/CACSARC-kg", "title": "Ala-kiyiz and Shyrdak: Art of Kyrgyz traditional felt carpets" } ], "sustainability": "" } }, "element_703": { "type": "element", "label": "Durga Puja in Kolkata", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14190-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14190-HUG.jpg" }, "description": "Durga Puja is an annual festival celebrated in September or October, most notably in Kolkata, in West Bengal of India, but also in other parts of India and amongst the Bengali diaspora. It marks the ten-day worship of the Hindu mother-goddess Durga. In the months preceding the festival, small artisanal workshops sculpt images of Durga and her family using unfired clay pulled from the Ganga River. The worship of the goddess then begins on the inaugural day of Mahalaya, when eyes are painted onto the clay images to bring the goddess to life. It ends on the tenth day, when the images are immersed in the river from where the clay came. Thus, the festival has also come to signify \u2018home-coming\u2019 or a seasonal return to one\u2019s roots. Durga Puja is seen as the best instance of the public performance of religion and art, and as a thriving ground for collaborative artists and designers. The festival is characterized by large-scale installations and pavilions in urban areas, as well as by traditional Bengali drumming and veneration of the goddess. During the event, the divides of class, religion and ethnicities collapse as crowds of spectators walk around to admire the installations.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/durga-puja-in-kolkata-00703", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14190-BIG.jpg", "copyright": "Devi Chakrabarti, India, 2018", "title": "The full goddess ensemble, sculpted in alluvial clay, still to be painted, clothed and ornamented at a workshoip at Kumartuli, the oldest and main image-makers' hub in the city." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14191-BIG.jpg", "copyright": "Devi Chakrabarti, India, 2018", "title": "'Chokhhudaan' or the painting of the eyes of the goddess by the image-maker, as an inaugural ritual of consecrating and bringing the clay image to like, at a workshop at Kumartuli, the hub of the image-makers in North Kolkata." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14192-BIG.jpg", "copyright": "Devi Chakrabarti, India, 2018", "title": "'Sandhya arati', an important customary ritual being performed by the priests on the eve of Shashti, the sixth day of festivals, in a community Durga Puja at Salt Lake in East Kolkata." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14193-BIG.jpg", "copyright": "Devi Chakrabarti, India, 2018", "title": "Residents of the neighbourhood seeking blessings from the holy fire after the performance of 'Sandhi Puja', the auspicious event marking the conjuncture of Ashtami and Nabami, the eighth and ninth day of the festival, at Alt Lake in East Kolkata." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14194-BIG.jpg", "copyright": "Abhyudaya Chatterjee, India, 2018", "title": "A resplendent traditional image of the goddess embellished in gold tinsel foil at one of Kolkata's most sought after 'Sarbojanin' or community Durga Pujas - Maddox square in South Kolkata." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14195-BIG.jpg", "copyright": "Tapati Guha-Thakurta, India, 2014", "title": "Durga at 41 Pally, a popular community Durga Puja in Haridebpur in South Kolkata, designed by Kamaldeep Dhar in a folk art form, one of the main stylistic inspirations for the new images of the goddess." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14196-BIG.jpg", "copyright": "Abhyudaya Chatterjee, India, 2018", "title": "Image of the goddess constructed using organic materials such as jute ropes by one of Kolkata's preeminent Puja artists, Bhabatosh Sutar, at 95 Pally Durga Puja in Jodhpur Park in South Kolkata." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14197-BIG.jpg", "copyright": "Tapati Guha-Thakurta, India, 2010", "title": "An entire residential lane, with its houses, trees and street lights turned into an extraordinary public art installation by Susanta Pal, one of Kolkata's outstanding Puja designers, at the Badamtala Ashar Sangha Durga Puja in Kalighat in South Kolkata." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14198-BIG.jpg", "copyright": "Sandipan Mitra, India, 2018", "title": "Spectacular interior decor of the 'Pandal' or pavilion of Hindusthan Park Sarbojanin Durga Puja, another reputed community Puja site of South Kolkata, designed by Anirban Das, one of Kolkata's leading Puja artists." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14199-BIG.jpg", "copyright": "Abhyudaya Chatterjee, India, 2018", "title": "The goddess, moments before being entirely immersed into the Hooghly river at Babu Ghat in Kolkata on Bijoya Dashami, the last day of the festival, that marks her return to the heavenly abode." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Az8SGiqk9-o", "copyright": "Ministry of Culture, Government of India, 2019", "title": "Durga Puja of Kolkata" } ], "sustainability": "" } }, "element_707": { "type": "element", "label": "Fest-Noz, festive gathering based on the collective practice of traditional dances of Brittany", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07650-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07650-HUG.jpg" }, "description": "Fest-Noz is a festive gathering based on the collective practice of traditional Breton dances, accompanied by singing or instrumental music. The strong Breton cultural movement has preserved this expression of a living and constantly renewed practice of inherited dance repertoires with several hundred variations, and thousands of tunes. About a thousand Fest-Noz take place every year with participants varying from a hundred to several thousand people, thousands of musicians and singers and tens of thousands of regular dancers. Beyond the practice of the dance, the Fest-Noz is characterized by an intense camaraderie among the singers, musicians and dancers, significant social and intergenerational diversity, and openness to others. Traditionally, transmission occurs through immersion, observation and imitation, although hundreds of devotees have worked with tradition bearers to compile the repertoires and lay the groundwork for new modes of transmission. Today, the Fest-Noz is at the centre of an intense ferment of musical experiences and has spawned a veritable cultural economy. Many meetings are held between singers, musicians and dancers from Brittany and different cultures. Moreover, many new inhabitants of Breton villages use Fest-Noz as a means of integration, as it is heavily implicated in the sense of identity and continuity of the people of Brittany.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/fest-noz-festive-gathering-based-on-the-collective-practice-of-traditional-dances-of-brittany-00707", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07648-BIG.jpg", "copyright": "Myriam J\u00e9gat, 2006", "title": "Danse en rond au fest-deiz de la F\u00eate de la Gall\u00e9sie \u00e0 Monterfil (Ille-et-Vilaine)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07650-BIG.jpg", "copyright": "Myriam J\u00e9gat, 2007", "title": "Le grand fest-noz urbain Yaouank, \u00e0 Rennes (Ille-et-Vilaine), r\u00e9unit \u00e0 chaque \u00e9dition des milliers de danseurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07653-BIG.jpg", "copyright": "Jean-Luc Kokel, 2009", "title": "Les meilleurs danseurs se mesurent lors de concours, comme ici lors d'un concours de gavotte des Montagnes \u00e0 Hanvec (Finist\u00e8re)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07654-BIG.jpg", "copyright": "Jean-Luc Kokel, 2009", "title": "Un fest-deiz en plein air \u00e0 Plouz\u00e9lambre (C\u00f4tes-d'Armor)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07655-BIG.jpg", "copyright": "Jean-Luc Kokel, 2009", "title": "Les sonneurs de binou-bombarde Lothod\u00e9-Cadudal m\u00e8nent une gavotte ici lors du Championnat des sonneurs de Gourin (Morbihan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08188-BIG.jpg", "copyright": "Myriam J\u00e9gat, 2009", "title": "Cha\u00eene de danseurs de gavotte au Printemps de Ch\u00e2teauneuf (Finist\u00e8re)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08189-BIG.jpg", "copyright": "Myriam J\u00e9gat, 2010", "title": "Les fr\u00e8res Morvan, grandes figures du chant \u00e0 danser, animant un fest-noz \u00e0 Lanrivain en 2010 (C\u00f4tes-d'Armor)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08190-BIG.jpg", "copyright": "Myriam J\u00e9gat, 2010", "title": "De jeunes chanteuses animant un fest-noz en soutien \u00e0 la candidature du fest-noz, \u00e0 Poullaouen en 2010" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08191-BIG.jpg", "copyright": "Julien Cornic, 2010", "title": "Un fest-noz \u00e0 Cavan (C\u00f4tes-d'Armor) en 2010" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08192-BIG.jpg", "copyright": "Pierre Jourdain, 2009", "title": "Un fest-noz \u00e0 la ferme de la Marinais \u00e0 Bains-Sur-Oust (Ille-et-Vilaine)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=gv6pQzPUwQ0", "copyright": "Dastum\/De l'Autre C\u00f4t\u00e9, 2010", "title": "Fest-noz" }, { "url": "https:\/\/www.youtube.com\/watch?v=HwKWI74_TB4", "copyright": "Dastum\/De l'Autre C\u00f4t\u00e9, 2010", "title": "Fest-noz" }, { "url": "https:\/\/www.youtube.com\/watch?v=CEWWaOZJgSg", "copyright": "Dastum\/De l'Autre C\u00f4t\u00e9, 2010", "title": "Fest-noz" } ], "sustainability": "" } }, "element_717": { "type": "element", "label": "Nongak, community band music, dance and rituals in the Republic of Korea", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09236-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09236-HUG.jpg" }, "description": "Nongak is a popular performing art derived from communal rites and rustic entertainments. It has evolved into a representative performing art of the Republic of Korea, combining a percussion ensemble and sometimes wind instruments, parading, dancing, drama and acrobatic feats. Local Nongak performers clad in colourful costumes perform their music and dance during community events with various purposes, such as appeasing gods, chasing evil spirits, praying for a rich harvest in spring then celebrating it during autumn festivals and fund-raising for community projects. There are distinctive regional styles of Nongak, generally divided among five cultural centres. Within each area, differences exist from one village to another in band composition, performing style, rhythm and costumes. Dancing includes choreographic formations and streamer dances while actors wearing masks and peculiar outfits also perform funny skits. Acrobatics include dish spinning and miming antics by child dancers carried on the shoulders of adult performers. The public becomes familiar with Nongak through observation and participation in its performances, while community groups and educational institutions play an important role in teaching and transmitting the different components. Nongak helps to enhance solidarity and cooperation in the community and establishes a sense of shared identity among community members.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nongak-community-band-music-dance-and-rituals-in-the-republic-of-korea-00717", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09231-BIG.jpg", "copyright": "Kim Hyeo-jeong, 2013", "title": "Dangsanje Rite of Imsil Pilbong - Nongak is played during the service for village guardian god on the first full moon day of the year." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09232-BIG.jpg", "copyright": "Kim Hyeo-jeong, 2013", "title": "Treading Yards of Imsil Pilbong - The service is followed by treading the village houses\u2019 courtyards to ward off evil spirits and bring good fortune." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09233-BIG.jpg", "copyright": "Kim Hyeo-jeong, 2008", "title": "Treading Yards of Gurye Jansu - When treading the yards, village fund is raised for community projects." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09234-BIG.jpg", "copyright": "Kim Hyeo-jeong, 2007", "title": "Weeding-rice-paddy Pungjang of Hwanggeum-ri, Damyang - People sing and play nongak to work in tune with others when seedling and weeding rice paddies." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09235-BIG.jpg", "copyright": "Kim Hyeo-jeong, 2007", "title": "Weeding-rice-paddy Pungjang of Hwanggeum-ri, Damyang - People sing and dance to the nongak music betweenwhiles to take rest." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09236-BIG.jpg", "copyright": "Kim Hyeo-jeong, 2011", "title": "Yeonpungdae Dance by Female Nongak Troupe of Gurye - Yeonpungdae Dance features three overlapping circles, created by rotating dancers, their twirling sangmo hats and the big circle formed by entire dancers." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09237-BIG.jpg", "copyright": "Kim Hyeo-jeong, 2013", "title": "Ssangomudong of Pyeongtaek, Gyeonggi - Omudong refers to the perfonnance of building a human tower formed by one person supporting the other five on top of him, each standing on the other's shoulder. Ssangomudong means double Omudong. It is performed in the middle part of the Korean Peninsula." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09238-BIG.jpg", "copyright": "Kim Hyeo-jeong, 2013", "title": "Nanjanggut Gilnori of Beopseongpo, Yeonggwang - When a big market is open, Gilnori and Pangut (road rite) are performed by a nongak troupe for promoting the market." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09239-BIG.jpg", "copyright": "Kim Hyeo-jeong, 2012", "title": "An elementary schoolers\u2019 nongak club of Samcheonpo, Jinju - Elementary schoolers have learned and performed a Pangut ritual native to their region." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09240-BIG.jpg", "copyright": "National Cugak Center, 2006", "title": "Samul Nori -The percussion quartet of nongak playing rhythms adapted for stage performance." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Kc37atMKHQs", "copyright": "", "title": "Nongak" } ], "sustainability": "" } }, "element_719": { "type": "element", "label": "Traditional violin craftsmanship in Cremona", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07288-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07288-HUG.jpg" }, "description": "Cremonese violin craftsmanship is highly renowned for its traditional process of fashioning and restoring violins, violas, cellos and contrabasses. Violin-makers attend a specialized school, based on a close teacher-pupil relationship, before being apprenticed in a local workshop, where they continue to master and perfect their techniques \u2013 a never-ending process. Each violin-maker constructs from three to six instruments per year, shaping and assembling more than 70 pieces of wood around an inner mould by hand, according to the different acoustic response of each piece. No two violins are alike. Every part of the instrument is made with a specific wood, carefully selected and naturally well seasoned. No semi-industrial or industrial materials are used. Craftsmanship requires a high level of creativity: the craftsperson has to adapt general rules and personal knowledge to every instrument. Cremonese violin-makers are deeply convinced that sharing their knowledge is fundamental to the growth of their craftsmanship, and dialogue with musicians is deemed essential so as to understand their needs. Traditional violin-making is promoted by two violin-makers\u2019 associations, \u2018Consorzio Liutai Antonio Stradivari\u2019 and \u2018Associazione Liutaria Italiana\u2019, and is considered fundamental to the identity of Cremona, its citizens, and plays a fundamental role in its social and cultural practices, rituals and events.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-violin-craftsmanship-in-cremona-00719", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07282-BIG.jpg", "copyright": "2010 by Terra d'ombra Production", "title": "Small showcase-souvenir with a miniature of a Stradivari instrument and the main parts that constitute a violin." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07283-BIG.jpg", "copyright": "2010 by Terra d'ombra Production", "title": "Construction technique 1: preparation of the internal mouldform. The whole body of the violinmaker is involved." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07284-BIG.jpg", "copyright": "2010 by Terra d'ombra Production", "title": "Construction technique 2: shaping of the blocks. The saw has been having the same shape since the 16 Century." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07285-BIG.jpg", "copyright": "2010 by Terra d'ombra Production", "title": "Construction technique 3: the carving of the belly is finished using very small planes and metal scarpers to obtain the desired arching. It is a long and meticulous work." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07286-BIG.jpg", "copyright": "2010 by Terra d'ombra Production", "title": "Construction technique 4: after closing the sound box, the edges of the belly are refined with a small file." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07287-BIG.jpg", "copyright": "2010 by Terra d'ombra Production", "title": "Relationship between master and pupil." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07288-BIG.jpg", "copyright": "2010 by Municipality of Cremona", "title": "Students of the International School of violin making (IPIALL) visit the collection of the Town Hall: they carefully look at and study the best classic instruments to achieve valuable guideline concerning acoustics and style." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07289-BIG.jpg", "copyright": "2010 by Terra d'ombra Production", "title": "Violin making workshop." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07290-BIG.jpg", "copyright": "2010 by Terra d'ombra Production", "title": "Violin making workshop near the cathedral, reflected in the window." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07291-BIG.jpg", "copyright": "2010 by Terra d'ombra Production", "title": "A grocer's shop window: a violin neck is a decoration; the violin shape is used to make nougat." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RXlworGV548", "copyright": "2011 Lorenzo Pizzi by Terra d'Ombra Production", "title": "\"Liuteria\" Traditional violin craftsmanship of Cremona\r\n(English version)" }, { "url": "https:\/\/www.youtube.com\/watch?v=KcRz4k0qS04", "copyright": "2011 Lorenzo Pizzi by Terra d'Ombra Production", "title": "\"Liuteria\" Traditional violin craftsmanship of Cremona\r\n(English version)" } ], "sustainability": "" } }, "element_720": { "type": "element", "label": "Traditional agricultural practice of cultivating the \u2018vite ad alberello\u2019 (head-trained bush vines) of the community of Pantelleria", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08696-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08696-HUG.jpg" }, "description": "The traditional practice of cultivating head-trained bush vines (''vite ad alberello'') is transmitted through generations of vine growers and farmers of the Mediterranean island of Pantelleria. About 5,000 inhabitants own a plot of land, which they cultivate using sustainable methods. The technique consists of several phases. The ground is prepared by levelling the soil and digging a hollow to plant the vine. The main stem of the vine is then carefully pruned to produce six branches, forming a bush with a radial arrangement. The hollow is constantly reshaped to ensure the plant is growing in the right microclimate. The wine grapes are then harvested by hand during a ritual event starting at the end of July. The vine-growers and farmers of Pantelleria, male and female, practice ''vite ad alberello'' under harsh climatic conditions. The knowledge and skills of bearers and practitioners are handed down in families through oral and practical instruction in the local dialect. In addition, rituals and festivals organized between July and September allow the local community to share this social practice. The people of Pantelleria continue to identify themselves with vine growing and strive to preserve this practice.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-agricultural-practice-of-cultivating-the-vite-ad-alberello-head-trained-bush-vines-of-the-community-of-pantelleria-00720", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08696-BIG.jpg", "copyright": "2010 by Graziella Pavia\/Pantelleria Agronomist", "title": "The head trained bush vine seen from above in the characteristic terracings of Pantelleria. The nominated element has helped preserving the landscape in the island for centuries." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08697-BIG.jpg", "copyright": "2010 by Graziella Pavia\/Pantelleria Agronomist", "title": "Two vine growers of Pantelleria working with their horses to clean \r\nthe ground. On the hills and on the terracings of the island only the\r\nhorses or the donkeys can help the vinegrowers in their work." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08698-BIG.jpg", "copyright": "2010 by Graziella Pavia\/Pantelleria Agronomist", "title": "An old vine grower is preparing the ground to plant the vines, making\r\nthe hollows at the right distance one from another." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08699-BIG.jpg", "copyright": "2010 by Graziella Pavia\/Pantelleria Agronomist", "title": "A vine grower pruning the plant, in order to ensure the right proportion between foliage and roots. ln this way, the vine will grow in its hollow, protected from atmospheric agents" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08700-BIG.jpg", "copyright": "2010 by Graziella Pavia\/Pantelleria Agronomist", "title": "The head trained bush vines in winter. The vine lost its foliage and\r\nthe vine grower still works for the maintenance of the vineyard, assuring that the vine grows exactly in the hollow to be repaired\r\nfrom atmospheric agents." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08701-BIG.jpg", "copyright": "2010 by IRVV", "title": "The new planted vine in its \"cradle\"-hollow, just planted by the\r\nvine grower still on his knees, almost protecting the plant with \r\nhis body." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08702-BIG.jpg", "copyright": "2010 by Graziella PaviaI\/Pantelleria Agronomist", "title": "A vine in its hollow during the spring season. A close up of the vines \r\nof the island cultivated through the nominated agricultural practice." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08703-BIG.jpg", "copyright": "2010 by Graziella PaviaI\/Pantelleria Agronomist", "title": "A young man helping his father vinegrower in the maintainance \r\nof the vineyard." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08704-BIG.jpg", "copyright": "2012 by Simone Raffaele\/Pantelleria Photographer", "title": "A family of vine growers of the island still mantains the tradtion of manually harversting the vines. It's a moment of joy long waited for \r\nthe whole year" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08705-BIG.jpg", "copyright": "2012 by Simone Raffaele\/Pantelleria Photographer", "title": "A family portrait in its little vineyard, fundamental part of its cultural\r\nidentity. Most of the islanders still own vineyards and still grow vine as a laborious pastime allowing them to perpetrate the tradition of\r\ntheir ancestors" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KYBNat8WwuM", "copyright": "IRVOS, 2013", "title": "The alberello of Pantelleria" } ], "sustainability": "The vine-growing community on the island of Pantelleria has developed traditional agricultural techniques for dealing with the harsh, dry climate. Known as the cultivation of \u201chead trained bush vines,\u201d or vite ad albarello, this technique allows the community to successfully grow the vines that are central to their livelihood despite the strong winds and low precipitation. In addition to being a traditional practice that exemplifies the sustainable development goal of climate adaptation, the dry-stone wall terraces built for vine cultivation also contribute to environmental conservation by slowing down desertification and soil impoverishment. This element also links to SDG # 1: No Poverty, SDG # 4: Quality Education, SDG #8: Decent Work and Economic Growth, and SDG #15: Life on Land." } }, "element_721": { "type": "element", "label": "Celebrations of big shoulder-borne processional structures", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07345-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07345-HUG.jpg" }, "description": "Catholic processions featuring large shoulder-borne processional structures take place throughout Italy, but particularly in four historic city centres: in Nola, a procession of eight wood and papier m\u00e2ch\u00e9 obelisks commemorates the return of St Paolino; in Palmi, bearers carry a complex processional structure in honour of Our Lady of the Holy Letter; in Sassari, the Discesa dei Candelieri (Descent of the Candlesticks) involves the votive transportation of wooden obelisks; and in Viterbo, the Macchina di Santa Rosa (Tower of Santa Rosa) commemorates the town\u2019s patron saint. The coordinated and equitable sharing of tasks in a common project is a fundamental part of the celebrations, which bind the communities together through the consolidation of mutual respect, cooperation and joint effort. Dialogue among the bearers who share this cultural heritage also results in the development of an exchange network. The celebrations require the involvement of musicians and singers, as well as skilled artisans who manufacture the processional structures and create the ceremonial clothes and artefacts. The festive communities rely on the informal transmission of these techniques and knowledge to recreate the structures every year, a process that aids cultural continuity and reinforces a strong sense of identity.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/celebrations-of-big-shoulder-borne-processional-structures-00721", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07338-BIG.jpg", "copyright": "2010 by Paolo Peluso", "title": "The eight Lilies come from the districts of the city centre since the early hours of Sunday morning, each rocked by 200 men, who \"will be dancing\" the Lily for the following 24 hours." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07339-BIG.jpg", "copyright": "2010 by Sabrina Iorio", "title": "Two generations under the Lily: the passion and love for the feast handed down to those who will rock the Lily in the future and to those who will talk about it to the new generations, over and over." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07340-BIG.jpg", "copyright": "2005 by Creative Movie", "title": "The Varia, 16 meters high and weighing nearly 200 quintals, is rushed by 200 'Mbuttaturi, who, at sunset on the last Sunday of August, repeat gestures and emotions dating back to 500 years." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07341-BIG.jpg", "copyright": "2005 by Vincenzo De Francia", "title": "The \u201cVaria di Palmi\u201d, which dates back to the sixteenth century, since 1901 is \"mechanical\" because it uses moving parts; the Sun, the Moon, still perfectly working thanks to the knowledge handed down by craftsmen who build the Structure." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07342-BIG.jpg", "copyright": "2008 by Marcello Saba", "title": "For 700 years, on August 14, the Candle Bearers have been proceeding in a row on the main street of the historical centre of the town, dancing to the charming sound of fifes and drums even for 10 hours." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07344-BIG.jpg", "copyright": "2008 by Marcello Saba", "title": "Already in 1531 a statute regulated the entry of Candle Bearers in the Church of St. Mary of Bethlehem: the Farmers, the Merchants, the Tailors, the Shoemakers, the Bricklayers, the Carpenters, the Pastors, the Gardeners and the Carters." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07345-BIG.jpg", "copyright": "2010 by Rodolfo Morbidelli", "title": "The Structure, weighing nearly 50 tons, advances lit by torches through the narrow streets of the historical centre of Viterbo illuminating the dark of night. The route has always been the same, since 1300." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07346-BIG.jpg", "copyright": "2010 by Rodolfo Morbidelli", "title": "The 133 porters are the engine of the Structure. The transport depends on their strength and experience thus renovating the feelings of sharing and solidarity that characterize all the Corporations of the Network." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07347-BIG.jpg", "copyright": "2006 by Eugenio Crea", "title": "The Network Communities which have been talking to each other for six years, have organized a three days\u2019 celebration with moments of games for the Corporations of the feasts and exhibitions on the festive traditions of the four cities." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07348-BIG.jpg", "copyright": "2010 by Gabriele Desiderio", "title": "On December 2010, the festive communities, with the sponsorship of Rome, met the Italian cultural and political institutions in order to discuss the measures to safeguard the intangible cultural heritage represented by the feasts." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=7_VbCqWVxZQ", "copyright": "2011 by Rete delle Grandi Macchine a Spalla Italiane", "title": "The Celebrations of big shoulder-borne processional structures" } ], "sustainability": "" } }, "element_722": { "type": "element", "label": "Art of Neapolitan \u2018Pizzaiuolo\u2019", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10539-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10539-HUG.jpg" }, "description": "The art of the Neapolitan \u2018Pizzaiuolo\u2019 is a culinary practice comprising four different phases relating to the preparation of the dough and its baking in a wood-fired oven, involving a rotatory movement by the baker. The element originates in Naples, the capital of the Campania Region, where about 3,000 Pizzaiuoli now live and perform. Pizzaiuoli are a living link for the communities concerned. There are three primary categories of bearers \u2013 the Master Pizzaiuolo, the Pizzaiuolo and the baker \u2013 as well as the families in Naples who reproduce the art in their own homes. The element fosters social gatherings and intergenerational exchange, and assumes a character of the spectacular, with the Pizzaiuolo at the centre of their \u2018bottega\u2019 sharing their art. Every year, the Association of Neapolitan Pizzaiuoli organizes courses focused on the history, instruments and techniques of the art in order to continue to ensure its viability. Technical know-how is also guaranteed in Naples by specific academies, and apprentices can learn the art in their family homes. However, knowledge and skills are primarily transmitted in the \u2018bottega\u2019, where young apprentices observe masters at work, learning all the key phases and elements of the craft.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/art-of-neapolitan-pizzaiuolo-00722", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10536-BIG.jpg", "copyright": "Sebillo, 2010", "title": "The first phase: the shaping of dough balls (the so called 'Staglio')" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10537-BIG.jpg", "copyright": "Sebillo, 2014", "title": "The second phase: spreading the dough (called 'ammaccatura'). Pizzaiuolo forms the famous raised rim called 'cornicione' with a skillful motion for its extension (called 'schiaffo')" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10538-BIG.jpg", "copyright": "Sebillo, 2014", "title": "The second phase: Pizzaiuolo makes a skillful motion (called 'schiaffo') for the extension of the dough" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10539-BIG.jpg", "copyright": "Sebillo, 2015", "title": "The second phase: the real performing art that assumes a character of ability due to the master of Naples Pizzaiuoli" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10540-BIG.jpg", "copyright": "Sebillo, 2015", "title": "The third phase: topping the dough with ingredients from the center, with a spiraling and clockwise motion" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10541-BIG.jpg", "copyright": "Sebillo, 2015", "title": "The fourth stage: baking in a wood-oven, with a rotating movement ('half turn')" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10542-BIG.jpg", "copyright": "Sebillo, 2015", "title": "Children are always involved in specific activities aimed at transmitting this art to future generations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10543-BIG.jpg", "copyright": "Sebillo, 2015", "title": "The 'white art' is performed also by children and young people that, with the help of the master, being to expertise and train themselves in this practice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10544-BIG.jpg", "copyright": "Sebillo, 2011", "title": "The whole community participates in the festive event during which Naples Pizzaiuoli perform their traditional art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10545-BIG.jpg", "copyright": "Sebillo, 2010", "title": "The transmission of the white art finds often a family solution" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=F4LpLfF5U34", "copyright": "Associazione Pizzaiuoli Napoletani, 2011", "title": "Naples Pizzaiuoli" } ], "sustainability": "" } }, "element_726": { "type": "element", "label": "Schemenlaufen, the carnival of Imst, Austria", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06298-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06298-HUG.jpg" }, "description": "Every four years the city of Imst in Austria celebrates its Fasnacht carnival on the Sunday before the Christian season of Lent. The central festivity is Schemenlaufen, a procession of masked, costumed dancers. The main characters are in pairs, one man wearing rotating bells and another wearing larger bells weighing up to 35 kg. Together, they perform a special dance of jumps and bows, with the bells producing a mix of high and low tones. A total of fifty-five such couples participate, while other masked characters slowly imitate their dance. Yet other characters maintain order by softly hitting or splashing the audience with water, while a young girl throws scented powder into the audience. Masked chimney-sweeps climb houses in feats of bravery, witches shout at the audience accompanied by a band playing dissonant melodies, and white or brown bears demonstrate their strength. The carnival unites the whole population of Imst in a common goal: organizing the Fasnacht in accordance with long-standing tradition. Inhabitants of Imst, particularly women, are schooled in the techniques for making Schemenlaufen costumes, while local blacksmiths forge the bells. Everybody may carve wooden masks and knowledge of traditional craftsmanship is usually passed on within the family or taught in special courses.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/schemenlaufen-the-carnival-of-imst-austria-00726", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06296-BIG.jpg", "copyright": "Melitta Abber, 2004", "title": "The 'K\u00fcbelmaje' is a young girl dressed in a simple, traditional skirt and a straw hat who throws powder from a small wooden bucket at the audience." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06297-BIG.jpg", "copyright": "Melitta Abber, 2004", "title": "The vocal group called 'Fasnachtslabara' perform a song, which traditionally deals with the misfortune of an inhabitant of Imst." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06298-BIG.jpg", "copyright": "Melitta Abber, 2004", "title": "The main figures - 'Roller' and his counterpart 'Scheller' - dance together. The former wears a shiny silver headdress and lederhosen with up to forty bells tied around his hips. He holds a 'Pemsl', a type of brush made out of wood chips." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06299-BIG.jpg", "copyright": "Melitta Abber, 2009", "title": "A 'beater' forces a brown bear to make a turn." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06300-BIG.jpg", "copyright": "Melitta Abber, 2009", "title": "The figures of the 'Laggepaar' couple perform a slow and ironic imitation of the vivid dance of 'Roller' and 'Scheller'." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06301-BIG.jpg", "copyright": "Melitta Abber, 2009", "title": "The 'Hexemusig' - a group of witches - dance around." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06302-BIG.jpg", "copyright": "Melitta Abber, 2009", "title": "As the 'Roller' starts jumpimp, the 'Altfrankspritzer' - dressed like a townsman in a tailcoat of baroque style and holding a trident - targets the audience with a water pistol to make way." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06303-BIG.jpg", "copyright": "Melitta Abber, 2009", "title": "'Altfrankspritzer' and 'Turesackner' (behind him) clear the way for the other masks by using a bag filled with straw." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06304-BIG.jpg", "copyright": "Melitta Abber, 2004", "title": "View of the 'Kramergasse', the main shopping street in Imst." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06305-BIG.jpg", "copyright": "Melitta Abber, 2004", "title": "Final circle of the procession at the town square." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=dQcc8mh9d8E", "copyright": "2004 by Manfred Siegl", "title": "Imster Fasnacht" } ], "sustainability": "" } }, "element_729": { "type": "element", "label": "Traditional weaving of the Ecuadorian toquilla straw hat", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06527-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06527-HUG.jpg" }, "description": "The toquilla straw hat is woven from fibres from a palm tree characteristic of the Ecuadorian coast. Coastal farmers cultivate the toquillales and harvest the stems before separating the fibre from the green outer skin. This is boiled to remove chlorophyll and dried for subsequent bleaching with sulfur over a wood fire. Weavers take this raw material and begin weaving the crown and the brim of the hat. Weaving a hat can take from one day to eight months, depending on the quality and finesse. In Pile, a costal community, weavers produce extra fine hats that require specific climatic conditions and involve an exact number of points in each row of weaving. The process is completed by washing, bleaching, moulding, ironing and pressing. The weavers are mostly peasant families and transmission of weaving techniques occurs within the home from an early age through observation and imitation. The skills and knowledge enfold a complex and dynamic social fabric including traditional techniques of cultivation and processing, forms of social organization, and use of the hat as part of everyday clothing and in festive contexts. It is a distinctive mark of the communities perpetrating this tradition and part of their cultural heritage.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-weaving-of-the-ecuadorian-toquilla-straw-hat-00729", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06519-BIG.jpg", "copyright": "Institut National du Patrimoine Culturel, 2010", "title": "Agriculteur r\u00e9coltant la paille toquilla. Manab\u00ed-Equateur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06520-BIG.jpg", "copyright": "Institut National du Patrimoine Culturel, 2009", "title": "Cuisson de la paille en chaudrons au feu de bois. Manab\u00ed-Ecuador" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06521-BIG.jpg", "copyright": "Institut National du Patrimoine Culturel, 2009", "title": "Le s\u00e9chage de la paille toquilla se fait au soleil." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06522-BIG.jpg", "copyright": "Institut National du Patrimoine Culturel, 2010", "title": "Famille de Domingo Carranza, tisserands de Pile. Manab\u00ed-Equateur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06523-BIG.jpg", "copyright": "Institut National du Patrimoine Culturel, 2010", "title": "Traditional weaving of the Ecuadorian toquilla straw hat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06524-BIG.jpg", "copyright": "Institut National du Patrimoine Culturel, , 2010", "title": "Tisserandes de Sigsig faisant des chapeaux. Azuay-Equateur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06525-BIG.jpg", "copyright": "Institut National du Patrimoine Culturel, 2011", "title": "Tisserande et vendeuse. Son travail quotidien comprend le tissage de chapeaux. Azuay-Equateur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06526-BIG.jpg", "copyright": "Institut National du Patrimoine Culturel, 2011", "title": "Tisserande de I'Association Mar\u00eda Auxiliadora (Sigsig) achevant la calotte d'un chapeau. Azuay-Equateur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06527-BIG.jpg", "copyright": "Institut National du Patrimoine Culturel, 2011", "title": "Tisserand de chapeaux fins et extra fins (Montecristi). Manab\u00ed-Equateur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06528-BIG.jpg", "copyright": "Institut National du Patrimoine Culturel, 2011", "title": "Les chapeaux fins de paille toquilla pour la vente" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=05SVODoIg4s", "copyright": "2011 by Institut national du Patrimoine Culturel", "title": "Une histoire de toquilla" }, { "url": "https:\/\/www.youtube.com\/watch?v=EQTRZJE-fqo", "copyright": "2011 by Institut national du Patrimoine Culturel", "title": "Une histoire de toquilla" } ], "sustainability": "" } }, "element_733": { "type": "element", "label": "Art of \u0110\u1eddn ca t\u00e0i t\u1eed music and song in southern Viet Nam", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06757-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06757-HUG.jpg" }, "description": "A musical art with both scholarly and folk roots, \u0110\u1eddn ca t\u00e0i t\u1eed is an indispensable part of the spiritual activity and cultural heritage of the people of southern Viet Nam. The music and songs evoke the people\u2019s life and work on the land and rivers of the Mekong Delta region. Performed at numerous events such as festivals, death anniversary rituals and celebrations, \u0110\u1eddn ca t\u00e0i t\u1eed is thus intimately connected with other cultural practices and customs, oral traditions and handicrafts. The performers express their feelings by improvising, ornamenting and varying the \u2018skeletal melody\u2019 and main rhythmic patterns of these pieces. \u0110\u1eddn ca t\u00e0i t\u1eed is played on a variety of different instruments, including the moon-shaped lute, two-stringed fiddle, sixteen-stringed zither, pear-shaped lute, percussion, monochord and bamboo flute. Its repertoire is based on twenty principal songs and seventy-two classical songs. The musical art is passed on through oral transmission, based on imitation, from master instrumentalists and singers to students. Musicians need to study for at least three years to learn the basic instrumental techniques and master the musical modes to express different moods and emotions. Vocal students study the traditional songs and learn to improvise subtly, using different ornamentation techniques.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/art-of-n-ca-tai-t-music-and-song-in-southern-viet-nam-00733", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06756-BIG.jpg", "copyright": "2010 by Vietnamese Institute for Musicology", "title": "The master t\u00e0i t\u1eed musician Nguy\u1ec5n V\u0129nh B\u1ea3o, talking about the teaching work of playing the instruments of \u0110\u1eddn ca T\u00e0i t\u1eed on internet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06757-BIG.jpg", "copyright": "2010 by Vietnamese Institute for Musicology", "title": "Mr. Ba Vinh aged 85, a famous t\u00e0i t\u1eed musician in C\u00e0 Mau province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06759-BIG.jpg", "copyright": "2010 by Vietnamese Institute for Musicology", "title": "The activity of Cao V\u0103n L\u1ea7u \u0110\u1eddn ca T\u00e0i t\u1eed Club in B\u1ea1c Li\u00eau city" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06760-BIG.jpg", "copyright": "2010 by Vietnamese Institute for Musicology", "title": "\u0110\u1eddn ca T\u00e0i t\u1eed performance in the reception of friends at the house of the t\u00e0i t\u1eed musician Nguy\u1ec5n V\u0103n L\u01b0\u1ee3m in T\u00e2n Ph\u00fa, T\u00e2n Ch\u00e2u, An Giang province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06761-BIG.jpg", "copyright": "2010 by Vietnamese Institute for Musicology", "title": "The eminent artist Ba Tu and t\u00e0i t\u1eed group, performing a chamber concert of \u0110\u1eddn ca T\u00e0i t\u1eed at Mr.S\u00e1u\u2019s house in T\u00e2n An, Ti\u1ec1n Giang province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06762-BIG.jpg", "copyright": "2010 by Vietnamese Institute for Musicology", "title": "\u0110\u1eddn ca T\u00e0i t\u1eed performance on the occasion of the celebration of Mr. S\u00e1u H\u1eefu Ni\u2019s new house in T\u00e2n Ch\u00e2u, An Giang province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06763-BIG.jpg", "copyright": "2010 by Vietnamese Institute for Musicology", "title": "Mr.L\u00ea H\u1ed3ng Ho\u00e0ng, teaching his neighboring children to play the c\u00f2 two-string fiddle in C\u1ea7n Th\u01a1 city" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06764-BIG.jpg", "copyright": "2010 by Vietnamese Institute for Musicology", "title": "The folk artist B\u1ea1ch Hu\u1ec7, teaching the members of \u0110\u1eddn ca T\u00e0i t\u1eed club to sing at the Culture Centre in H\u1ed3 Ch\u00ed Minh city" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=5M4h4AGteGU", "copyright": "2011 by Vietnamese Institute for Musicology", "title": "\u0110\u1eddn ca T\u00e0i t\u1eed in the Southern region of Vietnam" }, { "url": "https:\/\/www.youtube.com\/watch?v=fntaCKECCSc", "copyright": "2011 by Vietnamese Institute for Musicology", "title": "\u0110\u1eddn ca T\u00e0i t\u1eed in the Southern region of Vietnam" } ], "sustainability": "" } }, "element_734": { "type": "element", "label": "Feast of the Holy Forty Martyrs in \u0160tip", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06379-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06379-HUG.jpg" }, "description": "The Feast of the Holy Forty Martyrs takes place every year on 22 March, honouring the fourth-century martyrs of Sebaste and marking the first day of spring. Participants gather on the streets and in the squares of \u0160tip, and then hike up the Isar hill, stopping en route at the church to pay tribute to the Holy Forty Martyrs. During the climb \u2013 according to tradition \u2013 the participants must greet forty acquaintances and gather forty pebbles as well as forty flowers or twigs from the almond trees that grow nearby. On reaching the top, the participants make wishes and throw thirty-nine pebbles into the Bregalnica River below. The remaining pebble is kept and placed under the pillow before going to sleep. Musical bands play on the hill throughout the day. The feast is transmitted through parents hiking with their children, or older relatives and friends handing down the tradition to the younger generation. This spring event requires the selfless cooperation of many people from all age groups, social classes and backgrounds, thus promoting and encouraging teamwork and solidarity. The feast is also a way of bringing together the different religious and ethnic groups that live in \u0160tip, thus perpetuating a sense of belonging to the city and its traditions.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/feast-of-the-holy-forty-martyrs-in-stip-00734", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06379-BIG.jpg", "copyright": "(2010) Municipality of Shtip", "title": "Mayor of Shtip and citizens are climbing on the hill of the \"ISAR\" (archeological site)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06380-BIG.jpg", "copyright": "(2010) Municipality of Shtip", "title": "The church St. Archangel Michail\" the place where the religios part of the ritual is occuring" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06381-BIG.jpg", "copyright": "(2010) Municipality of Shtip", "title": "Young population bowing to icon of Holly 40 Martyrs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06383-BIG.jpg", "copyright": "Municipality of Shtip, 2010", "title": "'???????' (traditional Bazar) on the falls of the 'isar' hill" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08490-BIG.jpg", "copyright": "Municipality of Shtip, 2010", "title": "Young boys sitting in the top of the old walls of the Isar (old medieval fortress)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08491-BIG.jpg", "copyright": "Municipality of Shtip, 2010", "title": "People from all generation and gender gathered on the top of the hill from where they are throwing the pebbles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08492-BIG.jpg", "copyright": "Municipality of Shtip, 2010", "title": "Participants visiting the old medieval Church on the Isar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08493-BIG.jpg", "copyright": "Municipality of Shtip, 2010", "title": "Participants climbing up the hill" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08494-BIG.jpg", "copyright": "Municipality of Shtip, 2010", "title": "Young boys sitting on the top of the fortress remains" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08495-BIG.jpg", "copyright": "Municipality of Shtip, 2010", "title": "Young girls in the top of the fortress walls, preparing to throw the pebbles. Panoramic view of the city of Shtip." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=6fkZAN5y220", "copyright": "(2010) by TV IRIS\r\n(2010) Sasho Tatarchevski", "title": "Chethrse - Holy Forty Martyrs from Shtip" } ], "sustainability": "" } }, "element_735": { "type": "element", "label": "Worship of H\u00f9ng kings in Ph\u00fa Th\u1ecd", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06720-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06720-HUG.jpg" }, "description": "Annually, millions of people converge on the H\u00f9ng temple at Ngh\u0129a L\u0129nh mountain in Ph\u00fa Th\u1ecd province to commemorate their ancestors and pray for good weather, abundant harvests, good luck and good health. The largest ceremony, the Ancestral Anniversary festival of the H\u00f9ng Kings, is celebrated for about one week at the beginning of the third lunar month. People from surrounding villages dress in splendid costumes and compete to provide the best palanquin and most highly valued objects of worship for the key rite in which drums and gongs are conveyed to the main temple site. Communities make offerings of rice-based delicacies such as square cakes and glutinous cakes, and there are verbal and folk arts performances, bronze drum beating, Xoan singing, prayers and petitions. Secondary worship of Hu\u0300ng Kings takes place at sites countrywide throughout the year. The rituals are led and maintained by the Festival Organizing Board \u2013 knowledgeable individuals of good conducts, who in turn appoint ritual committees and temple guardians to tend worship sites, instruct devotees in the key ritual acts and offer incense. The tradition embodies spiritual solidarity and provides an occasion to acknowledge national origins and sources of Vietnamese cultural and moral identity.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/worship-of-hung-kings-in-phu-th-00735", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06706-BIG.jpg", "copyright": "Vietnam Institute of Culture and Arts Studies 2011", "title": "Altar dedicated to H\u00f9ng Kings in Tr\u1eb9o Village, H\u00f9ng S\u01a1n Town, L\u00e2m Thao District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06707-BIG.jpg", "copyright": "Vietnam Institute of Culture and Arts Studies 2011", "title": "People of Vi Village, H\u00f9ng S\u01a1n Town, L\u00e2m Thao District make square cakes\r\nto invite H\u00f9ng Kings to join them for the Lunar New Year." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06718-BIG.jpg", "copyright": "Vietnam Institute of Culture and Arts Studies 2011", "title": "People of Tr\u1eb9o Village, H\u00f9ng S\u01a1n Town, L\u00e2m Thao District make glutinous rice cakes to invite H\u00f9ng Kings to join them for the Lunar New Year." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06719-BIG.jpg", "copyright": "Vietnam Institute of Culture and Arts Studies 2011", "title": "People of Vi Village, H\u00f9ng S\u01a1n Town, L\u00e2m Thao District bear a palanquin containing the H\u00f9ng Kings\u2019 tablet, inviting the Kings to join them for the Lunar New Year." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06720-BIG.jpg", "copyright": "Vietnam Institute of Culture and Arts Studies 2011", "title": "Ritual of seizing sacred paddy for seeds and for good luck, Tr\u1eb9o Village, H\u00f9ng S\u01a1n Town, L\u00e2m Thao District." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06721-BIG.jpg", "copyright": "Vietnam Institute of Culture and Arts Studies 2011", "title": "The burning of petition sheets is to convey the wishes of villagers to H\u00f9ng Kings, ending the ritual at C\u1ea3 Communal Hall, Vi and Tr\u1eb9o Villages, H\u00f9ng S\u01a1n Town, L\u00e2m Thao District." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06722-BIG.jpg", "copyright": "Vietnam Institute of Culture and Arts Studies 2011", "title": "The words \u201cThe First Ancestor of Vietnam\u201d can be read on the reception gate to Th\u01b0\u1ee3ng temple on Ngh\u0129a L\u0129nh Mountain, Hy C\u01b0\u01a1ng Commune, Vi\u1ec7t Tr\u00ec City." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06723-BIG.jpg", "copyright": "Vietnam Institute of Culture and Arts Studies 2011", "title": "H\u00f9ng Kings mausoleum on Ngh\u0129a L\u0129nh Mountain, Hy C\u01b0\u01a1ng Commune, Vi\u1ec7t Tr\u00ec City." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06725-BIG.jpg", "copyright": "Vietnam Institute of Culture and Arts Studies 2011", "title": "People make offerings to H\u00f9ng Kings at the Ritual of Receiving the Kings for Celebration of Spring in C\u1ea3 Communal Hall, Ti\u00ean Ki\u00ean Commune, L\u00e2m Thao District." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06726-BIG.jpg", "copyright": "Vietnam Institute of Culture and Arts Studies 2011", "title": "Millions of people go on pilgrimage to H\u00f9ng temples on the Ancestral Anniversary." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XAhhNlJcW-s", "copyright": "2011 Vietnam Institute of Culture and Arts Studies", "title": "The worship of H\u00f9ng kings in Ph\u00fa Th\u1ecd" }, { "url": "https:\/\/www.youtube.com\/watch?v=Q8Zl1RTxAzc", "copyright": "2011 Vietnam Institute of Culture and Arts Studies", "title": "The worship of H\u00f9ng kings in Ph\u00fa Th\u1ecd" }, { "url": "https:\/\/www.youtube.com\/watch?v=OP2f0R_Y-HU", "copyright": "2011 Vietnam Institute of Culture and Arts Studies", "title": "The worship of H\u00f9ng kings in Ph\u00fa Th\u1ecd" } ], "sustainability": "" } }, "element_743": { "type": "element", "label": "Performance of the Armenian epic of 'Daredevils of Sassoun' or 'David of Sassoun'", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07935-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07935-HUG.jpg" }, "description": "The Armenian epic Daredevils of Sassoun recounts the story of David of Sassoun, a defiant and self-reliant youth, who by the grace of God defends his homeland in an unequal duel against the evil. The epic falls within the tradition of heroic folktales that dramatize and voice the deepest sentiments and aspirations of a nation. The epic is told in a lyrical voice with rhythmic enunciation, while separate cantos are sung in a rhyming poetic style. It is performed annually on the first Saturday of October (Epic Day holiday in some villages), during weddings, birthdays, christenings and major national cultural events. Usually the epos teller sits, wearing national costume and is accompanied on the duduk, a woodwind instrument. The epic-telling art has no gender, age or professional limitations. It is transmitted through families as a vocation, most strongly in rural communities with close links to folklore culture. There are 160 variants. Performances nowadays last up to two hours with the epic narrated in parts. It is commonly cited as one of the most important works of Armenian folklore, functioning as an encyclopaedia and repository of the entire range of knowledge about the heritage of Armenian people, their religion, mythology, philosophy, cosmology, customs and ethics.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/performance-of-the-armenian-epic-of-daredevils-of-sassoun-or-david-of-sassoun-00743", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07926-BIG.jpg", "copyright": "2004 by \"House of Sassoun\" NGO", "title": "Epos day in Ujan, 2004" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07927-BIG.jpg", "copyright": "2011 by \"House of Sassoun\" NGO", "title": "Epos day festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07928-BIG.jpg", "copyright": "2011 by \"House of Sassoun\" NGO", "title": "Fragment of Epos day festival in Aragatsotn marz, 2011" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07929-BIG.jpg", "copyright": "2012 by National Gallery of Armenia", "title": "Graphics with 34 episodes of David of Sassoun by Hakob Kojoyan (1922)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07930-BIG.jpg", "copyright": "2011 by Zaven Sargsyan", "title": "The statue of Armenian epic hero David of Sassoun in Yerevan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07931-BIG.jpg", "copyright": "2012 by Ararat Sakissian", "title": "Imprinting epos motives on clay tiles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07932-BIG.jpg", "copyright": "2012 by National Aesthetic Center", "title": "By 13 years-old Armen Adyan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07933-BIG.jpg", "copyright": "2011 by Avetik Isahakian housemuseum", "title": "Rug" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07934-BIG.jpg", "copyright": "2012 by Paruyr Paruyrian", "title": "Epos episodes carved in wood by Arsen Panosian" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07935-BIG.jpg", "copyright": "2012 by National Aesthetic Center", "title": "Tigran Parsadanyan 11 years old painting the epos" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=rIYysHTD7k8", "copyright": "", "title": "Video about Hayrik Muradian, Hayk Kirakossian, Ararat Sarkissian, Artyom Gharibyan" } ], "sustainability": "" } }, "element_744": { "type": "element", "label": "Al-Taghrooda, traditional Bedouin chanted poetry in the United Arab Emirates and the Sultanate of Oman", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07947-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07947-HUG.jpg" }, "description": "Al-Taghrooda traditional Bedouin chanted poetry is composed and recited by men travelling on camelback through desert areas of the United Arab Emirates and the Sultanate of Oman. Bedouins believe that chanting entertains the riders and stimulates animals to walk in time. Short poems of seven lines or less are improvised and repeated between two groups of riders often as antiphonal singing. Generally the lead singer chants the first verse and the second group responds. Poems are also chanted around campfires, at weddings, and at tribal and national festivities, particularly camel races, and some Bedouin women compose and chant while engaged in collective work. The most important aspect is the social bonding during the oral exchange of verses. Themes include sending messages to loved ones, relatives, friends or tribal chiefs. It is also a medium for the poet to pass comment on social issues. Other functions include settlement of disputes among individuals or tribes, highlighting historical achievements, and contemporary themes such as good driving practice and health issues. Performances also provide a chance for audiences to learn about their past history and have a glimpse of their traditional way of life. The ability to compose and chant poems is transmitted through the family and by community elders.", "list": "RL", "year": 2012, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-taghrooda-traditional-bedouin-chanted-poetry-in-the-united-arab-emirates-and-the-sultanate-of-oman-00744", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07523-BIG.jpg", "copyright": "ADACH, 2011", "title": "A three-day workshop on Al-Taghrooda in Abu Dhabi \u2010 March 2011. Performers of Al-Taghrooda from Sultanate of Oman and UAE attended the workshop. It was also attended by heritage experts from UAE and other Arab countries." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07525-BIG.jpg", "copyright": "ADACH, 2011", "title": "A well-known AI-Taghrooda poet chanting AI-Taghrooda during cultural celebrations of the World Heritage Day, organized annually by ADACH in cooperation with Emirates Heritage Club, the Ministry of Culture, Youth and Community Development and the Abu-Dhabi Education Council." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07528-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Sultanate of Oman, 2011", "title": "Omanis chanting Al Taghrooda. It is believed that camels enjoy the chanting, even when they are not on the move." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07947-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Sultanate of Oman, 2011", "title": "Omani camel herders chanting Al-Taghrooda." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07948-BIG.jpg", "copyright": "ADACH, 2011", "title": "Three generations of Emirati Bedouins chanting Al-Taghrooda while having traditional coffee around a campfire at a camel farm 10 km away from Zayed City, Western Region, Abu Dhabi Emirate." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07949-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Sultanate of Oman, 2011", "title": "Omani AI-Taghrooda poets entertain each other in the desert." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07950-BIG.jpg", "copyright": "ADACH, 2011", "title": "A well-known AI-Taghrooda poet chanting AI-Taghrooda during cultural celebrations of the World Heritage Day, organized annually by ADACH in cooperation with Emirates Heritage Club, the Ministry of Culture, Youth and Community Development and the Abu-Dhabi Education Council." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07951-BIG.jpg", "copyright": "ADACH, 2012", "title": "UAE AI-Taghrooda poets and performers sign their consent for\r\nAI-Taghooda as a multi-national nomination with the Sultanate of Oman." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07953-BIG.jpg", "copyright": "ADACH, 2009", "title": "A prominent poet, Mohamed bin Saeed AI Rakaki, performing AI Taghrooda while playing al-rababa. The use of al-rababa was introduced to accompany AI-Taghrooda chanting in the 1960s, and its use is limited to the Western Region of Abu Dhabi." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Cd3g3o2Wq0Y", "copyright": "@ADACH 2011", "title": "Al Taghrooda, a traditional Bedouin chanted poetry in the United Arab Emirates and the Sultanate of Oman" } ], "sustainability": "" } }, "element_746": { "type": "element", "label": "Klapa multipart singing of Dalmatia, southern Croatia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06966-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06966-HUG.jpg" }, "description": "Klapa singing is a multipart singing tradition of the southern Croatian regions of Dalmatia. Multipart singing, a capella homophonic singing, oral tradition and simple music making are its main features. The leader of each singing group is the first tenor, followed by several tenori, baritoni and basi voices. During performances, the singers stand in a tight semicircle. The first tenor starts the singing and is followed by the others. The main aim is to achieve the best possible blend of voices. Technically, klapa singers express their mood by means of open guttural, nasal sotto voce and falsetto singing, usually in high-pitched tessitura. Another feature is the ability to sing freely, without the help of notation. Topics of klapa songs usually deal with love, life situations, and the environment in which they live. Bearers and practitioners are skilled amateurs who inherit the tradition from their predecessors. Their ages vary with many younger people singing with older singers. In \u2018traditional klapa\u2019, knowledge is transferred orally. \u2018Festival klapa\u2019 is more formally organized with a focus on performance and presentation. In \u2018modern klapa\u2019, young singers gain experience by attending performances and listening to recordings. Local communities see klapa singing as a central marker of their musical identity, incorporating respect for diversity, creativity and communication.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/klapa-multipart-singing-of-dalmatia-southern-croatia-00746", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06963-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2011", "title": "Dalmatian klapa group singing - island of Bra\u010d, Dalmatia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06964-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2011", "title": "Dalmatian women's klapa group singing at one of klapa festivals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06966-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2011", "title": "Dalmatian klapa group singing - summer concert, island of Bra\u010d" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06967-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2011", "title": "Dalmatian klapa group singing at Omi\u0161 Festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06968-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2011", "title": "Dalmatian klapa group singing at one of klapa festivals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06969-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2011", "title": "Traditional spontaneous New Year's Eve gathering and singing of Dalmatian klapa groups - Diocletian's Palace (on the UNESCO World Heritage List), Split" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06970-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2011", "title": "Traditional spontaneous New Year's Eve gathering and singing of Dalmatian klapa groups - Diocletian's Palace (on the UNESCO World Heritage List), Split" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06971-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2011", "title": "Singing of Dalmatian klapa songs during the socializing of members of different klapa groups" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06972-BIG.jpg", "copyright": "Ministry of Culture of Croatia, 2011", "title": "Singing of Dalmatian klapa songs during the socializing and gathering of friends and family" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=sciwtWcfdH4", "copyright": "Euroval d.o.o.", "title": "Dalmatian klapa singing - the multipart singing from Southern Croatia" } ], "sustainability": "" } }, "element_749": { "type": "element", "label": "Bigwala, gourd trumpet music and dance of the Busoga Kingdom in Uganda", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07466-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07466-HUG.jpg" }, "description": "Bigwala music and dance is a cultural practice of the Basoga people of Uganda, performed during royal celebrations such as coronations and funerals and, in recent decades, on social occasions. Bigwala describes a set of five or more monotone gourd trumpets blown in hocket to produce a melody, accompanied by a specific dance. A typical performance begins with one trumpet; other trumpets then join in followed by drummers, singers and dancers in that order. The singers and dancers move in a circular formation around the five drummers, swaying their waists gently and raising their hands with excitement in time with the music and rhythms. Women spectators ululate as the performance nears its climax. Bigwala plays a significant role in contributing to unity among the Basoga people. The lyrics of the songs narrate the history of the Basoga, focusing in particular on their king, thus symbolically reconfirming their identity and links with their past. Bigwala also addresses issues such as leadership, marriage problems and acceptable social norms and practices. At present, however, there are only four remaining older master bearers with skills in Bigwala making, playing and dancing, and their recent transmission attempts have been frustrated by financial obstacles. As a result, Bigwala is performed infrequently, which poses a real threat to its survival.", "list": "USL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/bigwala-gourd-trumpet-music-and-dance-of-the-busoga-kingdom-in-uganda-00749", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07459-BIG.jpg", "copyright": "2011 by James Isabirye", "title": "A cross section of schooling and non schooling youths at the save bigwala event at Naigombwa Primary School" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07466-BIG.jpg", "copyright": "2005 by James Isabirye", "title": "Children learn using Pawpaw stalks" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07467-BIG.jpg", "copyright": "2005 by James Isabirye", "title": "Children trying to learn how to play Bigwala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07468-BIG.jpg", "copyright": "2011 by James Isabirye", "title": "Daudi Kyamundhu invited to speak at the save Bigwala event at Naigombwa, Namalemba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07469-BIG.jpg", "copyright": "2011 by James Isabirye", "title": "Pieces of gourd are connected to one another using wax, sap and black substance collected from trees" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07470-BIG.jpg", "copyright": "2011 by James Isabirye", "title": "The Bigwala Basket that is given a goat before performance of Bigwala can start at a cultural function" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07471-BIG.jpg", "copyright": "James Isabirye, 2011", "title": "Youth trying to play a Bigwala song they were learning" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08031-BIG.jpg", "copyright": "2011 by James Isabirye", "title": "Youth playing Bigwala together with the master players at the save Bigwala event at Naigombwa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08032-BIG.jpg", "copyright": "2006 by James Isabirye", "title": "Lugolole the leader of the master players leaves the stage after a performance at the Busembatia festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08033-BIG.jpg", "copyright": "2005 by James Isabirye", "title": "Community celebration of Bigwala music and dance at Bukakaire village, Namalemba sub county" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ymWBjb1VzBc", "copyright": "James Isabirye, 2012", "title": "Bigwala Music and Dance" } ], "sustainability": "" } }, "element_753": { "type": "element", "label": "Earthenware pottery-making skills in Botswana\u2019s Kgatleng District", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06247-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06247-HUG.jpg" }, "description": "Earthenware pottery-making skills are practised among the Bakgatla ba Kgafela community in south-eastern Botswana. The women potters use clay soil, weathered sandstone, iron oxide, cow dung, water, wood and grass to make pots of different forms, designs and styles that relate to the traditional practices and beliefs of the community. Pots are used for storing beer, fermenting sorghum meal, fetching water, cooking, ancestral worship and traditional healing rituals. When collecting the soils, the master potter communicates with the ancestors through meditation so that she will be guided to the ideal spot. After collection the weathered sandstone and clay soil are pounded using a mortar and pestle, then sieved and the resulting powders mixed with water to form the clay body. The pots are slab-built, fashioned by hand into round, conical or oval shapes starting from the base and ending with the rim, and smoothed with a wooden paddle. Once decorated, the pots are fired in a pit kiln. Earthenware skills are transmitted to daughters and granddaughters through observation and practice. However, the practice is at risk of extinction because of the decreasing number of master potters, low prices for finished goods and the increasing use of mass-produced containers. ", "list": "USL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/earthenware-pottery-making-skills-in-botswana-s-kgatleng-district-00753", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06245-BIG.jpg", "copyright": "S. O Rampete\/Bakgatla ba Kgafela, 2011", "title": "The master potter Mmapula Rapekenene collecting moshalakane Clay for pot making" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06246-BIG.jpg", "copyright": "S. O Rampete\/Bakgatla ba Kgafela, 2011", "title": "Mmasekgwa Motlhware's cultural space and tools for pounding the clay, eg (pestle, mortar, containers, sack)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06247-BIG.jpg", "copyright": "S. O Rampete\/Bakgatla ba Kgafela, 2011", "title": "The apprentice Tumediso Motene molding a traditional pot" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06248-BIG.jpg", "copyright": "S. O Rampete\/Bakgatla ba Kgafela, 2011", "title": "The Pot Master, Mmasekgwa Motlhware, instructing her granddaughter, Tumediso Motene on the smoothening of the pot" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06249-BIG.jpg", "copyright": "S. O Rampete\/Bakgatla ba Kgafela, 2011", "title": "Mmapula Rapekenene preparing the pots for firing in the furnace or Lesotso" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06250-BIG.jpg", "copyright": "S. O Rampete\/Bakgatla ba Kgafela, 2011", "title": "The pot firing process" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06251-BIG.jpg", "copyright": "S. O Rampete\/Bakgatla ba Kgafela, 2011", "title": "Different sizes of pots used for beer brewing water storage healing rituals and for cooking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06252-BIG.jpg", "copyright": "S. O Rampete\/Bakgatla ba Kgafela, 2011", "title": "Lebyaana or lenyetane used by traditional healers during child protection rituals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06253-BIG.jpg", "copyright": "S. O Rampete\/Bakgatla ba Kgafela, 2011", "title": "Tsagane or water storage pot used for cooling drinking water" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06254-BIG.jpg", "copyright": "S. O Rampete\/Bakgatla ba Kgafela, 2011", "title": "Setsaga or beer brewing pot filled with traditional beer" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=AO0F8y3aNOo", "copyright": "S.O. Rampete\/Bakgatla ba Kgafela, 2011", "title": "'The Skill of Traditional Clay Pot Making in Kgatleng District'" }, { "url": "https:\/\/www.youtube.com\/watch?v=AO0F8y3aNOo", "copyright": "S.O. Rampete\/Bakgatla ba Kgafela, 2011", "title": "'The Skill of Traditional Clay Pot Making in Kgatleng District'" } ], "sustainability": "" } }, "element_839": { "type": "element", "label": "Buddhist chanting of Ladakh: recitation of sacred Buddhist texts in the trans-Himalayan Ladakh region, Jammu and Kashmir, India", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04122-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04122-HUG.jpg" }, "description": "In the monasteries and villages of the Ladakh region, Buddhist lamas (priests) chant sacred texts representing the spirit, philosophy and teachings of the Buddha. Two forms of Buddhism are practised in Ladakh \u2013 Mahayana and Vajrayana \u2013 and there are four major sects, namely Nyngma, Kagyud, Shakya and Geluk. Each sect has several forms of chanting, practised during life-cycle rituals and on important days in the Buddhist and agrarian calendars. Chanting is undertaken for the spiritual and moral well-being of the people, for purification and peace of mind, to appease the wrath of evil spirits or to invoke the blessing of various Buddhas, Bodhisattvas, deities and rinpoches. The chanting is performed in groups, either sitting indoors or accompanied by dance in monastery courtyards or private houses. The monks wear special costumes and make hand gestures (mudras) representing the divine Buddha, and instruments such as bells, drums, cymbals and trumpets lend musicality and rhythm to the chanting. Acolytes are trained under the rigorous supervision of senior monks, reciting texts frequently until they are memorized. Chants are practised everyday in the monastic assembly hall as a prayer to the deities for world peace, and for the personal growth of the practitioners.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/buddhist-chanting-of-ladakh-recitation-of-sacred-buddhist-texts-in-the-trans-himalayan-ladakh-region-jammu-and-kashmir-india-00839", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04114-BIG.jpg", "copyright": "Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir, 2008", "title": "Guru Padmasambhava, Thiksay Monastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04115-BIG.jpg", "copyright": "Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir, 2008", "title": "Bell and Vajra, Matho Monastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04116-BIG.jpg", "copyright": "Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir, 2008", "title": "Chanting of monks, Thiksay Monastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04117-BIG.jpg", "copyright": "Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir, 2008", "title": "Monks playing gyaling flute,Thiksay Monastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04118-BIG.jpg", "copyright": "Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir, 2008", "title": "Monks musicians accompanying Chham Dance, Hemis Monastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04119-BIG.jpg", "copyright": "Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir, 2008", "title": "Monk praying with Vajra, Phyang Monastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04120-BIG.jpg", "copyright": "Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir, 2008", "title": "Monks performing Chod chanting, Phyang Monastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04121-BIG.jpg", "copyright": "Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir, 2008", "title": "Monk blowing a trumpet made of human bone, Phyang Monastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04122-BIG.jpg", "copyright": "Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir, 2008", "title": "Monks performing Rigmachutuk, Hemis Monastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04123-BIG.jpg", "copyright": "Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir, 2008", "title": "Hand gestures of a monk while chanting, Matho Monastery" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=0CvWZvoIqws", "copyright": "2009 by Central Institute of Buddhist Studies, Ladakh, Jammu and Kashmir", "title": "Buddhist Chanting of Ladakh" } ], "sustainability": "" } }, "element_843": { "type": "element", "label": "Sankirtana, ritual singing, drumming and dancing of Manipur", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04178-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04178-HUG.jpg" }, "description": "Sankirtana encompasses an array of arts performed to mark religious occasions and various stages in the life of the Vaishnava people of the Manipur plains. Sankirtana practices centre on the temple, where performers narrate the lives and deeds of Krishna through song and dance. In a typical performance, two drummers and about ten singer-dancers perform in a hall or domestic courtyard encircled by seated devotees. The dignity and flow of aesthetic and religious energy is unparalleled, moving audience members to tears and frequently to prostrate themselves before the performers. Sankirtana has two main social functions: it brings people together on festive occasions throughout the year, acting as a cohesive force within Manipur\u2019s Vaishnava community; and it establishes and reinforces relationships between the individual and the community through life-cycle ceremonies. It is thus regarded as the visible manifestation of God. The Sankirtana of Manipur is a vibrant practice promoting an organic relationship with people: the whole society is involved in its safeguarding, with the specific knowledge and skills traditionally transmitted from mentor to disciple. Sankirtana works in harmony with the natural world, whose presence is acknowledged through its many rituals.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/sankirtana-ritual-singing-drumming-and-dancing-of-manipur-00843", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04178-BIG.jpg", "copyright": "Sangeet Natak Akademi, 2009", "title": "Moibung Khongba (Conch Player)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04179-BIG.jpg", "copyright": "Sangeet Natak Akademi, 2009", "title": "Shayan, Sankirtan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04180-BIG.jpg", "copyright": "Sangeet Natak Akademi, 2009", "title": "Nupi Pala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04181-BIG.jpg", "copyright": "Sangeet Natak Akademi, 2009", "title": "Nupi Pala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04182-BIG.jpg", "copyright": "Sangeet Natak Akademi, 2009", "title": "Dhumel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04183-BIG.jpg", "copyright": "Sangeet Natak Akademi, 2009", "title": "Nupa Khubak Eshai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04184-BIG.jpg", "copyright": "Sangeet Natak Akademi, 2009", "title": "Nupa Khubak Eshai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04185-BIG.jpg", "copyright": "Sangeet Natak Akademi, 2009", "title": "Kartal Cholom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04186-BIG.jpg", "copyright": "Sangeet Natak Akademi, 2009", "title": "Holi Pala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04187-BIG.jpg", "copyright": "Sangeet Natak Akademi, 2009", "title": "Holi Pala" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TaIr4jvY9vE", "copyright": "2009 by Sangeet Natak Akademi", "title": "Sankirtana of Manipur" } ], "sustainability": "" } }, "element_845": { "type": "element", "label": "Traditional brass and copper craft of utensil making among the Thatheras of Jandiala Guru, Punjab, India", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09746-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09746-HUG.jpg" }, "description": "The craft of the Thatheras of Jandiala Guru constitutes the traditional technique of manufacturing brass and copper utensils in Punjab. The metals used \u2013 copper, brass and certain alloys \u2013 are believed to be beneficial for health. The process begins with procuring cooled cakes of metal that are flattened into thin plates and then hammered into curved shapes, creating the required small bowls, rimmed plates, to larger pots for water and milk, huge cooking vessels and other artefacts. Heating the plates while hammering and curving them into different shapes requires careful temperature control, which is achieved by using tiny wood-fired stoves (aided by hand-held bellows) buried in the earth. Utensils are manually finished by polishing with traditional materials such as sand and tamarind juice. Designs are made by skilfully hammering a series of tiny dents into the heated metal. Utensils may be manufactured for ritual or utilitarian purposes, both for individual and community use on special occasions such as weddings or at temples. The process of manufacturing is transmitted orally from father to son. Metalwork is not simply a form of livelihood for Thatheras, but it defines their family and kinship structure, work ethic and status within the social hierarchy of the town.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-brass-and-copper-craft-of-utensil-making-among-the-thatheras-of-jandiala-guru-punjab-india-00845", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09741-BIG.jpg", "copyright": "Sangeet Natak Akademi 2014", "title": "The processing of raw material - the plate of metal scrap" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09742-BIG.jpg", "copyright": "Sangeet Natak Akademi 2014", "title": "Tiny wood fire stove buried in the earth" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09743-BIG.jpg", "copyright": "Sangeet Natak Akademi 2014", "title": "Heating the plates with hand held bellows" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09744-BIG.jpg", "copyright": "Sangeet Natak Akademi 2014", "title": "Hammering and curving into shapes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09745-BIG.jpg", "copyright": "Sangeet Natak Akademi 2014", "title": "Hammering and curving into shapes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09746-BIG.jpg", "copyright": "Sangeet Natak Akademi 2014", "title": "The polishing of the artefacts with acid, sand and tamarind juice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09747-BIG.jpg", "copyright": "Sangeet Natak Akademi 2014", "title": "Workshop-cum-household of the Thatheras" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09748-BIG.jpg", "copyright": "Sangeet Natak Akademi 2014", "title": "Carving of designs by making tiny dents on the artefacts" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09749-BIG.jpg", "copyright": "Sangeet Natak Akademi 2014", "title": "The Thathera family at work" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=_SXc7L9d0ds", "copyright": "2009 by Punjab Heritage Tourism Promotion Board, Punjab", "title": "Traditional Craft of the Thatheras of Jandiala Guru, Punjab" } ], "sustainability": "" } }, "element_846": { "type": "element", "label": "Fiesta of the patios in Cordova", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07692-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07692-HUG.jpg" }, "description": "For twelve days at the beginning of May, the city of Cordova celebrates the Fiesta of the Patios. The patio houses are communal, family or multi-family dwellings or sets of individual houses with a shared patio, located in the city\u2019s historical quarter. This characteristic cultural space boasts an abundant array of plants, and during the fiesta inhabitants freely welcome all visitors to admire their beauty and the skill involved in their creation. The patios also host traditional singing, flamenco guitar playing and dancing. Ancestral practices of sustainable communal coexistence are shared with people who visit through expressions of affection and shared food and drink. The fiesta is perceived as an integral part of this city\u2019s cultural heritage, imbuing it with a strong sense of identity and continuity. It requires the selfless cooperation of many people from all age groups, social strata and backgrounds, promoting and encouraging teamwork and contributing to local harmony and conviviality. It is guided by secular traditions, knowledge and skills, which take form in the luxuriant, floral, chromatic, acoustic, aromatic and compositional creativity of each patio \u2013 an expression of the symbolism and traditions of Cordovan community, and especially the residents who dwell in these patio houses.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/fiesta-of-the-patios-in-cordova-00846", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07691-BIG.jpg", "copyright": "1980 by Cordova City Council", "title": "'Good neighbourliness: the crucible of the Fiesta of the Patios'. All year round local residents weave and share solidartity, crativity, knowledge and their tables while evoking events the previous May and preparing the next fiesta." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07692-BIG.jpg", "copyright": "2010 by Rafael Morales Ruiz, Cordova City Council", "title": "'Living archives of collective tradition'. The elderly, whom the community treat and respect as exceptional bearers of the memory of the Fiesta of the Patios, continue to offer their wise gestures every day." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07693-BIG.jpg", "copyright": "2010 by Rafael Morales Ruiz, Cordova City Council", "title": "'Two generations: the same passion'. There is time everyday to share, teach and learn. Everyday life is built on the basis of a common objective that goes beyond the private sphere. Spring flourishes out of collective sensitivity and emotion." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07694-BIG.jpg", "copyright": "2010 by Rafael Morales Ruiz, Cordova City Council", "title": "'A human creativity workshop'. The cultural space where the fiesta is celebrated and prepared - the Cordovan patios - is created from one day to the next, through inherited tradition and the creative expression of individual residents." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07695-BIG.jpg", "copyright": "2011 by Rafael Bar\u00f3n", "title": "'A half-century leap in time: one step into the future'.\r\nFrom grandparents to grandchildren, almost like a game, any occasion in family life in the patios is perfect for transmitting the essence and values of the Fiesta of the Patios." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07696-BIG.jpg", "copyright": "2010 by Rafael Morales Ruiz, Cordova City Council", "title": "'The Fiesta in schools, schools in the Fiesta'. Schools participate in the fiesta so that children can immerse themselves in its values and be initiated in the formal tradition of the fiesta." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07697-BIG.jpg", "copyright": "2010 by Jos\u00e9 Luis Mart\u00ednez Herray", "title": "'Go Patioing'.\r\nA typical Cordovan expression that transmits and expresses the dynamism, participation, joy and beauty of the Fiesta of the Patios, a unique moment in spring resulting from a combination of the public and private realms." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07698-BIG.jpg", "copyright": "2010 by Jos\u00e9 Luis Mart\u00ednez Herray", "title": "'Ritualised spontaneity'.\r\nOn each day of the fiesta, every patio hosts unique and unrepeatable moments stemming from the combination of individual and collective emotions and creativity in the form of singing, dancing and guitare playing." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07699-BIG.jpg", "copyright": "2008 by Claveles y Gitanillas Association", "title": "'The conventions of tradition'.\r\nWomen and men interpret local popular songs to the sound of 'bandurrias' and flamenco guitars in the patios, adding the voice of tradition to the floral atmosphere created in this May ritual." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07700-BIG.jpg", "copyright": "2010 by Claveles y Gitanillas Association", "title": "'A whole: nature and humanity, space and time'.\r\nThe Fiesta of the Patios, the unique result of the symbiosis between community and nature, announces spring every May and recalls its values: hospitality, respect, equality, solidarity and sustainability." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=zYjTK_DnX_k", "copyright": "Cordova City Council, 2012", "title": "The Fiesta of the Patios in Cordova" } ], "sustainability": "" } }, "element_850": { "type": "element", "label": "Al \u2018azi, elegy, processional march and poetry", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04712-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04712-HUG.jpg" }, "description": "Al \u2018azi is a genre of sung poetry performed in the northern regions of the Sultanate of Oman. It constitutes one of the major expressions of Omani cultural and musical identity. It takes the form of a poetry contest punctuated by sword and step movements and poetic exchanges between a singer poet and a choir. It may involve a large number of participants from one village or tribe, guided by the poet who recites improvised and memorized poems in Arabic. The performers must pay attention to his movements and recitation, and respond with appropriate replies and movements. The poems express pride of belonging and may eulogize the tribe, important people or historical moments. Al 'azi enriches the cultural and intellectual side of the community through creative reinvention of existing poems, and plays a great role in conserving society\u2019s oral memory. It also promotes unity and communication and emphasizes the need to overcome disagreements between members of society. Al 'azi is performed at all national and social occasions as an emblem of social pride, strength and unity. At present it is practised by over a hundred ensembles.", "list": "RL", "year": 2012, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-azi-elegy-processional-march-and-poetry-00850", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04711-BIG.jpg", "copyright": "2009 by Mohammad AL-shohri\/MHC", "title": "Performers holding the stick and two drums in middle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04712-BIG.jpg", "copyright": "2009 by Mohammad AL-shohri\/MHC", "title": "Performers Dancing and two drums in middle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04713-BIG.jpg", "copyright": "2009 by Mohammad AL-shohri\/MHC", "title": "Singing and holding the stick" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04714-BIG.jpg", "copyright": "2009 by Mohammad AL-shohri\/MHC", "title": "Three people singing using the stick" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04715-BIG.jpg", "copyright": "2009 by Mohammad AL-shohri\/MHC", "title": "Singing and moving with the stick" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04716-BIG.jpg", "copyright": "2009 by Mohammad AL-shohri\/MHC", "title": "Two persong singing with the stick" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04717-BIG.jpg", "copyright": "2009 by Mohammad AL-shohri\/MHC", "title": "Drums with the singers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04718-BIG.jpg", "copyright": "2009 by Mohammad AL-shohri\/MHC", "title": "Three people singing using the stick" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04719-BIG.jpg", "copyright": "2009 by Mohammad AL-shohri\/MHC", "title": "Three people singing using the stick" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/04720-BIG.jpg", "copyright": "2009 by Mohammad AL-shohri\/MHC", "title": "Three people singing using the stick" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=SxDQA-9A7NQ", "copyright": "2009 Oman Ministry of Information", "title": "Al Azi" } ], "sustainability": "" } }, "element_853": { "type": "element", "label": "Chinese Zhusuan, knowledge and practices of mathematical calculation through the abacus", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08338-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08338-HUG.jpg" }, "description": "Chinese Zhusuan is a time-honoured traditional method of performing mathematical calculations with an abacus. Practitioners can perform addition, subtraction, multiplication, division, exponential multiplication, root and more complicated equations by moving beads along the abacus rods according to defined formulas. Chinese Zhusuan has played a vital role in giving an impetus to mathematical studies, promoting algorithmic practices and fostering intelligence. Zhusuan oral formulas have easy-to-learn rhymes that represent specific calculation rules and summarize the arithmetic operations. Beginners can make quick calculations after some fairly basic training, while proficient practitioners develop an agile mind. Zhusuan is widely used in Chinese life and is an important symbol of traditional Chinese culture, providing a strong sense of cultural identity. It has been handed down through generations by traditional methods of oral teaching and self-learning. Training in abacus-based mental arithmetic is thought to improve a child\u2019s attention span, memory and mental capability. Today, it contributes to the advancement of calculating techniques, cognitive schemas, educational psychology and intellectual development. It also has a far-reaching influence in various fields of cultural creativity, including folk customs, language, literature, sculpture and architecture.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chinese-zhusuan-knowledge-and-practices-of-mathematical-calculation-through-the-abacus-00853", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08335-BIG.jpg", "copyright": " Chinese Abacus and Mental Arithmetic Association (CAMAA), 2010", "title": "Some ancient books on abacus calculation conserved in China Abacus\r\nMuseum." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08336-BIG.jpg", "copyright": "Chinese Abacus and Mental Arithmetic Association (CAMAA), 2010", "title": "Various kinds of abacus conserved in China Abacus Museum, basically including the practical type and the decorative type; for the latter, the abacus was engraved on jewelries or carved on ornaments for display." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08337-BIG.jpg", "copyright": "Chinese Abacus and Mental Arithmetic Association (CAMAA), 2009", "title": "Zhuazhou, a long-standing rite of passages throughout China, telling a child's fortune by placing various objects before him and letting him choose one on his one-year-old birthday, amongst others the abacus is the top necessary one, embodying wisdom and fortune." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08338-BIG.jpg", "copyright": "Chinese Abacus and Mental Arithmetic Association (CAMAA), 2009", "title": "Mr. Wang Weida, one of the representative inheritors of Zhusuan (the state-level), is teaching children to learn abacus and mental arithmetic." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08339-BIG.jpg", "copyright": "Chinese Abacus and Mental Arithmetic Association (CAMAA), 2007", "title": "A salesclerk in the Chinese herbal medicine shop is completing Chinese medicine formula by Zhusuan (Huangshan City, Anhui Province)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08340-BIG.jpg", "copyright": "Chinese Abacus and Mental Arithmetic Association (CAMAA), 2008", "title": "A saleswoman in the silk shop is calculating the volume of business by abacus (Shanghai)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08341-BIG.jpg", "copyright": "Chinese Abacus and Mental Arithmetic Association (CAMAA), 2007", "title": "The time-honored abacus is still being used in modern tourist hotel for settling accounts for guest (Huangshan City, Anhui Province)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08342-BIG.jpg", "copyright": "Chinese Abacus and Mental Arithmetic Association (CAMAA), 2010", "title": "The Community School of Huajing Township offers abacus and mental arithmetic courses to prevent senile dementia: the old-age trainees are doing exercises (Xujiang District, Shanghai City)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08343-BIG.jpg", "copyright": "Chinese Abacus and Mental Arithmetic Association (CAMAA), 2007", "title": "In a tea shop, the old salesman is guiding his young assistant to settle accounts by an abacus (Huangshan City, Anhui Province)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08344-BIG.jpg", "copyright": "Chinese Abacus and Mental Arithmetic Association (CAMAA), 2007", "title": "In an abacus and mental arithmetic competition, kindergarten kids are playing abacus by two hands (Harbin City, Heilongjiang Province)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=p6QNCEtnk94", "copyright": "Chinese Abacus and Mental Artithmetic Association (CAMAA), 2012", "title": "Chinese Zhusuan, knowledge and practices of arithmetic calculation through abacus" } ], "sustainability": "" } }, "element_858": { "type": "element", "label": "Commemoration feast of the finding of the True Holy Cross of Christ", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07868-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07868-HUG.jpg" }, "description": "The festival of Maskel is celebrated across Ethiopia on 26 September to commemorate the unearthing of the True Holy Cross of Christ. Celebrations begin with the building of the Damera bonfire in Maskel Square in Addis Ababa \u2013 a conical pyre of poles surrounded by bundles of branches and torches, decorated with green grass and Abyssinian daisies symbolizing the New Year. Hundreds of thousands of people from diverse communities flock to the square as colourfully dressed priests chant hymns and prayers and perform their unique rhythmic dance in front of the pyre. At the climax, the patriarch of the Ethiopian Orthodox Tewahedo Church lights the bonfire. Maskel is celebrated nationwide regardless of age, gender, language or ethnicity. Participants are believed to receive spiritual rewards from the celebration and blessings from the Holy Cross. Local churches play a key role in coordinating communities and safeguarding the element. The festival is also a time when families get together and migrant workers return home \u2013 reunions that result in the inflow of money, information and new ideas from urban centres to rural areas. Prior to the celebration, personal quarrels and social disagreements must be resolved. In this way, Maskel is an occasion for Ethiopians to promote their spiritual life through reconciliation, social cohesion and peaceful coexistence.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/commemoration-feast-of-the-finding-of-the-true-holy-cross-of-christ-00858", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07868-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "Colourful demonstration of Sunday school chorus from different churches in front of the Damera. On the background, crouwd of people (the mass) attending the ceremony." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07869-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "Priest wearing traditional vestments known as Jano or Ting Dereb and holding sistrums and staffs and standing near the Damera. The performance and hymns is of St. Yared composition, the founder of Ethiopian Orthodox hymn known as Zema." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07870-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "The symbolic performance of St Helena's search for the True Cross displayed for the mass. In the picture, St. Helena is represented by a young lady. the unearthing of the True Cross is also seen on the picture." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07871-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "The final ceremony of the event is the set on fire of the Damera. Abune Paulos, Patriarch of the Ethiopian Orthodox Tewahedo Church, seen in the picture kindling a torch with senior government officials and Archbishops." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07872-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "The great bonfire Damera with its glazing light and smoke represent Helena's great effort in search of the True Cross with the incense smoke that she used to identify its whereabouts. At the background, small candles lit by the mass." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07873-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "Pilgrims climbing the Gishen Mountain annually on October 1 to commemorate the deposition of the right arm of the True Cross at the Church of Egziabher Abe, at the Monastory of Gishen Mariam located 484 kms north of Addis Ababa." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07874-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "An ox to be slaughtered for the feast of Maskel in Durame, Kambata Tambaro Zone." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07875-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "This is a traditional meal locally known as \"atakaana\". It is prepared during Maskel Festival from white food substance squeezed from false banana dough. Fresh milk, cheese, spices such as garlic, ginger and butter are mixed with it." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07876-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "Kitfo is the main dish for Maskel Festival. It is finely minced meat that is well cooked and much better mixed to it. The dish also includes minced cabbage, cheese, atakaana, pan cake and injera (Ethiopian bread) among others." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07877-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "A traditional dancing performed during Maskel Festival by the Guraghe." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=DX9NQt3UmhI", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2011", "title": "Maskel Festival in Ethiopia" } ], "sustainability": "" } }, "element_859": { "type": "element", "label": "Valencia Fallas festivity", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08220-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08220-HUG.jpg" }, "description": "The main feature of the Fallas Festivity, a tradition of communities in Valencia and its diaspora celebrating the coming of spring, is the giant falla. The falla is a monument made up of ninots (caricature pieces) created by local artists and craftspeople that provides a commentary on current social issues. Erected in the town square, the falla is set alight at the end of the festivity, which runs from March 14 to 19, to symbolize the coming of spring, purification and a rejuvenation of community social activity. In the meantime, marching bands parade the streets, outdoor meals are held and fireworks staged. Each year, a Fallas Queen is elected to promote the festivity throughout the year encouraging locals and visitors to take part. Know-how associated with the practice is transmitted within families, particularly those involved in the construction of the ninots who belong to different guilds among participating communities. The Fallas Festivity provides an opportunity for collective creativity and the safeguarding of traditional arts and crafts. It is also a source of community pride, contributor to cultural identity and enhances social cohesion. In the past, the festivity was also a way of preserving the Valencian language when it was prohibited.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/valencia-fallas-festivity-00859", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08220-BIG.jpg", "copyright": "Josep Zaragoza, 2011", "title": "Setting up the Falla" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08222-BIG.jpg", "copyright": "Josep Zaragoza, 2011", "title": "Falla in the day time" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08223-BIG.jpg", "copyright": "Josep Zaragoza, 2011", "title": "Setting the Falla on fire" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08224-BIG.jpg", "copyright": "Jorge Guarro, 2009", "title": "The final burning of the Falla" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09726-BIG.jpg", "copyright": "Josep Zaragoza, 2011", "title": "Volunteers putting the bunches to make a flower robe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09727-BIG.jpg", "copyright": "Josep Zaragoza, 2011", "title": "Participants, three generations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09728-BIG.jpg", "copyright": "Josep Zaragoza, 2005", "title": "Valencian Fallas Festival traditional jewelry and hairstyle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09729-BIG.jpg", "copyright": "Josep Zaragoza, 2011", "title": "Music bands parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09730-BIG.jpg", "copyright": "Josep Zaragoza, 2010", "title": "Traditional Valencian daytime fireworks display" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10341-BIG.jpg", "copyright": "Josep Zaragoza, 2014", "title": "Falla of the city" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=2Y85SpGHHNU", "copyright": "Junta Central Fallera, 2012", "title": "Cultural Space of the Valencian Fallas Festival" }, { "url": "https:\/\/www.youtube.com\/watch?v=IGPLKg0gwn0", "copyright": "Junta Central Fallera, 2012", "title": "Cultural Space of the Valencian Fallas Festival" }, { "url": "https:\/\/www.youtube.com\/watch?v=GXh2D8J5vh0", "copyright": "Junta Central Fallera, 2012", "title": "Cultural Space of the Valencian Fallas Festival" }, { "url": "https:\/\/www.youtube.com\/watch?v=CCXAcWcd84o", "copyright": "Junta Central Fallera, 2012", "title": "Cultural Space of the Valencian Fallas Festival" } ], "sustainability": "" } }, "element_860": { "type": "element", "label": "Wine Horses", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12984-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12984-HUG.jpg" }, "description": "Los Caballos del Vino (Wine Horses) takes place each year from 1-3 May in Caravaca de la Cruz and forms part of the fiestas held in honour of the Sant\u00edsima y Vera Cruz in Caravaca. The equestrian ritual consists of a series of events in which the horse is the protagonist. The process of enjaezamiento involves dressing the horses in beautiful cloaks richly embroidered in silk and gold thread. Various parades are then held, showcasing the horses and the cloaks through the streets, accompanied by four horse handlers on foot followed by the entire town. Finally, the most awaited moment is a race against the clock up the hill to the castle, with the horses running with four handlers up to the fortress, where prizes are awarded for the race and for the embroidered cloaks. Knowledge and techniques relating to caring for, breeding, harnessing and handling the horses are transmitted within families and groups, and the embroidery techniques are learned in workshops and embroidery families. The relationship between humans and horses, based on respect and collaboration, is also passed down through the generations. The two activities of wine-growing and horse-breeding form an inherent part of the economy, history and culture of the area and the festival showcases values such as comradeship and solidarity, with everyone feeling represented as part of a socially united group.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/wine-horses-00860", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12982-BIG.jpg", "copyright": "Juan Francisco Morenilla, 2013", "title": "Embroidered horse mantels" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12983-BIG.jpg", "copyright": "Juan Francisco Morenilla, 2014", "title": "Presentation of the beauty of the horses" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12984-BIG.jpg", "copyright": "Juan Francisco Morenilla, 2013", "title": "The element passed on to the new generations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12985-BIG.jpg", "copyright": "Juan Francisco Morenilla, 2011", "title": "2nd May morning street processions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12986-BIG.jpg", "copyright": "Juan Francisco Morenilla, 2017", "title": "2nd May concludes with the main race" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12987-BIG.jpg", "copyright": "Juan Francisco Morenilla, 2014", "title": "3rd May - the children participate in the festival's parades" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12988-BIG.jpg", "copyright": "Juan Francisco Morenilla, 2017", "title": "The horseman and teams wear traditional clothes and the horses are dressed in decorative costumes, 'mantels', that are made each year" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12989-BIG.jpg", "copyright": "Juan Francisco Morenilla, 2017", "title": "Awards for the best turned out horses" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12990-BIG.jpg", "copyright": "Juan Francisco Morenilla, 2011", "title": "The tradition in passed down through the generations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12991-BIG.jpg", "copyright": "Marina Campoy, 2017", "title": "The representatives of the festival" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Cy6ARYIWHuQ", "copyright": "Ayuntamiento de Caravaca de la Cruz, 2012", "title": "Wine horses (English version)" }, { "url": "https:\/\/www.youtube.com\/watch?v=_ES_LWTfThE", "copyright": "Ayuntamiento de Caravaca de la Cruz, 2012", "title": "Caballos del vino (Spanish version)" } ], "sustainability": "" } }, "element_863": { "type": "element", "label": "Nan Pa\u2019ch ceremony", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03664-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03664-HUG.jpg" }, "description": "The Paach ceremony is a corn-veneration ritual celebrated in San Pedro Sacatep\u00e9quez. The ceremony gives thanks for good harvests in a ritual that highlights the close connection between humans and nature and features prayers in the Mam language. The participants are mostly older farmers, both men and women, with extensive ties to the community and who are recognized as its leaders. Four prayer sayers, or ''parlamenteros'', offer prayers during the ceremony, supported by four auxiliary ''parlamenteros''; meanwhile four godmothers dress ceremonial corncobs and coordinate the preparation and serving of food. The Paach ceremony strengthens the identity of the community of San Pedro and its knowledge and respect for nature and its conservation. The transmission process is both oral and practical, with a group leader instructing new members at workshops and children accompanying their grandparents during the ceremony. In recent years, the Paach ceremony has decreased in frequency, with some young people seeing it as irrelevant, while economic insecurity has caused some bearers to withdraw from the practice. Furthermore, the advanced age of the elders, combined with diminished transmission, might result in the disappearance of this cultural expression.", "list": "USL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/nan-pa-ch-ceremony-00863", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03663-BIG.jpg", "copyright": "2009 by E. Sacay\u00f3n \/ FLAAR", "title": "Las Pachitas, a day before the ceremony the cobs are dressed and a shrine is made to worship the sacred corn." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03664-BIG.jpg", "copyright": "2009 by E. Sacay\u00f3n \/ FLAAR", "title": "Before the ceremony begins the canes are addorn, they the canes are addorn, they are carried by each member of the parliment simbolizing authority" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03665-BIG.jpg", "copyright": "2009 by E. Sacay\u00f3n \/ FLAAR", "title": "Las Paach, is the Mam name given to a twin corn cob, and they represent abundance and prosperity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03666-BIG.jpg", "copyright": "2009 by E. Sacay\u00f3n \/ FLAAR", "title": "Prior the festivities the corn is processed and traditional food is served." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03667-BIG.jpg", "copyright": "2009 by E. Sacay\u00f3n \/ FLAAR", "title": "On their way to the catholic church the godmothers of the Pregon, carry the shrine through the streets of San Pedro Sacatepequez" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03668-BIG.jpg", "copyright": "2009 by E. Sacay\u00f3n\/FLAAR", "title": "The members of the Pregon come out the church blessed by the priest." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03669-BIG.jpg", "copyright": "2009 by E. Sacay\u00f3n \/ FLAAR", "title": "On the streets members of the Pregon walk to the sound of the Tun, a traditional drum from Guatemala." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03670-BIG.jpg", "copyright": "2009 by E. Sacay\u00f3n \/ FLAAR", "title": "Four catholic crosses are visited, they represent the four corners of the earth of Mayan cosmology." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03671-BIG.jpg", "copyright": "2009 by E. Sacay\u00f3n \/ FLAAR", "title": "In the house, guests and members of the pregon pray before they start the dance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/03672-BIG.jpg", "copyright": "2009 by E. Sacay\u00f3n \/ FLAAR", "title": "Members of the Pregon on the streets of San Pedro Sacatepequez." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=QLdKZX6Iufs", "copyright": "2010 by Ministry of Culture and Sports of Guatemala", "title": "Ceremonial video of \"La Paach\"" } ], "sustainability": "" } }, "element_865": { "type": "element", "label": "Men\u2019s group Colindat, Christmas-time ritual", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08128-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08128-HUG.jpg" }, "description": "Each year before Christmas, groups of young men gather in villages throughout Romania and the Republic of Moldova to prepare for the ritual of Colindat. On Christmas Eve, they go from house to house performing festive songs. Afterwards, the hosts offer the singers ritual gifts and money. The songs have an epic content, which is adapted to each host\u2019s individual circumstances. Ritual performers also sing special, auspicious songs for unmarried girls and dance with them \u2013 a practice said to help them find a husband within the next year. Colindat is sometimes performed in costume, with instrumental accompaniment and choreography. Groups of young men (traditionally unmarried) are the main bearers and practitioners of the element; experienced men, often former group leaders, are responsible for the group\u2019s training. The ritual songs are learned at daily rehearsals from the time the group is formed until Christmas Eve. In some areas, children are allowed to attend these rehearsals in order to learn the repertoire. As well as conveying the season\u2019s greetings, this cultural heritage plays an important role in preserving social identity and ensuring cohesion.", "list": "RL", "year": 2013, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/men-s-group-colindat-christmas-time-ritual-00865", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08127-BIG.jpg", "copyright": "by National Museum of Romanian Peasant", "title": "Romania. Rehearsal of a men's group in Calarasii Vechi, Calarasi coutny. The group's leader is Marian Ghica." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08128-BIG.jpg", "copyright": "by National Museum of Romanian Peasant", "title": "Romania. A men's group is performing the 'Colindat' ritual for a family including an eligible girl for marriage. commune Calarasii Vechi, Calarasi county. The group's leader is Marian Ghica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08129-BIG.jpg", "copyright": "by National Museum of Romanian Peasant", "title": "Romania. A men's group is performing the 'Great Colind' in commune Independenta, Calarasi county." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08130-BIG.jpg", "copyright": "by National Museum of Romanian Peasant", "title": "Romania. A men's group is performing a colind for little girl in front the priest'house in commune Dichinesi, Calarasi county" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08131-BIG.jpg", "copyright": "by Archive of Folklore, Romanian Academy, Cluj-Napoca", "title": "Romania. Young men (Juni) in the group of colindatori from commune Maguri Racatau, Cluj county" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08132-BIG.jpg", "copyright": "Archive of Folklore, Romanian Academy, Cluj-Napoca", "title": "Performers of Colinda ritual from commune Maguri Racatau, Cluj county, Romania" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08133-BIG.jpg", "copyright": "Archive of Folklore, Romanian Academy, Cluj-Napoca", "title": "Rehearsal of the men's group in Cercegau Mare, Cluj district, Romania" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08134-BIG.jpg", "copyright": "National Museum of Ethnography an Natural History, Republic of Moldova", "title": "Men's group ('colindatori') from village Sipca, Soldanesti county. the 'colindatori' are walking to a household where they will perform the ritual. Holding their ritual breadgift, they are announced by an instrumental, Republic of Moldova" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08135-BIG.jpg", "copyright": "National Museum of Ethnography an Natural History, Republic of Moldova", "title": "A newly-formed men's group ('colindatori') from village Vadeni, Socora county is performing the ritual for the first time. Their community has acknowledged the group by offering them round-shaped pieces of bread ('colaci'), Republic of Moldova" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08136-BIG.jpg", "copyright": "National Museum of Ethnography an Natural History, Republic of Moldova", "title": "The men's group ('colindatori') from village Greblesti, Straseni county is performing the ritual in front of the house threshold. As addressees of the ritual song ('colinda'), the host's daughters are listening to it, Republic of Moldova" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=q6tnJkybN_U", "copyright": "23.03.2012 by Institute of Ethnography and Folklore \"Constantin Brailoiu\"\r\n", "title": "Men's group Colindat. christmas time ritual in Romania and Republic of Moldova" }, { "url": "https:\/\/www.youtube.com\/watch?v=NORFffXfEVg", "copyright": "23.03.2012 by Institute of Ethnography and Folklore \"Constantin Brailoiu\"\r\n", "title": "Men's group Colindat. christmas time ritual in Romania and Republic of Moldova" } ], "sustainability": "" } }, "element_869": { "type": "element", "label": "Washoku, traditional dietary cultures of the Japanese, notably for the celebration of New Year", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07920-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07920-HUG.jpg" }, "description": "Washoku is a social practice based on a set of skills, knowledge, practice and traditions related to the production, processing, preparation and consumption of food. It is associated with an essential spirit of respect for nature that is closely related to the sustainable use of natural resources. The basic knowledge and the social and cultural characteristics associated with Washoku are typically seen during New Year celebrations. The Japanese make various preparations to welcome the deities of the incoming year, pounding rice cakes and preparing special meals and beautifully decorated dishes using fresh ingredients, each of which has a symbolic meaning. These dishes are served on special tableware and shared by family members or collectively among communities. The practice favours the consumption of various natural, locally sourced ingredients such as rice, fish, vegetables and edible wild plants. The basic knowledge and skills related to Washoku, such as the proper seasoning of home cooking, are passed down in the home at shared mealtimes. Grassroots groups, schoolteachers and cooking instructors also play a role in transmitting the knowledge and skills by means of formal and non-formal education or through practice.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/washoku-traditional-dietary-cultures-of-the-japanese-notably-for-the-celebration-of-new-year-00869", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07917-BIG.jpg", "copyright": "Ichinoseki City, 2011", "title": "\"Rice cake pounding (Mochi-tsuki)\"\r\nChildren learn how to pound rice cake with local community members" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07918-BIG.jpg", "copyright": "Organization for Urban-rural Interchange Revitalization, Japan, 2010", "title": "\"Various fishes dealt in a fish market\"\r\nA corner of a fish market dealilng various nature-gifted gathered from inshore sea. These fishes are one of the basis of local dietary culture." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07919-BIG.jpg", "copyright": "Organization for Urban-rural Interchange Revitalization, Japan, 2010", "title": "\"Traditional vegetables dealt in a greengrocer's\"\r\nDisplayed various traditional vegetables indispensable to local dietary culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07920-BIG.jpg", "copyright": "MAFF, 2012", "title": "\"Well-balanced and healthy Washoku diet\" \r\nWashoku diet composed of rice, miso soup, several dishes of fish, vegetables and pickles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07922-BIG.jpg", "copyright": "2009 by Syonai-hama-bunka missionaries", "title": "\"Safeguarding measure of a grassroots group\". Children learn about how to filet fishes, and taking them with appreciation for their lives." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07924-BIG.jpg", "copyright": "Obama city, 2007", "title": "\"Shoku-iku movement\".\r\nTraditional local specialties are served in school lunch to give opportunity to experience traditional dietary culture." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08376-BIG.jpg", "copyright": "Ministry of Agriculture, Forestry and Fisheries, Japan, 2013", "title": "Washoku in New Year's celebrations: a family shares special meals for New Year's celebrations to celebrate incoming year." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08377-BIG.jpg", "copyright": "Ministry of Agriculture, Forestry and Fisheries, Japan, 2013", "title": "Washoku in daily life: a family is saying 'itadaki-masu (I am grateful accepting)' before washoku meal at home." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08378-BIG.jpg", "copyright": "Ministry of Agriculture, Forestry and Fisheries, Japan, 2013", "title": "Washoku in community: community members share traditional meals together and foster their cohesion." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08379-BIG.jpg", "copyright": "Ministry of Agriculture, Forestry and Fisheries, Japan, 2013", "title": "Shoku-iku in community: mothers and children learn skills and knowledge of Washoku such as how-to-cook traditional meals at community center." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Xtnwt-Jq93E", "copyright": "Ministry of Agriculture, Forestry and Fisheries, 2013", "title": "Washoku: Traditional Dietary Cultures of the Japanese" } ], "sustainability": "Washoku highlights the sustainable production and consumption of local ingredients, resulting in low-carbon-emissions from minimal transportation and a diversity of local cuisines in different parts of the country. Its philosophy of \u201cdon\u2019t waste any ingredient,\u201d called \u201cMottanai,\u201d also promotes low food waste through the traditional food preservation techniques passed down from generation to generation. These traditional dietary cultures contribute to food security, prevention of malnutrition, and healthy nutrition. This element also links to SDG # 12: Responsible Production and Consumption, and SDG #15: Life on Land." } }, "element_870": { "type": "element", "label": "Ancient Georgian traditional Qvevri wine-making method", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07903-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07903-HUG.jpg" }, "description": "Qvevri wine-making is practised throughout Georgia, particularly in village communities where unique varieties of grapes are grown. The Qvevri is an egg-shaped earthenware vessel used for making, ageing and storing the wine. Knowledge and experience of Qvevri manufacture and wine-making are passed down by families, neighbours, friends and relatives, all of whom join in communal harvesting and wine-making activities. Children learn how to tend the vines, press grapes, ferment wine, collect clay and make and fire Qvevris through observing their elders. The wine-making process involves pressing the grapes and then pouring the juice, grape skins, stalks and pips into the Qvevri, which is sealed and buried in the ground so that the wine can ferment for five to six months before being drunk. Most farmers and city dwellers use this method of making wine. Wine plays a vital role in everyday life and in the celebration of secular and religious events and rituals. Wine cellars are still considered the holiest place in the family home. The tradition of Qvevri wine-making defines the lifestyle of local communities and forms an inseparable part of their cultural identity and inheritance, with wine and vines frequently evoked in Georgian oral traditions and songs.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ancient-georgian-traditional-qvevri-wine-making-method-00870", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07898-BIG.jpg", "copyright": "2012 by Ministry of Culture and Monument protection of Georgia", "title": "Qveries of different sizes and stone covers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07899-BIG.jpg", "copyright": "2012 by Ministry of Culture and Monument protection of Georgia", "title": "Qveri making process, starting position" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07900-BIG.jpg", "copyright": "2012 by Ministry of Culture and Monument protection of Georgia", "title": "Informal method of transmitting qveri making traditional knowledge" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07901-BIG.jpg", "copyright": "2012 by Ministry of Culture and Monument protection of Georgia", "title": "Transporting qvevri" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07902-BIG.jpg", "copyright": "2012 by Ministry of Culture and Monument protection of Georgia", "title": "Backing qvevri in the kiln" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07903-BIG.jpg", "copyright": "2012 by Ministry of Culture and Monument Protection of Georgia", "title": "Traditional wine cellar (marani), with the qvevries buried in the ground and different instruments for cleaning qvevri, taking out wine etc." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07904-BIG.jpg", "copyright": "2012 by Ministry of Culture and Monument protection of Georgia", "title": "Traditional wine celler (marani) instruments for cleaning qvevri, taking out wine, steering \"chacha\" etc." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07905-BIG.jpg", "copyright": "2012 by Ministry of Culture and Monument protection of Georgia", "title": "Traditional qvevri cleaning method" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07906-BIG.jpg", "copyright": "2012 by Ministry of Culture and Monument protection of Georgia", "title": "Taking out wine from qvevri" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07907-BIG.jpg", "copyright": "2012 by Ministry of Culture and Monument Protection of Georgia", "title": "Satsnakheli (traditional wine press), where grapes are crushed with feet" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=NN5ziogyxP0", "copyright": "Ministry of Culture and Monument Protection of Georgia, 2012", "title": "Here lives wine" } ], "sustainability": "" } }, "element_871": { "type": "element", "label": "Mongolian traditional practices of worshipping the sacred sites", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10866-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10866-HUG.jpg" }, "description": "Mongolian practices of worshipping sacred sites have developed in the cultural space that is home to the nomadic lifestyle, which is characterized by its close harmony with nature and the environment. According to ancient shamanism, these practices are based on the belief in the existence of invisible deities of the sky, earth, mountains and natural surroundings. Local elders teach young people how to participate in and behave during the ceremony. The worship ceremonies build a sense of community and solidarity and raise awareness about the interdependence of human beings and the environment. During the communist regime in Mongolia, the worship of sacred sites was one of several practices that was banned, severely threatening its viability. Though the government and communities have been actively reviving the tradition, several challenges remain. These include rapid globalization and urbanization and the flow of herdsmen from sacred site areas to cities, a drastic reduction in the number of practitioners and masters with the necessary knowledge, and the operations of a number of mining companies. Locals are nonetheless enthusiastic about reviving the tradition and transmitting related knowledge, and in recent years many temples have been restored and favourable conditions created to conduct worshipping practices in local areas.", "list": "USL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/mongolian-traditional-practices-of-worshipping-the-sacred-sites-00871", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10863-BIG.jpg", "copyright": "2007 by Ayush Duurenjargal, Mongolia", "title": "Milk-libation to the mountains" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10864-BIG.jpg", "copyright": "2007 by Ayush Duurenjargal, Mondolia", "title": "Sacred site worshipping practice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10865-BIG.jpg", "copyright": "2007 by Ayush Duurenjargal, Mondolia", "title": "Various offerings to the mountain deities" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10866-BIG.jpg", "copyright": "2007 by Ayush Duurenjargal, Mondolia", "title": "Chanting the sutras for the mountains" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10867-BIG.jpg", "copyright": "2007 by Ayush Duurenjargal, Mondolia", "title": "A religious practice calling for prosperity exercised during the worshipping rite" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10868-BIG.jpg", "copyright": "2007 by Ayush Duurenjargal, Mondolia", "title": "Horse sanctification, a worshipping custom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10869-BIG.jpg", "copyright": "2007 by Ayush Duurenjargal, Mondolia", "title": "A ceremony to please the mountain deities with the melodies of morin khuur (horse-head fiddle)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10870-BIG.jpg", "copyright": "2007 by Ayush Duurenjargal, Mondolia", "title": "Horse race during the worshipping ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10871-BIG.jpg", "copyright": "2007 by Ayush Duurenjargal, Mondolia", "title": "Wrestling contest during the worshipping ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10872-BIG.jpg", "copyright": "2007 by Ayush Duurenjargal, Mondolia", "title": "A deity of Mt. Bogd Khan" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=clWswnnQm8U", "copyright": "2016 by Research and Information Center for sacred sites, Mongolia", "title": "Mongolian traditional practices of worshipping the sacred sites" } ], "sustainability": "In the traditional nomadic culture of Mongolia, the natural landscape of open grasslands and mountains is inhabited by invisible, protective deities. At sacred sites marked by \r\nOvoos (stone mounds), shamans oversee rituals invoking the deities to protect the community and livestock from natural disasters and to bestow abundance and prosperity. These ceremonies of paying respects to nature are followed by festive activities joined by the whole community, such as horse racing, wresting, archery, singing and dancing. The traditional Mongolian beliefs and practices related to the sacred landscape cultivate an abiding spirit of respect for the environment and raises awareness of the need to conserve it for future generations. This element links to SDG # 15: Life on Land and SDG #16: Peace, Justice and Strong Institutions." } }, "element_872": { "type": "element", "label": "Traditional craftsmanship of the Mongol Ger and its associated customs", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05790-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05790-HUG.jpg" }, "description": "Craftsmanship of the Mongol Ger is a traditional enterprise involving the labour of a household or group, with men carving the wood and both women and men engaged in painting, sewing and stitching, and felt-making. The Ger is a round structure of walls, poles and a peaked roof covered with canvas and felt, and tightened with ropes. It is light enough for nomads to carry; flexible enough to fold and pack; and sturdy enough to be dismantled and reassembled. The Ger can withstand Mongolia\u2019s fierce spring winds. The structure is the same across the country: a wooden frame painted and decorated with traditional ornamentation, covers made of white felt and canvas, ropes of animal hair, flooring and carpets of hand-sewn felt, and furniture. Traditional craftsmanship is taught to the younger generations, principally through mentoring by a senior craftsperson. Dismantling and reassembling the Ger are always family operations, with children learning by watching their elders. Cutting and preparing sheep\u2019s wool, making felt, stitching canvas and preparing woodwork are usually communal endeavours. As a traditional dwelling, the Mongol Ger plays an important social and cultural role for nomadic families and its makers are highly respected.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-craftsmanship-of-the-mongol-ger-and-its-associated-customs-00872", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05788-BIG.jpg", "copyright": "L. Ganbaatar, 2011", "title": "Producing the roof poles of ger" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05789-BIG.jpg", "copyright": "L. Ganbaatar, 2011", "title": "Producing the door of ger with the hand tools" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05790-BIG.jpg", "copyright": " L. Ganbaatar, 2011", "title": "Producing the pillars of ger" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05791-BIG.jpg", "copyright": "L. Ganbaatar, 2011", "title": "Painting the roof poles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05792-BIG.jpg", "copyright": "L. Ganbaatar, 2011", "title": "Painting the pillars" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05793-BIG.jpg", "copyright": "L. Ganbaatar, 2011", "title": "Inside of ger" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05794-BIG.jpg", "copyright": "L. Ganbaatar, 2011", "title": "Assembling the ger" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05795-BIG.jpg", "copyright": "L. Ganbaatar, 2011", "title": "Covering the ger with wall cover" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05796-BIG.jpg", "copyright": "L. Ganbaatar, 2011", "title": "Assembled ger" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/05797-BIG.jpg", "copyright": "L. Ganbaatar, 2011", "title": "Gers in countryside" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=WJa3ebrzfdE", "copyright": "2011 by Luvsangombo GANBAATAR", "title": "Traditional Craftsmanship of the Mongol Ger and its associated customs" }, { "url": "https:\/\/www.youtube.com\/watch?v=qmjXoaGxRQw", "copyright": "2011 by Luvsangombo GANBAATAR", "title": "Traditional Craftsmanship of the Mongol Ger and its associated customs" } ], "sustainability": "" } }, "element_873": { "type": "element", "label": "Mongolian calligraphy", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07324-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07324-HUG.jpg" }, "description": "Mongolian calligraphy is the technique of handwriting in the Classical Mongolian script, which comprises ninety letters connected vertically by continuous strokes to create words. The letters are formed from six main strokes, known as head, tooth, stem, stomach, bow and tail, respectively. This meticulous writing is used for official letters, invitations, diplomatic correspondence and love letters; for a form of shorthand known as synchronic writing; and for emblems, logos, coins and stamps in \u2018folded\u2019 forms. Traditionally, mentors select the best students and train them to be calligraphers over a period of five to eight years. Students and teachers bond for life and continue to stimulate each other\u2019s artistic endeavours. The rate of social transformation, urbanization and globalization have led to a significant drop in the number of young calligraphers. At present, only three middle-aged scholars voluntarily train the small community of just over twenty young calligraphers. Moreover, increases in the cost of living mean that mentors can no longer afford to teach the younger generation without remuneration. Special measures are therefore needed to attract young people to the traditional art of writing and to safeguard and revitalize the tradition of Mongolian script and calligraphy.", "list": "USL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/mongolian-calligraphy-00873", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07318-BIG.jpg", "copyright": "2010 by Jalair Batbayar D.\/Mongolian Calligraphy", "title": "Old_Script 38x88 Chinggis" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07319-BIG.jpg", "copyright": "2010 by Jalair Batbayar D.\/Mongolian Calligraphy", "title": "Coins of Gazan Khan (XII century)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07320-BIG.jpg", "copyright": "2010 by Jalair Batbayar D.\/Mongolian Calligraphy", "title": "Letter of Gazan Khan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07321-BIG.jpg", "copyright": "2010 by Jalair Batbayar D.\/Mongolian Calligraphy", "title": "Stamp of Bogd Khan on silk" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07322-BIG.jpg", "copyright": "2010 by Jalair Batbayar D.\/Mongolian Calligraphy", "title": "Stone Inscription of Tsogt Taij" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07323-BIG.jpg", "copyright": "2010 by Jalair Batbayar D.\/Mongolian Calligraphy", "title": "'Light of the intellect' Calligraphy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07324-BIG.jpg", "copyright": "2010 by Jalair Batbayar D.\/Mongolian Calligraphy", "title": "'Teachings of Scholars' Calligraphy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07325-BIG.jpg", "copyright": "2010 by Jalair Batbayar D.\/Mongolian Calligraphy", "title": "'Mongolia' Calligraphy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07326-BIG.jpg", "copyright": "2010 by Jalair Batbayar D.\/Mongolian Calligraphy", "title": "Mongolian Calligrapher" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07327-BIG.jpg", "copyright": "2010 by Jalair Batbayar D.\/Mongolian Calligraphy", "title": "Calligraphy Contest among youngsters" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=A7GIvXRn4-A", "copyright": "2011 by \"AC\" Calligraphy center, \"Great Hunnu\" Pictures", "title": "Mongolian calligraphy" } ], "sustainability": "" } }, "element_876": { "type": "element", "label": "Kyrgyz epic trilogy: Manas, Semetey, Seytek", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08367-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08367-HUG.jpg" }, "description": "The Kyrgyz epic trilogy of Manas, Semetey and Seytek describes the unification of scattered tribes into one nation. The trilogy expresses the historical memory of the Kyrgyz people and survives thanks to a community of epic tellers, both women and men, of all ages. Narrators accept their calling after experiencing a prophetic dream, understood to be a sign from the heroes of the epic. During recitals they enter into a near-trance state and use special forms of narration, rhythm, tone and gestures to recreate the epic\u2019s historical atmosphere. Continuous narration of the trilogy may last up to thirteen hours. Performances are held on various public occasions, from village events to national celebrations and holidays. Epic storytellers also provide moral and spiritual support to local communities and individuals during social events, conflicts or disasters. They consider the trilogy a cultural heritage for which they take personal responsibility. The trilogy helps young people to understand their own history and culture, the natural environment and the peoples of the world; it also provides them with a sense of identity. As a component of formal education, it promotes ideas of tolerance and multiculturalism. Transmission occurs orally from master to apprentice through non-formal education.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kyrgyz-epic-trilogy-manas-semetey-seytek-00876", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08364-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2013", "title": "Epic teller, Kaaba Atabekov, performing during the celebration of the Millennium of the Kyrgyz Epic Trilogy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08365-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2013", "title": "Published versions of the Epic Trilogy, Manas, Semetey and Seytek" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08366-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2013", "title": "\u201cTraining of trainers\u201d, young epic teller, Nurbek Talantbek uulu, teaching small children lines from the Epic Trilogy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08367-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2013", "title": "Formal education, students studying the Epic Trilogy from special learning materials on the Epic Trilogy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08368-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2013", "title": "Epic tellers in the process of recording their version of the Epic Trilogy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08369-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2013", "title": "Traditional master-apprentice system, prominent epic teller, Nazarkul Seidrakhmanov with his young students" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08370-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2013", "title": "Kamil Mamadaliev, narrating the Epic Trilogy during the celebration of a traditional festival in Talas Region of Kyrgyzstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08371-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2013", "title": "Umot, one of the youngest epic tellers, is narrating during the gathering of living epic tellers from different parts of the world in Issyk-Kul Region of Kyrgyzstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08372-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2013", "title": "Ryspai Isakov, narrating the Epic Trilogy during the gathering of elders of Chui province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08373-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2013", "title": "Experience sharing, representatives of three generation of the community of epic tellers" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=5C5OZC7kXo4", "copyright": "2013 by Aitysh Film", "title": "Kyrgyz Epic Trilogy: Manas. Semetey. Seytek" } ], "sustainability": "" } }, "element_877": { "type": "element", "label": "Music of Terchov\u00e1", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08087-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08087-HUG.jpg" }, "description": "The village of Terchov\u00e1 in north-west Slovakia is renowned for its collective vocal and instrumental music, performed by three-, four- or five-member string ensembles with a small two-string bass or diatonic button accordion. It is often accompanied by polyphonic singing and combined with folk dances. The musical tradition of Terchov\u00e1 also includes solo instrumental performances on shepherds\u2019 fifes. Performances take place at a variety of cyclical and occasional events, both religious and secular, including anniversaries, festivals, exhibition openings, symposia and, most importantly, the J\u00e1no\u0161\u00edk\u2019s Days International Festival. The traditional musical culture, which is transmitted orally, is a matter of pride and a marker of identity among the inhabitants of the village of Terchov\u00e1 and the surrounding areas. It encompasses instrumental and vocal music, dance, and a knowledge of the musical tradition of Terchov\u00e1 and the skills related to making musical instruments. There are over twenty professional musical ensembles in Terchov\u00e1, while amateur ensembles perform at family, traditional and other events.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/music-of-terchova-00877", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08087-BIG.jpg", "copyright": "1987 by Tibor Szab\u00f3", "title": "The brothers' Mucha Music of Terchov\u00e1 performing at the Folk Festival underneath Polana, Detva" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08088-BIG.jpg", "copyright": "1986 by Tibor Szab\u00f3", "title": "Children's music of Terchov\u00e1 at the Folk Festival Vychodn\u00e1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08089-BIG.jpg", "copyright": "1981 by Tibor Szab\u00f3", "title": "4-members music of Terchov\u00e1 'Kvockovia'. Performing : Martin Struha\u00f1ansk, Michal Maruna, Adam Struhar\u00f1ansky, Vincent Maruna.\r\nIn the background - four singers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08090-BIG.jpg", "copyright": "1981 by Tibor Szab\u00f3", "title": "4-members music of Terchov\u00e1 'Kvockovia'. Performing : Martin Struha\u00f1ansk, Michal Maruna, Adam Struhar\u00f1ansky, Vincent Maruna." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08091-BIG.jpg", "copyright": "1962 by Tibor Szab\u00f3", "title": "3-members music of Terchov\u00e1. Performing (from the left) : \r\nVavr\u00edn Buckuliak, J\u00e1n Lacek, Stefan Lacek" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08092-BIG.jpg", "copyright": "2012 by Archives of the Local Cultural Centre, Terchov\u00e1", "title": "People of Terchov\u00e1 at seasonal works with a box-bass. Photographed in the field after work." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08093-BIG.jpg", "copyright": "2012 by Archives of the Local Cultural Centre, Terchov\u00e1", "title": "Meskos' music of Terchov\u00e1. Performing (from the left): Robert Miho - second violin, Frantisek Mesko - first violin, Milan Chvastek - accordion, Jozef Miho - bass violin, Viliam Mesko - bass" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08094-BIG.jpg", "copyright": "2012 by Archives of the Local Cultural Centre, Terchov\u00e1", "title": "Franc Bal\u00e1t's music of Terchov\u00e1 from Stefanov\u00e1 (Istvaniarska muzika), opening of the summer tourism season. Performing (from the left): Adam Dikos - bass violin, Frantisek Bal\u00e1t, sr. - first violin, Frantisek Bal\u00e1t, jr. - helicon, Silvester Bob\u00e1n - bass. In the background singers Jozef Pan\u00e1k and Viliam Krizo." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08095-BIG.jpg", "copyright": "2012 by Archives of the Local Cultural Centre, Terchov\u00e1", "title": "Piper at the shepherd's hut in Terchov\u00e1 - Adam Laurencik Patrnciak" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08096-BIG.jpg", "copyright": "by Milan Kosec", "title": "Helicon players from Terchovcek children's folk ensemble. Performed at the Nativity Mass in Terchov\u00e1" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=GODkTQ7aVYM", "copyright": "1952 by National Film Archives of the slovak Film Institute in Bratislava \/ 2012 by Radio and Television in Slovakia ", "title": "The music of Terchov\u00e1 is accompanying two dancers (extract from the film 'Slovak Folk Dances' 1952) \/ Performance of six generations of music of Tcherov\u00e1 (Extract from the film 'The music of Terchov\u00e1, 1984)" } ], "sustainability": "" } }, "element_878": { "type": "element", "label": "Xooy, a divination ceremony among the Serer of Senegal\u00a0", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08055-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08055-HUG.jpg" }, "description": "The Xooy divination ceremony is organized in village squares among the Serer community in west-central Senegal prior to the rainy season. During this long nocturnal gathering, master seers known as Saltigues each in turn step into a designated circle, where they deliver predictions before a rapturous audience accompanied by the rhythm of drums. The Xooy ceremony provides answers to key issues for the community such as the rains, plagues or illnesses, and remedies. The combination of the Saltigues\u2019 vibrant clothing, songs and dances, proverbs and riddles creates a colourful ceremony, high on drama, as these officiating priests \u2013 masters of the art of communication \u2013 hold the audience in suspense until daybreak. The Xooy is a major event in the national cultural calendar and constitutes a privileged forum for the expression and presentation of Serer cultural heritage. The Saltigues are the living mediums of the Xooy and preserve and transmit the esoteric knowledge that is vital to the ceremony. They are also in charge of interceding between people, the Supreme Being, nature and genies, regulating society, and ensuring harmony between men, women and their environment. With their knowledge of plants, they also provide traditional therapies to alleviate suffering.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/xooy-a-divination-ceremony-among-the-serer-of-senegal-00878", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08046-BIG.jpg", "copyright": "", "title": "Carte administrative du S\u00e9n\u00e9gal pour la localisation des quatre r\u00e9gions habit\u00e9es par les Serer : Fatick, Kaolack, Diourbel et Thi\u00e9s" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08047-BIG.jpg", "copyright": "DCP, 2001", "title": "Baobab sacr\u00e9, lieu de culte associ\u00e9 au Xooy offrant des sites aux rituels de l'initiation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08048-BIG.jpg", "copyright": "DCP, 2001", "title": "Saltigu\u00e9 intervenant lors du Grand Xooy de Diakhao, capitale historique du royaume Serer du Sine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08049-BIG.jpg", "copyright": "DCP, 2011", "title": "Intervention d'un groupe de Saltigu\u00e9s lors du Grand Xooy de Diakhao, capitale historique du royaume Serer du Sine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08050-BIG.jpg", "copyright": "DCP, 2011", "title": "Saltigu\u00e9 consultant un patient par les cauris au Centre de la m\u00e9decine traditionnelle du PROMETRA \u00e0 Fatick" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08051-BIG.jpg", "copyright": "DPC, 2011", "title": "Procession marquant le retour de la chasse annuelle de Diobay dont les r\u00e8gles sont fix\u00e9es par les saltigu\u00e9s" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08052-BIG.jpg", "copyright": "DPC, 2011", "title": "C\u00e9r\u00e9monie de la danse des chasseurs \u00e0 la place publique rendre hommage aux saltigu\u00e9s" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08053-BIG.jpg", "copyright": "DPC, 2011", "title": "Sur la route des champs pour les premiers semis de mil" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08054-BIG.jpg", "copyright": "DPC, 2011", "title": "Quand les pr\u00e9dictions des Saltigu\u00e9s se r\u00e9alisent, c'est l'abondance des p\u00e2turages au grand bonheur du cheptel." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08055-BIG.jpg", "copyright": "Mamadou S\u00e9ua Ndiaye", "title": "Les pluies abondantes, des champs verdoyants et l'espoir qui revient..." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=iG4ISBIQdAc", "copyright": "Direction Patrimoine Culturel (S\u00e9n\u00e9gal), 2011", "title": "Le Xooy : une c\u00e9r\u00e9monie divinatoire des Saltigu\u00e9s" } ], "sustainability": "" } }, "element_879": { "type": "element", "label": "Traditional art of Jamdani weaving", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07831-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07831-HUG.jpg" }, "description": "Jamdani is a vividly patterned, sheer cotton fabric, traditionally woven on a handloom by craftspeople and apprentices around Dhaka. Jamdani textiles combine intricacy of design with muted or vibrant colours, and the finished garments are highly breathable. Jamdani is a time-consuming and labour-intensive form of weaving because of the richness of its motifs, which are created directly on the loom using the discontinuous weft technique. Weaving is thriving today due to the fabric\u2019s popularity for making saris, the principal dress of Bengali women at home and abroad. The Jamdani sari is a symbol of identity, dignity and self-recognition and provides wearers with a sense of cultural identity and social cohesion. The weavers develop an occupational identity and take great pride in their heritage; they enjoy social recognition and are highly respected for their skills. A few master weavers are recognized as bearers of the traditional Jamdani motifs and weaving techniques, and transmit the knowledge and skills to disciples. However, Jamdani weaving is principally transmitted by parents to children in home workshops. Weavers \u2013 together with spinners, dyers, loom-dressers and practitioners of a number of other supporting crafts \u2013 form a closely knit community with a strong sense of unity, identity and continuity.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-art-of-jamdani-weaving-00879", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07827-BIG.jpg", "copyright": "Murshid Anwar, 2012", "title": "Drying of yarn" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07828-BIG.jpg", "copyright": "Murshid Anwar, 2012", "title": "A store with a wide variety of cotton threads" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07829-BIG.jpg", "copyright": "Murshid Anwar; 2012", "title": "Threads are being wond on small reels" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07830-BIG.jpg", "copyright": "Murshid Anwar, 2012", "title": "Rolling the warp upon a sturdy wooden beam on either side" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07831-BIG.jpg", "copyright": "Murshid Anwar, 2012", "title": "Two women are seen pushing the lengthwise theads through the strips of a sana" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07832-BIG.jpg", "copyright": "Murshid Anwar, 2012", "title": "A weaving shop showing weavers at their looms" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07833-BIG.jpg", "copyright": "Murshid Anwar, 2012", "title": "Two weavers are seen weaving a jamdani sari at a loom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07834-BIG.jpg", "copyright": "Murshid Anwar, 2012", "title": "A weaver is seen using the kandu, an essential tool for weaving designs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07836-BIG.jpg", "copyright": "Murshid Anwar, 2012", "title": "A salesman is seen spreading jamdani saris for two prospective buyers at a store" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08374-BIG.jpg", "copyright": "Murshid Anwar, 2012", "title": "Some Jamdani saris on display at store" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=f3E99whjRUk", "copyright": "2012 by Bangla Academy", "title": "Jamdani Weaving" } ], "sustainability": "" } }, "element_881": { "type": "element", "label": "Kimjang, making and sharing kimchi in the Republic of Korea", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08384-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08384-HUG.jpg" }, "description": "Kimchi is the Korean name for preserved vegetables seasoned with spices and fermented seafood. It forms an essential part of Korean meals, transcending class and regional differences. The collective practice of Kimjang reaffirms Korean identity and is an excellent opportunity for strengthening family cooperation. Kimjang is also an important reminder for many Koreans that human communities need to live in harmony with nature. Preparation follows a yearly cycle. In spring, households procure shrimp, anchovy and other seafood for salting and fermenting. In summer, they buy sea salt for the brine. In late summer, red chilli peppers are dried and ground into powder. Late autumn is Kimjang season, when communities collectively make and share large quantities of kimchi to ensure that every household has enough to sustain it through the long, harsh winter. Housewives monitor weather forecasts to determine the most favourable date and temperature for preparing kimchi. Innovative skills and creative ideas are shared and accumulated during the custom of exchanging kimchi among households. There are regional differences, and the specific methods and ingredients used in Kimjang are considered an important family heritage, typically transmitted from a mother-in-law to her newly married daughter-in-law.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kimjang-making-and-sharing-kimchi-in-the-republic-of-korea-00881", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08382-BIG.jpg", "copyright": "Cultural Heritage Administration, Republic of Korea, 2013", "title": "Cabbage fields" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08383-BIG.jpg", "copyright": "Cultural Heritage Administration, Republic of Korea, 2013", "title": "Cabbage wholesaling in late autumn" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08384-BIG.jpg", "copyright": "Cultural Heritage Administration, Republic of Korea, 2013", "title": "Housewives collectively doing Kimjang in countryside" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08385-BIG.jpg", "copyright": "Cultural Heritage Administration, Republic of Korea, 2013", "title": "Burying a jar of kimchi to sustain through winter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08386-BIG.jpg", "copyright": "Cultural Heritage Administration, Republic of Korea, 2013", "title": "Family members of three generations doing Kimjang in a modern-style house in a big city" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08387-BIG.jpg", "copyright": "Cultural Heritage Administration, Republic of Korea, 2013", "title": "Sharing kimchi and other side dishes that go well with kimchi after Kimjang" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08388-BIG.jpg", "copyright": "Cultural Heritage Administration, Republic of Korea, 2013", "title": "Father sharing kimchi with his daughter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08389-BIG.jpg", "copyright": "Cultural Heritage Administration, Republic of Korea, 2013", "title": "Kimjang event held by a company as a means of sharing with other members in society" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08390-BIG.jpg", "copyright": "Cultural Heritage Administration, Republic of Korea, 2013", "title": "University students participating in Kimjang to share with the underprivileged" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08391-BIG.jpg", "copyright": "Cultural Heritage Administration, Republic of Korea, 2013", "title": "Foreign student doing Kimjang" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RlBxerNfzzI", "copyright": "2012 by Cultural Heritage Administration", "title": "Kimjang: Making and sharing Kimchi" } ], "sustainability": "The traditional knowledge of making and sharing kimchi in the Republic of Korea called Kimjang ensures that food supply would be available throughout the seasons, especially during the winter months. It demonstrates the understanding of the seasonal cycle in the Republic of Korea as different ingredients and parts of the preparation process take place during different seasons. Although vegetables, salt, chili, and fermented seafood are the common ingredients of kimchi, different regions and even families showcase diverse recipes that are passed down within their lineage from one generation to another. Kimjang is not only a sustainable food production system that provides food security, but it is also a social event in which all people gather to make and share their food, enhancing their solidarity. " } }, "element_882": { "type": "element", "label": "Yeondeunghoe, lantern lighting festival in the Republic of Korea", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13188-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13188-HUG.jpg" }, "description": "Yeondeunghoe, lantern lighting festival, takes place throughout the Republic of Korea. As the eighth day of the fourth lunar month (Buddha\u2019s birthday) approaches, the entire country lights up with colourful lanterns. Originally a religious ritual to celebrate Shakyamuni\u2019s birth, Yeondeunghoe has now become a national spring festival open to all. Streets are hung with colourful lotus lanterns and crowds holding handmade lanterns gather for a celebratory parade. The annual festival starts with bathing an image of the baby Buddha as a ritual celebrating Shakyamuni\u2019s birth. This is followed by a public procession of lantern-bearing participants, after which participants gather for recreational events culminating in collective games. Members of the public can participate by carrying lanterns they have made to express good wishes for themselves, their families and neighbourhoods and the entire country. Lighting the lanterns also symbolises enlightening the minds of individuals, communities and all of society through Buddha\u2019s wisdom. The related knowledge and skills are mainly transmitted through Buddhist temples and communities, and the Yeondeunghoe Safeguarding Association plays a notable role through the organisation of educational programmes. The festival is a time of joy during which social boundaries are temporarily erased. In times of social difficulties, it plays a particularly important role in integrating society and helping people overcome the troubles of the day.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/yeondeunghoe-lantern-lighting-festival-in-the-republic-of-korea-00882", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13182-BIG.jpg", "copyright": "Cultural Heritage Administration and Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "Post parade celebration with all participants in Yeongeunghoe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13183-BIG.jpg", "copyright": "Cultural Heritage Administration and Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "Participants are waiting for the parade with holding watermelon shaped lanterns" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13184-BIG.jpg", "copyright": "Cultural Heritage Administration and Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "Lantern parades in Jongro street in Seoul" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13185-BIG.jpg", "copyright": "Cultural Heritage Administration and Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "A baby buddha statue and lanterns of the four heavenly guardians of Buddhism" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13186-BIG.jpg", "copyright": "Cultural Heritage Administration and Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "Paper-flower making, a traditional Korean Buddhist art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13187-BIG.jpg", "copyright": "Cultural Heritage Administration and the Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "Children are making various shapes of lotus lanterns" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13188-BIG.jpg", "copyright": "Cultural Heritage Administration and Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "A participant is painting on a traditional lantern" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13189-BIG.jpg", "copyright": "Cultural Heritage Administration and Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "Children are parading with holding buddha-shaped lanterns" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13190-BIG.jpg", "copyright": "Cultural Heritage Administration and Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "The baby buddha bathing ceremony on Buddha's birthday" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13191-BIG.jpg", "copyright": "Cultural Heritage Administration and Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "A joyful parade of children" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=A-wywPUMX0M", "copyright": "The Cultural Heritage Administration of Korea and the Yeondeunghoe Safeguarding Association, Republic of Korea, 2018", "title": "Yeondeunghoe, lantern lighting festival in the Republic of Korea" } ], "sustainability": "" } }, "element_884": { "type": "element", "label": "Mediterranean diet", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08039-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08039-HUG.jpg" }, "description": "The Mediterranean diet involves a set of skills, knowledge, rituals, symbols and traditions concerning crops, harvesting, fishing, animal husbandry, conservation, processing, cooking, and particularly the sharing and consumption of food. Eating together is the foundation of the cultural identity and continuity of communities throughout the Mediterranean basin. It is a moment of social exchange and communication, an affirmation and renewal of family, group or community identity. The Mediterranean diet emphasizes values of hospitality, neighbourliness, intercultural dialogue and creativity, and a way of life guided by respect for diversity. It plays a vital role in cultural spaces, festivals and celebrations, bringing together people of all ages, conditions and social classes. It includes the craftsmanship and production of traditional receptacles for the transport, preservation and consumption of food, including ceramic plates and glasses. Women play an important role in transmitting knowledge of the Mediterranean diet: they safeguard its techniques, respect seasonal rhythms and festive events, and transmit the values of the element to new generations. Markets also play a key role as spaces for cultivating and transmitting the Mediterranean diet during the daily practice of exchange, agreement and mutual respect.", "list": "RL", "year": 2013, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/mediterranean-diet-00884", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08036-BIG.jpg", "copyright": "Arquivo da C\u00e2mara Municipal de Tavira, 2010", "title": "Paysage: vue d'un paysage de Mealha - montagne de la communaut\u00e9 de Tavira, Portugal" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08037-BIG.jpg", "copyright": "F. Sensat, 2006", "title": "Mill\u00e9naire : des oliviers bimill\u00e9naires accueillent toujours les m\u00eames gestes des femmes et des hommes m\u00e9diterran\u00e9ens, offrent toujours la m\u00eame huile que jadis et continuent \u00e0 raconter une histoire commune et un patrimoine culturel partag\u00e9." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08038-BIG.jpg", "copyright": "Arquivo da C\u00e2mara Municipal de Tavira, 2010", "title": "F\u00eate des 'Santos Populares' - Tavira. D\u00e9coration populaire des rues de Tavira" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08039-BIG.jpg", "copyright": "A. Skounti, 2008", "title": "Cycle - Aux portes de l'\u00e9t\u00e9,les moissons reproduisent un cycle capital. C'est aussi l'occasion de transmettre et d'apprendre. C'est l'annonce des c\u00e9l\u00e9brations et f\u00eates de l'\u00e9t\u00e9 associ\u00e9es aux r\u00e9coltes." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08040-BIG.jpg", "copyright": "Communaut\u00e9 d'Agros", "title": "A Agros s'applique la fabrication de l'eau de rose selon les techniques d'extraction et de distillation traditionnelles dans une vieille usine du d\u00e9but du 20e si\u00e8cle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08041-BIG.jpg", "copyright": "Communaut\u00e9 d'Agros", "title": "Agros - vue du village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08042-BIG.jpg", "copyright": "National Park of Cilento and Vallo di Diano, 2010", "title": "Processing cavatielli, fresh pasta made of flour and water" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08043-BIG.jpg", "copyright": "Minist\u00e8re de la culture, Croatie, 2011", "title": "Hvar - apr\u00e8s la p\u00eache" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08044-BIG.jpg", "copyright": "Minist\u00e8re de la culture, Croatie, 2011", "title": "Hvar - le repas familial" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08045-BIG.jpg", "copyright": "J.M. Busom, 2000", "title": "Futur. S'impr\u00e9gner de paysage, de ses ar\u00f4mes. Apprendre des cycles, des gestes. Embrasser ses r\u00e9f\u00e9rences. Commencer \u00e0 se reconna\u00eetre." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XFiIgmwFzzk", "copyright": "C\u00e2mara Municipal de Tavira, 2012", "title": "The Mediterranean diet - 7 States Parties - a common heritage" } ], "sustainability": "" } }, "element_885": { "type": "element", "label": "Limousin septennial ostensions", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07897-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07897-HUG.jpg" }, "description": "The Limousin septennial ostensions are grand ceremonies and processions organized every seventh year for the exhibition and worship of relics of Catholic saints kept in Limousin churches. Widely supported by local towns and villages, the festivities are attended by great numbers of people who gather to see the reliquaries as they process through town, accompanied by flags, banners, decorations and costumed historical figures. The septennial ostensions belong to the whole population of Limousin, and the inhabitants \u2013 Christian and non-Christian alike \u2013 think of themselves as the keepers of the tradition. Confraternities and committees are actively involved in the transmission of knowledge (both oral and written), as well as the artefacts linked with this practice. Preparing the ostensions is a communal, year-long undertaking that mobilizes the knowledge and skills of many craftspeople, local clergy, councillors, charities and volunteers, as well as choirs, bands and musical groups, in organizing the festivities and renewing the memory of the ostensions. The preparations also help to strengthen social bonds, while the festivities play an important role in helping recently arrived or former inhabitants to integrate and in reuniting families as relatives return to join in the celebrations.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/limousin-septennial-ostensions-00885", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07888-BIG.jpg", "copyright": "2009 by FCL", "title": "Ostensions in Limoges, the clergy leaving the church of Saint-Michel." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07889-BIG.jpg", "copyright": "2009 by FCL", "title": "Hanging of the flag of ostensions by the fire brigades of Saint-L\u00e9onard de Noblat." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07890-BIG.jpg", "copyright": "2009 by FCL", "title": "In the church Saint-Michel in Limoges, in front of the Saint Martial's confraternity, Mrs Evelyne Ratte, prefect of the Region Limousin and Mr Alain Rodet, member of parliament and mayor of Limoges, proceed to worship the head of Saint Martial." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07891-BIG.jpg", "copyright": "2009 by FCL", "title": "Ostension of the head of saint-Martial" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07892-BIG.jpg", "copyright": "2009 by FCL", "title": "Crowd in old Limoges" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07893-BIG.jpg", "copyright": "2009 by FCL", "title": "The group \"Lo Gerbo Baudo\" of Confolens dances in front of the relics deposited near the cross of Serre in Abzac" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07894-BIG.jpg", "copyright": "2009 by FCL", "title": "The relics of Saint-Etienne surrounded by the Guard of honour of Esse." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07895-BIG.jpg", "copyright": "2009 by FCL", "title": "Offerings by women's delegation of the Burkina-Fasso to Ostensions of Saint-L\u00e9onard-de-Noblat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07896-BIG.jpg", "copyright": "2009 by FCL", "title": "Some banners in the ostensions of Chaptelat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07897-BIG.jpg", "copyright": "R\u00e9gion Limousin, service de l'inventaire et du patrimoine culturel. Jean-Louis Vey, 2010", "title": "Rochechouart, display of reliquaries" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=SxP46p8FmVc", "copyright": "", "title": "Limousin Septennial Ostensions, Immaterial Heritage for Humanity" }, { "url": "https:\/\/www.youtube.com\/watch?v=-atBn3QiogU", "copyright": "", "title": "Limousin Septennial Ostensions, Immaterial Heritage for Humanity" } ], "sustainability": "" } }, "element_891": { "type": "element", "label": "Practices and knowledge linked to the Imzad of the Tuareg communities of Algeria, Mali and Niger", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08464-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08464-HUG.jpg" }, "description": "Imzad music is a characteristic feature of Tuareg communities and is performed by women on a single-stringed bowed instrument known as the Imzad. The musician sits with the instrument on her knees and plays it with a wooden, arched bow. Imzad combines music and poetry and is frequently performed on ceremonial occasions in Tuareg camps. The instrument provides melodic accompaniment to poetic or popular songs glorifying the adventures and feats of past heroes: the songs are composed, recited or sung by men, with both men and women participating by producing modulated or high-pitched cries. The music also has a therapeutic function, being played to drive away evil spirits and alleviate the pain of the sick. The sound of the Imzad reflects the player\u2019s feelings and moods, and an inability to master a performance is considered a misfortune. Women craft the instrument from half a dried, hollowed-out gourd: a skin is stretched across the open side and pierced with sound holes in the shape of rosettes, and a wooden bridge in the shape of a V is then added. Imzad musical knowledge is transmitted orally according to traditional methods of observation and assimilation.", "list": "RL", "year": 2013, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/practices-and-knowledge-linked-to-the-imzad-of-the-tuareg-communities-of-algeria-mali-and-niger-00891", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07974-BIG.jpg", "copyright": "2011 by CNRPAH", "title": "Une fresque rupestre de la r\u00e9gion de MERTOUTEK (ALGERIE), datant d'environ 2 000 ans avant JESUS-CHRIST, montrant l'usage d'un instrument de musique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07978-BIG.jpg", "copyright": "2011 by CNRPAH", "title": "Madame Chetima BOUZAD, d\u00e9tentrice, lors d'une s\u00e9ance de transmission traditionnelle au sein de sa famille \u00e0 ABRITATEN dans la r\u00e9gion de TIN - TARABIN, AHAGGAR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07979-BIG.jpg", "copyright": "2011 by CNRPAH", "title": "Madame KHAOULEN, d\u00e9tentrice de l'h\u00e9ritage, se pr\u00e9parant \u00e0 une repr\u00e9sentation publique d'imzad \u00e0 TAMANRASSET" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07980-BIG.jpg", "copyright": "2011 by CNRPAH", "title": "Madame Biyat IDABER, d\u00e9tentrice, et le po\u00e8te Mohamed ADJLA d'IDELES, lors d'une repr\u00e9sentation en public" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07981-BIG.jpg", "copyright": "2011 by CNRPAH", "title": "Imzad, instrument fabriqu\u00e9 en AHAGGAR" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07982-BIG.jpg", "copyright": "2011 by CNRPAH", "title": "Face int\u00e9rieure de l'instrument montrant la calebasse, import\u00e9e du pays du SAHEL" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08464-BIG.jpg", "copyright": "Dida, 2011", "title": "Bouzad Chtima, l'une de doyennes de la pratique de l'imzad dans l'Ahaggar (Alg\u00e9rie)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08465-BIG.jpg", "copyright": "Dida, 2011", "title": "Jeune praticienne de l'imzad du village de Tin Tarabine, Ahaggar, Alg\u00e9rie." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08466-BIG.jpg", "copyright": "Dida, 2007", "title": "lmariouedh Chenna, l'une des virtuoses de la musique de l'imzad dans l'Ahaggar (Alg\u00e9rie) et le po\u00e8te accompagnateur de l'imzad Adjla Mohammed, lors d'une soir\u00e9e d'imzad \u00e0 Alger." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08467-BIG.jpg", "copyright": "Dida, 2011", "title": "Des femmes touar\u00e8gues portant l'instrument de l'imzad lors d'une c\u00e9r\u00e9monie de mariage, Ahaggar (Alg\u00e9rie)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=H8G44-prPTk", "copyright": "CNRPAH, 2012", "title": "Imzad: a music of Touareg women" } ], "sustainability": "" } }, "element_892": { "type": "element", "label": "Capoeira circle", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07851-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07851-HUG.jpg" }, "description": "Capoeira is an Afro-Brazilian cultural practice \u2013 simultaneously a fight and a dance \u2013 that can be interpreted as a tradition, a sport and even an art form. Capoeira players form a circle at the centre of which two players engage with one another. The movements require great bodily dexterity. The other players around the circle sing, chant, clap and play percussive instruments. Capoeira circles are formed by a group of people of any gender, and comprise a master, counter-master and disciples. The master is the bearer and guardian of the knowledge of the circle, and is expected to teach the repertoire and to maintain the group\u2019s cohesion and its observance to a ritual code. The master usually plays a single string percussion instrument, starts the chants, and leads the game\u2019s timing and rhythm. All participants are expected to know how to make and play the instrument, sing a shared repertoire of chants, improvise songs, know and respect the codes of ethics and conduct, and perform the movements, steps and strikes. The capoeira circle is a place where knowledge and skills are learned by observation and imitation. It also functions as an affirmation of mutual respect between communities, groups and individuals and promotes social integration and the memory of resistance to historical oppression.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/capoeira-circle-00892", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07847-BIG.jpg", "copyright": "TT Catal\u00e3o \/ IPHAN, 2012", "title": "Practitioners preparing to start the Capoeira game in Mestre Boca Rica school - Bahia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07848-BIG.jpg", "copyright": "TT Catal\u00e3o \/ IPHAN, 2012", "title": "Mestre Itapoan playing berimbau while two of his students practice movements of Capoeira - Lagoa de Itapo\u00e3\/Bahia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07849-BIG.jpg", "copyright": "TT Catal\u00e3o \/ IPHAN, 2012", "title": "Mestre Curi\u00f3 during a class of Capoeira Angola in his school - Bahia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07850-BIG.jpg", "copyright": "TT Catal\u00e3o \/ IPHAN, 2012", "title": "Oda des Capoeira Angola during a class of Mestre Moraes - Bahia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07851-BIG.jpg", "copyright": "TT Catal\u00e3o \/ IPHAN, 2012", "title": "Berimbau being played" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07852-BIG.jpg", "copyright": "TT Catal\u00e3o \/ IPHAN, 2012", "title": "Roda de Capoeira regional of Abad\u00e1 Group" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07853-BIG.jpg", "copyright": "TT Catal\u00e3o \/ IPHAN, 2012", "title": "Roda de Capoeira regional of Senzala Group - Rio de Janiero" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07854-BIG.jpg", "copyright": "TT Catal\u00e3o \/ IPHAN, 2012", "title": "Movements of Capoira Angola during a roda in FICA (International Foundation of Capoeira Angola) school - Bahia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07855-BIG.jpg", "copyright": "TT Catal\u00e3o \/ IPHAN, 2012", "title": "Roda de Capoeira Angola during a class of FICA school - Bahia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/07856-BIG.jpg", "copyright": "TT Catal\u00e3o \/ IPHAN, 2012", "title": "Roda de Caxias - Rio de Janiero" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Vhgot9H7vZw", "copyright": "IPHAN\/Bossa Pro", "title": "Roda de Capoeira" } ], "sustainability": "" } }, "element_893": { "type": "element", "label": "Petrykivka decorative painting as a phenomenon of the Ukrainian ornamental folk art", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08416-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08416-HUG.jpg" }, "description": "The people of the village of Petrykivka decorate their living quarters, household belongings and musical instruments with a style of ornamental painting that is characterized by fantastic flowers and other natural elements, based on careful observation of the local flora and fauna. This art is rich in symbolism: the rooster stands for fire and spiritual awakening, while birds represent light, harmony and happiness. In folk belief, the paintings protect people from sorrow and evil. Local people, and in particular women of all ages, are involved in this folk art tradition. Every family has at least one practitioner, making decorative painting an integral part of daily existence in the community. The painting traditions, including the symbolism of the ornamental elements, are transferred, renewed and enhanced from one generation to another. Local schools at all levels, from pre-school to college, teach the fundamentals of Petrykivka decorative painting, with all children given the opportunity to study it. The community willingly teaches its skills and know-how to anyone who shows an interest. The tradition of decorative and applied arts contributes to the renewal of historical and spiritual memory and defines the identity of the entire community.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/petrykivka-decorative-painting-as-a-phenomenon-of-the-ukrainian-ornamental-folk-art-00893", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08412-BIG.jpg", "copyright": "artmuseumdp2011", "title": "Icon of the Virgin Mary and Baby. Unknown author, the end of the XVIII century" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08413-BIG.jpg", "copyright": "artmuseumdp2011", "title": "Onions. Iryna Ulianivna Pylypenko. 1979. Paper, aniline dyes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08414-BIG.jpg", "copyright": "artmuseumdp2011", "title": "Birds. Praskovia Mykolaivna Pavlenko. 1965. Paper, tempera" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08415-BIG.jpg", "copyright": "artmuseumdp2011", "title": "Wedding train. Nadiia Avramivna Bilokon. 1979. Paper, tempera" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08416-BIG.jpg", "copyright": "artmuseumdp2011", "title": "Peacocks, Tetiana Yakymivna Pata. 1949. paper, tempera" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08417-BIG.jpg", "copyright": "artmuseumdp2011", "title": "Panel picture 'Ladies' choice', Fedir Savych Panko. 1983. Wood chipboard, tempera" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08418-BIG.jpg", "copyright": "artmuseumdp2011", "title": "Bluebird, Maria Illivna Statyva. 1976. Paper, tempera" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08419-BIG.jpg", "copyright": "artmuseumdp2011", "title": "Decorative panel picture, Maria Tykhonivna Shyshatska. 1976. Paper, tempera" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08420-BIG.jpg", "copyright": "a.pikush(a)ukr.net 2011", "title": "Modern articles of the Petrykivka style of painting. Different artists. 2009-2011" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08421-BIG.jpg", "copyright": "a.pikush(a)ukr.net 2011", "title": "The Petrykivka style of painting. Interior of peasant's cottage. 1920-1950" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1-kBLT0O2ag", "copyright": "Promysel, 2013", "title": "The Miracle of the Prydniprovya" }, { "url": "https:\/\/www.youtube.com\/watch?v=PsvcffwMpWg", "copyright": "Promysel, 2013", "title": "The Miracle of the Prydniprovya" } ], "sustainability": "" } }, "element_901": { "type": "element", "label": "Argungu international fishing and cultural festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08118-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08118-HUG.jpg" }, "description": "Every year in the north-west of Nigeria, communities gather to participate in the Argungu International Fishing and Cultural Festival near the Matan Fada River. The four day festival, which runs between late February and March, features kabanci \u2013 a series of water competitions including hand fishing, canoe racing, wild duck catching \u2013 as well as other traditional practices, such as the local style of wrestling and boxing. Men and boys participate in the contests, while women provide the encouragement performing songs and dances. The Argungu International Fishing and Cultural Festival, which dates back to before Nigeria\u2019s independence, is considered a contributor to participant sense of identity and is also used as a means of maintaining peace between the Argungu and neighbouring Sokoto community by enjoying shared cultural practices together. Knowledge passed on within participating chieftaincy-holding families by the Sarkin Ruwa (who manages the river\u2019s santitation levels) and Homa (chief of the Argungu fishermen) concerning the river\u2019s water quality and fish stocks, has been an important factor in the festival\u2019s continuity. Skills involved in festival activities are transmitted to younger generations formally and informally. Training occurs, for example, via apprenticeship particuarly in the case of specific fishing techniques or within families by demonstration.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/argungu-international-fishing-and-cultural-festival-00901", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08117-BIG.jpg", "copyright": "Adeniyi Olagunju, 2008", "title": "Emir and his entourage being ushered to the venue of the fishing festival by Durbar horse riders and entertainers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08118-BIG.jpg", "copyright": "Adeniyi Olagunju, 2008", "title": "Artistes from various guilds entertaining participants at the festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08120-BIG.jpg", "copyright": "Adeniyi Olagunju, 2009", "title": "Participants at the duck catching side event" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08121-BIG.jpg", "copyright": "Adeniyi Olagunju, 2009", "title": "Contestants at the river Manda Fada" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08123-BIG.jpg", "copyright": "Adeniyi Olagunju, 2009", "title": "Participants keenly watching the contestants while entertainment was on by artists" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08124-BIG.jpg", "copyright": "Adeniyi Olagunju, 2006", "title": "Participants demonstrating different skills to catch the biggest fish" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08126-BIG.jpg", "copyright": "Adeniyi Olagunju, 2009", "title": "Presentation and demonstration of the biggest fish caught at the event" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10691-BIG.jpg", "copyright": "Adeniyi Olagunju, 2008", "title": "Fishing nets being prepared in readiness for the competition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10692-BIG.jpg", "copyright": "Adeniyi Olagunju, 2007", "title": "Fish caught during the contest" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10693-BIG.jpg", "copyright": "Adeniyi Olagunju, 2008", "title": "Bori performers at the fishing festival" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=fZzLAtMExPo", "copyright": "Federal Ministry of Tourism, Culture & National Orientation (Nigeria), 2015", "title": "Argungu fishing festival" } ], "sustainability": "The Argungu International Fishing and Cultural Festival takes place each year between February and March near the Matan Fada River in north-west Nigeria. Organized by local chieftains who manage the river\u2019s resources, the four-day festival features a number of water competitions, including hand fishing, canoeing and wild duck catching, as well as traditional songs and dances. In addition to contributing to a sense of shared cultural identity among the participants, the festival serves to maintain the peace between the Argungu and neighboring Sokoto peoples by encouraging their enjoyment of shared culture. Furthermore, traditional knowledge and skills related to fishing and the sustainable use of water resources are transmitted to younger generations during the festival, thus contributing to the goal of the sustainable management of inland freshwater ecosystems. This element also links to SDG #6: Clean Water and Sanitation and SDG # 16: Peace, Justice and Strong Institutions." } }, "element_904": { "type": "element", "label": "Empaako tradition of the Batooro, Banyoro, Batuku, Batagwenda and Banyabindi of western Uganda", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08477-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08477-HUG.jpg" }, "description": "Empaako is a naming system practised by the Batooro, Banyoro, Batuku, Batagwenda and Banyabindi, whereby children are given one of twelve names shared across the communities in addition to their given and family names. Addressing a person by her or his Empaako name is a positive affirmation of social ties. It can be used as a greeting or a declaration of affection, respect, honour or love. Use of Empaako can defuse tension or anger and sends a strong message about social identity and unity, peace and reconciliation. Empaako is given at a naming ceremony performed in the home and presided over by the clan head. The paternal aunts receive the baby and examine its features. Any resemblance to existing relatives forms the basis of the choice of name. The clan head then declares the name to the child. A shared meal of millet and smoked beef follows, gifts are presented to the baby and a tree is planted in its honour. The transmission of Empaako through naming rituals has dropped dramatically due to a general decline in appreciation of traditional culture and the diminishing use of the language associated with the element.", "list": "USL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/empaako-tradition-of-the-batooro-banyoro-batuku-batagwenda-and-banyabindi-of-western-uganda-00904", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08469-BIG.jpg", "copyright": "2013, EZT", "title": "The mythical rock of Empaako. According to the folktales, the 12\r\nnames (Empaako) were discovered by the first people on earth written\r\non a rock." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08470-BIG.jpg", "copyright": "2013, EZT", "title": "The 12 honour names (Empaako) of the Batooro, Banyoro, Banyabindi, Batagwenda and Batuku of Western Uganda." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08471-BIG.jpg", "copyright": "2013, EZT", "title": "The 12 honour names (Empaako) and the area where the tradition is\r\npracticed, marked on the map of Uganda." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08472-BIG.jpg", "copyright": "2013, EZT", "title": "The 44 clans of the Bantu Speaking Communities of Western Uganda which transmit Empaako practice." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08473-BIG.jpg", "copyright": "2013, EZT", "title": "Mr. Christopher Kalya, head of the Basonde Clan presiding over the\r\nEmpaako naming ceremony at his home in Kyarusozi village, Kyenjojo\r\nDistrict." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08474-BIG.jpg", "copyright": "2013, EZT", "title": "People partaking Empaako naming meal in Kyarusozi village, Kyenjojo District in 2012." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08475-BIG.jpg", "copyright": "2013, EZT", "title": "People offering gifts as capital to secure the future livelihood of a baby during Empaako naming ceremony." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08476-BIG.jpg", "copyright": "2013, EZT", "title": "People planting a banana during Empaako naming ceremony in Kyarusozi, Kyenjojo District. This symbolises common obligation to guarantee subsistence and food security in the community." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08477-BIG.jpg", "copyright": "2013, EZT", "title": "People planting a cycamore tree during Empaako naming ceremony in Kyarusozi, Kyenjojo District. This signifies perpetuity and abundant life of the clan brought out in the functions and characteristic of the cycamore tree and a rich natural environment." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08478-BIG.jpg", "copyright": "2013, EZT", "title": "Linus Bakuraira receiving blessings by sitting on the lap of the head of Bazira clan during Empaako naming ceremony in Ntengo, Kyenjojo District." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=X0TCud6Ahlg", "copyright": "Engabu Za Tooro (EZT), 2013", "title": "Empaako Tradition" } ], "sustainability": "" } }, "element_905": { "type": "element", "label": "Chovqan, a traditional Karabakh horse-riding game in the Republic of Azerbaijan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08507-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08507-HUG.jpg" }, "description": "Chovqan is a traditional horse-riding game played on a flat, grassy field by two competing teams of players mounted on Karabakh horses. Each team has five riders, with two fullbacks and three forwards. The game starts at the centre of the field and players use wooden mallets to try to drive a small leather or wooden ball into their opponents\u2019 goal. The game is interspersed with instrumental folk music called ''janghi''. Chovqan players and trainers are all local male farmers and skilled riders. They traditionally wear large astrakhan hats, long tight-fitting coats with a high waist, and special trousers, socks and shoes. People of all ages come to watch this traditional game and to support their teams. Chovqan strengthens feelings of identity rooted in nomadic culture and linked to the perception of the horse as an integral part of everyday life. The specific rules, skills and techniques of Chovqan are transmitted from experienced players to beginners through collective training. The practice and transmission of Chovqan have weakened, however, due to a loss of interest among the youth, combined with urbanization and migration, leading to a shortage of players, trainers and Karabakh horses.", "list": "USL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/chovqan-a-traditional-karabakh-horse-riding-game-in-the-republic-of-azerbaijan-00905", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08506-BIG.jpg", "copyright": "2012 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Before the competition \"Chovqan\" teams that came from different regions stand in a line and the game starts with grand ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08507-BIG.jpg", "copyright": "2012 by M.Rahimov\/Ministry of Culture and Tourism of Azerbaijan", "title": "The player of Sheki region team heads the ball to score against the Zaqatala region team" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08508-BIG.jpg", "copyright": "2012 by M.Rahimov\/Ministry of Culture and Tourism", "title": "During the game sometimes the foot of the horse can be injured or the horseshoe can be deformed" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08509-BIG.jpg", "copyright": "2012 by M.Rahimov\/Ministry of Culture and Tourism", "title": "A group of horses are kept in the stable set for 40 horses, \r\n4x4 measured cages" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08510-BIG.jpg", "copyright": "2012 by M.Rahimov\/Ministry of Culture and Tourism", "title": "The representatives of the Ministry of Culture and Tourism of the \r\nRepublic of Azerbaijan, local authorities and NGOs present \r\nthe winners' cup, diploma and expensive gifts to winner Agstafa team" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08511-BIG.jpg", "copyright": "2012 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Little boys and girls watch the \"Chovqan\" game with big interest and passion" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08512-BIG.jpg", "copyright": "2012 by M.Rahimov\/Ministry of Culture and Tourism", "title": "The winner Agstafa team enjoying their victory" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08513-BIG.jpg", "copyright": "2012 by M.Rahimov\/Ministry of Culture and Tourism", "title": "As a rule \"Chovqan\" game is accompanied by national music performed in zurna, balaban, def, saz and other national musical instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08514-BIG.jpg", "copyright": "2012 by M.Rahimov\/Ministry of Culture and Tourism", "title": "Sheki and Zaqatala regions \"Chovqan\" teams compete for victory" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08515-BIG.jpg", "copyright": "2012 by M.Rahimov\/Ministry of Culture and Tourism", "title": "The player of Aghjabedi region team heads the ball to score the goal\r\nagainst the Zaqatala region team" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LBeIEXtwsS4", "copyright": "2012 by R. Guliyev\/Ministry of Culture and Tourism", "title": "Chovqan" }, { "url": "https:\/\/www.youtube.com\/watch?v=GeFMC2LNSyM", "copyright": "2012 by R. Guliyev\/Ministry of Culture and Tourism", "title": "Chovqan" } ], "sustainability": "" } }, "element_907": { "type": "element", "label": "La Parranda de San Pedro de Guarenas y Guatire", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08106-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08106-HUG.jpg" }, "description": "Every year in the small towns of Guarenas and Guatire, devotees of San Pedro the Apostle celebrate his saint\u2019s day with a series of popular festivities and rituals. An image of San Pedro is stored in all the town\u2019s churches while the saint is celebrated with popular songs. Then, at midnight, a mass is held and the images are taken out and paraded through the streets. Central to the celebration is a re-enactment of the story of the slave Mar\u00eda Ignacia, whose daughter was healed by the saint. ''Parranderos'' play key roles in the drama, wearing colourful, carefully prepared costumes representing the different characters, while other participants bear flags and banners, dance, play instruments, sing and improvise popular tunes. Women participate by preparing and training younger generations through workshops and by decorating the churches, dressing images of the saint and cooking traditional dishes. During the festival, the dancers, together with their families, neighbours and other community adults and children, gather to share moments of joy and togetherness. Every gathering serves to celebrate the spirit of the community, the energy and happiness of the dancers, and the vitality of a tradition that symbolizes and reasserts the struggle against injustice and inequality.", "list": "RL", "year": 2013, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/la-parranda-de-san-pedro-de-guarenas-y-guatire-00907", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08097-BIG.jpg", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "Early in the morning of June 29th, the sanpedrenos prepare for the celebration. In each of the venues of the Parrandas, everyone works together to give the final touches before heading out to the streets." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08098-BIG.jpg", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "The lead character of this celebration is Maria Ignacia, who, in every parranda is played by a man, bearing in his hands a rag doll that symbolizes her daughter Rosa Ignacia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08099-BIG.jpg", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "At the church of \"Santa Cruz de Pacairigua\" in Guarenas, and in the Cathedral \"Nuestra se\u00f1ora de Copacabana\" in Guarenas, the parrandas together with the community, displays the popular beliefs that unites the in honor of the Saint them" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08100-BIG.jpg", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "The celebration is open to all, including those who are sanpedre\u00f1os and those who are not. Everyone takes the streets, and each Parranda expresses their happiness and tradition through ritual, music, and popular dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08101-BIG.jpg", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "The community entrust their children to the parranderos to be \"danced\" for their health and well being" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08102-BIG.jpg", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "The \"Parranda de San Pedro\", is a popular tradition passed down from father to son with their faces painted in black, this tradition is rooted in the hearts of the people of Guarenas and Guatire." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08103-BIG.jpg", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "Accompanied by the sound of music, the parranderos dance and stomp their cotizas (leather soles tied to their traditional Venezuelan sandals called \"alpargatas\")." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08104-BIG.jpg", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "The instrumentation of the \"Parranda de San Pedro\" is defined by the playing of cuatro (four string guitar) and maracas. The musical performance, follows a 6\/8 rhythm, and is complemented with lyrical improvisation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08105-BIG.jpg", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "In the Parrandas, the Tucusitos are distinguished by the colors they use in their costumes:red and blue in Guarenas and red and yellow in Guatire. These characters represent the reconciliation of differences and the ongoing search for peace." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08106-BIG.jpg", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "The vitality of the \"Parranda de San Pedro\" lies in the transmission of knowledge to new generations, who with joy and enthusiasm take on the challenge and expression that constitutes a cultural heritage for all Venezuelans" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=bcn8_zjuua0", "copyright": "2012 by Centro de la Diversidad Cultural", "title": "La Parrenda de San Pedro de Guarenas y Guatire" } ], "sustainability": "" } }, "element_911": { "type": "element", "label": "Koogere oral tradition of the Basongora, Banyabindi and Batooro peoples", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09914-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09914-HUG.jpg" }, "description": "Koogere was a female chief of Busongora about 1,500 years ago. Oral tradition describes her exceptional wisdom and the prosperity of the chiefdom through a series of narratives, which form part of the collective memory of Basongora, Banyabindi and Batooro communities in Kasese. This oral tradition is an essential and inspirational part of social philosophy and folk expression. It encompasses sayings and narrations focusing on images of plenty and abundance as blessings for hard work, highlighting the importance of wisdom and evoking female magic and heroism. Practitioners and custodians of the narratives are traditionally elders, sages, storytellers, poets, musicians, artists and indigenous families living near sites associated with the story. The story is retold and sung informally around the fireplace and during collective activities such as handicrafts, cattle herding and long-distance travel, with skilled older storytellers transmitting the tradition to younger participants. Koogere storytelling thus facilitates shared actions, recreation, wisdom, learning and intergenerational transfer of information, values and skills. However, today there is increasing dominance of formal training and education, while the transmission of knowledge and skills associated with enactment of Koogere oral tradition is informal and spontaneous and thus not adapted to these new methods. Moreover, the use of the language of Koogere story \u2013 Runyakitara (Runyoro-Rutooro) is declining. Knowledge of the oral tradition is therefore decreasing rapidly with only four surviving master storytellers able to relate more than one episode of the Koogere story. The frequency of these practices is also diminishing, as other entertainment dominates the social spaces associated with enactment and transmission.", "list": "USL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/koogere-oral-tradition-of-the-basongora-banyabindi-and-batooro-peoples-00911", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09908-BIG.jpg", "copyright": "Engabu Za Tooro, 2014", "title": "The homestead of Topista Kezabu in Gweri, Kabarole, Uganda, who still practices evening story telling sessions despite diminishing audience." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09909-BIG.jpg", "copyright": "Engabu Za Tooro, 2014", "title": "Communal grazing, which is fast disappearing, is a cultural space for story telling among Basongora pastoralist community in Kasese District, Uganda." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09910-BIG.jpg", "copyright": "Engabu Za Tooro, 2014", "title": "Basongora indigenous women share Koogere story telling during a group handcraft session in Muhokya village, Kasese District, Uganda" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09911-BIG.jpg", "copyright": "Engabu Za Tooro, 2014", "title": "Basongora indigenous women share Koogere story telling during handcraft session in Busunga village, Kasese District, Uganda." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09912-BIG.jpg", "copyright": "Engabu Za Tooro, 2014", "title": "Basongora indigenous women entertain themselves with a traditional poem on Koogere story, accompanied by a traditional instrument called Ennanga in Nyakakindo village, Kasese District, Uganda" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09913-BIG.jpg", "copyright": "Engabu Za Tooro, 2014", "title": "A folklorist, Lawrence Kalenzi, entertains his audience with a traditional song on Koogere story, accompanied by a fiddle tuner (Endingidi) in Fort Portal, Uganda." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09914-BIG.jpg", "copyright": "Engabu Za Tooro, 2014", "title": "A group of folk performers plays a traditional trampet (Amakondere), a royal performance believed to have its origins in the tory of Koogere" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09915-BIG.jpg", "copyright": "Engabu Za Tooro, 2014", "title": "Koogere oral tradition has got natural sites as its symbolic points of reference, like a forest, a hill and crater lake, and they are linked to certain narratives in the story." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09916-BIG.jpg", "copyright": "Engabu Za Tooro, 2014", "title": "Topista Kezabu, demonstrating an episode in Koogere story during a story telling session at her home, Gweri, Kabarole, Uganda" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09917-BIG.jpg", "copyright": "Engabu Za Tooro, 2014", "title": "The forest linked to some narratives in Koogere oral tradition and where the bearers trek following the trails of the story." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=DrKWIL4PcCo", "copyright": "Engabu Za Tooro, 2015", "title": "Koogere oral tradition" } ], "sustainability": "" } }, "element_914": { "type": "element", "label": "Arirang folk song in the Democratic People\u2019s Republic of Korea", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08576-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08576-HUG.jpg" }, "description": "Arirang is a popular lyrical singing genre transmitted and recreated orally. It exists in multiple traditional forms as well as symphonic and modern arrangements. Arirang typically contains a gentle and lyrical melody, accompanied by the refrain: \u2018Arirang, arirang, arariyo, Over the Arirang hill you go\u2019. Arirang songs speak about leaving and reunion, sorrow, joy and happiness. The various categories differ according to the lyrics and melody used; the thirty-six known versions of Arirang have also undergone continuous development. Arirang is performed on various occasions among family, friends and communities, as well as on public occasions and at festivities. Children learn the songs from their parents and neighbours, in school and other settings. Professional art troupes in Pyongyang perform different forms of Arirang, while safeguarding societies play an important role in enacting, preserving and transmitting local versions. Arirang folk songs reinforce social relations, thus contributing to mutual respect and peaceful social development, and help people to express their feelings and overcome grief. They function as an important symbol of unity and occupy a place of pride in the performing arts, cinema, literature and other works of contemporary art.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/arirang-folk-song-in-the-democratic-people-s-republic-of-korea-00914", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08576-BIG.jpg", "copyright": "Ri Myong Nam\/Korean Central Photograph Publicity Agency, 2011", "title": "Performace of Samjiyon Orchestra Mansudae Art\r\nTroupe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08577-BIG.jpg", "copyright": "Kim Thae Gu\/Korean Central Photograh Publicity Agency, 2011", "title": "Performance of National Symphony Orchestra" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08578-BIG.jpg", "copyright": "Ryu Tok In\/Korean Central Photograh Publicity Agency, 2011", "title": "Performance of Pyongyang Kim Won Gyun Conservatory" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08579-BIG.jpg", "copyright": "Ryu Tok In\/Korean Central Photograh Publicity Agency, 2012", "title": "Opening scene of Grand Mass Gymnastic and Artistic Performance \"Arirang\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08580-BIG.jpg", "copyright": "Jang Song Rin\/Korean Central Photograh Publicity Agency, 2011", "title": "People singing \"Arirang\" for a pastime" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08581-BIG.jpg", "copyright": "Kim Kwang Chol\/Korean Central Photograh Publicity Agency, 2011", "title": "Students are taught a folk song \"Arirang\" at a middle school" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08582-BIG.jpg", "copyright": "So Ho Rim\/Korean Central Photograh Publicity Agency, 2011", "title": "Performance of the National Traditional Music Presentation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08583-BIG.jpg", "copyright": "Kim Kwon\/Korean Central Photograh Publicity Agency, 2009", "title": "A foreign art troupe singing \"Arirang\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08584-BIG.jpg", "copyright": "Kim Wi Song\/Korean Central Photograh Publicity Agency, 2001", "title": "Flag being hoisted with the sound of song \"Arirang\" in the June 15 Festival, a joint event of North Korea and South Korea" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08585-BIG.jpg", "copyright": "Sin Jong Hyon\/Korean Central Photograh Publicity Agency, 2002", "title": "Dancing to the song \"Arirang\" in the June15 Festival, a joint\r\nevent of North Korea and South Korea" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=suXGvBHrg6k", "copyright": "2013 by Pyongyang Video Company", "title": "The Representative ICH of the DPRK, Folk Song Arirang" } ], "sustainability": "" } }, "element_951": { "type": "element", "label": "Smoke sauna tradition in V\u00f5romaa", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08527-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08527-HUG.jpg" }, "description": "The smoke sauna tradition is an important part of everyday life in the V\u00f5ro community of Estonia. It comprises a rich set of traditions including the actual bathing customs, the skills of making bath whisks, building and repairing saunas, and smoking meat in the sauna. The sauna is a building or room heated by a stove covered with stones and with an elevated platform for sitting or lying. It has no chimney, and the smoke from burning wood circulates in the room. People usually visit the sauna together and remain until the body sweats. Water is thrown on the heated stones to produce hot steam-laden air and bathers beat their bodies with whisks to scrub off dead skin and stimulate blood circulation. After sweating, whisking, relaxing and possible healing procedures, people cool themselves outside and rinse their bodies with water. The procedure is repeated. The smoke sauna tradition is primarily a family custom, practised usually on Saturdays but also before major festivals or family events, whose main function is to relax the body and mind. Families take turns hosting each other. Usually an older family member is responsible for preparing the sauna, accompanied by children who gradually acquire the necessary skills.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/smoke-sauna-tradition-in-voromaa-00951", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08526-BIG.jpg", "copyright": "NPO V\u00f6ro Society VKKF, 2012", "title": "A typical V\u00f6romaa smoke sauna: a small crossbeam building without chimney. Fire is burning in the stove, smoke comes out from below \r\nthe roof." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08527-BIG.jpg", "copyright": "NPO V\u00f6ro Society VKKF, 2012", "title": "A family makes preparations for heating a sauna: firewood is taken into the sauna, water is carried, children make fresh whisks." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08528-BIG.jpg", "copyright": "NPO V\u00f6ro Society VKKF, 2012", "title": "In the V\u00f6romaa smoke sauna the stove is near the door and\r\nthe wooden benches where the sauna-goers get a steam, are across the stove. Washing water is brought to warm in the sauna." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08529-BIG.jpg", "copyright": "NPO V\u00f6ro Society VKKF, 2012", "title": "A smoke sauna may also be built half into the ground. Such a sauna stays warm for a long time. Water is brought to the sauna from a nearby body of water with buckets." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08530-BIG.jpg", "copyright": "NPO V\u00f6ro Society VKKF, 2012", "title": "At the beginning of the heating there is a lot of smoke that will be\r\nlet out from the door. As the heating advances, smoke lessens. The air in a heated sauna is clean, because the sauna is aired before bathing." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08531-BIG.jpg", "copyright": "NPO V\u00f6ro Society VKKF, 2012", "title": "The sauna is \"halfway\" heated, there is no more smoke in the lower part of the sauna room. Firewood is added little by little." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08532-BIG.jpg", "copyright": "NPO V\u00f6ro Society VKKF, 2012", "title": "A dried birch whisk is softened in a water pot before going to\r\nthe sauna." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08533-BIG.jpg", "copyright": "NPO V\u00f6ro Society VKKF, 2012", "title": "Steam bathing and whisking in a sauna" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08534-BIG.jpg", "copyright": "NPO V\u00f6ro Society VKKF, 2012", "title": "Salted meat is smoked on grills near the ceiling of the sauna\r\nroom where the heat is appropriate for the meat to be baked through and permeated with smoke in 1,5-2 days. \r\nSuch meat keeps for a long time." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08535-BIG.jpg", "copyright": "NPO V\u00f6ro Society VKKF, 2012", "title": "An old sauna gets new roof and front room walls. The master's\r\ntools are modern, but building follows old customs." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3WoIQWWhifY", "copyright": "NPO V\u00f6ro Society VKKF\r\nAvireti O\u00dc", "title": "Smoke-sauna-Estonia." } ], "sustainability": "The smoke sauna tradition in the V\u00f5ro community of Estonia comprises a body of knowledge, skills, and practices, including bathing customs, skills of making bath whisks, building and repairing saunas, and smoking meat in the sauna. The sauna is heated by a wood-burning stove covered with stones, which produce steam when water is thrown on them. Families visit the sauna together every week, and before festivals or important events. The sauna custom relaxes the body and mind, and also maintains good relations between community members, as families take turns hosting each other. This living heritage reflects the use of affordable and sustainable energy. This element also links to SDG #3: Good Health and Well-Being. " } }, "element_955": { "type": "element", "label": "Argan, practices and know-how concerning the argan tree", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08538-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08538-HUG.jpg" }, "description": "The argan tree is an endemic woodland species found in the Arganeraie Biosphere Reserve in south-west Morocco. Rural women and, to a lesser extent, men living in the reserve practise traditional methods to extract argan oil from the fruit of the tree. Different tasks, transmitted by means of imitation and through non-formal education, are required to obtain the oil, which has multiple uses for cooking, medicines and cosmetics. These include harvesting the fruit, drying, pulping, grinding, sorting, milling and mixing. The specific hand mill is manufactured by local craftspeople, and the mixing involves the gradual addition of warm water in exact quantities. All the cultural aspects of the argan tree, including the cultivation of the tree, oil extraction, the preparation of recipes and derived products, and the crafting of traditional tools for the various tasks, contribute to social cohesion, understanding between individuals and mutual respect between communities. Argan oil is given as a wedding gift and is used extensively in the preparation of festive dishes. Traditional know-how specific to the extraction of the oil and its multiple uses is systematically transmitted by \u2018argan women\u2019, who teach their daughters from a young age to put it into practice.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/argan-practices-and-know-how-concerning-the-argan-tree-00955", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08536-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "L'arganier, un arbre end\u00e9mique du sud-ouest marocain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08537-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "Fruits de I'arganier encore verts et qui deviennent g\u00e9n\u00e9ralement jaunes \u00e0 la maturite" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08538-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "Collection of the fruits of the argan tree by women in festive atmospheres" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08539-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "Depulpage et concassage des fruits d'arganier utilisant deux types d'outils en pierre : taount et assareg" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08540-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "Torr\u00e9faction des amandons d'argan sur feu doux selon des conditions particuli\u00e8res et utilisant des outils sp\u00e9cifiques" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08541-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "Mouture des amandons \u00e0 I'aide d'un moulin \u00e0 bras specifique. \r\nC'est une op\u00e9ration qui necessite un savoir-faire et une ma\u00eetrise specifiques" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08542-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "Malaxage de la p\u00e2te issue de la mouture des amandons d'argan dont seules les femmes argani\u00e8res detiennent les savoirs et les savoir- faire." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08543-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "S\u00e9paration de l'huile d'argan et du tourteau. Ce dernier est ensuite donn\u00e9 aux bovins comme excellent fourrage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08544-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "Huile d'argan obtenue gr\u00e2ce aux savoir-faire ancestraux caract\u00e9ristiques de la R\u00e9serve de Biosph\u00e8re d'Arganeraie du sud-ouest marocain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08545-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "Commercialisation de I'huile d'argan et de ses produits d\u00e9riv\u00e9s." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=sjlzRi2rnpQ", "copyright": "Soufiane Bouhali, 2013", "title": "Tawuri Wargan" }, { "url": "https:\/\/www.youtube.com\/watch?v=NPUcjVxW3Y8", "copyright": "Soufiane Bouhali, 2013", "title": "Tawuri Wargan" } ], "sustainability": "Rural women are the key culture bearers of the traditional knowledge and the sustainable practices associated with the argan tree, an endemic species found in south-west Morocco. Women living in the vicinity of the Arganeraie Biosphere Reserve are responsible for extracting the argan oil, which is used in various foods, medicines, and cosmetic products. The skills and know-how of argan oil extraction are transmitted from older \u201cargan women\u201d to a younger generation through non-formal education, and a system of cooperatives supporting the commercialization of argan products further encourages younger women to participate in the trade. This element also links to SDG #8: Decent Work and Economic Growth, and SDG #15: Life on Land." } }, "element_956": { "type": "element", "label": "Festivity of Virgen de la Candelaria of Puno", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08552-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08552-HUG.jpg" }, "description": "The Festivity of Virgen de la Candelaria, celebrated each February in the city of Puno, includes activities of religious, festive and cultural character that draw on Catholic traditions and symbolic elements of the Andean worldview. The main festival commences at the beginning of the month with a daybreak mass, followed by an ancient purification ceremony. A liturgical act the next morning leads into a religious procession, as the image of the Virgin is carried aloft along the streets accompanied by traditional music and dancing. The festival continues with two contests that attract numerous groups gathering several thousand dancers and musicians from across the region. The main practitioners are rural and urban inhabitants of the Puno region who belong to the Quechua and Aymara ethnic groups. Many emigrants from Puno also return to participate, reinforcing a sense of cultural continuity. Three regional federations of practitioners cooperate to organize the festivity and preserve the traditional knowledge and skills associated with dance, music and mask-making. Rehearsals and crafts workshops are the places where these skills are passed on to younger generations. The festivity closes with a ceremony for the Virgin, a parade and farewell masses.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/festivity-of-virgen-de-la-candelaria-of-puno-00956", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08546-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2012", "title": "February 2nd. The image of the Virgen de la Candelaria in the Puno Cathedral" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08547-BIG.jpg", "copyright": "Ministry of Culture, 2012", "title": "The Virgen de la Candelaria generates enormous devotion\r\namong her congregation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08548-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2012", "title": "The image of the Virgin is moved through the main streets of the city" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08549-BIG.jpg", "copyright": "Ministry of Culture, 2012", "title": "Rehearsal of a traditional dance in a rural community." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08550-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2012", "title": "Groups of traditional rural dances appear before the Virgin to show their faith" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08551-BIG.jpg", "copyright": "Ministry of Culture, 2012", "title": "The Festivity generates a massive artisanal production of costumes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08552-BIG.jpg", "copyright": "Ministry of Culture, 2012", "title": "Manufacture of traditional tin masks from the Andean plateau" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08553-BIG.jpg", "copyright": "Ministry of Culture, 2012", "title": "Traditional groups of sikuris pay homage to the Virgin in her shrine." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08554-BIG.jpg", "copyright": "Ministry of Culture, 2012", "title": "Groups of urban dances called of \"embroidered costumes\" appear\r\nbefore the Virgin." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08555-BIG.jpg", "copyright": "Ministry of Culture, 2012", "title": "Massive contest of traditional dances in honour of the Virgen de\r\nla Candelaria." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=bemBe94W7_w", "copyright": "Ministry of Culture, 2013", "title": "Festivity of the Virgen de la Candelaria of Puna" }, { "url": "https:\/\/www.youtube.com\/watch?v=svHORMXjZ5w", "copyright": "Ministry of Culture, 2013", "title": "Festivity of the Virgen de la Candelaria of Puna" } ], "sustainability": "" } }, "element_959": { "type": "element", "label": "Mongolian knuckle-bone shooting", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06801-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06801-HUG.jpg" }, "description": "Mongolians revere certain parts of bones of their domestic livestock and use them in religious rites, plays and traditional games. One such popular team-based game is knuckle-bone shooting. Teams of six to eight players flick thirty domino-like marble tablets on a smooth wooden surface towards a target of sheep knuckle-bones, aiming to knock them into a target zone, while shooters sing traditional knuckle-bone shooting melodies and songs. Each shooter possesses individually crafted shooting tools and instruments, and wears costumes embossed with distinguished characteristics depending on their rank and merits. Team members are tied by close bonds and follow ethical rules of mutual respect and dignity. The rituals, knowledge, skills, technique and expertise associated with knuckle-bone shooting, as well as the craftsmanship of tools, accessories and equipment, are transmitted through apprenticeship. Knuckle-bone shooting provides a favourable environment in which each member contributes to the team\u2019s success, social well-being and development by supporting and learning from others. The tradition brings team members from different backgrounds closer together, encourages their interaction and respect towards elders and one another, and improves their social cohesion.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mongolian-knuckle-bone-shooting-00959", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06798-BIG.jpg", "copyright": "2011 by Tsogtbayar Ganbat", "title": "'Toirom'- a place where people are gathered for knucklebone shooting. Toirom of Luugar in Dornogovi Province is a place where Knucklebone shooting contest held every autumn. Voluntary knucklebone shooters from every Province gather to participate at this event." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06799-BIG.jpg", "copyright": "2011 by Tsogtbayar Ganbat", "title": "The audiences and shooters at Toirom of Luugar in Dornogovi Province. It is accustomed that the opening of the event starts with melody of Morin Khuur (Horse-headfiddle). Renowned elder knucklebone shooters are seen in at the center." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06800-BIG.jpg", "copyright": "2011 by Tsogtbayar Ganbat", "title": "Elders shooters over 60 years old allowed to shoot with 'chavkh' or 'shooting bow'. Elder knucklebone shooters from Dundgovi and Dornogovi Provinces are targeting at 'Khasaa'." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06801-BIG.jpg", "copyright": "2011 by Tsogtbayar Ganbat", "title": "Preparation shooting for the contest. Shooters sitting at the right side of the 'zurkhai' are checking the shots at the targets and chanting the 'uukhai' for successfull hits. They are also responsible for assembling the line of\r\n'Khasaa' - targets." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06802-BIG.jpg", "copyright": "2011 by Tsogtbayar Ganbat", "title": "Shooter is preaparing for the shot at the targets. 'Khashlaga' - solid\r\nwooden board and 'sum' - shooting dice are main instruments of \r\nKnucklebone shooting. Every shooter has their own instruments with sizes fit to their hands and fingers." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06803-BIG.jpg", "copyright": "2011 by Tsogtbayar Ganbat", "title": "Act of shooting. Shooter shoots within the distance of 4.72cm from targets. The only purpose is to hit the targets placed on zurkhai - smooth wooden board. Middle finger is correctly placed behind the dice. Shooter totally focuses on targets." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06804-BIG.jpg", "copyright": "2011 by Tsogtbayar Ganbat", "title": "Shooters totally focus on the targets and make every effort to hit the targets. Experienced shooters are apt to totally separate their mind from any disturbances and sounds." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06805-BIG.jpg", "copyright": "2011 by Tsogtbayar Ganbat", "title": "Knucklebone instrument - 'tokhoi' or 'Elbow' is a wooden stand of 52.5 cm tall and 5-7cm wide on which hit targets or 'khasaa' are placed during the competition. The shooting distance is also equal to 9 elbows." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06806-BIG.jpg", "copyright": "2011 by Tsogtbayar Ganbat", "title": "Knucklebone instruments-'Zurkhai' (width - 40cm; length - 45cm; height - 6-7cm) is a smooth and very hard square wooden board where 'khasaa' or 'targets' are placed in a row. Zurkhai is placed on the Sentii." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06807-BIG.jpg", "copyright": "2011 by Tsogtbayar Ganbat", "title": "Main instruments of Knucklebone shooting: 'Khasaa' -a target; 'Khashlaga' -a very solid wooden board; Shooting dices; 'Tohoi' or 'Elbow'; 'Chavkh' i-a shooting bow." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KLBXeYg7TsE", "copyright": "2013 by Ganbat.TS", "title": "Mongolian knuckle-bone shooting" } ], "sustainability": "" } }, "element_965": { "type": "element", "label": "The tradition of carpet-making in Chiprovtsi", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09108-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09108-HUG.jpg" }, "description": "Kilimi are hand-woven carpets made by the women of Chiprovtsi in north-eastern Bulgaria. Almost every household in the town contains a vertical handloom, which the women use to make two-sided tapestries traditionally utilized as floor coverings. The weaver takes several threads of the warp with her left hand, interlaces the weft yarn into the warp and uses a small beater to tighten the weave. The men of the town typically engage in wool production, processing and dyeing. Naturally dyed yarn gives soft pastel carpet hues, while chemical dyes produce brighter shades. The finished carpets are renowned for their composition, ornamental motifs and colour. Carpet weaving goes hand in hand with beliefs, verbal formulae and ritual practices. The weavers say prayers and make wishes for success before starting a new carpet, and sing and tell stories while working at the loom. The process of transmission occurs informally from mothers and grandmothers to daughters, often while working together on large carpets. Carpet weaving is deeply integrated into the social and cultural life of the population. The best-known forms of ornamentation are reproduced throughout the community and even constitute the coat of arms of the town.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/the-tradition-of-carpet-making-in-chiprovtsi-00965", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09104-BIG.jpg", "copyright": "Mila Santova, 2013", "title": "Chiprovtsi carpet in a process of weaving, Chiprovtsi, 21 February 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09105-BIG.jpg", "copyright": "Mila Santova, 2013", "title": "Young weaver from Chiprovtsi tutors her daughter how to weave, Chiprovtsi, 23 February 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09106-BIG.jpg", "copyright": "Zornitsa llieva Kunchova, 2012", "title": "Women weavers at a loom, Chiprovtsi, 19 December 2012" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09107-BIG.jpg", "copyright": "Miglena Dimitrova lvanova, 2013", "title": "Chiprovtsi carpet (detail), Chiprovtsi, 23 February 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09108-BIG.jpg", "copyright": "Iva Miteva Stanoeva, 2013", "title": "Learning how to weave at the local chitalishte in Chiprovtsi, 23 February 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09109-BIG.jpg", "copyright": "Iva Miteva Stanoeva, 2013", "title": "Natural dyes, Chiprovtsi, 23 February 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09110-BIG.jpg", "copyright": "Historical Museum of the town of Chiprovtsi, 2010", "title": "Celebration of the Holiday of Chiprovtsi on 6 September near by the ruins of Gushovski monastry" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09111-BIG.jpg", "copyright": "Mila Santova, 2013", "title": "The exposition of the Historical Museum of the town of Chiprovtsi, 21 February 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09112-BIG.jpg", "copyright": "Historical Museum of the town of Chiprovtsi, 2010", "title": "Chiprovtsi carpets" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09113-BIG.jpg", "copyright": "Mila Santova, 2013", "title": "Kanatitsa motif, Chiprovtsi, 25 February 2013" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=YT2Osv9c2ns", "copyright": "Ministry of Culture of the Republic of Bulgaria, 2013", "title": "Chiprovci carpet's manufacturing" } ], "sustainability": "" } }, "element_967": { "type": "element", "label": "Visoko multipart singing from Dolen and Satovcha, South-western Bulgaria", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14727-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14727-HUG.jpg" }, "description": "Visoko is a traditional practice of multipart singing that is unique to the Bulgarian villages of Dolen and Satovcha in the Blagoevgrad region. There are three types of multipart songs typical of Visoko: low-pitched, high-pitched and a combination of the two. Low-pitched singing consists of sustained singing by two vocal parts. High-pitched singing also includes two vocal parts, but is characterized by repeated outcries from both voices, an octave above the basic tone. These outcries are followed by a downwards slide and a recitative uttering of the lyrics in the low register. The third type of Visoko song entails a combination of low-pitched and high-pitched singing, with all four vocal parts. Visoko lyrics typically evoke nature. In the past, visoko songs, also known as summer songs, were sung outdoors by women working in the fields. While hoeing or harvesting, a group of women called out Visoko songs from one field, and a second group replied from another. Today, the main performers of Visoko are women and girls in singing groups from community centres in the two villages. This high-pitched multipart singing is a key identity marker for the Dolen and Satovcha communities. It is a cherished tradition that distinguishes them from neighbouring villages.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/visoko-multipart-singing-from-dolen-and-satovcha-south-western-bulgaria-00967", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14723-BIG.jpg", "copyright": "Nikolay Vukov, 2013", "title": "Women's singing group from Satovcha in traditional costumes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14724-BIG.jpg", "copyright": "Nikolay Vukov, 2013", "title": "'Rukachki' (high-pitch singers)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14725-BIG.jpg", "copyright": "Nikolay Vukov, 2013", "title": "Front cover of a vinyl record 'Authentic Folklore from Satovcha and Dolen', 1988" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14726-BIG.jpg", "copyright": "Nikolay Vukov, 2013", "title": "Women's singing group from Satovcha in the center of Dolen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14727-BIG.jpg", "copyright": "Nikolay Vukov, 2013", "title": "Singers from the 'Visoko Singing Group' in Satovcha" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14728-BIG.jpg", "copyright": "Nikolay Vukov, 2013", "title": "A rehearsal of women's singing group from Satovcha" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14729-BIG.jpg", "copyright": "Nikolay Vukov, 2013", "title": "Women's and children's singing groups from Satovcha" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14730-BIG.jpg", "copyright": "Nikolay Vukov, 2013", "title": "Visokosinging performers in traditional costumes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14731-BIG.jpg", "copyright": "Nikolay Vukov, 2013", "title": "Ivanka Kartalova (an old singer) and Katerina Kodzhamanova (leader of the children's singing group)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14733-BIG.jpg", "copyright": "Nikolay Vukov, 2013", "title": "The Herder Prize given to the Women's Singing Group from Satovcha in 1988" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=975ROm5PbK4", "copyright": "2013 by Ministry of Culture of the Republic of Bulgaria", "title": "Visoko singing from Dolen and Satovcha" } ], "sustainability": "" } }, "element_968": { "type": "element", "label": "Surova folk feast in Pernik region", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09561-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09561-HUG.jpg" }, "description": "The Surova folk feast in Pernik region takes place each year on 13 and 14 January to celebrate the New Year according to the old calendar. The core of the celebration is a popular masquerade ritual performed in villages throughout the region. On the first night, Survakari masquerade groups, consisting of men, women and children, don specially prepared masks and costumes and head towards the village centre where they light fires, and tease and play with the watching audience. Some participants adopt special roles, such as the leader, the newly-weds, the priest and the bear. Early the next morning, they gather and walk throughout the village visiting houses, where they ritually marry young couples while the bear \u2018mauls\u2019 people for good health. Hosts await their arrival with a ritual meal and gifts. After the folk feast, the Survakari distribute the gifts, often donating collected funds to orphans and poor people. The masquerade experience appeals to young people and raises their self-esteem as continuers of the tradition. Whole families engage in collecting materials for the masks and the other attributes during that entire year, with adults teaching young people and children how to make the distinctive masks and costumes.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/surova-folk-feast-in-pernik-region-00968", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09561-BIG.jpg", "copyright": "Ventsislava Stoyanova Krumova, 2010", "title": "A masquerade group in the Bulgarian village of Meshtitsa at the International Festival of masquerade games 'Surova', Pernik. The masks are made of bird wings and feathers, the costumes are made of fabric cut into fringes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09562-BIG.jpg", "copyright": "Simeon Metodiev Grigorov, Ministry of Culture of the Republic of Bulgaria, 2013", "title": "Marry making of masquerade groups gathered in the center of the Bulgarian village of Yardzhilovtsi during the folk feast of Surova" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09563-BIG.jpg", "copyright": "Simeon Metodiev Grigorov, Ministry of Culture of the Republic of Bulgaria, 2013", "title": "'A bride and a groom' lead the group in the village of Banishte. Since the tradition requires that the host of each house gives presents to the group, the bride's bag has an inscription: 'Put inside for the poor bride'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09564-BIG.jpg", "copyright": "Simeon Metodiev Grigorov, Ministry of Culture of the Republic of Bulgaria, 2013", "title": "The masquerade group in the Bulgarian village of Banishte prepares for the ritualistic tour of the village during the folk feast Surova. The characters of a drummer and a collector of gifts can be seen in the foreground" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09565-BIG.jpg", "copyright": "Iglika Georgieva Mishkova, 2011", "title": "A meeting of leaders of survakar groups from two villages. They are dressed in costumes from the time of Bulgarian national revival, they cross their swords as a sign of greeting and friendship. Background - the mandatory character 'bride'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09566-BIG.jpg", "copyright": "Iglika Georgieva Mishkova, 2011", "title": "Survakars with zoomorphic and anthropomorphic masks from the masquerade group in the Bulgarian village of Elov Dol during the folk feast Surova - on their way to visit the neighbouring village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09567-BIG.jpg", "copyright": "Orlin Stefanov Rachev, 2013", "title": "During the folk feast Surova the ritual of visiting each home is a mandatory tradition observed by the masquerade group. The 'bear' plays and dances before the hosts for health" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09568-BIG.jpg", "copyright": "Orlin Stefanov Rachev, 2013", "title": "A ritual table for the folk feast Surova to meet the masquerade children's group in the Bulgarian village of Velkovtsi. The traditional banitsa is a mandatory meal for the table" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09569-BIG.jpg", "copyright": "Orlin Stefanov Rachev, 2013", "title": "A memento from Surova masquerade group from village Velkovtsi. The leader is in the middle, dressed in a costume from the time of Bulgarian national revival, surrounded by children survakari, on the right - the 'bride and groom' and the 'priest'" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KHF21YIvveY", "copyright": "2013 by Ministry of Culture of the Republic of Bulgaria", "title": "The folk feast Surova in Pernik region" } ], "sustainability": "This colorful New Year celebration is a rich manifestation of traditional craftsmanship featuring elaborate masks and costumes made by villagers in the Pernik Region. The folk feast is also recognized as a local ritual encompassing several social values and functions. As the participants gather and walk together to visit different houses, their relationship with one another is strengthened. The feast also promotes recognition and support for disadvantaged people, especially the poor and orphans, as the community joins in a collective effort to alleviate their members\u2019 poverty through financial support and donations. This element also links to SDG #16: Peace, Justice and Strong Institutions." } }, "element_969": { "type": "element", "label": "Bulgarian Chitalishte (Community Cultural Centre): practical experience in safeguarding the vitality of the Intangible Cultural Heritage", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11134-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11134-HUG.jpg" }, "description": "Bulgarian chitalishta (cultural community centres) are uniformly distributed across the whole territory of Bulgaria. They are established by communities themselves and are open to everyone irrespective of age, gender, political and religious views. The first chitalishta were established in 1856, and they have been recognized as a key organizational unit of Bulgarian society ever since. In accordance with the Chitalishta Act of 1996, chitalishta are non-governmental self-regulatory organizations. By law, they perform cultural and educational activities aimed at safeguarding the customs and traditions of Bulgarian people, ensuring access to information, distributing knowledge and familiarizing citizens with the values and achievements of science, arts and culture. Chitalishta are central to the process of transmitting intangible cultural heritage in the country, with elderly members playing a key role in encouraging young people to get involved. The efficiency of chitalishte is demonstrated by their increasing numbers over the years and the growing numbers of participants in their activities, representing all ages and population groups. With a view to popularizing and presenting intangible cultural heritage, chitalishta organize festivals, celebrations, gatherings, exhibitions and so on, and one innovative approach for developing chitalishta is the establishment of local centres for documenting, archiving and handing over knowledge and skills.", "list": "GSP", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/bulgarian-chitalishte-community-cultural-centre-practical-experience-in-safeguarding-the-vitality-of-the-intangible-cultural-heritage-00969", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11131-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "Chitalishte 'Geo Milev' in the town of Momin Prohod was founded and built in 1954; It is run under the auspices of the Ministry of Culture - Living Human Treasures-Bulgaria System" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11132-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "Craft workshop at Chitalishte 'Geo Milev' in the town of Momin Prohod. Local costumes, embroidery and other woven items are made using traditional methods" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11133-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "The young Ivelina Georgieva is working with Stefka Zasheva who is holding a distaff, and with Petruna Pashova. The spinning and knitting with yarn is a traditional local craft practiced mainly by women" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11134-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "Stefka Zasheva is teaching her great-grandchildren Persiyana and Alex to weave on a loom - a traditional device for producing carpets and rugs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11135-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "Folklore dance group for children aged 4-7 years at Chitalishte 'St. Tsar Boris I', village of Bistrica. The chitalishte was established in 1909" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11136-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "A 100-year old costume from the region of Bistrica village. The original male costume is used as a sample to produce new costumes for the vocal and dance groups" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11137-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "Vocal Folklore Group 'Bistrica Babi' set up in 1946 at Chitalishte 'St. Tsar Boris I'. The group is included in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11138-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "Every week young people from the region are taught to folklore dances under the accompaniment of the orchestra at the Chitalishte 'St. Tsar Boris I'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11139-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "Chitalishte 'H. Nencho D. Palaveev' in Koprivshtitsa was founded and built in 1869. Dancers fro the group for authentic folklore dances 'Bogorodichki' demonstrate dances the are typical for the ethnographic region in front of chitalishte building" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11140-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "The group for authentic vocal folklore 'Zelen zdravets' ('Green Clover') is one of the ensembles that preserve the traditions of vocal art in Koprivshtitsa and the region" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=aRt0MSNu47I", "copyright": "2013 by Ministry of Culture of the Republic of Bulgaria", "title": "Bulgarian Chitalishte (Community Cultural Centre): practical experience in safeguarding the vitality of the Intangible Cultural Heritage" } ], "sustainability": "" } }, "element_970": { "type": "element", "label": "Festival of folklore in Koprivshtitsa: a system of practices for heritage presentation and transmission", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10460-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10460-HUG.jpg" }, "description": "The concept for the Festival of Folklore in Koprivshtitsa, where thousands of Bulgarians of all ages and the diaspora meet in August to present and share their intangible cultural heritage practices ranging from dance and storytelling, to games and craftsmanship, originated when local musicians saw a need to protect traditions endangered by factors such as urbanization and commodification. Hosted by the Koprivshtitsa municipality with assistance from the Ministry of Culture, Bulgarian National Television, Bulgarian National Radio, the Institute of Ethnology and Folklore Studies with the Ethnographic Museum, the Institute for Art Studies and community centres, the festival raises awareness about the importance of safeguarding living heritage and promotes its presence in people\u2019s lives, documents it for future continuity and stimulates transmission. Performers are nominated through selection procedures organized by Bulgaria\u2019s administrative districts where new traditions are also identified, then performances broadcasted and documented by scholars for archival records such as those at the Institute of Ethnology and Folklore Studies with the Ethnographic Museum. Since the first festival in 1965, nine editions have taken place with 18,000 performers participating in 2010, attracting visitors from throughout the country and abroad. Many festival performers go on to become known internationally.", "list": "GSP", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/festival-of-folklore-in-koprivshtitsa-a-system-of-practices-for-heritage-presentation-and-transmission-00970", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10454-BIG.jpg", "copyright": "Ministry of Culture of Bulgaria\/Tsvetan Nedkov, 2013", "title": "Koprivshtitsa typical houses built during the 18th and 19th centuries. Today they are part of cultural and historical reserve" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10455-BIG.jpg", "copyright": "Lina Gergova, 2005", "title": "Traditional rituals: 'Koleduvane' - carol singing for Christmas and New Year" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10456-BIG.jpg", "copyright": "Lina Gergova, 2005", "title": "Traditional singing: Rhodope region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10457-BIG.jpg", "copyright": "Lina Gergova, 2005", "title": "Traditional singing: Thrace region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10460-BIG.jpg", "copyright": "Lina Gergova, 2005", "title": "Traditional rituals: 'Zasevki' - sieving flour for the wedding breads" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10461-BIG.jpg", "copyright": "Lina Gergova, 2005", "title": "Guest and bearers of the tradition next to the stage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10462-BIG.jpg", "copyright": "Lina Gergova, 2005", "title": "Traditional dancing (horo): Thrace region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10463-BIG.jpg", "copyright": "Lina Gergova, 2010", "title": "Traditional playing: fiddles and lutes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10464-BIG.jpg", "copyright": "Lina Gergova, 2005", "title": "Traditional rituals: swings for St. George's Day" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10465-BIG.jpg", "copyright": "Lina Gergova, 2005", "title": "Traditional dancing: participants and guest dancing together at the end of the Festival" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=QZw-Wue2Lt8", "copyright": "2013 by Ministry of Culture of the Republic of Bulgaria", "title": "Festival of folklore in Koprivshtitsa" } ], "sustainability": "" } }, "element_971": { "type": "element", "label": "Askiya, the art of wit", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09245-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09245-HUG.jpg" }, "description": "Askiya is a genre of Uzbek verbal folk art that takes the form of a dialogue between two or more participants, who eloquently debate and exchange witticisms around a particular theme. Bearers and practitioners, mainly men, must master the peculiarities of Uzbek language, and be able to improvise and reason quickly and skilfully, using humour and banter to great effect. The dialogues, although humorous, play an invaluable role in raising awareness of social tendencies and events, drawing attention to important issues through acute observation of daily life. Askiya is often performed in folk celebrations, festivities, family-related rituals and get-togethers organized in cities and villages across Uzbekistan. At present, more than thirty forms of Askiya are known, some professional and some amateur, each with its own distinctive features. Askiya-related knowledge and skills are predominantly transmitted verbally among individuals, groups and communities, based on traditional master-apprentice teaching methods. Askiya promotes humour, ensures simplicity of communication among people, and unites representatives of different communities, irrespective of age and background, around a common event. It also has a strong educational component, using humour to teach people to be more attentive, and to analyse flaws and shortcomings in daily life, thereby nurturing cultural and social development.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/askiya-the-art-of-wit-00971", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09241-BIG.jpg", "copyright": "Republican Scientific-Methodological Center for Folk Art, 2012", "title": "Askiya is being performed by Bahodir Shokirov and Mansurjon Ohunov" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09242-BIG.jpg", "copyright": "Republican Scientific-Methodological Center for Folk Art, 2012", "title": "Askiya performers from Norin district of Namangan region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09243-BIG.jpg", "copyright": "Republican Scientific-Methodological Center for Folk Art, 2012", "title": "Askiya performers contest in Kokand city" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09244-BIG.jpg", "copyright": "Republican Scientific-Methodological Center for Folk Art, 2012", "title": "Two askiya performers from Norin district are competing with each other" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09245-BIG.jpg", "copyright": "Republican Scientific-Methodological Center for Folk Art, 2012", "title": "Askiya performer is waiting his turn. Askiya performers contest in Kokand" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09246-BIG.jpg", "copyright": "Republican Scientific-Methodological Center for Folk Art, 2012", "title": "Both professional performer of askiya and ordinary spectator are enjoying askiya jokes. Askiya performers contest in Kokand" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09247-BIG.jpg", "copyright": "Republican Scientific-Methodological Center for Folk Art, 2012", "title": "A fragment from Askiya performers contest in Kokand" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09248-BIG.jpg", "copyright": "Republican Scientific-Methodological Center for Folk Art, 2013", "title": "Askiya is being performed in one of the teahouses of Kokand. Performers: Mansurjon Okhunov, Jorakhon Polatov and Bahodir Shokirov" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09249-BIG.jpg", "copyright": "Republican Scientific-Methodological Center for Folk Art, 2013", "title": "Meeting of askiya performers in Margilan. Erkinjon Saidahmedov and Mamasiddiq Sheraev" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3O_GBv-cqmY", "copyright": "2012 by Republican Scientific-Methodological Center for Folk Art, Uzbekistan", "title": "Askiya" } ], "sustainability": "" } }, "element_981": { "type": "element", "label": "Isukuti dance of Isukha and Idakho communities of Western Kenya", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08646-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08646-HUG.jpg" }, "description": "The Isukuti dance is a traditional celebratory performance practised among the Isukha and Idakho communities of Western Kenya. It takes the form of a fast-paced, energetic and passionate dance accompanied by drumming and singing. An integral tool for cultural transmission and harmonious coexistence between families and communities, it permeates most occasions and stages in life including childbirths, initiations, weddings, funerals, commemorations, inaugurations, religious festivities, sporting events and other public congregations. The dance derives its name from the drums used in the performance, played in sets of three \u2013 a big, medium and small drum \u2013 and normally accompanied by an antelope horn and assorted metal rattles. A soloist leads the dance, singing thematic texts in tandem with the rhythm of the drumbeats and the steps of the dancers, arranged in separate rows for men and women. Transmission of Isukuti dance is presently weakening and the frequency of performance is diminishing. Many bearers are elderly and lack successors to whom they can pass on their knowledge. Lack of funds and the necessary materials to make the instruments and costumes also present an obstacle. Finally, many composers prefer to work in more commercial genres, and audiences frequently substitute contemporary entertainment for traditional Isukuti dances.", "list": "USL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/isukuti-dance-of-isukha-and-idakho-communities-of-western-kenya-00981", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08646-BIG.jpg", "copyright": "Department of Culture, 2013", "title": "Isukuti dancers going through their paces in an isukuti performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08647-BIG.jpg", "copyright": "Department of Culture, 2013", "title": "Isukuti dancers getting down to business" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08649-BIG.jpg", "copyright": "Department of Culture, 2013", "title": "A veteran Isukuti player demonstrates his skills during a training session" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08650-BIG.jpg", "copyright": "Department of Culture, 2013", "title": "Isukuti players in a Cultural Forum at Khayega, Kakamega County" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08652-BIG.jpg", "copyright": "Department of Culture, 2013", "title": "Bulls facing off in a bullfight at Khayega as fans cheer on. Bullfighting is a popular sport in Western Kenya" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08653-BIG.jpg", "copyright": "Department of Culture, 2013", "title": "Fred Shikomere carving the Isukuti drum at his homestead in Kakamega" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08654-BIG.jpg", "copyright": "Department of Culture, 2013", "title": "A set of Isukuti drums" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08655-BIG.jpg", "copyright": "Department of Culture, 2013", "title": "Isukuti performers at the Ilesi crying stone, a famous landmark in Western Kenya" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09229-BIG.jpg", "copyright": "Department of Culture, 2013", "title": "Transfer of knowledge - young children learn the Isikuti practice by joining in performances in which they are allowed" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09230-BIG.jpg", "copyright": "Department of Culture, 2013", "title": "Youth performing Isukuti dance at a training session" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Zw3WSI8j8Bs", "copyright": "Department of Culture, 2013", "title": "Isukuti Dance" } ], "sustainability": "" } }, "element_982": { "type": "element", "label": "Male-child cleansing ceremony of the Lango of central northern Uganda", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09302-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09302-HUG.jpg" }, "description": "The male-child cleansing ceremony, performed among the Lango people of central northern Uganda, is a healing ritual for a male child believed to have lost his manhood. During the ceremony, the mother and male child spend three days inside the house and eat unsweetened millet porridge. The child is treated as a baby for the duration of the ceremony. On the third day, they exit the house and sit at the entrance, accompanied by a paternal cousin. The child\u2019s hair is cut and woven into strands, which are mixed with softened ficus bark and shea butter, then tied around the child\u2019s neck, wrists, and waist. Remaining strands are rolled into a ball, and thrown three times to the mother, cousin and child. The three are then smeared with shea butter and served pea paste, millet bread and a millet-yeast brew. Jubilations begin thereafter with ululations, singing and dancing, confirming that the child has regained his manhood. The ceremony promotes reconciliation and restores the social status of the child. Limited practice, however, is affecting its viability. Many bearers are aged and the practice is increasingly performed in secrecy for fear of excommunication. ", "list": "USL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/male-child-cleansing-ceremony-of-the-lango-of-central-northern-uganda-00982", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09301-BIG.jpg", "copyright": "Daniel Kaweesi, 2013", "title": "Community members of Ngamii village in Dokolo District holding a dialogue meeting in preparation of to choose the boy child for the performance the boy child cleansing ceremony." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09302-BIG.jpg", "copyright": "Musafiri Suwed, 2013", "title": "The boy child supposed to undergo the cleansing ceremony is being held up and presented to the community members before taken into the house to start the mandatory 3 days ceremony." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09303-BIG.jpg", "copyright": "Daniel Kaweesi, 2013", "title": "Community members join in the cultural dance performed shortely after the boy child is taken into the house to undergo the male child cleansing ceremony." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09304-BIG.jpg", "copyright": "Musafiri Suwed, 2013", "title": "The male child and his mother are brought out of the house covered with a winnower and made to sit in front of the house after the completion of the 3rd day of the ceremony. They are joined by the cousin of the boy's father to perform the last rituals of the cleansing ceremony." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09305-BIG.jpg", "copyright": "Daniel Kaweesi, 2013", "title": "The mother-in-law and the elderly community members take part in the making of rope like strands from the chewed bark of a ficus tree. The soft bark is woven together in a rope like object with the hair of the child and mixed with shear butter oil." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09306-BIG.jpg", "copyright": "Musafiri Suwed, 2013", "title": "Ropes made out of ficus bark and the child hair is tied by the grandmother on to the child's neck, on the wrist and one with a knot around the waist. The mother of the child has also a rope tied around the neck." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09307-BIG.jpg", "copyright": "Musafiri Suwed, 2013", "title": "Rope like strands not mixed in shear butter are rolled into a ball like object and five family members are chosen to ask for blessings by throwing the ball to the child, mother and the cousin." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09308-BIG.jpg", "copyright": "Daniel Kaweesi, 2013", "title": "Food is prepared in a traditional way at the end of the ceremony to be served to the three key parties - the male child, the mother and the cousine. Community members too are served." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=mcJalj5SICQ", "copyright": "Musafiri Suwed, 2013", "title": "The Lango male child cleansing ceremony" } ], "sustainability": "" } }, "element_983": { "type": "element", "label": "Mapoyo oral tradition and its symbolic reference points within their ancestral territory", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08811-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08811-HUG.jpg" }, "description": "The oral tradition of the Mapoyo and its symbolic points of reference within the ancestral territory encompass a body of narratives that constitute the collective memory of the Mapoyo people. It is symbolically and permanently linked to a number of places located within the ancestral territory of the community along the Orinoco River in Venezuelan Guayana. Tradition bearers recount the narratives while carrying out their daily activities. The symbolic space that results from this interaction has served as a point of reference for a living history, connecting the Mapoyo to their past and their territory. The tradition touches on the social structure, knowledge, cosmogony and stories that have made the Mapoyo legitimate participants in the birth of Venezuela as a republic. Community elders are currently the main keepers of the oral traditions of the Mapoyo and their symbolism. However, various factors are endangering transmission to newer generations. These include the increasing outward migration of young people looking for better economic and educational opportunities, land encroachment caused by the mining industry, and the exposure of young people to formal public education that discourages the use of the Mapoyo language.", "list": "USL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/mapoyo-oral-tradition-and-its-symbolic-reference-points-within-their-ancestral-territory-00983", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08810-BIG.jpg", "copyright": "Centro de la Diversidad, 2013", "title": "For the Mapoyo their territory is envision in symbolic terms, their cultural memory \r\nis articulated in close relation to the places and their history" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08811-BIG.jpg", "copyright": "Centro de la Diversidad, 2013", "title": "During social, recreational and productive gatherings, the elders narrate \r\nto the children the stories that grant life to their symbolic space" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08812-BIG.jpg", "copyright": "Centro de la Diversidad, 2013", "title": "Within the Mapoyo territory, \"Las Pi\u00f1as\" Hill is considered to be one of the most \r\nemblematic landscapes. This place is the scenery of the origin myth that narrates \r\nthe Mapoyo predecessors \"massice suicide.\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08813-BIG.jpg", "copyright": "Centro de la Diversidad, 2013", "title": "The strong relationship between the Mapoyo cultural memory and their symbolic space\r\nis reveal by their funerary rituals. The remembrance of their ancestors is awaken in \r\nthe indigenous cemetery." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08814-BIG.jpg", "copyright": "Centro de la Diversidad, 2013", "title": "The Mapoyo symbolic space contemplates simultaneously places of memories and \r\nplaces of production. The respect for the environment regulates the practices of \r\nplanting and harvesting crops." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08815-BIG.jpg", "copyright": "Centro de la Diversidad, 2013", "title": "The Mapoyo traditional practices rely upon the inherited knowledge regarding the use \r\nof natural resources in the territory, having the intergenerational relation as the \r\nideal means for transmission" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08816-BIG.jpg", "copyright": "Centro de la Diversidad, 2013", "title": "The manioc (Manihot esculenta) is a root vegetable grown along the Mapoyo dwellings \r\nthat has great relevance in the community diet.\r\nOn a daily basis the new generations learn from the elders the knowledge and skills\r\nassociated with its production." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08817-BIG.jpg", "copyright": "Centro de la Diversidad, 2013", "title": "The indigenous Museum \"Mur\u00fckuni\" has emerged as a new educational space within the\r\ncommunity. Mapoyo Children learn, recreate and disseminate knowledge related to their\r\nancestral territory." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08818-BIG.jpg", "copyright": "Centro de la Diversidad, 2013", "title": "Even thou there are few speakers of the Mapoyo language, they participate in the \r\nrevitalization of their language through formal and non formal education." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08819-BIG.jpg", "copyright": "Centro de la Diversidad, 2013", "title": "All achievements are shared and celebrated in union, reaffirming the Mapoyo Identity, and always surrounded by the \"Caripito Hill\" one of the most representative places \r\nfor the community." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=g_jgWRUEqfI", "copyright": "Centro de la Diversidad Cultural, 2013", "title": "Mapoyo Cultural Memory \r\nTraditional practices and symbolic space" }, { "url": "https:\/\/www.youtube.com\/watch?v=aVFMze91xys", "copyright": "Centro de la Diversidad Cultural, 2013", "title": "Mapoyo Cultural Memory \r\nTraditional practices and symbolic space" } ], "sustainability": "" } }, "element_985": { "type": "element", "label": "Lavash, the preparation, meaning and appearance of traditional bread as an expression of culture in Armenia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08604-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08604-HUG.jpg" }, "description": "Lavash is a traditional thin bread that forms an integral part of Armenian cuisine. Its preparation is typically undertaken by a small group of women, and requires great effort, coordination, experience and special skills. A simple dough made of wheat flour and water is kneaded and formed into balls, which are then rolled into thin layers and stretched over a special oval cushion that is then slapped against the wall of a traditional conical clay oven. After thirty seconds to a minute, the baked bread is pulled from the oven wall. Lavash is commonly served rolled around local cheeses, greens or meats, and can be preserved for up to six months. It plays a ritual role in weddings, where it is placed on the shoulders of newlyweds to bring fertility and prosperity. The group work in baking lavash strengthens family, community and social ties. Young girls usually act as aides in the process, gradually becoming more involved as they gain experience. Men are also involved through the practices of making cushions and building ovens, and pass on their skills to students and apprentices as a necessary step in preserving the vitality and viability of lavash making.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/lavash-the-preparation-meaning-and-appearance-of-traditional-bread-as-an-expression-of-culture-in-armenia-00985", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08596-BIG.jpg", "copyright": "Harutyun Marutyan, 2013", "title": "Lavash" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08597-BIG.jpg", "copyright": "\"Hause of Sasun\" NGO, 2012", "title": "Baking of lavash in tonir" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08598-BIG.jpg", "copyright": "Gayane Shagoyan, 2012", "title": "Replacing of lavash on the bride's shoulders" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08599-BIG.jpg", "copyright": "\"Hause of Sasun\" NGO, 2012", "title": "Daugh balls" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08600-BIG.jpg", "copyright": "Yerkir media TV, 2013", "title": "Roundishing the dough with grtnak" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08601-BIG.jpg", "copyright": "Yerkir media TV, 2013", "title": "Passing the dough" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08602-BIG.jpg", "copyright": "Ruzanna Tsaturyan, 2013", "title": "Attaching the daugh onto a bolster" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08603-BIG.jpg", "copyright": "Yerkir media TV, 2013", "title": "Slapping the bolster against the wall of the tonir" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08604-BIG.jpg", "copyright": "Ruzanna Tsaturyan, 2013", "title": "Lavash dance scene" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08605-BIG.jpg", "copyright": "Harutyun Marutyan, 2013", "title": "Modern lavash products" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1NAzjPSZr4I", "copyright": "Marianna Paytyan, Yura Vahanyan", "title": "Lavash: Armenian traditional bread" } ], "sustainability": "" } }, "element_988": { "type": "element", "label": "Baile Chino", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08571-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08571-HUG.jpg" }, "description": "Bailes Chinos are brotherhoods of musicians who express their faith through music, dance and singing in the context of commemoration festivities. The practice stretches mainly from the area known as the Norte Chico to the central region of Chile and comprises five fully differentiated styles, each named after the valley or basin where it is most prevalent. Organized mainly by men from rural areas, Baile Chino dances consist of jumps and flexing movements of the legs, performed to the rhythm of isometric instrumental music played on drums and flutes of pre-Columbian origin. The leader sings memorized or improvised rhyming couplets in stanzas that recount holy stories and address religious subjects. He is accompanied by an equal number of musicians and dancers organized in two symmetric columns. A drummer leads the choreography and controls the tempo of the music. Each group also has a flag bearer and guards, who are usually women. The music, dances and couplets are learnt through direct observation, imitation and transmission in the family. Bailes Chinos are a tool for social participation providing prestige to those involved. They function as a model for social integration and cohesion to which almost the entire local community subscribes, out of a sense of identity and solidarity.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/baile-chino-00988", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08566-BIG.jpg", "copyright": "Sebastian Lorenzo Zuleta, 2008", "title": "Charles Reyes, \"chino puntero\" of Cay Cay's Baile Chino, during \r\nthe Petorquita fiesta's procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08567-BIG.jpg", "copyright": "Sebastian Lorenzo Zuleta, 2008", "title": "\"Chino Puntero\" of Cay Cay's Baile Chino during the Petorquita fiesta's procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08568-BIG.jpg", "copyright": "Sebastian Lorenzo Zuleta, 2008", "title": "Puchuncavl's Baile Chino while performing their traditional choreographic movements during the Petorquita fiesta's procession." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08569-BIG.jpg", "copyright": "Manuel Morales Requena, 2009", "title": "Founded in 1585, Baile Chino N\u00a01 Barrera dances in the Andacollo fiesta. 2009" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08570-BIG.jpg", "copyright": "Rafael Contreras M\u00fclhenbrock, 2009", "title": "428 years old, Baile Chino N\u00a01 Barrera playing the flutes strongly within their temple in Andacollo, thereby counteracting the sound of\r\n\"heavy-instruments\" religious dances" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08571-BIG.jpg", "copyright": "Sebastian Lorenzo Zuleta, 2010", "title": "Cay Cay's Baile Chino jumping during the Pachacamita fiesta." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08572-BIG.jpg", "copyright": "Manuel Morales Requena, 2009", "title": "Baile Chino N\u00a06 La Cantera, Coquimbo, executing dance steps in front of the Virgin of Andacollo. With the flute, Leonel Mu\u00f1oz, second chief\r\nand singer, with the flags, Jorge Araya, Jaime Rojas and Patricio Rojas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08573-BIG.jpg", "copyright": "Manuel Morales Requena, 2009", "title": "Every December 27th, \"Bailes Chinos\" N\u00a01 Barrera and N\u00a08 Andacollino gather to transfer the Virgin from the Basilica to the Old Temple, Andacollo.\r\nFrom left to right: Meregildo Ramos, Quintin Marin, Mario Martinez, Gustavo Ossandon, Juan Leon y Hugo Pasten" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08574-BIG.jpg", "copyright": "Danilo Petrovich Jorquera, 2010", "title": "Frank Alvarez, chief of Baile Chino N 5 San Isidro de La Pampa, La Serena, singing to the Virgin of Andacollo during his presentation" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=HYW9vwGmOmo", "copyright": "Consejo Nacional de la Cultura y las Artes, 2013", "title": "Bailes Chinos de Chile" }, { "url": "https:\/\/www.youtube.com\/watch?v=CA2Iqy2H1dM", "copyright": "Consejo Nacional de la Cultura y las Artes, 2013", "title": "Bailes Chinos de Chile" } ], "sustainability": "" } }, "element_989": { "type": "element", "label": "Ritual dance of the royal drum", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08616-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08616-HUG.jpg" }, "description": "The ritual dance of the royal drum is a spectacle combining powerful, synchronized drumming with dancing, heroic poetry and traditional songs. The entire population of Burundi recognizes it as a fundamental part of its heritage and identity. The dance calls for at least a dozen or so drums, always in an odd number, arranged in a semicircle around a central drum. Several are beaten in a continuous rhythm, while the others keep to the beat set by the central drum. Two or three drummers then perform dances to the rhythm. The ritual drumming is performed during national or local feasts and to welcome important visitors, and is said to awaken the spirits of the ancestors and drive out evil spirits. Bearers are recruited from sanctuaries across the country, many of whom are the descendants of drum sanctuary guards. The ritual dance of the royal drum, the values it embodies and the specialized drum-making skills are passed down essentially through practice but also through formal education. Today, the ritual dance of the royal drum is an opportunity to transmit cultural, political and social messages, and a privileged means of bringing people of diverse generations and origins together, thereby encouraging unity and social cohesion.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ritual-dance-of-the-royal-drum-00989", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08616-BIG.jpg", "copyright": "Jean Marie Vianney RUGERINYANGE, Minist\u00e8re de la Jeunesse, des Sports et de la Culture", "title": "Festival du tambour \u00e0 Gitega" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08617-BIG.jpg", "copyright": "Jean Marie Vianney RUGERINYANGE, Minist\u00e8re de la Jeunesse, des Sports et de la Culture", "title": "C\u00e9r\u00e9monies d'investiture des sages \"Bashingantahe\" de Bujumbura" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08618-BIG.jpg", "copyright": "Jean Marie Vianney RUGERINYANGE, Minist\u00e8re de la Jeunesse, des Sports et de la Culture", "title": "Initiation des Jeunes au tambour" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08619-BIG.jpg", "copyright": "Jean Marie Vianney RUGERINYANGE, Minist\u00e8re de la Jeunesse, des Sports et de la Culture", "title": "Danse avec tambour sur la t\u00eate" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08620-BIG.jpg", "copyright": "Jean Marie Vianney RUGERINYANGE, Minist\u00e8re de la Jeunesse, des Sports et de la Culture", "title": "Jeunes filles dansant au tambour" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08621-BIG.jpg", "copyright": "Jean Marie Vianney RUGERINYANGE, Minist\u00e8re de la Jeunesse, des Sports et de la Culture", "title": "Danse au tambour en tenant un petit tambour entre les dents" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08622-BIG.jpg", "copyright": "Jean Marie Vianney RUGERINYANGE, Minist\u00e8re de la Jeunesse, des Sports et de la Culture", "title": "Danse accrobatique au tambour" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08623-BIG.jpg", "copyright": "Jean Marie Vianney RUGERINYANGE, Minist\u00e8re de la Jeunesse, des Sports et de la Culture du Burundi", "title": "Po\u00e9sie pastorale au milieu de la danse au tambour" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08624-BIG.jpg", "copyright": "Jean Marie Vianney RUGERINYANGE, Minist\u00e8re de la Jeunesse, des Sports et de la Culture", "title": "Cinquanti\u00e8me anniversaire de l'Ind\u00e9pendance Nationale" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08625-BIG.jpg", "copyright": "Jean Marie Vianney RUGERINYANGE, Minist\u00e8re de la Jeunesse, des Sports et de la Culture", "title": "Une d\u00e9l\u00e9gation \u00e9trang\u00e8re dans le cadre des \u00e9changes interculturels\r\nsino-burundais" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=JHHI4UmvYVc", "copyright": "Jean Marie Vianney Rugerinyange\/Directeur G\u00e9n\u00e9ral de la Culture et des Arts au Minist\u00e8re de la Jeunesse, des Sports et de la Culture, 2012", "title": "La danse rituelle au tambour royal" }, { "url": "https:\/\/www.youtube.com\/watch?v=xq6wYI0HXkg", "copyright": "Jean Marie Vianney Rugerinyange\/Directeur G\u00e9n\u00e9ral de la Culture et des Arts au Minist\u00e8re de la Jeunesse, des Sports et de la Culture, 2012", "title": "La danse rituelle au tambour royal" } ], "sustainability": "" } }, "element_990": { "type": "element", "label": "Zmijanje embroidery", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08608-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08608-HUG.jpg" }, "description": "Zmijanje embroidery is a specific technique practised by the women of Zmijanje villages in Bosnia and Herzegovina. Traditionally, Zmijanje embroidery is used to decorate female costumes and household items, including wedding dresses, scarves, garments and bed linen. The main characteristic is the use of a deep blue thread, handmade with vegetable dyes, to embroider improvised geometrical shapes. The richness and variations of the embroidered designs determine the social status of the village women. Embroidery is usually performed among groups of women, who engage in needlework while singing and chatting. Each embroiderer adapts and reinvents the required knowledge and skills, as part of the process of transmission. The knowledge is conveyed orally and through practical work, mostly in formal educational environments. Students learn by watching experienced embroiderers combine pre-determined elements into numerous variations, and through regular and continuous practice. Zmijanje embroidery incorporates respect for diversity, creativity and non-verbal communication. It also has a sentimental and emotional value particularly for displaced populations, who use embroidered garments as an expression of national and local identity and pride. Embroidery ties together many elements of cultural heritage, such as music, rituals, oral traditions, handicrafts and symbolic expressions.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/zmijanje-embroidery-00990", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08606-BIG.jpg", "copyright": "2013 by Museum of Republic of Srpska", "title": "Zmijanje Embroidery making workshop in the Primary School \"Mladen Stojanovic,\" Bronzani Majdan, children form 7 to 9 grade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08607-BIG.jpg", "copyright": "2013 by Museum of Republic of Srpska", "title": "Zmijanje Embroidery making workshop in the Primary School \"Mladen Stojanovic,\" Bronzani Majdan, children form 7 to 9 grade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08608-BIG.jpg", "copyright": "2013 by Museum of Republic of Srpska", "title": "Making of Zmijanje Embroidery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08609-BIG.jpg", "copyright": "2013 by Museum of Republic of Srpska", "title": "Embroiderers making Zmijanje Embroidery, Women's Humanitarian Association \"Duga\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08610-BIG.jpg", "copyright": "2013 by Museum of Republic of Srpska", "title": "Embroiderers making Zmijanje Embroidery, Women's Humanitarian Association \"Duga\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08611-BIG.jpg", "copyright": "2013 by Museum of Republic of Srpska", "title": "Making of Zmijanje Embroidery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08612-BIG.jpg", "copyright": "2013 by Museum of Republic of Srpska", "title": "Embroiderer Radenka Jungic making Zmijanje Embroidery, ethno gallery \"Radinost R\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08613-BIG.jpg", "copyright": "2013 by Museum of Republic of Srpska", "title": "Making of Zmijanje Embroidery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08614-BIG.jpg", "copyright": "2013 by Museum of Republic of Srpska", "title": "Zmijanje folk costume from the late 19th century, Cultural and Artistic\r\nAssociation \"Veselin Maslesa\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08615-BIG.jpg", "copyright": "2013 by Museum of Republic of Srpska", "title": "Zmijanje folk costume from the late 19th century, Cultural and Artistic\r\nAssociation \"Veselin Maslesa\"" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=V_ZwV-ieKSQ", "copyright": "2013 by Museum of Republic of Srpska", "title": "Zmijanjski vez" } ], "sustainability": "" } }, "element_991": { "type": "element", "label": "Gwoka: music, song, dance and cultural practice representative of Guadeloupean identity", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08929-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08929-HUG.jpg" }, "description": "Gwoka is found among all ethnic and religious groups of Guadeloupean society. It combines responsorial singing in Guadeloupean Creole, rhythms played on the Ka drums and dancing. In its traditional form, Gwoka unites these three areas of expression and emphasizes individual qualities of improvisation. The participants and public form a circle in which dancers and soloists enter in turn and perform, facing the drums. The public claps and takes up the chorus from the soloist. Several thousand people regularly practise Gwoka at open-air Gwoka evenings, where the dance circle functions as a place to develop individual talents. Transmission of the practice and Ka drum-making skills is both informal through families and groups of friends, but also increasingly through formal workshops and schools of traditional dance and music. Gwoka is one of the most identifiable elements of Guadeloupean society and its contemporary expressions explore new avenues of music, choreography or singing. It is present at the high points of daily life, as well as at festive, cultural and secular events. It also accompanies movements of social and political protest. It strengthens identity and provides a feeling of communal development and individual pride, conveying values of conviviality, resistance and dignity.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gwoka-music-song-dance-and-cultural-practice-representative-of-guadeloupean-identity-00991", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08922-BIG.jpg", "copyright": "de Bompuis, CASC-FGK, 2007", "title": "Repr\u00e9sentation de gwoka traditionnel avec Eric Cosaque sur la sc\u00e8ne du FGK 2007" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08923-BIG.jpg", "copyright": "Dabriou, 2009", "title": "L\u00e9na Blou, danseuse, chor\u00e9graphe, et cr\u00e9atrice de la Techni'ka, technique de danse contemporaine bas\u00e9e sur la gestuelle gwoka" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08924-BIG.jpg", "copyright": "de Bompuis, CASC-FGK, 2011", "title": "Sc\u00e8ne du FGK 2011, une expression contemporaine de musique gwoka" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08925-BIG.jpg", "copyright": "de Bompuis, 2010", "title": "L\u00e9woz. Face \u00e0 face dans\u00e8-mak\u00e8 (danseur-tambour) dans le plus pur style traditionnel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08926-BIG.jpg", "copyright": "de Bompuis, CASC-FGK, 2011", "title": "L\u00e9woz. Une ronde de l\u00e9woz, espace privil\u00e9gi\u00e9 d'expression du gwoka" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08927-BIG.jpg", "copyright": "de Bompuis, CASC-FGK, 2005", "title": "L\u00e9woz. Dans la ronde du l\u00e9woz, les participants sont en relation d'\u00e9change permanent." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08928-BIG.jpg", "copyright": "de Bompuis, CASC-FGK, 2006", "title": "Journ\u00e9e du patrimoine \u00e0 la campagne. Un koud tanbou informel permet la participation\r\nde tous et aussi, aux enfants, de s'initier au gwoka" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08929-BIG.jpg", "copyright": "de Bompuis, 2012", "title": "D\u00e9fil\u00e9 de carnaval. Les rythmes et instruments inspir\u00e9s du gwoka se trouvent \r\n\u00e9galement dans le carnaval" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08930-BIG.jpg", "copyright": "de Bompuis, R\u00e8priz, 2012", "title": "Le gwoka symbole identitaire. Une classe d'\u00e9cole primaire autour de la statue \u00e0 l'effigie de Marcel Lollia dit V\u00e9lo, Ma\u00eetre-Ka, rue pi\u00e9tonne \u00e0 Pointe \u00e0 Pitre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08931-BIG.jpg", "copyright": "de Bompuis, R\u00e8priz, 2012", "title": "Un ka, tambour de Guadeloupe en cours de fabrication. Le zoban (terme qui d\u00e9signe le syst\u00e8me de tension de la peau avec la\u00e7age en V), est une de ses caract\u00e9ristiques principales" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=OTDzHod7ytw", "copyright": "REPRIZ, 2013", "title": "Gwoka" }, { "url": "https:\/\/www.youtube.com\/watch?v=CtnNzzVpB1c", "copyright": "REPRIZ, 2013", "title": "Gwoka" } ], "sustainability": "" } }, "element_993": { "type": "element", "label": "Know-how of cultivating mastic on the island of Chios", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08709-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08709-HUG.jpg" }, "description": "Mastic is cultivated on the island of Chios from the aromatic resin mastiha, which is extracted from the shrub pistacia lentiscus. Mastic has long been renowned for its numerous properties and its culture is a family occupation that requires laborious care throughout the year by men and women of all ages who participate on equal terms in the various stages. Men take care of the natural fertilization and pruning of the shrubs in winter, while from mid-June, women sweep, level and clean the ground around the trunk, so that the mastic can easily be recovered. From July, an incision is made in the skin of the bark and main branches with an iron tool. Once the mastic has solidified, women select the larger \u2018tears\u2019 first, wash them and place them in wooden boxes in a cool place. Older members of the community are responsible for transmitting the techniques for incision and harvesting the mastiha to younger generations. The culture of mastic represents a comprehensive social event, around which networks of alliances and mutual help have been established. The communal practices are also an occasion for perpetuating collective memory through the narration of old tales and stories.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/know-how-of-cultivating-mastic-on-the-island-of-chios-00993", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08706-BIG.jpg", "copyright": "Manolis Kazamias, 2002", "title": "La \"larme\" du mastiha" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08707-BIG.jpg", "copyright": "Fondation Culturelle de la Banque du Pir\u00e9e, 2007", "title": "Vue panoramique d'un village \u00e0 mastic (\"Mastihohoria\")" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08708-BIG.jpg", "copyright": "Stratis Voyatzis, 2009", "title": "Champ de lentisques autour desquels s'est \u00e9tal\u00e9e de la terre blanche : pr\u00e9paration pour le recueil du mastiha" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08709-BIG.jpg", "copyright": "Stratis Voyatzis, 2009", "title": "\"Broderie\" du lentisque" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08710-BIG.jpg", "copyright": "Stratis Voyatzis, 2009", "title": "Tronc du lentisque \"bless\u00e9\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08711-BIG.jpg", "copyright": "Stratis Voyatzis, 2009", "title": "R\u00e9colte des grands morceaux de mastiha (\"pita\")" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08712-BIG.jpg", "copyright": "Stratis Voyatzis, 2009", "title": "Tamisage du mastiha aux champs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08713-BIG.jpg", "copyright": "Manolis Kazamias, 2002", "title": "Lavage du mastiha au bord de la mer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08714-BIG.jpg", "copyright": "Stratis Voyatzis, 2009", "title": "S\u00e9chage du mastiha dans les maisons des villages" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08715-BIG.jpg", "copyright": "Stratis Voyatzis, 2009", "title": "Autour de la table : la s\u00e9lection et le nettoyage du mastiha" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=0G3axn5Aag4", "copyright": "Silas Michalakas, 2011", "title": "Le savoir-faire de la culture du Mastiha \u00e0 l'\u00eele de Chios" }, { "url": "https:\/\/www.youtube.com\/watch?v=xs2W44o3Ncc", "copyright": "Silas Michalakas, 2011", "title": "Le savoir-faire de la culture du Mastiha \u00e0 l'\u00eele de Chios" } ], "sustainability": "" } }, "element_995": { "type": "element", "label": "Kopachkata, a social dance from the village of Dramche, Pijanec", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06410-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06410-HUG.jpg" }, "description": "Kopachkata is a dynamic and energetic social dance performed by local residents of the village of Dramche in the region of Pijanec. It is danced at weddings, public gatherings and religious holidays by the village\u2019s best male dancers. The dance is performed in a semicircle accompanied by drummers, a fiddle, and sometimes a tamboura lute or bagpipes. The key roles are the dance leader, who initiates the dance, the last dancer, and the middle dancer who acts as the fulcrum, balancing the left and right sides of the semicircle. During the dance, the dancers hold each other\u2019s belts with crossed hands, to ensure stability as their movements quicken. The dance starts with a slow walking movement, then changes to swift and short steps, followed by quicker steps and foot stamping. Younger, newer participants learn by taking the last place in the semicircle, and moving closer to the front as their competence progresses. For local audiences, the Kopachkata dance is a symbol of cultural identity, not only of the community of the village of Dramche, but for the wider Pijanec region.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kopachkata-a-social-dance-from-the-village-of-dramche-pijanec-00995", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06409-BIG.jpg", "copyright": "Anastasov Kircho\/Municipality of Delchevo, 2010", "title": "\"Buying the drummer\". After forming the main body of the dance line, the master (oldest) drummer comes in front of the leading dancer in the line, who pays the drummer for the performance that follows." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06410-BIG.jpg", "copyright": "Anastasov Kircho\/Municipality of Delchevo, 2010", "title": "\"Shetanicata\" (walking figure). Starting the dance with the light slow steps, according the beat of the drum." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06414-BIG.jpg", "copyright": "Anastasov Kircho\/Municipality of Delchevo, 2013", "title": "\"Female performance of Kopachka\". Women dancing with the sound of the fiddle during a public gathering ceremony in the village of Dramche." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06418-BIG.jpg", "copyright": "Anastasov Kircho\/Municipality of Delchevo, 2010", "title": "The tradition continues...the speech for the youngsters to know and to keep the knowledge for their dance tradition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09502-BIG.jpg", "copyright": "Anastasov Kircho\/Municipality of Delchevo, 2013", "title": "\"Ezgija\" - opening rintro with drums performance. A position where the drums are one upon another and on top stands the youngest drummer looking in the distant horizon to see whether the dancers are coming to the dancing place." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09503-BIG.jpg", "copyright": "Anastasov Kircho\/Municipality of Delchevo, 2010", "title": "\"Sitnoto\" (small steps figure). The dance continues after the change to the second part of the drum beat with small steps of the dancers." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09504-BIG.jpg", "copyright": "Anastasov Kircho\/Municipality of Delchevo, 2013", "title": "\"Prefrlachkata\" (crossing legs figure) when the left foot is swiftly switched over the right foot and the dancers speed up the dance to its climax." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09505-BIG.jpg", "copyright": "Anastasov Kircho\/Municipality of Delchevo, 2011", "title": "\"Kopachkata\" (digging figure). The fastest and most dynamic figure, where the dancers jump to the right leg and stand firmly on it while the left foot is repeatedly hitting the ground and digging the sand under their feet." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09506-BIG.jpg", "copyright": "Anastasov Kircho\/Municipality of Delchevo, 2011", "title": "'Kopnuvanje' (digging figure). The Kopachka performance at a satellite broadcast program on national television" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09507-BIG.jpg", "copyright": "Anastasov Kircho\/Municipality of Delchevo, 2013", "title": "The form-up line of Kopachka, in front of the young drummers (new members of the folk dance group) as contemporary interaction between generations." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=gpFRHlESKbU", "copyright": "Anastasov Kircho, 2014", "title": "Social dance from village of Dramche, Delchevo, Pijanec region" } ], "sustainability": "" } }, "element_996": { "type": "element", "label": "Kazakh traditional art of Dombra Kuy", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09123-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09123-HUG.jpg" }, "description": "The art of DombraKuy refers to a short solo composition performed on a traditional pear-shaped, long-necked, two-stringed, plucked musical instrument known as a dombra. The music aims to connect people to their historic roots and traditions through classical and improvised pieces that engage the audience at a spiritual and emotional level. Public engagement in the performance serves as one of the most important means of social communication between people and contributes to the transfer of knowledge and skills related to Kazakh culture. The music is usually accompanied by narrated stories and legends. It is traditionally performed at social gatherings, holidays and festive celebrations, amid a rich variety of food and musical entertainment. It serves as a vital social and cultural experience, strengthening people\u2019s identity and promoting solidarity and mutual understanding in society. Aspiring and talented musicians are apprenticed to masters from the moment a child demonstrates an interest in the philosophy and virtuosity of traditional music and performance. Amateur musicians then apprentice themselves to other more experienced and talented performers from their region to increase their skills and repertoire.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kazakh-traditional-art-of-dombra-kuy-00996", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09121-BIG.jpg", "copyright": "S. Suleimenova-Bazargalieva, 2012", "title": "Abilgazy Akhmadiyev is holding the ancient instrument dombra owned by his grandfather" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09122-BIG.jpg", "copyright": "S. Suleimenova-Bazargalieva, 2012", "title": "Aral kuy tradition inheritor, the son of the famous traditional musician Bakhyt Basygararaev Edil" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09123-BIG.jpg", "copyright": "S. Suleimenova-Bazargalieva, 2012", "title": "Arka kuy tradition inheritor, the continuator of his father kuyshi Dauletbek Kayrolla Sadvokasov" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09124-BIG.jpg", "copyright": "S. Suleimenova-Bazargalieva, 2012", "title": "Konak asy. The reception for the musicians" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09125-BIG.jpg", "copyright": "S. Suleimenova-Bazargalieva, 2012", "title": "Mangistau kuy tradition performed by Zhumabek Kadyrkulov" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09126-BIG.jpg", "copyright": "S. Suleimenova-Bazargalieva, 2012", "title": "Kuy audience" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09127-BIG.jpg", "copyright": "S. Suleimenova-Bazargalieva, 2012", "title": "Blessing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09128-BIG.jpg", "copyright": "S. Suleimenova-Bazargalieva, 2013", "title": "The lesson on shertpe kuy tradition (Arka) Zhangaly Zhuzbayev and his student" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09129-BIG.jpg", "copyright": "S. Suleimenova-Bazargalieva, 2013", "title": "The lesson on shertpe kuy tradition Bazaraly Muptekeev and his son Darmen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09130-BIG.jpg", "copyright": "S. Suleimenova-Bazargalieva, 2013", "title": "The lesson on Mangistau kuy tradition Zhumabek Kadyrkulov and his student" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=f4AAkHMNBhw", "copyright": "2013 by A. Suleyev", "title": "Traditional art of Kuy" } ], "sustainability": "" } }, "element_997": { "type": "element", "label": "Aitysh\/Aitys, art of improvisation", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09346-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09346-HUG.jpg" }, "description": "Aitysh\/Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments \u2013 the Kazakh dombra or Kyrgyz komuz. Two performers (''akyns'') compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practised on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitysh\/Aitys and use the contest to express women\u2019s aspirations and viewpoints. Today, Aitysh\/Aitys is a very popular cultural component of Kyrgyzstan\u2019s and Kazakhstan\u2019s multi-ethnic societies and constitutes a vital part of the identity of bearer communities. Older performers teach and transmit their knowledge and skills to younger generations.", "list": "RL", "year": 2015, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/aitysh-aitys-art-of-improvisation-00997", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09342-BIG.jpg", "copyright": "Ministry of Culture and Information of the Republic of Kazakhstan, 2013", "title": "Republic aitys (man and woman competition) on the occasion of twentieth anniversary for Independence Day of the Republic of Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09343-BIG.jpg", "copyright": "Ministry of Culture and Information of the Republic of Kazakhstan, 2013", "title": "Jury voting on Republic aitys (competition) on the occasion of the twentieth anniversary for Independence Day of the Republic of Kazakhstan, \u0410stana, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09344-BIG.jpg", "copyright": "Ministry of Culture and Information of the Republic of Kazakhstan, 2013", "title": "An interview of B.Imashev for news agency Khabar, \u0410stana, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09345-BIG.jpg", "copyright": "Ministry of Culture and Information of the Republic of Kazakhstan, 2013", "title": "Opening of aitys (competition) in the Eurosian National University by L. Gumilev , \u0410stana, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09346-BIG.jpg", "copyright": "Ministry of Culture and Information of the Republic of Kazakhstan, 2013", "title": "Students aitys (competition) in the Eurosian National University by L. Gumilev, \u0410stana, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09347-BIG.jpg", "copyright": "Aitysh, 2013", "title": "Meeting of the older and younger generation of the community of tokmo-akyns" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09348-BIG.jpg", "copyright": "Aitysh, 2013", "title": "Education process (traditional system 'from teacher to the followers')" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09349-BIG.jpg", "copyright": "Aitysh, 2013", "title": "Representative of the young tokmo-akyns" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09350-BIG.jpg", "copyright": "Aitysh, 2013", "title": "Aytish (competition)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09351-BIG.jpg", "copyright": "Aitysh, 2013", "title": "Tokmo-akyns after the Aytish (competition)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=hKBG6JmJK0k", "copyright": "2015 by National Commission of the Kyrgyz Republic for UNESCO", "title": "Aitysh, Aitys-art of improvisation" } ], "sustainability": "" } }, "element_999": { "type": "element", "label": "Tchopa, sacrificial dance of the Lhomwe people of southern Malawi", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09267-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09267-HUG.jpg" }, "description": "Tchopa is a performing art practised among Lhomwe communities in southern Malawi. The dance is usually performed during celebrations after good harvests and successful hunting trips and during offerings to ancestral spirits after calamities such as droughts and outbreaks of disease. Tchopa entails knowledge of particular dancing skills and singing, and employs three different sizes of drums. Twenty to thirty dancers perform in a circle while criss-crossing each other. Some dancers carry packs on their backs holding farming tools, animal skins, puppets, hunting gear and old kitchen utensils. Each village headman has a small group of Tchopa dancers. Although primarily performed by older Lhomwe men and women, who function as the bearers and practitioners and principal custodians, Tchopa is now also increasingly performed by children. Knowledge and skills for the dance are transmitted during practice sessions and occasional performances. Other key roles among the group include the makers of dancing costumes and drums, drummers, whistlers and dancers. Tchopa dance strengthens social cohesion among Lhomwe communities with members providing mutual support in times of need, such as during ill health and bereavement, and coming to the assistance of overburdened practitioners by providing communal labour in the field.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/tchopa-sacrificial-dance-of-the-lhomwe-people-of-southern-malawi-00999", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09261-BIG.jpg", "copyright": "Museums of Malawi, 2014", "title": "The three types of Tchopa drums, i.e. Mbera (smallest), Khwinyale (medium) and Namalema (biggest)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09262-BIG.jpg", "copyright": "Museums of Malawi, 2014", "title": "Tchopa drummers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09263-BIG.jpg", "copyright": "Museums of Malawi, 2014", "title": "Male Tchopa dancer wears head gear, reed skirt, leg shakers and a back pack containing food and essentials symbolizing readiness for eventualities" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09264-BIG.jpg", "copyright": "Museums of Malawi, 2014", "title": "Male Tchopa dancer carrying old utensils, an axe and a bark bloth" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09265-BIG.jpg", "copyright": "Museums of Malawi, 2014", "title": "Female chopa dancer wears colourful costume adorned with a multitude of objects sybolizing a season of plenty" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09266-BIG.jpg", "copyright": "Museums of Malawi, 2014", "title": "Female Tchopa dancers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09267-BIG.jpg", "copyright": "Museums of Malawi, 2014", "title": "A circle drawn on the dance arena using corn flour alomg which dancers perform. The flour is part of sacrificial offerings." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09268-BIG.jpg", "copyright": "Museums of Malawi, 2014", "title": "Tchopa dancers at the start of the dance formation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09269-BIG.jpg", "copyright": "Museums of Malawi, 2014", "title": "Tchopa dancers in full formation" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4x3_UA02GuU", "copyright": "Tiwale Photographics and Communications, 2014", "title": "Tchopa, the sacrificial dance of the Lhomwe people of southern Malawi" } ], "sustainability": "" } }, "element_1000": { "type": "element", "label": "Al-Zajal, recited or sung poetry", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08827-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08827-HUG.jpg" }, "description": "Al-Zajal is a form of Lebanese folk poetry declaimed or sung at social and family celebrations and in daily life. The performers, both men and women, express themselves either individually or collectively on a variety of themes including life, love, nostalgia, death, politics and daily events. During poetic jousts, troupes of poets and musicians gather around a table laden with dishes of meze and arrack to perform verses in front of a mixed audience to the rhythm of the tambourine and derbouka. The poets declaim verses, often in the form of challenges, which are then repeated by the singers and audience. These verbal exchanges evoke the beauty of Lebanon, the importance of tolerance, dialogue between communities and religions, and the right to difference. Transmission of Al-Zajal is largely informal, transmitted and renewed within the family or in a spontaneous manner through observation, imitation and participation. Troupes and non-governmental organizations are also actively involved in its practice and recreation. The religious and communitarian inclusiveness of Al-Zajal promotes its continuity, with poetic jousts serving as a safety valve and playing an important role in resolving conflicts and strengthening social cohesion.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-zajal-recited-or-sung-poetry-01000", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08820-BIG.jpg", "copyright": "Joseph-G\u00e9rard Tohm\u00e9, 2012", "title": "Minbar village Safra Kesrouan vue laterale avec musiciens" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08821-BIG.jpg", "copyright": "Joseph-G\u00e9rard Tohm\u00e9, 2012", "title": "Po\u00e8tes de Zajal en pleine verve" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08822-BIG.jpg", "copyright": "Joseph-G\u00e9rard Tohm\u00e9, 2012", "title": "Montage montrant un minbar Zajali au grand complet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08823-BIG.jpg", "copyright": "Joseph-G\u00e9rard Tohm\u00e9, 2012", "title": "Deux des somit\u00e9s du zajal au travail" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08824-BIG.jpg", "copyright": "Joseph-G\u00e9rard Tohm\u00e9, 2012", "title": "Po\u00e8te introduisant un Minbar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08825-BIG.jpg", "copyright": "Joseph-G\u00e9rard Tohm\u00e9, 2012", "title": "Zaghloul El Damour est un des plus grands du Zajal vivant il a impr\u00e9gn\u00e9 le Zajal \r\nd'une touche particuli\u00e8re & Georges Abou Antoun est l'actuel pr\u00e9sident du\r\nsyndicat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08826-BIG.jpg", "copyright": "Joseph-G\u00e9rard Tohm\u00e9, 2012", "title": "Zajal Atmosphere" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08827-BIG.jpg", "copyright": "Joseph-G\u00e9rard Tohm\u00e9, 2012", "title": "Moussa Zgheib" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08828-BIG.jpg", "copyright": "Joseph-G\u00e9rard Tohm\u00e9, 2012", "title": "Chanteur de Aatabah lors d'un mariage, autre forme de Zajal" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08829-BIG.jpg", "copyright": "Joseph-G\u00e9rard Tohm\u00e9, 2012", "title": "Talih Hamdane Poete du Minbar ici prononcant un Nadb dans des fun\u00e9railles, autre forme de Zajal" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=7j5i12Wp3j8", "copyright": "Joseph-G\u00e9rard Tohm\u00e9", "title": "Zajal" }, { "url": "https:\/\/www.youtube.com\/watch?v=2V8oJnOov2U", "copyright": "Joseph-G\u00e9rard Tohm\u00e9", "title": "Zajal" } ], "sustainability": "" } }, "element_1003": { "type": "element", "label": "Traditional Mauritian Sega", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09221-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09221-HUG.jpg" }, "description": "Traditional Mauritian Sega Tipik is a vibrant performing art, emblematic of the Creole community and performed at informal private family events or in public spaces. Songs sung in a minor key gradually increase in tempo, as dancers move their hips and hands to a percussive beat, using short steps to manoeuvre around each other in a variety of different formations. Each soloist improvises lyrics in the Creole language, sometimes blended with other languages, while a frame drum, box rattle and triangle keep time and produce the rhythmic beat. Sega songs can talk of love or address everyday challenges and concerns, with the meaning often enacted through the choreography. Traditionally, women dancers wear long skirts and petticoats while men wear rolled-up trousers, colourful shirts and straw hats, in memory of the dress of their ancestors. The main practitioners are the singers, dancers and musicians, who transmit their skills both formally and informally through participation and imitation. Some practitioners also make the instruments, and transmit their skills through informal apprenticeship. Representing the multiculturalism of Mauritian society, Sega breaks down cultural and class barriers, creates opportunities for intercultural encounters, and unifies various groups around a shared Mauritian heritage.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-mauritian-sega-01003", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09219-BIG.jpg", "copyright": "National Heritage Fund", "title": "Members of Lespri Ravann playing the instruments: (left to right) the maravann, the ravann and the triyang" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09220-BIG.jpg", "copyright": "National Heritage Fund", "title": "An informal Sega Tipik performance improvised by the participants at the end of the Consultative Committee on 14 February 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09221-BIG.jpg", "copyright": "National Heritage Fund", "title": "An informal Sega Tipik performance among familiy members in the yard of the practitioner Michel Legris" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09222-BIG.jpg", "copyright": "National Heritage Fund", "title": "A formal choreographed performance: female dancers with traditional costumes move while enacting the words in the song and moving to the beat of the ravann, maravann and triyang" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09223-BIG.jpg", "copyright": "National Heritage Fund", "title": "Female and male dancers dancing to the beat of the instruments and manoeuvre among themselves" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09224-BIG.jpg", "copyright": "National Heritage Fund", "title": "A performance which demonstrates improvisation with respect to instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09225-BIG.jpg", "copyright": "National Heritage Fund", "title": "Alain Muneean (Abaim Group) teaching the beginners how to play the ravann at Ravann School, Cite Barkly Beau Bassin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09226-BIG.jpg", "copyright": "National Heritage Fund", "title": "Marousia Bouvery beating the ravann with her students at the Ravann School, Cite Barkly Beau Bassin" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TGHl7Rf9e0c", "copyright": "Nelson Mandela Centre for African Culture Trust Fund, 2013\/National Heritage Fund - University of Mauritius, 2013\/Le Morne Heritage Trust Fund, 2013\/Mauritius Broadcasting Corporation-MBC, 2013", "title": "Sega Tipik" }, { "url": "https:\/\/www.youtube.com\/watch?v=uanRrlcYg1k", "copyright": "Nelson Mandela Centre for African Culture Trust Fund, 2013\/National Heritage Fund - University of Mauritius, 2013\/Le Morne Heritage Trust Fund, 2013\/Mauritius Broadcasting Corporation-MBC, 2013", "title": "Sega Tipik" } ], "sustainability": "" } }, "element_1004": { "type": "element", "label": "Coming forth of the masks and puppets in Markala", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08836-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08836-HUG.jpg" }, "description": "The coming forth of the masks and puppets is a ritual festivity practised among the Bambara, Bozo, Marka and Somono communities in Markala, and is characterized by masked dances, drums and songs featuring dancers and puppeteers. Each mask and puppet symbolizes the sacred link between man and nature, with particular animals incarnating specific virtues of society. During the dry season, young neophytes receive knowledge and instruction to ready them for the transition to adulthood. The initiation takes place in a sacred wood next to the Niger River, where the knowledge and skills associated with these ritual practices are transmitted to young boys by their elders. The initiation closes with libations and offerings to protective spirits and occult forces to obtain permission to become trained men, ready to wear the mask and to dance. After the rites, post-harvest celebrations provide a platform for diverse expressions of local cultures, through prayer, music, chants and dances, heralding a period of individual and collective fishing. The ritual illustrates the cohesion, dialogue, tolerance and continuity of the plural cultural identities of the Markala communities and neighbouring villages. It offers a space for festive encounters and exchanges to resolve intra- and intercommunity conflicts, as well as family quarrels and misunderstandings.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/coming-forth-of-the-masks-and-puppets-in-markala-01004", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08830-BIG.jpg", "copyright": "DNPC, 2008", "title": "Masque \"Ngon\" de la Soci\u00e9t\u00e9 d'initiation. Ce masque est dans\u00e9 par les jeunes initi\u00e9s \r\nde 7 \u00e0 18 ans." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08831-BIG.jpg", "copyright": "DNPC, 2008", "title": "\"Baman\", ca\u00efman mythique local. Ce ca\u00efman est chant\u00e9 et dans\u00e9 dans l'histoire locale \r\npour ses bienfaits et m\u00e9faits mythiques." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08832-BIG.jpg", "copyright": "DNPC, 2008", "title": "Marionnette: Capitaine, roi des poissons" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08833-BIG.jpg", "copyright": "DNPC, 2008", "title": "Marionnette de couple Chacals en sc\u00e8ne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08834-BIG.jpg", "copyright": "DNPC, 2008", "title": "Marionnette Giraffe dans\u00e9e annuellement lors des festivit\u00e9s des masques et marionnettes de Markala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08835-BIG.jpg", "copyright": "DNPC, 2008", "title": "Marionnette Hippopotame" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08836-BIG.jpg", "copyright": "DNPC, 2008", "title": "Marionnette \"Ti\u00e9koroban\" de la Soci\u00e9t\u00e9 d'initiation. Ce masque est dans\u00e9 par les jeunes initi\u00e9s de 7 \u00e0 18 ans" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08837-BIG.jpg", "copyright": "DNPC, 2008", "title": "Marionnette \"Minrins\". les \"Minrins\"sont des \u00eatres surnaturels d'une beaut\u00e9 extraordinaire. Elles symbolisent localement la beaut\u00e9 f\u00e9minine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08838-BIG.jpg", "copyright": "DNPC, 2008", "title": "Marionnette Porc-\u00e9pic. Le porc-\u00e9pic est un animal \u00e0 la fois craint et recherch\u00e9 localement pour sa viande aux vertus th\u00e9rapeutiques" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=6TqOsnchuSE", "copyright": "Direction Nationale du Patrimoine Culturel du Mali, 2011", "title": "La danse des masques et marionnettes de Markala" }, { "url": "https:\/\/www.youtube.com\/watch?v=-q6zVhQOB7U", "copyright": "Direction Nationale du Patrimoine Culturel du Mali, 2011", "title": "La danse des masques et marionnettes de Markala" } ], "sustainability": "" } }, "element_1007": { "type": "element", "label": "Cante Alentejano, polyphonic singing from Alentejo, southern Portugal", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08662-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08662-HUG.jpg" }, "description": "Cante Alentejano is a genre of traditional two-part singing performed by amateur choral groups in southern Portugal, characterized by distinctive melodies, lyrics and vocal styles, and performed without instrumentation. Groups consist of up to thirty singers divided into groups. The ponto, in the lower range, starts the singing, followed by the alto, in the higher range, which duplicates the melody a third or a tenth above, often adding ornaments. The entire choral group then takes over, singing the remaining stanzas in parallel thirds. The alto is the guiding voice heard above the group throughout the song. A vast repertoire of traditional poetry is set to existing or newly created melodies. Lyrics explore both traditional themes such as rural life, nature, love, motherhood and religion, and changes in the cultural and social context. Cante is a fundamental aspect of social life throughout Alentejano communities, permeating social gatherings in both public and private spaces. Transmission occurs principally at choral group rehearsals between older and younger members. For its practitioners and aficionados, cante embodies a strong sense of identity and belonging. It also reinforces dialogue between different generations, genders and individuals from different backgrounds, thereby contributing to social cohesion.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cante-alentejano-polyphonic-singing-from-alentejo-southern-portugal-01007", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08656-BIG.jpg", "copyright": "Nicola Di Nunzio\/Municipio de Serpa, 2008", "title": "The Choral and Ethnographic Group \"Casa do Povo de Serpa\" performing in in the enREDE show integrated in the Annual Festival\r\nEncounters of Cultures." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08657-BIG.jpg", "copyright": "Jo\u00e3o Ribeiro & Faux, 2011", "title": "Choral group \"Papoilas do Corvo\" in stage rehearsal (Castro Verde area)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08658-BIG.jpg", "copyright": "Nicola Di Nunzio\/Municipio de Serpa, 2008", "title": "The Choral and Ethnographic Group \"Casa do Povo de Serpa\" in the traditional Santas Cruzes Festivities, in Vila Nova de S.Bento, Serpa." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08659-BIG.jpg", "copyright": "Jo\u00e3o Ribeiro & Faux, 2011", "title": "Choral group \"Cantadores da Aldeia Nova de Sao Bento\" singing\r\na Christmas song in a local tavern (Serpa area)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08660-BIG.jpg", "copyright": "Jo\u00e3o Ribeiro & Faux, 2011", "title": "Newly formed Choral group from Aldeia de Sete in rehearsal (Castro Verde area)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08661-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2012", "title": "Choral group \"Os Amigos do Alentejo\", from Feij\u00f3, in rehearsal" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08662-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2012", "title": "Group singing in a tavern in Brinches, Serpa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08663-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2012", "title": "Family singing in the kitchen in Trindade, Beja" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08664-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2012", "title": "Choral group \"P\u00e9dexumbo\" with Erasmus students in \u00c9vora" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08665-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2012", "title": "Children's coral group \"Os Rouxin\u00f3is da Damaia\", from the school \"EB1\/JI Condes da Lous\u00e3\" in Damaia, Amadora" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=_Pn53uSYwOM", "copyright": "Faux, 2012", "title": "Cante Alentejano" } ], "sustainability": "" } }, "element_1008": { "type": "element", "label": "V\u00ed and Gi\u1eb7m folk songs of Ngh\u1ec7 T\u0129nh", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08856-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08856-HUG.jpg" }, "description": "V\u00ed and Gi\u1eb7m songs are sung by a wide range of communities in Ngh\u1ec7 An and H\u00e0 T\u0129nh Provinces of north-central Viet Nam. Specific songs are sung without instrumental accompaniment while people cultivate rice in the fields, row boats, make conical hats or lull children to sleep. V\u00ed and Gi\u1eb7m lyrics use the specific dialect and linguistic idioms of the Ngh\u1ec7 T\u0129nh region and practitioners sing with the particular singing voice of Ngh\u1ec7 T\u0129nh people. Many of the songs focus on key values and virtues including respect for parents, loyalty, care and devotion, the importance of honesty and a good heart in the maintenance of village customs and traditions. Singing provides people with a chance to ease hardship while working, to relieve sorrow in their lives, to express feelings of sentiment between men and women, and to exchange feelings of love between unmarried boys and girls. Today V\u00ed and Gi\u1eb7m are commonly performed at community cultural events and are sung by artists in theatres. V\u00ed and Gi\u1eb7m are transmitted, preserved and promoted by master practitioners; and local performances and folk singing festivals provide opportunities for V\u00ed and Gi\u1eb7m groups in villages and schools to transmit and practise the songs.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/vi-and-gim-folk-songs-of-ngh-tnh-01008", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08851-BIG.jpg", "copyright": "Institut de la Culture et des Arts du Vi\u00eat Nam, 2013", "title": "The artists at Center for Safeguarding and Promotion of Folk Songs of Ngh\u1ec7 Region learned how to sing V\u00ed and Gi\u1eb7m with master practitioner V\u00f5 Th\u1ecb V\u00e2n\u2019s family members, Ng\u1ecdc S\u01a1n commune, Thanh Ch\u01b0\u01a1ng district, Ngh\u1ec7 An province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08852-BIG.jpg", "copyright": "Institut de la Culture et des Arts du Vi\u00eat Nam, 2013", "title": "V\u00ed singing by the fishing net guild on Lam river in B\u1ed3i S\u01a1n commune, \u0110\u00f4 L\u01b0\u01a1ng district, Ngh\u1ec7 An province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08853-BIG.jpg", "copyright": "Institut de la Culture et des Arts du Vi\u00eat Nam, 2013", "title": "V\u00ed singing by the knitting guild in Nam Giang hamlet, Th\u1ea1ch Long commune, Th\u1ea1ch H\u00e0 district, H\u00e0 T\u0129nh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08854-BIG.jpg", "copyright": "Institut de la Culture et des Arts du Vi\u00eat Nam, 2013", "title": "V\u00ed singing by the conical hat making guild in Ph\u00f9 Vi\u1ec7t village, Th\u1ea1ch Vi\u1ec7t commune, Th\u1ea1ch H\u00e0 district, H\u00e0 T\u0129nh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08855-BIG.jpg", "copyright": "Institut de la Culture et des Arts du Vi\u00eat Nam, 2013", "title": "V\u00ed and Gi\u1eb7m singing in corn field in B\u1eafc S\u01a1n commune, \u0110\u00f4 L\u01b0\u01a1ng district, Ngh\u1ec7 An province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08856-BIG.jpg", "copyright": "Institut de la Culture et des Arts du Vi\u00eat Nam, 2013", "title": "V\u00ed and Gi\u1eb7m singing at ploughing work in Vi\u1ec7t Xuy\u00ean commune, Th\u1ea1ch H\u00e0 district, H\u00e0 T\u0129nh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08857-BIG.jpg", "copyright": "Institut de la Culture et des Arts du Vi\u00eat Nam, 2013", "title": "V\u00ed and Gi\u1eb7m performance at Festival of V\u00ed and Gi\u1eb7m Folk Songs of Ngh\u1ec7 Region by V\u00ed and Gi\u1eb7m Folk Songs Group of Di\u1ec5n L\u00e2m commune, Di\u1ec5n Ch\u00e2u district, Ngh\u1ec7 An province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08858-BIG.jpg", "copyright": "Institut de la Culture et des Arts du Vi\u00eat Nam, 2013", "title": "Master practitioner Tr\u1ea7n V\u0103n T\u01b0 transmits V\u00ed songs of fabric weaving guild at home, Kim Li\u00ean commune, Nam \u0110\u00e0n district, Ngh\u1ec7 An province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08859-BIG.jpg", "copyright": "Institut de la Culture et des Arts du Vi\u00eat Nam, 2013", "title": "Master practitioner V\u00f5 Th\u1ecb V\u00e2n instructs V\u00ed and Gi\u1eb7m songs at a middle school in Ng\u1ecdc S\u01a1n commune, Thanh Ch\u01b0\u01a1ng district, Ngh\u1ec7 An province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08860-BIG.jpg", "copyright": "Institut de la Culture et des Arts du Vi\u00eat Nam, 2013", "title": "Four generations of master practitioner V\u00f5 Th\u1ecb V\u00e2n\u2019s family practice V\u00ed and Gi\u1eb7m sing with V\u00ed and Gi\u1eb7m Folk Songs Group of Ng\u1ecdc S\u01a1n commune, Thanh Ch\u01b0\u01a1ng district, Ngh\u1ec7 An province" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LAjFaHHYxXc", "copyright": "2013 Institut de la Culture et des Arts du Vi\u00eat Nam [2013]", "title": "V\u00ed and Gi\u1eb7m Folk Songs of Ngh\u1ec7 T\u0129nh" }, { "url": "https:\/\/www.youtube.com\/watch?v=q_tTITN5uIQ", "copyright": "2013 Institut de la Culture et des Arts du Vi\u00eat Nam [2013]", "title": "V\u00ed and Gi\u1eb7m Folk Songs of Ngh\u1ec7 T\u0129nh" } ], "sustainability": "" } }, "element_1009": { "type": "element", "label": "Practices and expressions of joking relationships in Niger", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09134-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09134-HUG.jpg" }, "description": "Joking relationships are a social practice performed among ethnolinguistic communities, groups and individuals to promote fraternity, solidarity and conviviality. They take the form of a playful taunting between two people from two communities that represent symbolically the husband and wife cross-cousin branches of the same family. Such relationships are often based on ancestral pacts forbidding conflict or war between specific communities, and imply that the members must love one another and provide assistance where needed. The members have a duty to tell each other the truth, to joke together and to pool their respective assets, knowing that any dispute must be settled peacefully. Joking relationships are practised in public places, in the fields, offices, market places, at water sources and in the home, every day as well as on special occasions such as weddings, baptisms, ceremonies and funerals, commercial transactions, and cultural and entertainment events. The first lunar month is especially devoted to joking relationships along with other associated rituals. Transmitted informally from generation to generation, joking relationships are a tool for reconciliation and peace-building and promote the cohesion and stability of families, ethnic groups and communities. They foster social equality with regard to both age and hierarchy and promote intergenerational dialogue.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/practices-and-expressions-of-joking-relationships-in-niger-01009", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06319-BIG.jpg", "copyright": "2010 by Tahirou MAYAKI dit Atto", "title": "Jeunes scolaires \u00e0 la c\u00e9r\u00e9monie de la 3e \u00e9dition de la parent\u00e9 \u00e0 plaisanterie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06320-BIG.jpg", "copyright": "2010 by Tahirou MAYAKI dit Atto", "title": "Troupe de Niamey participant aux festivit\u00e9s de la 3e \u00e9dition de la parent\u00e9 \u00e0 plaisanterie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06321-BIG.jpg", "copyright": "2011 by Tahirou MAYAKI dit Atto", "title": "Une sc\u00e8ne de parent\u00e9 \u00e0 plaisanterie entre une bagobira (fille de Gobir) et une zarma" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06322-BIG.jpg", "copyright": "2011 by Tahirou MAYAKI dit Atto", "title": "Une sc\u00e8ne de la vie quotidienne qui met en exergue l'expression de la parent\u00e9 \u00e0 plaisanterie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06323-BIG.jpg", "copyright": "2011 by Tahirou MAYAKI dit Atto", "title": "L'expression de la parent\u00e9 \u00e0 plaisanterie \u00e0 la cours d'un chef de village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06324-BIG.jpg", "copyright": "2010 by Tahirou MAYAKI dit Atto", "title": "Sc\u00e8ne de l'expression de la parent\u00e9 \u00e0 plaisanterie entre un jeune peulh et une fille kanouri" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06325-BIG.jpg", "copyright": "2011 by Tahirou MAYAKI dit Atto", "title": "Jeu de la parent\u00e9 \u00e0 plaisanterie entre un touareg et une zarma" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/06326-BIG.jpg", "copyright": "2011 by Tahirou MAYAKI dit Atto", "title": "Un zarma face \u00e0 son cousin bagobiri, porteur de tenue militaire" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09134-BIG.jpg", "copyright": "2010 by Tahirou MAYAKI dit Atto", "title": "Spectacle offert par les diff\u00e9rentes communaut\u00e9s cousines \u00e0 l'occasion de la c\u00e9r\u00e9monie officielle de la 3e \u00e9dition de la parent\u00e9 \u00e0 plaisanterie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09136-BIG.jpg", "copyright": "2010 by Tahirou MAYAKI dit Atto", "title": "Jeunes scolaires \u00e0 la c\u00e9r\u00e9monie de la 3e \u00e9dition de la parent\u00e9 \u00e0 plaisanterie" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=tKMm07VgxKs", "copyright": "Bakab\u00e9 Mahamane, 2009", "title": "La Parent\u00e9 \u00e0 Plaisanterie" } ], "sustainability": "The practices and expressions of joking relationships in Niger are a form of a playful interaction between community members. The members pass on the tradition of telling others the truth, joking together and sharing resources with one another. Joking tightens the bonds between people through honesty and care. The living heritage is based on the cultural values of ancestral pacts which forbid conflict. Practiced as both an everyday way of life and as special rituals, joking relationships play an important role in sustaining peace and cohesion which are fundamental for strong social ties in families and ethnic communities. It also reduces hierarchical and intergenerational barriers as all members take part in this fun practice. SDG #10 Reduced Inequalities is also related to this intangible cultural heritage." } }, "element_1010": { "type": "element", "label": "Slava, celebration of family saint patron\u2019s day", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09169-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09169-HUG.jpg" }, "description": "In Serbia, Orthodox Christian families celebrate an important holiday in honour of the patron saint, Slava, who is believed to be their protector and provider of welfare. The celebration consists of the ritual offering of a bloodless sacrifice and a feast held for relatives, neighbours and friends. A specially designed candle is lit in the family home, then wine is poured over a Slava cake, prepared and decorated by the host\u2019s wife, which is then cut crosswise, rotated and broken into four parts and lifted up. During the ritual, thanks are given to the saint and prayers are said for prosperity. The cutting is performed by the host and the oldest or most important guest and other family members. The feast then begins with the ceremonial drinking of wine, eating and a toast expressing wishes for health, fertility and well-being of the family and guests. Knowledge related to the Slava is passed down in families, with women playing an important role in transmitting knowledge concerning the performance of rituals, their meaning and purpose. The Slava feast reinforces social relations and plays an important role in establishing and maintaining dialogue in multi-ethnic and multi-confessional areas.", "list": "RL", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/slava-celebration-of-family-saint-patron-s-day-01010", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08879-BIG.jpg", "copyright": "Ethnographic museum in Belgrade, 2009", "title": "Educational workshop for children in the Museum of Bread in Pecinci, on the importance of the Slava cake in traditional ritual of celebrating family patron saint's day." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08880-BIG.jpg", "copyright": "Ethnographic museum in Belgrade, 2009", "title": "The sale of the Slava candles and other accessories used in the Slava ritual \r\n(candle holders, incense, cressets, etc.) at a green market in Leskovac." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09169-BIG.jpg", "copyright": "Ethnographic museum in Belgrade, 2013", "title": "Consecration of the family Slava cakes in the church" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09170-BIG.jpg", "copyright": "Ethnographic museum in Belgrade, 2013", "title": "Ritual cutting of the family Slava cakes crosswise in the church on St. Nikola\u2019s Day (Nikoljdan)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09171-BIG.jpg", "copyright": "Ethnographic museum in Belgrade, 2013", "title": "Prayer and consecration of the Slava cake at home, on St. Dimitrios\u2019 Day (Mitrovdan), the day of the family patron saint." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09172-BIG.jpg", "copyright": "Ethnographic museum in Belgrade, 2013", "title": "The ritual of cutting the Slava cake crosswise, performed in the family with the priest on St. Dimitrios\u2019 Day (Mitrovdan)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09173-BIG.jpg", "copyright": "Ethnographic museum in Belgrade, 2013", "title": "Host, hostess and their heirs are cutting the Slava cake crosswise on the St. Nicolas\u2019 Day (Nikoljdan), their family patron saint\u2019s day." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09174-BIG.jpg", "copyright": "Ethnographic museum in Belgrade, 2013", "title": "Hostess performs ritual decoration of the family Slava cake with small branch of basil." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09175-BIG.jpg", "copyright": "Ethnographic museum in Belgrade, 2013", "title": "The Slava feast on the day of the family patron saint." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09176-BIG.jpg", "copyright": "Ethnographic museum in Belgrade, 2013", "title": "Ritual blowing out of the Slava candle with family members at the ending of the feast." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=m_h1DVoMi3I", "copyright": "Ethographic museum in Belgrade, 2013", "title": "Slava - Celebration of Family Saint Patron's Day" } ], "sustainability": "" } }, "element_1011": { "type": "element", "label": "Almezmar, drumming and dancing with sticks", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10476-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10476-HUG.jpg" }, "description": "Almezmar is a traditional group performance practised by members of the Hijazi community in Saudi Arabia for festive occasions, such as family and national celebrations, religious holidays or government events. It involves about 15 to 100 practitioners dressed in long white garments who begin by standing in two rows opposite each other. When beating drums are heard, the leader of each row starts to clap and chant loudly songs about gallantry, generosity or love. The first row of performers repeats the song with strong clapping, then the second row sings antiphonally. Two performers go to the centre, twirling large sticks in quick, graceful moves, sometimes around a fire or objects then two others follow. Women participate in some of the costume making and may take part in the singing and dancing in private gatherings, while local craftspeople produce the drums and sticks used. The tradition is passed down to younger generations through observation and practice mainly by performing arts troupes and heritage centres. Almezmar is a cultural expression that acts as a marker of community identity, brings together people from diverse backgrounds, is a source of entertainment and offers shared knowledge that provides a part of the community\u2019s collective memory.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/almezmar-drumming-and-dancing-with-sticks-01011", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10476-BIG.jpg", "copyright": "Ahmed Abdullatif, 2015", "title": "Almezmar clothes (Alsidirah)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10477-BIG.jpg", "copyright": "Ahmed Abdullatif, 2015", "title": "Alshon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10478-BIG.jpg", "copyright": "Ahmed Abdullatif, 2015", "title": "Moalem Alolpah" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10479-BIG.jpg", "copyright": "Ahmed Abdullatif, 2015", "title": "Alaodah" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10480-BIG.jpg", "copyright": "Ahmed Abdullatif, 2015", "title": "Almotlaq" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10481-BIG.jpg", "copyright": "Ahmed Abdullatif, 2015", "title": "Alolpah" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10482-BIG.jpg", "copyright": "Ahmed Abdullatif, 2015", "title": "Dance with Alshon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10483-BIG.jpg", "copyright": "Ahmed Abdullatif, 2015", "title": "Almard" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10484-BIG.jpg", "copyright": "Ahmed Abdullatif, 2015", "title": "Almrud" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10485-BIG.jpg", "copyright": "Ahmed Abdullatif, 2015", "title": "Almezmar dance" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LgnjjUjObPQ", "copyright": "Ahmed Abdullatif, 2015", "title": "Al Mezmar" } ], "sustainability": "" } }, "element_1012": { "type": "element", "label": "Al-Ayyala, a traditional performing art of the Sultanate of Oman and the United Arab Emirates", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08731-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08731-HUG.jpg" }, "description": "Al-Ayyala is a popular and expressive cultural performance practised in north-western Oman and throughout the United Arab Emirates. Al-Ayyala involves chanted poetry, drum music and dance, and simulates a battle scene. Two rows of about twenty men face each other, carrying thin bamboo sticks to signify spears or swords. Between the rows musicians play large and small drums, tambourines and brass cymbals. The rows of men move their heads and sticks synchronously with the drum rhythm and chant poetic lyrics, while other performers move around the rows holding swords or guns, which they occasionally hurl to the sky and catch. In the United Arab Emirates, girls wearing traditional dresses stand at the front, tossing their long hair from side to side. The melody has seven tones in an irregular repeated pattern, and the chanted poetry varies according to the occasion. Al-Ayyala is performed during weddings and other festive occasions in both the Sultanate of Oman and the United Arab Emirates. Performers come from diverse backgrounds and age groups. The lead performer is usually an inherited role and is responsible for training others performers. Al-Ayyala is inclusive of all ages, genders and social classes.", "list": "RL", "year": 2014, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-ayyala-a-traditional-performing-art-of-the-sultanate-of-oman-and-the-united-arab-emirates-01012", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08729-BIG.jpg", "copyright": "Ministry of Heritage and Culture of the UAE, 2011", "title": "Omani AI-Ayyala performance, showing one row of men holding \r\nthin sticks. Drummers and individual performers occupy \r\nthe central space." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08730-BIG.jpg", "copyright": "TCA Abu Dhabi, 2011", "title": "During a performance of AI-Ayyala in the UAE, a separate row of al-na'ashat performers in their colourful dresses toss their hair around and add vibrancy to the show." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08731-BIG.jpg", "copyright": "Ministry of Heritage and Culture of the UAE, 2012", "title": "Musical instruments are used during AI-Ayyala to pace the performers' movements. The leader (al-abu) holds a large drum, next to a tambourine player. A row of AI-Ayyala Omani performers are\r\nin the background.." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08732-BIG.jpg", "copyright": "TCA Abu Dhabi, 2010", "title": "Musical instruments (drums and tambourines) used for an AI-Ayyala performance in the UAE." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08733-BIG.jpg", "copyright": "TCA Abu Dhabi, 2010", "title": "AI-Ayyala performers during Abu Dhabi celebrations of World Heritage day, with children taking part in the performance (UAE)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08734-BIG.jpg", "copyright": "Ministry of Heritage and Culture of the UAE, 2012", "title": "AI-Ayyala performers take part in a competion for traditional performing arts, October 2012, Sur, Oman." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08735-BIG.jpg", "copyright": "TCA Abu Dhabi, 2012", "title": "A gathering of AI-Ayyala heritage practitioners in AI-Ain city, UAE, to\r\ndiscuss its nomination for inscription on ICH Representative List." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08736-BIG.jpg", "copyright": "TCA Abu Dhabi, 2013", "title": "The owner of a private heritage village signing his consent to the\r\nAI-Ayyala nomination, 18 March 2013, UAE." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08737-BIG.jpg", "copyright": "Ministry of Heritage and Culture of the UAE, 2012", "title": "Community participants discussing AI-Ayyala safeguarding measures\r\nin a symposium of Omani performing arts, organized by the Ministry of Heritage and Culture in Sur, Oman, 15 October 2012" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08738-BIG.jpg", "copyright": "TCA Abu Dhabi, 2013", "title": "Community and NGO representatives participating in training on AI-Ayyala safeguarding measures, AI Ain, UAE" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=V6roOGoW07k", "copyright": "TCA Abu Dhabi, 2013", "title": "Al-Ayyala, a traditional performing art of the Sultanate of Oman and the United Arab Emirates" } ], "sustainability": "" } }, "element_1017": { "type": "element", "label": "Safeguarding the carillon culture: preservation, transmission, exchange and awareness-raising", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09207-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09207-HUG.jpg" }, "description": "The art of making music with bells (carillon) is performed by carillonneurs, traditionally during market and festive days. The programme to safeguard carillon culture exists in seventy-six cities and villages of Belgium and in thirty countries worldwide. The primary objectives are to preserve the components of historic carillon culture (practices, repertoire, instruments, music, oral and written history), and to ensure the continuity and sustainable development of carillon music as a living heritage that fosters cultural identity and social cohesion. Safeguarding efforts have also focused on preserving and restoring historic carillons with many formerly silent carillons now once more active. Transmission is secured by a number of educational initiatives, of which the Mechelen carillon school is the most important. Efforts have also been undertaken to revitalize the carillon, including promotion of new arrangements, compositions and genres of music. The programme combines respect for tradition with a willingness to innovate, constantly seeking new ways to safeguard carillon culture in contemporary society. It also promotes proven best practices, as well as a deep respect for local players in the field, building on cooperation among actors.", "list": "GSP", "year": 2014, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/safeguarding-the-carillon-culture-preservation-transmission-exchange-and-awareness-raising-01017", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08912-BIG.jpg", "copyright": "Royal Carillon School 'Jef Denyn', Mechelen", "title": "Every two years, members of the Yale University Guild of Carillonneurs visit Belgium to discover the carillon culture of the Low Countries. During their stay, they receive instruction at the Carillon School of Mechelen." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09200-BIG.jpg", "copyright": "Luc Rombouts", "title": "Young people are taught folk dances accompanied by the carillon of the University Library of Leuven" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09201-BIG.jpg", "copyright": "Koen Van Assche, 2003", "title": "Every year Turnhout city carilloneur Koen Van Assche plays indoor programmes with ballet or chamber music instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09202-BIG.jpg", "copyright": "Frank Steijns, 2012", "title": "Hasselt city carilloneur Jan Verheyen developed a theatre performance, named 'Rocky het Klokkie', to introduce children to the art of the carillon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09203-BIG.jpg", "copyright": "Els Debevere, 2010", "title": "In 2010, the Mechelen Carillon School organised a symposium about 500 years of carillon culture. Attention was also given to traditional bell cultures, like the Swiss bell pealing tradition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09204-BIG.jpg", "copyright": "Koen Cosaert, 2012", "title": "At the Mechelen carillon school, children who are still to young to play a carillon keyboard are introduced to handbell playing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09205-BIG.jpg", "copyright": "Serge Joris, 2011", "title": "The use of mobile carillons is useful to connect a larger public to the carillon culture. Here the mobile carillon of Mr Manusek from Prague plays at a festival in Wavre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09206-BIG.jpg", "copyright": "Serge Joris, 2009", "title": "Direct video transmission gives the public a richer experience of carillon music. In Gembloux, this experience was offered to the public at the occasion of the restauration of the carillon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09207-BIG.jpg", "copyright": "Luc Boehme, 2006", "title": "In the town of Nieuwpoort, carilloneur Els Debevere guides blind visitors and let them feel the vibrating carillon bells" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ZIMGLAABJpw", "copyright": "31 August 2013 by Luc Rombouts", "title": "Safeguarding the carillon culture: preservation, transmission, exchange and awareness-raising" } ], "sustainability": "" } }, "element_1028": { "type": "element", "label": "Epic art of Gorogly", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09295-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09295-HUG.jpg" }, "description": "The epic art of Gorogly is an oral performing tradition describing the achievements of the legendary hero Gorogly and his forty cavalrymen. The epic incorporates narration, singing, composition, prose, poetry and vocal improvisation, and also functions as an oral encyclopaedia of traditional customs and knowledge (including stock breeding, traditional healing, etc.). Its transmission plays an important role in the upbringing of children by helping them to better understand their cultural identity. The tradition nurtures character, creative capacity and artistic skills, and provides bearer communities with a strong sense of social and cultural identity. The epic reflects the aspirations of the Turkmen people for a happy life, freedom and justice, and promotes values such as bravery, honesty, friendship, tolerance and fairness. Its bearers and practitioners are individual male and female epic performers in Turkmenistan who specialize in the Gorogly epic. The epic is traditionally performed seated to the accompaniment of stringed musical instruments, such as the ''dutar'' or ''gyjak''. Bearers and practitioners of the Gorogly epic art take an active part in all national celebrations, cultural festivals and social gatherings, as well as annual competitions between Gorogly epic performers. Practice of the epic art is considered a vocation with masters combining informal teaching of pupils with transmission of knowledge and skills during public performances.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/epic-art-of-gorogly-01028", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09291-BIG.jpg", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "A group of practitioners of the Gorogly epic art at the national festival in Turkmenistan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09292-BIG.jpg", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "Traditional musical instrumens for the Gorogly epic art performance: a dutar (at the left and right) and gyjak (at the centre)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09293-BIG.jpg", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "Traditional performing of the musical and singing parts of the Gorogly epos by dessanchy bagshy and their national dressing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09294-BIG.jpg", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "Competition of epic performers-dessanchy bagshys" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09295-BIG.jpg", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "Polishing of mastership of a young epic performer by the master-dessanchy bagshy before the audience" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09296-BIG.jpg", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "Traditional composition of the epic performers group with involving of a younger generation in the study of Gorogly epic art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09297-BIG.jpg", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "At the festival of the Gorogly epic performers in Turkmenistan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09298-BIG.jpg", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "The turkmen epic art listeners in national dressing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09299-BIG.jpg", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "Joint gathering of the Gorogly epic art performers and listeners" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09300-BIG.jpg", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "A tradition of the ending of epic art performance by making good wishes" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LDtW7evOGT8", "copyright": "The Secretariat of the Turkmenistan National Commission for UNESCO, 2013", "title": "Turkmen epic art of Gorogly" } ], "sustainability": "" } }, "element_1054": { "type": "element", "label": "Fichee-Chambalaalla, New Year festival of the Sidama people", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09286-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09286-HUG.jpg" }, "description": "Fichee-Chambalaalla is a New Year festival celebrated among the Sidama people. According to the oral tradition, Fichee commemorates a Sidama woman who visited her parents and relatives once a year after her marriage, bringing ''buurisame'', a meal prepared from false banana, milk and butter, which was shared with neighbours. Fichee has since become a unifying symbol of the Sidama people. Each year, astrologers determine the correct date for the festival, which is then announced to the clans. Communal events take place throughout the festival, including traditional songs and dances. Every member participates irrespective of age, gender and social status. On the first day, children go from house to house to greet their neighbours, who serve them ''buurisame''. During the festival, clan leaders advise the Sidama people to work hard, respect and support the elders, and abstain from cutting down indigenous trees, begging, indolence, false testimony and theft. The festival therefore enhances equity, good governance, social cohesion, peaceful co-existence and integration among Sidama clans and the diverse ethnic groups in Ethiopia. Parents transmit the tradition to their children orally and through participation in events during the celebration. Women in particular, transfer knowledge and skills associated with hairdressing and preparation of ''buurisame'' to their daughters and other girls in their respective villages.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/fichee-chambalaalla-new-year-festival-of-the-sidama-people-01054", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09281-BIG.jpg", "copyright": "The Authority for Research and Conservation of Cultural Heritage (ARCCH), 2013", "title": "After the actual date for the Fichee celebration is reckoned and identified by ayyanto, clan leaders and competent elder (chimeesa) attend a meeting called songo summoned to make decision on the proclamation of the date to the people." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09282-BIG.jpg", "copyright": "The Authority for Research and Conservation of Cultural Heritage (ARCCH), 2013", "title": "Making peace with other party with whom one has had disagrements before Fichee holiday by resolving any sort of conflicts they had with their relatives or neighbours, a culture of personal purification and promotion to a new year." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09283-BIG.jpg", "copyright": "The Authority for Research and Conservation of Cultural Heritage (ARCCH), 2013", "title": "Announcing the date on which the Fichee holiday falls to the wider community by hanging skin of sheep on stick, known as lalawa, by clan leaders in their respective areas at gudumaale where large number of people gather for marketing purposes." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09284-BIG.jpg", "copyright": "The Authority for Research and Conservation of Cultural Heritage (ARCCH), 2013", "title": "Undertaking thorough observation of the moora, white fattish layer of small intestine of the slaughteered goat.The specialists with the skill of reading moora announce the result to the public whether the year to come is 'blessed and promising' or not" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09285-BIG.jpg", "copyright": "The Authority for Research and Conservation of Cultural Heritage (ARCCH), 2013", "title": "Passing through a door like shape or arc made using wet bamboo tree in gudumaale, symbolizing the entrance to a new year, renouncing all the bad things of the old year and accepting the new one with good wishes." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09286-BIG.jpg", "copyright": "The Authority for Research and Conservation of Cultural Heritage (ARCCH), 2013", "title": "In the evening of the Fichee holiday, a cultural dish, known as buursame, is served on a clay pot, known as shafeta, and feasted on communally. The feast kicks off in a house of a man who has higher social status" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09287-BIG.jpg", "copyright": "The Authority for Research and Conservation of Cultural Heritage (ARCCH), 2013", "title": "The event of feeding the cattle a salty soil, known as bole, by scattering it in a grazing area or kalo which is a reserved pasture for the animals by heads of households on the day of Chambalaalla (New Year)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09288-BIG.jpg", "copyright": "The Authority for Research and Conservation of Cultural Heritage (ARCCH), 2013", "title": "Hore is a traditional singing performed by unmarried girls in which they beautify themselves and go to play with their peers and praise one another, and finally join the boys they want to play with and sing and dance faaro" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09289-BIG.jpg", "copyright": "The Authority for Research and Conservation of Cultural Heritage (ARCCH), 2013", "title": "Faaro is a traditional singing and dancing performed by unmarried boys and girls interested in each other, facing in rows in opposite direction, moving back and forth and bending down their neck during Fichee festival at Gudumaale, public gathering places" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09290-BIG.jpg", "copyright": "The Authority for Research and Conservation of Cultural Heritage (ARCCH), 2013", "title": "Ketala is a traditional singing and dancing performed by adult male community members, wearing a traditional cloth, known as gonfa, with red, white and black strip colors and buluko (home-spun cotton cloth) and holding spear and shield." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=zsmAzpxBOJY", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), 2014", "title": "Fichee-Chambalaalla, Sidama nation New Year festival in Ethiopia" } ], "sustainability": "" } }, "element_1056": { "type": "element", "label": "Wititi dance of the Colca Valley", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09716-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09716-HUG.jpg" }, "description": "The Wititi dance of the Colca Valley is a traditional folk dance associated with the beginning of adult life. It takes the form of a courtship ritual and is typically performed by young people during religious festivities celebrated throughout the rainy season. It is danced in troupes with rows of male and female couples performing a variety of steps to the beat of a band. Female dancers wear garments finely embroidered with colourful natural motifs and distinctive hats, while male dancers wear overlapping women\u2019s skirts, military shirts, slings and \u2018strong hats\u2019. The dance coincides with the beginning of the agricultural production cycle and symbolizes the renewal of nature and society. The dance consolidates social ties and strengthens cultural identity with villages in the Colca Valley competing to produce the best ensembles, thereby continuously renewing the dance while maintaining its traditional character. The Wititi dance of the Colca Valley is learned through direct observation by youth and children in school and at private family gatherings, such as christenings, birthdays and weddings. At the national level, folk dance ensembles perform this dance as part of their repertoires.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/wititi-dance-of-the-colca-valley-01056", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09716-BIG.jpg", "copyright": "Ministry of Culture, 2014", "title": "The Wititi : male dancer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09717-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2014", "title": "The Wititi dance is always practiced in rainy season" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09718-BIG.jpg", "copyright": "Ministry of Culture, 2014", "title": "Cabana people performing the Wititi dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09719-BIG.jpg", "copyright": "Ministry of Culture, 2014", "title": "Collagua people performing the Wititi dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09720-BIG.jpg", "copyright": "Ministry of Culture, 2014", "title": "Young couple performing the Wititi dance at a urban contest" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09721-BIG.jpg", "copyright": "Ministry of Culture, 2014", "title": "Male dancer in front of a religious altar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09722-BIG.jpg", "copyright": "Ministry of Culture, 2014", "title": "Wititi dancers at a rural festivity in the Caylloma province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09723-BIG.jpg", "copyright": "Ministry of Culture, 2014", "title": "Wititi dancers at a carnival festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09724-BIG.jpg", "copyright": "Ministry of Culture, 2014", "title": "Wititi performers at a dance parade in Arequipa city" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09725-BIG.jpg", "copyright": "Ministry of Culture, 2014", "title": "Children performing the Wititi dance" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=gWaNe05Lr90", "copyright": "Ministerio de Cultura, 2014", "title": "Wititi dance of the Colca Valley" } ], "sustainability": "" } }, "element_1058": { "type": "element", "label": "Traditional craftsmanship of \u00c7ini-making", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09751-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09751-HUG.jpg" }, "description": "\u00c7ini are traditional, handmade glazed tiles and ceramics made in Turkey featuring colourful motifs of plants, animals and geometric patterns often found on facades of buildings and in homes throughout the country. Producing \u00e7ini involves a series of processes. The clay is first shaped, lined, dried and fired in ovens specifically for \u00e7ini making. Designs representing local customs and beliefs are then drilled on paper and transferred to the surface with coal dust. Outer contours of the patterns are hand drawn, the surface dyed in various colours and then the work is glazed and fired. \u00c7ini-making workshops involve craftspeople, supervisors and apprentices. Each craftsperson has a specific role \u2013 shaping, design and dye, polishing and undercoating or firing. Practitioners consider \u00e7ini making as an outlet for self-expression, development and healing, as well as a means of maintaining an art form that is a symbolic aspect of Turkey\u2019s cultural identity, strengthening links from the past to the present providing continuity. \u00c7ini making is not confined to workshop spaces. The tradition is also practised in the home, public education centres, vocation schools and universities throughout the country where neither age, gender nor ethnicity are barriers to knowledge sharing, transmission and skills development.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-craftsmanship-of-cini-making-01058", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09751-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2014", "title": "Potter wheeler (\u00c7ark\u00e7\u0131) and craftsman of \u00e7ini Ali Buzkan is shaping the clay" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09752-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2014", "title": "Craftswoman of \u00e7ini is decorating the biscuit" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09753-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2014", "title": "\u00c7inili Mosque's exterior architectural ornamentation with \u00e7ini in K\u00fctahya" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09754-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2014", "title": "Bakery oven decorated with \u00e7ini in K\u00fctahya" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09755-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2014", "title": "Student decorating a plate in Vocational School of Higher Education at a university in \u0130znik (Bursa)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09756-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2014", "title": "Interior of a room in Harem \/Topkapi Palace" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09757-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2014", "title": "Vase made by Mehmet G\u00fcrsoy (Living Human Treasures)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09758-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2014", "title": "Approximately 150 years old wood-fire \u00e7ini oven is still using by craftspeople in K\u00fctahya" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09759-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2014", "title": "\u00c7ini workshop in Public Education Center of Ey\u00fcp Municipality in Istanbul" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09760-BIG.jpg", "copyright": "Ministry of Culture and Tourism, 2014", "title": "A woman is drinking Turkish coffee from \u00e7ini coffee cup" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3Bn9XfijeAk", "copyright": "Ministry of Culture and Tourism of Turkey, 2014", "title": "Traditional craftsmanship of \u00e7ini-making" } ], "sustainability": "" } }, "element_1061": { "type": "element", "label": "Coaxing ritual for camels", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09410-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09410-HUG.jpg" }, "description": "Mongol herders perform the coaxing ritual to encourage a female camel to accept a new-born calf or to adopt an orphan. The mother is tied close to the calf and a singer begins a monotone song accompanied by gestures and chanting. The coaxer changes the melody depending on the mother\u2019s behaviour, which may be initially aggressive, and slowly coaxes her into accepting the calf. Performance of the ritual takes place at dusk or twilight and requires great skill in handling camels, as well as talent for singing and musical skill on the horse head fiddle or flute. Most herdswomen engage in techniques and methods of coaxing, but professional coaxers may be enlisted to undertake the ritual when a singer or musician is unavailable within the local community. The ritual acts as a symbolic medium for creating and maintaining social ties among individual nomadic families and their community. It is transmitted from parents and elders to youth through home tutoring. Changes in the social and cultural environment, however, have negatively affected its viability. Today, motorcycles are preferred to camels as a means of transportation, and increasing migration to urban centres has diminished the number of young herders. The number of cultural bearers is therefore decreasing rapidly as new generations lose touch with their traditional ties to pastoral husbandry.", "list": "USL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/coaxing-ritual-for-camels-01061", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09402-BIG.jpg", "copyright": "Yu. Boldbaatar, 2011", "title": "The coaxing ritual for baby camels-1 \/ Bayanlig soum, Bayankhongor province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09403-BIG.jpg", "copyright": "Yu.Boldbaatar, 2011", "title": "The coaxing ritual for baby camels-2 \/ Bayanlig soum., Bayankhongor province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09404-BIG.jpg", "copyright": "Yu.Boldbaatar, 2013", "title": "Using the melody of Morin Khuur for coaxing the mare-camel and orphan calf -1 (Mandal Ovoo soum, Umnugovi Province)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09405-BIG.jpg", "copyright": "Yu.Boldbaatar, 2013", "title": "Preparing for the coaxing ritual for baby camels - 3 (Mandal Ovoo soum, Umnugovi province)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09406-BIG.jpg", "copyright": "Yu.Boldbaatar, 2011", "title": "The mare-camel is accepting the orphan calf - 1 (Khankhongor Sooum, Umnugobi Province)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09407-BIG.jpg", "copyright": "Yu.Boldbaatar, 2011", "title": "Coaxed mare-camel and its accepted new calf (Khankhongor Sooum, Umnugobi Province)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09408-BIG.jpg", "copyright": "Yu.Boldbaatar, 2011", "title": "Using the melody of Morin Khuur for coaxing the mare-camel and orphan calf -2 (Khankhongor)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09409-BIG.jpg", "copyright": "Yu. Boldbaatar, 2011", "title": "The mare-camel is accepting the orphan calf - 2 (Khankhongor Sooum, Umnugobi Province)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09410-BIG.jpg", "copyright": "Yu. Boldbaatar, 2013", "title": "The coaxing ritual for baby camels - 4 Coaxed mare-camel and orphan calf \/ Mandal-Ovoo soum, Umnugovi province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09411-BIG.jpg", "copyright": "Yu. Boldbaatar, 2013", "title": "The mare-camel and accepted new calf \/ Mandal Ovoo soum, Umnugovi province" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=kHhseWLhKhY", "copyright": "Yu. Boldbaatar, 2013", "title": "The coaxing rituals for baby camels" } ], "sustainability": "" } }, "element_1062": { "type": "element", "label": "Beer culture in Belgium", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10037-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10037-HUG.jpg" }, "description": "Making and appreciating beer is part of the living heritage of a range of communities throughout Belgium. It plays a role in daily life, as well as festive occasions. Almost 1,500 types of beer are produced in the country using different fermentation methods. Since the 80s, craft beer has become especially popular. There are certain regions, which are known for their particular varieties while some Trappist communities have also been involved in beer production giving profits to charity. In addition, beer is used for cooking including in the creation of products like beer-washed cheese and, as in the case of wine, can be paired with foods to compliment flavours. Several organizations of brewers exist who work with communities on a broad level to advocate responsible beer consumption. Sustainable practice has also become part of the culture with recyclable packaging encouraged and new technologies to reduce water usage in production processes. Besides being transmitted in the home and social circles, knowledge and skills are also passed down by master brewers who run classes in breweries, specialized university courses that target those involved in the field and hospitality in general, public training programmes for entrepreneurs and small test breweries for amateur brewers.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/beer-culture-in-belgium-01062", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10035-BIG.jpg", "copyright": "Stephanie Radermacher 2015", "title": "Un brasseur travaille dans la brasserie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10036-BIG.jpg", "copyright": "Stephanie Radermacher 2015", "title": "Une brasseuse travaille dans la brasserie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10037-BIG.jpg", "copyright": "Stephanie Radermacher 2015", "title": "Groupe de gens au caf\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10038-BIG.jpg", "copyright": "Stephanie Radermacher 2015", "title": "Brasseur qui pr\u00e9pare un repas avec la bi\u00e8re" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10039-BIG.jpg", "copyright": "Stephanie Radermacher 2015", "title": "Un d\u00e9gustateur de bi\u00e8re" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10040-BIG.jpg", "copyright": "Stephanie Radermacher 2015", "title": "Formation brasseur en salle de classe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10041-BIG.jpg", "copyright": "Stephanie Radermacher 2015", "title": "Fromage lav\u00e9 \u00e0 la bi\u00e8re" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10042-BIG.jpg", "copyright": "Stephanie Radermacher 2015", "title": "Ingr\u00e9dients de la bi\u00e8re" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10043-BIG.jpg", "copyright": "Stephanie Radermacher 2015", "title": "D\u00eener \u00e0 la maison" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10044-BIG.jpg", "copyright": "Stephanie Radermacher 2015", "title": "Cyclistes sur la route de la bi\u00e8re" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=HqbuBusP-tU", "copyright": "Minist\u00e8re de la Communaut\u00e9 germanophone, Norbert Heukemes, 2014", "title": "La culture de la bi\u00e8re en Belgique - diversit\u00e9 des arts brassicoles et leur appr\u00e9ciation en Belgique" } ], "sustainability": "" } }, "element_1063": { "type": "element", "label": "Tradition of kimchi-making in the Democratic People's Republic of Korea", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09326-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09326-HUG.jpg" }, "description": "Kimchi is a vegetable dish made by seasoning various vegetables or wild edible greens with spices, fruit, meat, fish or fermented seafood before they undergo lactic fermentation. The tradition of kimchi-making has hundreds of variants. It is served daily but also on special occasions such as weddings, holidays, birthday parties, memorial services and State banquets. Although differences in local climatic conditions and household preferences and customs result in variations in ingredients and recipes, kimchi-making is a common custom nationwide. Kimchi-making is mainly transmitted from mothers to daughters or mothers-in-law to daughters-in-law, or orally among housewives. Kimchi-related knowledge and skills are also transferred among neighbours, relatives or other members of the society who work collectively, sharing know-how and materials, to prepare large quantities of kimchi for the winter months. This activity, known as ''kimjang'', boosts cooperation among families, villages and communities, contributing to social cohesion. Kimchi-making brings to the bearers a sense of joy and pride, as well as respect for the natural environment, encouraging them to lead their lives in harmony with nature.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/tradition-of-kimchi-making-in-the-democratic-people-s-republic-of-korea-01063", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09321-BIG.jpg", "copyright": "Korea National Heritage Preservation Agency, 2013", "title": "The Kimchi kakdugi made by my wife is the best." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09322-BIG.jpg", "copyright": "Korea National Heritage Preservation Agency, 2013", "title": "Children enjoying Kimchi-making play." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09323-BIG.jpg", "copyright": "Korea National Heritage Preservation Agency, 2013", "title": "Village women helping each other with making Kimchi." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09324-BIG.jpg", "copyright": "Korea National Heritage Preservation Agency, 2013", "title": "Kimchi contest being organized regularly." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09325-BIG.jpg", "copyright": "Korea National Heritage Preservation Agency, 2013", "title": "A grand-mother preparing materials for making Kimchi." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09326-BIG.jpg", "copyright": "Korea National Heritage Preservation Agency, 2013", "title": "A family pickling cabbage for Kimchi with the help of neighbours." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09327-BIG.jpg", "copyright": "Korea National Heritage Preservation Agency, 2013", "title": "Dongchimi, one sort of Kimchi with unique taste." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09328-BIG.jpg", "copyright": "Korea National Heritage Preservation Agency, 2013", "title": "Housewives exchanging their know-how on Kimchi-making." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09329-BIG.jpg", "copyright": "Korea National Heritage Preservation Agency, 2013", "title": "Cabbage field of a vegetable farm responsible for supplying vegetables to city population." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09330-BIG.jpg", "copyright": "Korea National Heritage Preservation Agency, 2013", "title": "Cooks making Dingchimi, a sort of Kimchi." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=JPSVezN5mH4", "copyright": "National Cultural Property Information Technology Exchange Agency, 2013", "title": "Tradition of making Kimchi, the representative intangible cultural heritage of the DPRK" } ], "sustainability": "" } }, "element_1064": { "type": "element", "label": "Practices related to the Viet beliefs in the Mother Goddesses of Three Realms", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09454-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09454-HUG.jpg" }, "description": "To meet spiritual needs, everyday wishes and gain help in achieving good health and success communities in Viet Nam worship the Mother Goddesses of Three Realms: heaven, water, and mountains and forests. The Mother Goddesses include Li\u1ec5u H\u1ea1nh (a nymph who descended to earth, lived as a human and became a Buddhist nun) referred to as the Mother of the World, and other spirits considered legendary heroes. The traditional practice involves daily worship and participation in ceremonies, rituals like the spirit possession ritual and festivals such as Ph\u1ee7 D\u1ea7y that take place at temples dedicated to the Mother Goddesses. These activities associated with the practice help to maintain part of the community\u2019s history, cultural heritage and identity with some aspects incorporating traditional costumes, music and dance. Bearers and practitioners are members of the public, temple guardians, ritual priests, spirit mediums, assistants and musicians who transmit knowledge and skills orally to newcomers and family members. The practice of shared values and strong beliefs in the compassion and grace of the Mother Goddesses provides a basis for social relations connecting members of participating communities. The worshipping of the Mother Goddesses also contributes to the appreciation of women and their roles in society.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/practices-related-to-the-viet-beliefs-in-the-mother-goddesses-of-three-realms-01064", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09452-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "V\u00e2n C\u00e1t Palace dedicated to Mother Goddesses in Kim Th\u00e1i commune, V\u1ee5 B\u1ea3n district, Nam \u0110\u1ecbnh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09453-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "Three Mother Goddesses: Mother Goddess of Heaven (in the middle, red color), Mother Goddess of Forest (on the left, green color), and Mother Goddess of Water (on the right, white color)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09454-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "The procession of the Buddhist Scripture at D\u1ea7y Palace festival, Kim Th\u00e1i commune, V\u1ee5 B\u1ea3n district, Nam \u0110\u1ecbnh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09455-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "The word puzzles of Hoa Tr\u01b0\u1ee3ng performance at D\u1ea7y Palace festival, Kim Th\u00e1i commune, V\u1ee5 B\u1ea3n district, Nam \u0110\u1ecbnh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09456-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "The petition ceremony before a spirit possession ritual at V\u00e2n C\u00e1t Palace, Kim Th\u00e1i commune, V\u1ee5 B\u1ea3n district, Nam \u0110\u1ecbnh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09457-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "The incarnation of the Sixth Dame at a spirit possession ritual in Ti\u00ean H\u01b0\u01a1ng Palace, Kim Th\u00e1i commune, V\u1ee5 B\u1ea3n district, Nam \u0110\u1ecbnh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09458-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "Asking and giving the blessed gifts at a spirit possession ritual at V\u00e2n C\u00e1t Palace, Kim Th\u00e1i commune, V\u1ee5 B\u1ea3n district, Nam \u0110\u1ecbnh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09459-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "The band of the singers of the songs for spirits at a spirit possession ritual at Ti\u00ean H\u01b0\u01a1ng Palace, Kim Th\u00e1i commune, V\u1ee5 B\u1ea3n district, Nam \u0110\u1ecbnh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09460-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "The transmission of Beliefs in the Mother Goddesses at a private temple" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09461-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "The transmission of ch\u1ea7u v\u0103n songs at the Club of the Songs for the spirits in Nam \u0110\u1ecbnh province" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RdFbNpdV3Fo", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2014", "title": "Vi\u1ec7t beliefs in the Mother Goddesses of Three Realms" } ], "sustainability": "" } }, "element_1065": { "type": "element", "label": "Manufacture of cowbells", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09737-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09737-HUG.jpg" }, "description": "The Portuguese cowbell is an idiophone percussion instrument with a single internal clapper, usually hung on a leather strap around an animal\u2019s neck. It is traditionally used by shepherds to locate and control their livestock, and creates an unmistakable soundscape in rural areas. The cowbells are handmade from iron, which is cold-hammered and folded on an anvil until it is cup-shaped. Small pieces of copper or tin are set around the iron and enveloped in a mixture of clay and straw. The piece is fired, then plunged into cold water for rapid cooling. Finally, the burnt clay is removed, the copper- or tin-covered iron is polished and the tone of the bell is fine-tuned. The technical expertise involved is transmitted within the family from fathers to sons. Alc\u00e1\u00e7ovas in Portugal is the main centre for manufacture of cowbells and its inhabitants take great pride in this heritage. However, this practice is increasingly becoming unsustainable due to recent socioeconomic changes. New grazing methods have largely obviated the need for shepherds and cowbells are increasingly made using cheaper industrial techniques. At present, there are only 11 surviving workshops and 13 cowbell makers, 9 of whom are over 70 years old.", "list": "USL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/manufacture-of-cowbells-01065", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09731-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2014", "title": "Jo\u00e3o Manuel Santos, cowbell maker, Bragan\u00e7a" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09732-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2014", "title": "Manuel Antunes Cec\u00edlio, master cowbell maker, Asseiceira" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09733-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2014", "title": "Feliciano de Jesus Sim Sim, cowbell maker, Ereira" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09734-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2014", "title": "Ant\u00f3nio Augusto Sim Sim, master cowbell maker, and Rui Marcos Sim Sim Gon\u00e7alves, cowbell maker, Estremoz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09735-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2014", "title": "Joaquim Jos\u00e9 Veladas Correia, master cowbell maker, Reguengos de Monsaraz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09736-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2014", "title": "Guilerme Jos\u00e9 Fortes Reis Maia, cowbell maker, Jos\u00e9 Lu\u00eds Reis Maia, master cowbell maker, and Francisco Ant\u00f3nio Cardoso, master cowbell maker, Alc\u00e1\u00e7ovas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09737-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2014", "title": "Greg\u00f3rio Guerreiro Sim Sim, master cowbell maker, Alc\u00e1\u00e7ovas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09738-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2014", "title": "Joaquim Manuel Vidazinha Sim Sim, master cowbell maker, Alc\u00e1\u00e7ovas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09739-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2014", "title": "Jo\u00e3o Chibeles Penetra, master cowbell maker, Alc\u00e1\u00e7ovas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09740-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2014", "title": "Adelino Remorinho Tim\u00f3teo, shepherd, Herdade das Peeiras" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PnDQHZr8tbc", "copyright": "David Mira, 2014", "title": "Manufacture of cowbells" } ], "sustainability": "" } }, "element_1068": { "type": "element", "label": "Culture of Jeju Haenyeo (women divers)", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09672-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09672-HUG.jpg" }, "description": "In Jeju Island, there is a community of women, some aged in their 80s, which goes diving 10m under the sea to gather shellfish, such as abalone or sea urchins for a living without the help of oxygen masks. With knowledge of the sea and marine life, the Jeju haenyeo (female divers) harvest for up to seven hours a day, 90 days of the year holding their breath for just one minute for every dive and making a unique verbal sound when resurfacing. Divers are categorised into three groups according to level of experience: hagun, junggun and sanggun with the sanggun offering guidance to the others. Before a dive, prayers are said to the Jamsugut, goddess of the sea, to ask for safety and an abundant catch. Knowledge is passed down to younger generations in families, schools, local fishery cooperatives which have the area\u2019s fishing rights, haenyeo associations, The Haenyeo School and Haenyeo Museum. Designated by the provincial government as representating the island\u2019s character and people\u2019s spirit, the culture of Jeju haenyeo has also contributed to the advancement of women\u2019s status in the community and promoted environmental sustainability with its eco-friendly methods and community involvement in management of fishing practices.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/culture-of-jeju-haenyeo-women-divers-01068", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09666-BIG.jpg", "copyright": "Haenyeo Museum, 2005 ", "title": "Jeju haenyeo head to sea for the muljil" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09667-BIG.jpg", "copyright": "Haenyeo Museum, 2005", "title": "Jeju haenyeo warm themselves up at the bulteok, a type of outdoor fireplace at the seashore before the muljil" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09668-BIG.jpg", "copyright": "Haenyeo Museum, 2004 ", "title": "Jeju haenyeo clean their goggles before their dives" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09669-BIG.jpg", "copyright": "Haenyeo Museum, 2005 ", "title": "Jeju haenyeo dive in the shore of a sea and then dive into deeper sea" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09670-BIG.jpg", "copyright": "Haenyeo Museum, 2012", "title": "Jeju haenyeo dive ten meters deep underwater" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09671-BIG.jpg", "copyright": "Haenyeo Museum, 2012", "title": "Jeju haenyeo gather marine products by applying their mental map of the sea" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09672-BIG.jpg", "copyright": "Haenyeo Museum, 2013", "title": "Jeju haenyeo exhale air after each dive, and make a sound called 'sumbi-sori'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09673-BIG.jpg", "copyright": "Haenyeo Museum, 2013", "title": "A family member of Jeju haenyeo waits outside of a sea and carries marine products" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09674-BIG.jpg", "copyright": "Haenyeo Museum, 2004", "title": "Marine products has contributed very much to household income" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09675-BIG.jpg", "copyright": "Haenyeo Museum, 2004", "title": "Jeju haenyeo hold a shamanistic ritual for the goddess of the sea for safety at sea" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=lk7DQLMKBTE", "copyright": "Haenyeo Museum, 2014", "title": "Culture of Jeju Haenyeo" } ], "sustainability": "The culture of Jeju Haenyeo strongly reflects gender equality through the celebrated roles of women divers who are recognized and highly respected for their diving abilities and contribution to the island\u2019s economic and social advancement. With their complex set of diving skills and their knowledge related to marine ecology and sustainable fisheries that has been transmitted over many generations, the women divers have earned an important position in the community as a symbol of bravery and a source of livelihood. This women-centered culture shines a light on women\u2019s empowerment and gender equality and sets an example for male-dominant societies. This element also links with SDG #4 Quality Education, SDG #8 Decent Work and Economic Growth, and SDG #14 Life Below Water." } }, "element_1069": { "type": "element", "label": "Filete porte\u00f1o in Buenos Aires, a traditional painting technique", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09448-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09448-HUG.jpg" }, "description": "Filete porte\u00f1o from Buenos Aires is a traditional painting technique used for ornamental design that combines brilliant colours with specific lettering styles. It can be seen as a form of decoration on urban buses and trucks and is also used for store signage and increasingly, home decoration. Images used relate back to the city\u2019s heritage incorporating social and religious elements, acting as a form of collective memory. Popular designs include icons representing saints, admired politicians, music and sports idols. Sayings and proverbs are sometimes also incorporated in the designs. The technique begins with a drawing, which is then transferred to a support. Synthetic paint, coloured varnish and special longhaired brushes are then used to complete the work. Filete craftsmen transmit this technique to anyone who wants to learn it. Formal education is not required to develop the skills needed, which represents an opportunity for some young people in the community who are at risk of social exclusion. In the last few decades, a new generation of craftswomen have participated in Filete workshops and the practice in general, producing a new aesthetic for the artform.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/filete-porteno-in-buenos-aires-a-traditional-painting-technique-01069", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09432-BIG.jpg", "copyright": "Diego Arquimbau, 2014", "title": "Filete worktable with some tools: different kind of paintbrushes, paint colours, chalk, 'mu\u00f1eca' (device made of cloth with smashed chalk in it) and two signs in progress" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09443-BIG.jpg", "copyright": "Diego Arquimbau, 2014", "title": "Close caption to special filete paintbrushes: 'bandas' (4 to 6 cm long hair with no handle) and paintbrushes for letters, all made of cow ears' hair" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09444-BIG.jpg", "copyright": "Diego Arquimbau, 2014", "title": "'Esp\u00falvero': punched paper through which the 'mu\u00f1eca' is rubbed in order to copy the drawing to the painting surface" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09445-BIG.jpg", "copyright": "Diego Arquimbau, 2014", "title": "Painting a store window: rubbing the 'mu\u00f1eca' through the 'esp\u00falvero' to pass the drawing onto the glass" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09446-BIG.jpg", "copyright": "Diego Arquimbau, 2014", "title": "Painting a store window: the painting starts with the plain colours" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09447-BIG.jpg", "copyright": "Diego Arquimbau, 2014", "title": "Painting a store window: after the plain colours are done, the 'yap\u00e1n' (coloured varnish) is added, in order to give volume to the painting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09448-BIG.jpg", "copyright": "Diego Arquimbau, 2014", "title": "Painting a store window: the technique of filete painting requires the use of the little finger as a support and guide to the hand that holds the paintbrush" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09449-BIG.jpg", "copyright": "Diego Arquimbau, 2014", "title": "Painting a store window: after the 'yap\u00e1n', light is added to complete the illusion of volume" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09450-BIG.jpg", "copyright": "Diego Arquimbau, 2014", "title": "Painting a store window: some of the filete classic ornaments are present - acanthus leaves, spirals, buttons and flowers, painted in vibrant colours" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09451-BIG.jpg", "copyright": "Diego Arquimbau, 2014", "title": "Painting a store window: finished work that includes its author signature" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=FCLT3zGxNNk", "copyright": "Diego Aqruimbau, 2014", "title": "Filete porte\u00f1o" }, { "url": "https:\/\/www.youtube.com\/watch?v=0zbEa_g_wgU", "copyright": "Diego Aqruimbau, 2014", "title": "Filete porte\u00f1o" } ], "sustainability": "" } }, "element_1073": { "type": "element", "label": "Summer solstice fire festivals in the Pyrenees", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09388-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09388-HUG.jpg" }, "description": "The summer solstice fire festivals take place in the Pyrenees each year on the same night when the sun is at its zenith. Once night falls, people from different towns and villages carry flaming torches down the mountains to light a variety of traditionally constructed beacons. The descent is a special moment for young people, signifying the transition from adolescence to adulthood. The festival is considered a time for regenerating social ties and strengthening feelings of belonging, identity and continuity with celebrations including popular folklore and communal dining. Roles are assigned to specific people. In some municipalities, the mayor is involved with lighting the first beacon. In others, a priest blesses or lights the fire. Elsewhere, the most recently married man lights the fire and leads the descent to the village. Often, young unmarried girls await the arrival of the torchbearers in the village with wine and sweet pastries. In the morning, people collect embers or ashes to protect their homes or gardens. The element has deep roots among local communities and is perpetuated thanks to a network of associations and local institutions. The most important locus of transmission is the family, where people keep the memory of this heritage alive.", "list": "RL", "year": 2015, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/summer-solstice-fire-festivals-in-the-pyrenees-01073", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09382-BIG.jpg", "copyright": "Santisanchez, 2013", "title": "Transmission et apprentissage. Filles et gar\u00e7ons, d\u00e8s leur plus jeune \u00e2ge, les techniques pour la construction des falles, mais aussi le respect pour la nature et les secrets des montagnes et des for\u00eats. Ici, en train de d\u00e9tacher l'\u00e9corce argent\u00e9e du bouleau" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09383-BIG.jpg", "copyright": "Ester Sirat 2012", "title": "Mise en place du haro. L'effort solidaire, la participation de toute la population, le rapprochement, les retrouvailles, le respect mutuel, la g\u00e9n\u00e9rosit\u00e9, font de ce rituel un moment de communion collective" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09384-BIG.jpg", "copyright": "Miqul Gimenez", "title": "Regroupement de fallaires sur le faro. Moment de grande \u00e9motion avant d'allumer les falles et de commencer la descente. Pour certains jeunes qui descendront pour la premi\u00e8re fois elle signifiera un d\u00e9fi et le rite de passage de l'adolescence \u00e0 l'\u00e2ge adulte" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09385-BIG.jpg", "copyright": "Merc\u00e8 Monzonis 2010", "title": "D\u00e9clenchement de la descente. La nuit tomb\u00e9e, sous l'ordre du plus exp\u00e9riment\u00e9 du groupe, comme lib\u00e9r\u00e9s d'une attente pesante sur le faro, les fallaires, tel un grand serpent de feu, commencent une descente fr\u00e9n\u00e9tique et exigeante, sur le fond d'\u00e9motions et de hurlements" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09386-BIG.jpg", "copyright": "Joan Perelada 2013", "title": "La nuit du feu. Partout dans les vall\u00e9es, avec une synchronisation quasi parfaite, un fourmillement de feux jaillit. Les f\u00eates du feu sont \u00e0 leur apog\u00e9e. Les flammes, les braisiers, les \u00e9tincelles, les fum\u00e9es impr\u00e8gnent les montagnes de magie et de bonheur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09387-BIG.jpg", "copyright": "Roc Garcia-Elias Cos", "title": "Un moment de recueillement. Rituel empli d'\u00e9motion pour honorer les anc\u00eatre et les compagnons disparus. Sur la porte du cimeti\u00e8re une croix est dessin\u00e9e \u00e0 l'aide de la falla pour t\u00e9moigner d'un sentiment profond et de la perp\u00e9tuation de la communaut\u00e9 et de la f\u00eate" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09388-BIG.jpg", "copyright": "Hector Navarri 2013", "title": "Le langage du feu. Chaque type de falla, de haro ou de brandon implique des fa\u00e7ons diff\u00e9rentes de s'embraser et de br\u00fbler, et de gestes sp\u00e9cifiques aux fallaires. Cela produit des graphismes \u00e9ph\u00e9m\u00e8res d'une grande beaut\u00e9, fascinants, presque irr\u00e9els" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09389-BIG.jpg", "copyright": "Albert Piqu\u00e9 2012", "title": "Les gestes d'une tradition mill\u00e9naire. Passant presque inaper\u00e7us pour les non-habitu\u00e9s, tout au long de la nuit se succ\u00e8dent, de fa\u00e7on pr\u00e9cise, des moments et des gestes rituels. Tous sont profond\u00e9ment int\u00e9rioris\u00e9s par chaque membre de la communaut\u00e9. Ici, le lancement des falles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09390-BIG.jpg", "copyright": "Dominique Fournier 2012", "title": "Le feu au centre de la f\u00eate. Grand protagoniste d'une nuit sans pareil pour les communaut\u00e9s pyr\u00e9n\u00e9ennes, le feu investit et illumine les lieux les plus embl\u00e9matiques de tous les villages, mais aussi les c\u0153urs et les visages de leurs populations" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PcUd9AShVyc", "copyright": "ACMEMFP", "title": "Les f\u00eates du feu du solstices d'\u00e9t\u00e9 dans les Pyr\u00e9n\u00e9es : falles, haros et brandons" }, { "url": "https:\/\/www.youtube.com\/watch?v=F4rPxG54GbM", "copyright": "ACMEMFP", "title": "Les f\u00eates du feu du solstices d'\u00e9t\u00e9 dans les Pyr\u00e9n\u00e9es : falles, haros et brandons" } ], "sustainability": "" } }, "element_1075": { "type": "element", "label": "Bagpipe culture", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09636-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09636-HUG.jpg" }, "description": "Bagpipe culture consists of a wide range of expressions and knowledge associated with bagpipes and their use, including music repertoire, style and ornamentation, songs, dances, instrument-making, folk customs and traditions and special verbal expressions. The bagpipe tradition exists throughout Slovakia, with regional differences concerning technical details, tuning, ornaments and know-how, and corresponding songs and dance repertoire. The main bearers and practitioners of the element are bagpipe makers and players, as well as other musicians, singers and dancers performing in groups with bagpipe players. Many of the attributes of bagpipe culture are hallmarks of traditional folk culture in Slovakia with links to the natural environment, such as construction methods (use of goat skin) or the aesthetic forms of instruments (other domains of local folk art), local and individual styles of interpretation of songs and repertoire. Bagpipe culture is transmitted from generation to generation within the family and community and via formal and non-formal education. A community is proud to have a bagpipe player and when a bagpiper attends a community social event, the music generates a sense of identity shared among all members of the community.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/bagpipe-culture-01075", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09635-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Center", "title": "Bagpiper Adri\u00e1n Matis (born 2001) from Oravsk\u00e1 Polhora performing during the Representative List of the Intangible Cultural Heritage of Slovakia Proclamation Ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09636-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Center", "title": "Bernard Garaj - foreman of the Guild of the Slovak Bagpipers (born 1935) from Zlat\u00e9 Moravce performing during the 'Bagpipers Carnival' festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09637-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Center", "title": "Bagpiper Pavol Ku\u017ema (born 1942) from \u010cadca town. Slovak Intangible Cultural Heritage Center photo documentation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09638-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Center", "title": "Bagpiper L'ubom\u00edr Tatarka (born 1958) from Slovensk\u00e1 L'up\u010da. Slovak Intangible Cultural Heritage Center photo documentation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09639-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Center", "title": "Bagpipes - construction components: chanter handle with goat head shape called 'kozi\u010dka', drone ans chanter handles. Slovak Intangible Cultural Heritage Center photo documentation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09640-BIG.jpg", "copyright": "Oravsk\u00e1 Polhora village", "title": "Bagpiper Jozef Lusco\u0148 and singer Margita Kur\u00e1kov\u00e1 presenting to the children at primary school in the village of Oravsk\u00e1 Polhora the traditional way of singing along the bagpipes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09641-BIG.jpg", "copyright": "Oravsk\u00e1 Polhora village", "title": "Bagpipers are preparing to perform at the 'Gajdova\u010dka' festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09642-BIG.jpg", "copyright": "Oravsk\u00e1 Polhora village", "title": "Bagpipers are preparing to perform at the 'Gajova\u010dka' festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09643-BIG.jpg", "copyright": "Tibor Szabo", "title": "A bagpiper and a violinist from the region of Orava - Jozef Lusco\u0148 (born 1932) and L'udov\u00edt Borovka (born 1941) - in parade of Folklore Festival 'V\u00fdchodn\u00e1'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09644-BIG.jpg", "copyright": "Tibor Szabo", "title": "Bagpiper Jozef Rajnoha plays bagpipes behind the table, on the left side the bagpiper Gust\u00e1v Adamec, on the right side the bagpipe maker Michal Mokr\u00fd" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Mz5gJjU496E", "copyright": "Slovak Intangible Cultural Heritage Centre, 2014", "title": "Bagpipes and bagpipe culture in Slovakia" } ], "sustainability": "" } }, "element_1076": { "type": "element", "label": "Majlis, a cultural and social space", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09375-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09375-HUG.jpg" }, "description": "Majlis are \u2018sitting places\u2019 where community members gather to discuss local events and issues, exchange news, receive guests, socialize and be entertained. The Majlis is where the community gathers to resolve problems, pay condolences and hold wedding receptions. It is typically a large space with carpets on the floor and cushions against the wall. There is usually a stove or fire to prepare coffee and other hot beverages. The Majlis space is open to all people and may be frequented by family members, tribes and inhabitants of the same neighbourhood, and other remote neighbourhoods. Community elders are considered true bearers, especially those with extensive knowledge concerning nature, genealogy and tribal history. Judges and religious sheikhs have special importance in the Majlis as they adjudicate on disputes and clarify political, social and religious rights and responsibilities. Women have their own Majlis, although some prominent women attend other Majlis, which are particularly academic or literary in nature. Majlis also play an important role in the transfer of oral heritage, including folk stories, folk songs and \u2018Nabati\u2019 poetry. As Majlis spaces are open to all age groups knowledge is mostly transmitted informally as children accompany community members on their visits. Through observing elders in the Majlis, young people learn the manners and ethics of their community, dialogue and listening skills, and respect for the opinion of others.", "list": "RL", "year": 2015, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/majlis-a-cultural-and-social-space-01076", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09372-BIG.jpg", "copyright": "Abu Dhabi Tourism and Culture Authority (TCA), 2003", "title": "Al Hadeera Majlis: Bedouins sitting in a circle in the open air. A fire is lit in the center of the Majlis for light, heat and preparing coffee. The fire is also used as a guide for travellers and those lost in the desert." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09373-BIG.jpg", "copyright": "Ministry of Culture, Arts and Heritage, Qatar, 2008", "title": "A Qatari Bedouin Majlis: tribe men sitting around the fire making Arabic coffee. There are many types of majlis in the four States, one of them is the Bedouin tent." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09374-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Oman, 2014", "title": "An Omani wedding ceremony held in a Majlis" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09375-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Oman, 2008", "title": "Different age groups from a community in Oman meet together and get to know each other in the Majlis; they discuss the various affairs of the society." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09377-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Oman, 2014", "title": "Almost every Sheikh, Amir and Prince has his own Majlis in which he receives his followers. Large number of Omanis sitting in VIP majlis." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09380-BIG.jpg", "copyright": "Abu Dhabi Tourism & Culture Authority (TCA), 2008", "title": "Teaching children the social etiquette and traditions of the Majlis, especially those related to visiting such places: wearing traditional costume, respecting the elderly and observing entrance and exit etiquette by a member of an NGO." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09964-BIG.jpg", "copyright": "Ministry of Culture, Arts and Heritage, Qatar, 2014", "title": "A poetry recital in a modern Majlis in Qatar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09965-BIG.jpg", "copyright": "Ministry of Culture and Information, Saudi Arabia, 2011", "title": "A tent Majlis in the courtyard of a house" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09966-BIG.jpg", "copyright": "Abu Dhabi Tourism and Culture Authority, 2004", "title": "Using incense (Dukhoon) in the Majlis: The incense is a distinctive tradition and heritage of the Gulf. It burns slowly without emanating much smoke, but fills the air with pleasant fragrance." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=59KQbS1DMpQ", "copyright": "Abu Dhabi Tourism and Culture Authority (TCA)", "title": "Majlis, a cultural and social space" } ], "sustainability": "Majlis, meaning \u201csitting place,\u201d is a multifunctional cultural and social space found in the United Arab Emirates, Saudi Arabia, Oman, and Qatar. The Majlis is a centuries-old Arab tradition of gathering in a designated space to transmit traditional knowledge, share oral traditions, celebrate events, pay condolences, and arbitrate disputes. The Majlis is open to all people and serves to bring together families in the same neighbourhood to share knowledge and strengthen community bonds. Some Majlis are organized by state leaders or the heads of tribes to receive complaints and requests. There are also Majlis for women, and today women are free to join academic and literary Majlis. The Majlis follows a specific tradition of Arabic hospitality, where hosts demonstrate respect and deference for guests. This element also links to SDG #4: Quality Education and SDG #16: Peace, Justice, and Strong Institutions." } }, "element_1077": { "type": "element", "label": "Carnival of Granville", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09765-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09765-HUG.jpg" }, "description": "The Carnival of Granville is a four-day celebration that takes place in the lead up to Shrove Tuesday involving members of the community and nearby communes. Opening with the mayor handing the keys to King Carnival (a papier mache figure), it begins with a series of float processions interspersed with marching bands. The floats, about 40 in total, often take a humorous look at current events, politics and celebrities and involve the work of 2,500 \u2018carnivalists\u2019 who spend six months creating them, as well as smaller modules that also feature. Each \u2018carnivalist\u2019 is part of a committee representing an area of the town or a group of friends, colleagues or families involved. Local departments also assist, constructing some of the floats and contributing to the overall logistics. Social balls for different age groups are held, as well as a confetti battle in the town square. The festivities finish with a \u2018night of intrigues\u2019 when carnival-goers disguised in costume joke with loved ones or settle scores with impunity. Finally, the king is sentenced and cremated in the port. Attracting 100,000 spectators annually, the Carnival of Granville contributes to community unity and a sense of belonging. Associated knowledge is transmitted within families and committees.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/carnival-of-granville-01077", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09761-BIG.jpg", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville, 2014", "title": "Affiche officielle dessin\u00e9e par un enfant" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09762-BIG.jpg", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville, 2014", "title": "Construction des chars" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09763-BIG.jpg", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville, 2014", "title": "Remise des cl\u00e9s de la ville par le maire de Granville" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09764-BIG.jpg", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville, 2014", "title": "Tradition familiale et transmission" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09765-BIG.jpg", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville, 2014", "title": "La grande cavalcade du dimanche" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09766-BIG.jpg", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville, 2014", "title": "Esprit satirique des chars" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09767-BIG.jpg", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville, 2014", "title": "Musique et fanfare" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09768-BIG.jpg", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville, 2014", "title": "Un des trois bals du carnaval" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09769-BIG.jpg", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville, 2014", "title": "Nuit des Intrigues \u00e0 Mardi Gras chez les habitants" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09770-BIG.jpg", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville, 2014", "title": "Cr\u00e9mation du Roi Carnaval" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=cKZyWVZtTpw", "copyright": "Comit\u00e9 d'organisation du carnaval de Granville", "title": "Le carnaval de Granville" } ], "sustainability": "" } }, "element_1078": { "type": "element", "label": "Al-Razfa, a traditional performing art", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09364-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09364-HUG.jpg" }, "description": "Al-Razfa is a traditional performing art practised throughout the United Arab Emirates and the Sultanate of Oman. It is performed by men of all ages and classes during social occasions, such as weddings and national festivals. Male performers form two facing lines with dancers filling the space between. Led by the main singer, the two rows create a dual chorus, singing chants in an antiphonal manner to the accompaniment of drums and other instruments. Many chants are verses of traditional Nabati poetry, carefully selected to match the occasion. The dancers perform choreographed movements to the music while holding wooden replica rifles in their hands and in some cases, young girls swing their hair in time to the music. Originally performed as a communal celebration of victory, Al-Razfa is now widely popular as a form of entertainment. Practitioners have adapted musical instruments and composed melodies to interest younger audiences while maintaining the older expressions and oral traditions of the art. Performers may include heads of State and elders or very young children. Today, Al-Razfa is transmitted directly within the family through participation and observation at social occasions. The roles of individual performers are learnt by practice, while girls receive instruction from their mothers and older sisters.", "list": "RL", "year": 2015, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-razfa-a-traditional-performing-art-01078", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09362-BIG.jpg", "copyright": "Abu Dhabi Tourism and Culture Authority, 2014", "title": "Al-Razfa performance at the Janadriya Festival in February 2014 attracted a large turnout of citizens of Saudi Arabia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09363-BIG.jpg", "copyright": "Abu Dhabi Tourism and Culture Authority, 2013", "title": "An elder performer teaching young children Al-Razfa in Abu Dhabi Traditional Handicraft Festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09364-BIG.jpg", "copyright": "Abu Dhabi Tourism and Culture Authority, 2011", "title": "H.H. Sheikh Tahnoon Bin Mohamed Al-Nahyan, the representative of Abu Dhabi ruler in the eastern region, performing Al-Razfa in Al-Ain, UAE" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09365-BIG.jpg", "copyright": "Abu Dhabi Tourism and Culture Authority, 2008", "title": "Young girls participating in Al-Razfa, dancing and swinging their long hair in tune to the strong beat of music, UAE" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09366-BIG.jpg", "copyright": "Ministry of Heritage and Culture, 2014", "title": "Omani performers of Al-Razfa in an event in March 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09367-BIG.jpg", "copyright": "Ministry of Heritage and Culture, 2014", "title": "Omani Juwaila move their sticks from side to side in time with the rhythm of the music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09369-BIG.jpg", "copyright": "Abu Dhabi Tourism and Culture Authority, 2014", "title": "During the 1990\u2019s, drums were introduced and in this century, electronic keyboards were added. This has become popular, especially with the younger generation. The photo shows traditional Razfat Al-Harbiya troupe performing with an electronic keyboard, Al-Ain, UAE." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09370-BIG.jpg", "copyright": "Ministry of Heritage and Culture, 2014", "title": "Omani community members, researchers and heritage bearers participating in a workshop organized by the Ministry of Culture and Heritage in 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09371-BIG.jpg", "copyright": "Abu Dhabi Tourism and Culture Authority, 2014", "title": "Signing support letters for Al-Razfa nomination to the Representative List during a workshop organized by TCA Abu Dhabi and the Ministry of Culture, Sultanate of Oman" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09963-BIG.jpg", "copyright": "Ministry of Heritage and Culture, 2014", "title": "Performing Al-Razfa at the third Oman Folk Festival (2014) in Sohar Province. During the festival they announced the nomination of Al-Razfa as a multinational file with UAE for inscription on the Representative List of the Intangible Cultural Heritage of Humanity." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=gCU1BLYcWpE", "copyright": "2014, Abu Dhabi Tourism & Culture Authority (TCA)", "title": "Al-Razfa, a traditional performing art" } ], "sustainability": "" } }, "element_1080": { "type": "element", "label": "Tugging rituals and games", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09429-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09429-HUG.jpg" }, "description": "Tugging rituals and games in the rice-farming cultures of East Asia and Southeast Asia are enacted among communities to ensure abundant harvests and prosperity. They promote social solidarity, provide entertainment and mark the start of a new agricultural cycle. Many tugging rituals and games also have profound religious significance. Most variations include two teams, each of which pulls one end of a rope attempting to tug it from the other. The intentionally uncompetitive nature of the event removes the emphasis on winning or losing, affirming that these traditions are performed to promote the well-being of the community, and reminding members of the importance of cooperation. Many tugging games bear the traces of agricultural rituals, symbolizing the strength of natural forces, such as the sun and rain while also incorporating mythological elements or purification rites. Tugging rituals and games are often organized in front of a village\u2019s communal house or shrine, preceded by commemorative rites to local protective deities. Village elders play active roles in leading and organizing younger people in playing the game and holding accompanying rituals. Tugging rituals and games also serve to strengthen unity and solidarity and sense of belonging and identity among community members.", "list": "RL", "year": 2015, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/tugging-rituals-and-games-01080", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09422-BIG.jpg", "copyright": "Siyonn Sophearith, 2013", "title": "A referee, who is a village elder, counts from one to three for the two tugging teams to start pulling the rope, Cambodia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09423-BIG.jpg", "copyright": "Siyonn Sophearith, 2013", "title": "An elderly women encourages one side of the tugging team to exert all the energy to win the competition, Cambodia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09424-BIG.jpg", "copyright": "Siyonn Sophearith, 2013", "title": "Two tugging teams are trying to pull the rope in order to win each other, Cambodia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09425-BIG.jpg", "copyright": "Renato S. Rastrollo, NCCA", "title": "Arrival of participants from Barangay Baang bearing the pakid decorated with dong-a leaves. In front are women and children waving the red leaves as they march to the river, Philippines" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09426-BIG.jpg", "copyright": "Renato S. Rastrollo, NCCA", "title": "The contending men from Barangay Hapao in the foreground and Barangay Baang. Due to the strong current in the original site of the Punnuk, the actual tugging was transferred to another part of the river where the water was less violent, Philippines" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09427-BIG.jpg", "copyright": " Vietnam Institute of Culture and Arts Studies, 2013", "title": "The Viet in Huu Chap village, Bac Ninh province chose wealthy young men in the 'unstained' families participating in the tugging game and divided them into two teams: East and West. The East always wins, symbolising a good harvest, Viet Nam" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09428-BIG.jpg", "copyright": " Vietnam Institute of Culture and Arts Studies, 2013", "title": "Tugging festival in Huong Canh village, Vinh Phuc province. Tugging cord is made of an approximately 50 meter-length rattan cord. Tugging game and ritual of this community is considered a demonstration of the old navy training of King Ngo Quyen, Viet Nam" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09429-BIG.jpg", "copyright": "Joo Byung Soo, 2006", "title": "The participants of Gijisi Juldarigi pulling the female rope to the place where the game will be held, Republic of Korea" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09430-BIG.jpg", "copyright": "Joo Byung Soo, 2006", "title": "The participants of Gijisi Juldarigi pulling each strand of the rope during tugging ritual, Republic of Korea" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=hVNa5PG00RI", "copyright": "B Plus Pictures, 2014", "title": "Tugging rituals and games" } ], "sustainability": "" } }, "element_1086": { "type": "element", "label": "Kazakh traditional Assyk games", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10886-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10886-HUG.jpg" }, "description": "Kazakh traditional Assyk games are an ancient tradition in Kazakhstan. Each player has their own set of \u2018Assyks\u2019, traditionally made out of the talus bone of a sheep, and a \u2018Saka\u2019 dyed in bright colours. Players use their Assyk to knock out other Assyks from the field, and the focus is on the position of the bone. The community concerned comprises most of the population of Kazakhstan, including members of the Federation \u2018Assyk Atu\u2019 Game as well as the larger community of practitioners, mainly children aged between four and eighteen. The element is an outdoor activity that helps develop children\u2019s analytical thinking and physical state, fostering friendship and social inclusiveness. It is also a good model for positive collaboration, uniting people regardless of their age, ethnic background or religious affiliation. It is widely practised at festive celebrations and gatherings, and the community plays a key role in safeguarding the practice, as well as in popularizing it among other ethnic groups in Kazakhstan, turning it into a national symbol of childhood. It is transmitted from older boys to younger ones through observation, as well as through radio and TV documentaries aimed at encouraging children to play Assyk and acquainting people with their cultural heritage.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kazakh-traditional-assyk-games-01086", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10883-BIG.jpg", "copyright": "2015 by Studio 'Mergen', Kazakhstan", "title": "Adult Assyk player during a festive celebration in Astana" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10884-BIG.jpg", "copyright": "2015 by Studio 'Mergen', Kazakhstan", "title": "Assyks in the grass" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10885-BIG.jpg", "copyright": "2015 by Studio 'Mergen', Kazakhstan", "title": "Children play Assyks in the country" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10886-BIG.jpg", "copyright": "2015 by Studio 'Mergen', Kazakhstan", "title": "Children choosing a game to play" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10887-BIG.jpg", "copyright": "2015 by Studio 'Mergen', Kazakhstan", "title": "Assyks on pavement in an urban setting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10888-BIG.jpg", "copyright": "2015 by Studio 'Mergen', Kazakhstan", "title": "Assyks" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10889-BIG.jpg", "copyright": "2015 by Studio 'Mergen', Kazakhstan", "title": "'Altyn Saka' tournament" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10890-BIG.jpg", "copyright": "2015 by Studio 'Mergen', Kazakhstan", "title": "'Altyn Saka' tournament 2" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10891-BIG.jpg", "copyright": "2015 by Studio 'Mergen', Kazakhstan", "title": "'Altyn Saka' tournament 3" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10892-BIG.jpg", "copyright": "2015 by Studio 'Mergen', Kazakhstan", "title": "The tournament's panel of judges" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ssxBdC2fNDM", "copyright": "A. Kamenskiy, Kazakhstan, 2015", "title": "Kazakh traditional Assyk games" } ], "sustainability": "" } }, "element_1085": { "type": "element", "label": "Kuresi in Kazakhstan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09842-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09842-HUG.jpg" }, "description": "Kuresi in Kazakhstan is a type of wrestling that requires players to battle it out on foot, the objective being to get the opponent\u2019s shoulders on the ground. It is a traditional practice where trainers would coach young boys who would then take part in local contests. These days, kuresi in Kazakhstan is a national sport practised by men and women, up to professional level. International competitions also take place, such as the annual tournament the Kazakhstan Barysy, broadcast in more than 100 countries. Transmission of kuresi in Kazakhstan occurs in sports clubs, which may also be affiliated to schools, as well as via master classes run by experienced kuresi wrestlers. The minimum age of learners can be as young as 10 and no restrictions apply concerning the background of participants. The sport of kuresi also has a place in traditional folklore in Kazakhstan. The wrestlers, known as Baluans, have been regarded as strong and courageous and depicted as such in epics, poetry and literature. The practice of kuresi teaches younger generations in Kazakhstan to respect their history and culture, and aim to be like the heroic Baluans. It also helps to build tolerance, goodwill and solidarity amongst communities.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kuresi-in-kazakhstan-01085", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09841-BIG.jpg", "copyright": "Kazakhstanbarysy.kz, 2013", "title": "Wrestling of Baluans" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09842-BIG.jpg", "copyright": "Kazakhstanbarysy.kz, 2013", "title": "Wrestling of Baluans 2" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09843-BIG.jpg", "copyright": "Kazakhstanbarysy.kz, 2013", "title": "Wrestling of Baluans 3" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09844-BIG.jpg", "copyright": "Kazakhstanbarysy.kz, 2013", "title": "National Kazakh Kuresi Team" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09845-BIG.jpg", "copyright": "Kazakhstanbarysy.kz, 2013", "title": "Junior contest \"Altyn Belbey\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09846-BIG.jpg", "copyright": "Kazakhstanbarysy.kz, 2013", "title": "Scientific-practical conference \"Evolution of Kazakh Kuresi uniform and equipment\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09847-BIG.jpg", "copyright": "Kazakhstanbarysy.kz, 2013", "title": "Exhibition of literature on Kazakh Kuresi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09848-BIG.jpg", "copyright": "Kazakhstanbarysy.kz, 2013", "title": "Exhibition of uniform" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09849-BIG.jpg", "copyright": "Kazakhstanbarysy.kz, 2013", "title": "Regional contests on Kazakh Kuresi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09850-BIG.jpg", "copyright": "Kazakhstanbarysy.kz, 2013", "title": "The winners of Republican tournament on Kazakh Kuresi in Karaaul, East Kazakhstan (11-12 March 2013)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=QfhVoU7vOt4", "copyright": "", "title": "" } ], "sustainability": "" } }, "element_1089": { "type": "element", "label": "Oshituthi shomagongo, marula fruit festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09420-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09420-HUG.jpg" }, "description": "The Oshituthi shomagongo, marula fruit festival is a celebration that lasts two to three days between March and April, uniting the eight Aawambo communities of northern Namibia through the consumption of ''omagongo'', a beverage made from marula fruit. In preparation for the festival, men carve wooden goblets and small serving gourds, and tools from cattle horns to pierce the fruit. Meanwhile, women make the baskets and clay pots used for processing ''omagongo'', gather the ripened fruit with the help of young people, and extract and ferment the juice in clay pots for two to seven days. During the process, they discuss issues that affect them, such as family problems, sing traditional songs, recite poems and share knowledge about basketry and pottery-making. Processing the marula fruits brings old and young people together to share knowledge and skills, which are transmitted informally through observation, active participation and emulation. Once the fermentation process is complete, community members and guests are served ''omagongo'' and traditional cuisine. The festival is a relaxed social gathering during which communities and guests socialize, sing and dance, and men recite histories.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/oshituthi-shomagongo-marula-fruit-festival-01089", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09420-BIG.jpg", "copyright": "Ministry of Youth, National Service, Sport and Culture, 2012", "title": "Traditional entertainment at a festival hosted by Chief Mukulu of the Ombalantu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09918-BIG.jpg", "copyright": "Ministry of Youth, National Service, Sport & Culture of Namibia, 2012", "title": "Marula trees" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09919-BIG.jpg", "copyright": "Ministry of Youth, National Service, Sport & Culture of Namibia, 2012", "title": "Heap of marula fruits" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09920-BIG.jpg", "copyright": "Ministry of Youth, National Service, Sport & Culture of Namibia, 2012", "title": "Squeezing marula fruits" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09921-BIG.jpg", "copyright": "Ministry of Youth, National Service, Sport & Culture of Namibia, 2012", "title": "Pouring marula juice in a large clay pot" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09922-BIG.jpg", "copyright": "Ministry of Youth, National Service, Sport & Culture of Namibia, 2012", "title": "Containers full of juice arrive at the hut to be fermented in the clay pots" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09923-BIG.jpg", "copyright": "Ministry of Youth, National Service, Sport & Culture of Namibia, 2012", "title": "Omagongo ready to be served" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09924-BIG.jpg", "copyright": "Ministry of Youth, National Service, Sport & Culture of Namibia, 2012", "title": "Guests waiting to be served" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09925-BIG.jpg", "copyright": "Ministry of Youth, National Service, Sport & Culture of Namibia, 2012", "title": "Serving food" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09926-BIG.jpg", "copyright": "Ministry of Youth, National Service, Sport & Culture of Namibia, 2012", "title": "Eating traditional cuisine" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ZtF6q7GXtzo", "copyright": "Ministry of Youth, National Service, Sport & Culture of Namibia, 2012", "title": "Oshituthi shomagongo" } ], "sustainability": "Centered on the production and consumption of a beverage called omagongo made from marula fruit, this festival is a combination of various traditional elements valued by the Aawambo communities in Namibia. It encompasses traditional craftsmanship, performances, social rituals, food preparation, and observance of customary laws promoting peace and compassion. There is a sharing of roles among the male and female members. Males tend the trees while females gather ripened fruits and ferment them in handmade clay pots. The prepared drink is served during the festival to mark the new agricultural cycle and celebrate peace. It is also believed to possess curative health qualities. The agricultural and cultural knowledge manifested by this festival is therefore a testament to the Aawambo community\u2019s sense of continuity as well as their recognition of health and well-being. Their customary laws serve to protect the marula trees and bring about the preservation of the natural environment for sustainable land use and food production. This element also links to SDG # 3: Good Health and Well-being, SDG # 12: Responsible Production and Consumption, SDG #15: Life on Land, and SDG #16: Peace, Justice and Strong Institutions." } }, "element_1091": { "type": "element", "label": "Mangal Shobhajatra on Pahela Baishakh", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09792-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09792-HUG.jpg" }, "description": "Mangal Shobhajatra is a festival organized by students and teachers of Dhaka University\u2019s Faculty of Fine Art in Bangladesh open to the public to celebrate Pahela Baishakh (New Year\u2019s Day). Taking place on April 14, the tradition of Mangal Shobhajatra began in 1989 when students, frustrated with having to live under military rule, wanted to bring people in the community hope for a better future. Members of the university faculty work together a month before the festival to create masks (said to drive away evil forces and allow for progress) and floats. Among works made for the festival at least one will represent evil, another courage and strength and a third, peace. Items to sell on the day are also produced as a source of funding, such as paintings on Bangladesh folk heritage. The Mangal Shobhajatra festival symbolizes the pride the people of Bangladesh have in their folk heritage, as well as their strength and courage to fight against sinister forces, and their vindication of truth and justice. It also represents solidarity and a shared value for democracy, uniting people irrespective of caste, creed, religion, gender or age. Knowledge and skills are transmitted by students and teachers within the community.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mangal-shobhajatra-on-pahela-baishakh-01091", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09790-BIG.jpg", "copyright": "Bangla Academy,2 014", "title": "A pair of birds being ready in the campus of the Faculty of Art for Mangal Shobhajatra on Pahela Baishahk. These two birds, symbolic of asupiciousness, will be in front of the vibrant procession." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09791-BIG.jpg", "copyright": "Bangla Academy, 2014", "title": "A reptile being ready in the campus of the Faculty of Art for Mangal Shobhajatra on Pahela Baishakh. The reptile signifies the sinister forces against which the people are determined to fight to safeguard democracy and their freedom." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09792-BIG.jpg", "copyright": "Bangla Academy, 2014", "title": "A student of the Faculty of Fine Art painting a mask for use in Mangal Shobhajatra on Pahela Baishakh. The activists carry a wide range of colourful masks when they participate in the vibrant procession on 14 April." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09793-BIG.jpg", "copyright": "Bangla Academy, 2014", "title": "Two students of the Faculty of Fine Art painting masks for use in Mangal Shobhajatra on Pahela Baishakh." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09794-BIG.jpg", "copyright": "Bangla Academy, 2014", "title": "Large artifacts made by the students under the supervision of their teachers have been placed on hand-pulled carts in the campus of the Faculty of Fine Art jsut before the beginning of Mangal Shobhajatra on Pahela Baishakh." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09795-BIG.jpg", "copyright": "Bangla Academy, 2014", "title": "Thousands of people participating in Mangal Shobhajatra on Pahela Baishakh organized annually by the teachers and students of the Faculty of Fine Art of the University of Dhaka in Dhaka City." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09796-BIG.jpg", "copyright": "Bangla Academy, 2014", "title": "A colossal monster breathing out menacingly is seen in Mangal Shobhajatra on Pahela Baishakh. It also signifies the sinister forces." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09798-BIG.jpg", "copyright": "Bangla Academy, 2014", "title": "Revellers dressed as typical Bangalee farmers are seen in Mangal Shobhajatra on Pahela Baishakh." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09799-BIG.jpg", "copyright": "Bangla Academy, 2014", "title": "Activits carrying colourful masks make a spectacular scene in Mangal Shobhajatra on Pahela Baishakh." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09800-BIG.jpg", "copyright": "Bangla Academy, 2014", "title": "A white dove is seen in Mangal Shobhajatra on Pahela Baishakh. It symbolizes peace." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=z-3LLDLJ9Fg", "copyright": "Bangla Academy 2014", "title": "Mangal Shobhajatra on Pahela Baishakh" } ], "sustainability": "Mangal Shobhajatra is a festival that celebrates Pahela Baishakh or New Year\u2019s Day in Bangladesh. It was first organized in 1989 by university students and teachers in response to several factors that threatened the country\u2019s stability, including severe flooding and the imposition of military rule. Today it is a commemorative annual event that encompasses the people\u2019s pride and courage to fight for unity, justice and freedom. People make masks and floats using traditional craftsmanship and iconography to symbolize their wish to drive away evil forces and call for societal progress. The living heritage represents unity of people from all social backgrounds who share the values of democracy and aspire to a sustainable society. The festival also links to SDG #4 Quality Education, SDG #5 Gender Equality and SDG #10 Reduced Inequalities." } }, "element_1092": { "type": "element", "label": "Lad\u2019s dances in Romania", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09877-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09877-HUG.jpg" }, "description": "Lad\u2019s dances are a genre of men\u2019s folk dance in Romania practised in community life on festive occasions, such as weddings and holidays, as well as during stage performances. Each community has its own variants, all of which display virtuosity and harmonious combinations of movement and rhythm. A special role is assigned to the dance leader and coordinator who trains and integrates group members, while the second leader is selected for his skills as a performer and leads the dance. Dancers group themselves into groups of boys and men aged 5 to 70, which may include Romanian, Hungarian and Roma dancers. This aspect contributes to intercultural dialogue and provides a context for learning more about cultural diversity, by witnessing, for example, local performers dancing at regional events or by observing choreographic styles of different ethnic groups. All community members are bearers and practitioners of the element, and taking part in the dance, be it as performers or spectators, enhances social cohesion. Lad\u2019s dances provide an opportunity for young men to strengthen their social status in traditional communities, particularly among girls and their families in anticipation of marriage.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/lad-s-dances-in-romania-01092", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09698-BIG.jpg", "copyright": "Remes Paul, 2013", "title": "It is performed in a slow tempo and syncopated rhythm, as a kind of promenade of the lads, as their preparation for what follows. In a circle formation, free posture, the dancers perform (walking more to the right) simple steps" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09700-BIG.jpg", "copyright": "C\u00eempeanu Mircea, 2013", "title": "This is a Romanian dance, performed also by the Hungarians from Romania, but on Romanian melodies. It is different only by style, a more interrupted style at Hungarians" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09701-BIG.jpg", "copyright": "Zamfir Dejeu, 2013", "title": "This is a Romanian dance, performed also by the Gypsies on Romanian melodies. The dancers use a lot of choreographic exhibitionist elements (beats on the chest, on the mouth and so on), using values of sixteenth within the choreographic elements" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09703-BIG.jpg", "copyright": "Motoc Ioan, 2013", "title": "This type of dance is the most common and it is danced also by the groups from urban areas. It is performed without the club, in a slow tempo, and the arms swing amply" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09704-BIG.jpg", "copyright": "Zamfir Dejeu, 2013", "title": "The lad who leads the row of the dancers performs a pont that is retaken by the others and so on till all the lads performed their favorite pont. In the past the dancers had swords in their hands" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09877-BIG.jpg", "copyright": "Zamfir Dejeu, 2013", "title": "During this dance in Bihor (Borod) and Zarand (\u0218icula), the men dance solo with beats on the ground, ponturi, spurs, finger snaps, hand slaps in contretemps, leaps vertically and by leaping similar to scissoring in a fast tempo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09878-BIG.jpg", "copyright": "Attila Balogh, 2003", "title": "The number of the dancers is odd. The group is led by a bailiff (a group leader). It has the club as an auxiliary element, with a propping role. Banu M\u0103r\u0103cine has a particular melody" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09879-BIG.jpg", "copyright": "Zamfir Dejeu, 2013", "title": "This dance is made of complete figures (ponturi), the new material being present from pont to pont, even at conclusion. We could say that in this type of dance the harmonic moves of arms and legs are very rich" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09880-BIG.jpg", "copyright": "Zamfir Dejeu, 2013", "title": "In this Sunday dance, the first one from the cycle is the Lads dance. A competition takes places between the dancers, cheered in rhymed shouts by the girls from aside to dance at their best" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09881-BIG.jpg", "copyright": "Zamfir Dejeu, 2013", "title": "During the dance, they perform moves of virtuosity, especially: heel clicking, spectacular hopping, leaps that give a special color to the dance. The steps are going to the right, the patters being very small" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=c6l8oS4K10k", "copyright": "Zamfir Dejeu", "title": "Lad's dances" }, { "url": "https:\/\/www.youtube.com\/watch?v=fdrZ2O9-xxw", "copyright": "Zamfir Dejeu", "title": "Lad's dances" } ], "sustainability": "" } }, "element_1094": { "type": "element", "label": "Traditional knowledge and technologies relating to the growing and processing of the curagua", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09690-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09690-HUG.jpg" }, "description": "The traditional knowledge and technologies related to the growing and processing of curagua encompass a complex set of practices concerning the cultivation of the plant and the extraction of white fibres, which are characterized by their strength, durability and softness. The fibres are woven into thread and used to produce a range of artisanal goods, such as the hammock \u2013 a traditional emblem of the region. Traditionally, men extract and process the curagua fibre because of the strength required, while women weave and manufacture the artisanal products. The practice plays a significant role in moulding the identity of the communities found in the municipality of Aguasay. It works as a mechanism of social cohesion that overcomes gender, ethnic and sociocultural barriers. It promotes diverse forms of cooperation within and between communities and family structures, wherein women take on an important role in creative labour and family income. The knowledge and technologies are passed on from one generation to the next, mainly through oral tradition, observation and imitation among family members.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-knowledge-and-technologies-relating-to-the-growing-and-processing-of-the-curagua-01094", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09686-BIG.jpg", "copyright": "Centro de la Diversidad, 2014", "title": "The communities of the municipality of Aguasay store the knowledge and techniques passed on from their ancestors on how to grow the curagua under the best conditions and yield an excellent fiber in terms of color, texture and durability" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09687-BIG.jpg", "copyright": "Centro de la Diversidad, 2014", "title": "The 'carving' of the curagua fiber requires strength and expertise. The arduous activity is usually carried out outdoors, near the crops. A skilled carver can reach an output of up to 3 Kg. of fiber per day" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09688-BIG.jpg", "copyright": "Centro de la Diversidad, 2014", "title": "Once the mostly male group of growers and carvers finish extracting the curagua, the women prepare it by washing it, putting it to dry under the sun and spinning the treads" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09689-BIG.jpg", "copyright": "Centro de la Diversidad, 2014", "title": "The curagua-related knowledge and technology mastered by the tradition bearers of the municipality of Aguassy is used to produce a resistant, durable and nice looking fiber that undergoes a special process before turning into yarn for different uses" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09690-BIG.jpg", "copyright": "Centro de la Diversidad, 2014", "title": "The chinchorro made of curagua is the most representative traditional object of the communities in the municipality of Aguassy. So far as tradition bearers are concerned, this is a space for women to create and contribute to the family" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09691-BIG.jpg", "copyright": "Centro de la Diversidad, 2014", "title": "Weaving the curagua is a painstaking task, in which the human body is used as a major tool. The creation of handicrafts is done routinely with the family circle, in between other household activities" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09692-BIG.jpg", "copyright": "Centro de la Diversidad, 2014", "title": "The goods made of curagua reflect individual and collective creativity through a combination of geometric weavings and patterns, know as 'Alegr\u00eda', 'Pa\u00f1uelo' and 'Caj\u00f3n', among others, which are in constant creation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09693-BIG.jpg", "copyright": "Centro de la Diversidad, 2014", "title": "Tradition bearers are always innovating in the manufacturing of artisanal goods. The ability to find new uses, materials and weaving techniques showcases the dynamic nature of the knowledge and technologies to the curagua" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09694-BIG.jpg", "copyright": "Centro de la Diversidad, 2014", "title": "Both men and women feel proud and passionate about the plant and its products, and share a sense of togetherness that goes beyond ethnicity, gender or age" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09695-BIG.jpg", "copyright": "Centro de la Diversidad, 2014", "title": "The transmission of knowledge and techniques relating to the curagua usually takes place at home among friends and family members; while at school, the identity-shaping power of the manifestation is reinforced at an early age" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ISoiZZWWExM", "copyright": "Centro de la Diversidad Cultural, 2014", "title": "Traditional knowledge and technologies relating to the growing and processing of the Curagua" } ], "sustainability": "The traditional knowledge and technologies related to the growing and processing of the curagua plant provide one of the main sources of economic livelihood for the communities of Aguasay. Curagua production is a complex set of practices that combines local wisdom concerning the plant cultivation and extraction of the fibers which are woven into various kinds of artisanal products. The tradition supports decent and locally rooted employment for many families. This element also links to SDG # 12: Responsible Production and Consumption, and SDG #15: Life on Land." } }, "element_1095": { "type": "element", "label": "Traditional Vallenato music of the Greater Magdalena region", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09597-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09597-HUG.jpg" }, "description": "Traditional Vallenato music fuses cultural expressions from northern Colombia, the songs of cow-herders of the Greater Magdalena region and the chants of African slaves with the traditional dance rhythms of the indigenous people of the Sierra Nevada de Santa Marta. These expressions are also blended with Spanish poetry and musical instruments of European derivation. The lyrics of traditional Vallenato music interpret the world through stories that mix realism and fantasy, expressed through songs that are nostalgic, joyful, sarcastic and humorous. Traditional instruments include a small drum played with the hands, a wooden ribbed stick played with a wire comb, and an accordion. Traditional Vallenato music falls into four main rhythms or beats known as airs, each of which has a distinctive rhythmic pattern. Traditional Vallenato music is performed at Vallenato music festivals and crucially at ''parrandas'' where friends and family gather, thus playing a crucial role in building a regional shared identity. It is also transmitted by teaching in formal academic settings. The element faces a number of risks to its viability, however, notably the armed conflict in Colombia fuelled by drug trafficking. In addition, a new wave of Vallenato is marginalizing traditional Vallenato music and diminishing its role in social cohesion. Lastly, the use of street spaces for Vallenato ''parrandas'' is declining, removing a crucial space for intergenerational transfer of musical knowledge.", "list": "USL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/traditional-vallenato-music-of-the-greater-magdalena-region-01095", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09591-BIG.jpg", "copyright": "Seb\u00e1stian Londo\u00f1o Camacho (2013)", "title": "Old accordion, one of the first that was introduced in the Colombian Caribbean region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09592-BIG.jpg", "copyright": "Seb\u00e1stian Londo\u00f1o Camacho (2013)", "title": "Vallenato singer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09593-BIG.jpg", "copyright": "Seb\u00e1stian Londo\u00f1o Camacho (2013)", "title": "The guitar still gives its chords to make traditional vallenato airs and one can hear romantic versions of it played by the bearers of the tradition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09594-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, Revista Semana 2007", "title": "Traditional musician" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09595-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, Revista Semana 2007", "title": "Traditional musician, Jos\u00e9 Villafa\u00f1e \u00c1lvarez" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09596-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, Revista Semana 2007", "title": "Party at Guatapiri river" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09597-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, Revista Semana 2007", "title": "Traditional musician, Omar Geles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09598-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, Revista Semana 2007", "title": "Traditional musician, Hugo Carlos Granados, three times winner in the most important festival of Vallenato in Colombia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09600-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, Revista Semana 2007", "title": "Traditional boy musician, Antoni Maya" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09601-BIG.jpg", "copyright": "Le\u00f3n Dario Pel\u00e1ez, Revista Semana 2007", "title": "Virgen del Rosario Peregrination" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=SCsPy_adLb4", "copyright": "", "title": "La m\u00fasica vallenata tradicional del Caribe colombiano" } ], "sustainability": "" } }, "element_1098": { "type": "element", "label": "Community project of safeguarding the living culture of Rovinj\/Rovigno: the Batana Ecomuseum", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09785-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09785-HUG.jpg" }, "description": "A batana is a type of traditional fishing boat found in Rovinj, Croatia. Important to the town\u2019s trade and heritage, with craftsmanship methods handed down by families, it became scarce with the popularity of industrial models until 2004 when local enthusiasts started an association to help safeguard it and its associated practices (an old dialect and traditional songs). The not-for-profit House of Batana, with the support of the municipality, the Heritage Museum of the City of Rovinj, Rovinj Historic Research Centre, the Italian Community of Rovinj and an eco-museology expert created the Batana Ecomuseum to raise public awareness and provide training on practices linked to the batana. It features a permanent exhibition showcasing how the batana is built and fishing equipment is made, as well as the variety of fishing activities conducted; runs workshops on constructing the boat, also available for shipbuilders; publishes expert material; hosts regattas encouraging involvement from young people; has a shipyard for building and repairing the boats that are now also used for guided tours; and cooperates on a national and international level, taking part in festivals, regattas and roundtable discussions to highlight the batana\u2019s role in traditional vessel communities and to help safeguard maritime heritage.", "list": "GSP", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/community-project-of-safeguarding-the-living-culture-of-rovinj-rovigno-the-batana-ecomuseum-01098", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09780-BIG.jpg", "copyright": "Ecomuseum Batana, 2004", "title": "History and tradition: batana, the unique local traditional wooden boat has always been the Rovinj's symbol and its bow has always led the 'Batana Ecomuseum' in the right direction" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09781-BIG.jpg", "copyright": "Ecomuseum Batana, 2004", "title": "Documentation and research: the ground floor of the 'House of Batana' hosting the documentation center. The interactive and multimedia permanent exhibition presents batana's tangible and intangible heritage. Regular research is conducted on various aspects of this heritage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09782-BIG.jpg", "copyright": "Ecomuseum Batana, 2004", "title": "Know-how: a shipbuilder and his assistant build a batana. During summer batanas are built and repaired on the 'Little Shipyard', one of the Ecomuseum's interpretative components presenting the process of batana's construction thus including it into today's way of life" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09783-BIG.jpg", "copyright": "Ecomuseum Batana, 2004", "title": "Continuity of tradition: how narrow is the Bitalieme Street (today Vodnjanska) when a batana is passing through! Members of the 'House of Batana' are carrying batana 'oun rigno' from the workhouse to the pier to be launched into the sea" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09784-BIG.jpg", "copyright": "Ecomuseum Batana, 2004", "title": "Promotion of tradition: the traditional launch of a batana from the Rovinj's waterfront 'Little Pier' is watched by numerous citizens, visitors and members of the Ecomuseum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09785-BIG.jpg", "copyright": "Ecomuseum Batana, 2004", "title": "Living tradition: one of the oldest way of fishing with spear using batana boat and light is today still a part of everyday life, as well as many other traditions that are promoted through the Ecomuseum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09786-BIG.jpg", "copyright": "Ecomuseum Batana, 2004", "title": "Socializing: 'Spacio Matika', one of the few old preserved canteens of Rovinj integrated into the Ecomuseum, keeping vital the Ecomuseum\u2019s concept of empowering local community who, after the batana ride, enjoy with their visitors in traditional singing, food and wine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09787-BIG.jpg", "copyright": "Ecomuseum Batana, 2004", "title": "Education and transmission: participants of the children's boatbuilding workshop at 'Little Pier' complete the construction of a little batana which earns them a special recognition. Besides workshops, other local traditions are also transmitted directly to the children in other ways" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09788-BIG.jpg", "copyright": "Ecomuseum Batana, 2004", "title": "Viability: the Ecomuseum regularly organizes the international Rovinj regatta for traditional boats with vela al terzo (lugsail) and Latin sails of the upper Adriatic. The regatta is an opportunity to motivate and teach younger generations how to sail with batana" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09789-BIG.jpg", "copyright": "Ecomuseum Batana, 2004", "title": "International cooperation and exchange of experience: batana 'Calsanta' and other boats at the 2008 Festival of Sea and Seamen in Brest. The Ecomuseum is very active in participating on international events thus broadening its network and fostering intercultural dialogue" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=sHO0J6_eImM", "copyright": "Ecomuseum Batana, 2014", "title": "A community project of safeguarding the living culture of Rovinj - the Batana Ecomuseum \/ Rovinj-Rovigno in batana" } ], "sustainability": "The batana, a traditional fishing boat, has played a central role in the culture and livelihoods of the community of Rovinj for generations. Traditional knowledge associated with the batana includes the craft of shipbuilding and fishing practices, as well as oral traditions transmitted in the local dialect. Faced with the erosion of this knowledge due to social and economic change, the people of Rohinj, the local government, and non-profit agencies came together to establish a Batana Ecomuseum to safeguard their living maritime heritage. The ecomuseum organizes a range of non-formal, educational activities for the youth and has fostered a revitalization of shipbuilding knowledge and oral traditions. Safeguarding of the batana and its associated knowledge supports the goal of enhancing conservation and the sustainable use of oceans. This element also links to SDG # 4: Quality Education, and SDG #8: Decent Work and Economic Growth." } }, "element_1099": { "type": "element", "label": "Marimba music, traditional chants and dances from the Colombia South Pacific region and Esmeraldas Province of Ecuador", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09656-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09656-HUG.jpg" }, "description": "Marimba music and traditional chants and dances are musical expressions integral to the family and community fabric of people of African descent in the Colombian South Pacific region and Esmeraldas Province of Ecuador. Chanted stories and poems are performed by men and women at ritual, religious and festive events as a celebration of life, a form of worship to saints or as a farewell to the deceased, and are accompanied by rhythmic movements of the body. The marimba music is played on a palm wood xylophone with bamboo tube resonators, accompanied by drums and maracas. The element is rooted in family and daily activities and the community as a whole is considered the bearer and practitioner, irrespective of age or gender. Elderly people play a crucial role in transmitting legends and stories from oral tradition, while music teachers oversee the transmission of musical knowledge to new generations. Marimba music and traditional chants and dances promote symbolic exchanges that include food and drink. Each of these expressions facilitates family and collective integration through ancestral practices that heighten the sense of belonging to a particular group connected to a shared territory and history.", "list": "RL", "year": 2015, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/marimba-music-traditional-chants-and-dances-from-the-colombia-south-pacific-region-and-esmeraldas-province-of-ecuador-01099", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09656-BIG.jpg", "copyright": "Fundaci\u00f3n Pilifon\u00eda", "title": "Baudilio hands - marimba performer, Colombia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09657-BIG.jpg", "copyright": "Fundaci\u00f3n Pilifon\u00eda", "title": "Marimbero Buenaventura - marimba performer, Colombia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09658-BIG.jpg", "copyright": "Fundaci\u00f3n Pilifon\u00eda", "title": "Bombero - drum performer, Colombia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09659-BIG.jpg", "copyright": "Fundaci\u00f3n Pilifon\u00eda", "title": "Cantadoras - women singers, Colombia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09660-BIG.jpg", "copyright": "Fundaci\u00f3n Pilifon\u00eda", "title": "Balsadas en Guapi - lullabies and songs of the South Pacific Colombian, Colombia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09661-BIG.jpg", "copyright": "Instituto Nacional de Patrimonio Cultural", "title": "Bombera y cununero Quinind\u00e9 - bombo and cununo performers from Quinind\u00e9, Ecuador" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09662-BIG.jpg", "copyright": "Instituto Nacional de Patrimonio Cultural", "title": "Devota de San Mart\u00edn de Porres, Canchimalero - San Mart\u00edn de Porres' believer from Canchimalero, Ecuador" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09663-BIG.jpg", "copyright": "Instituto Nacional de Patrimonio Cultural", "title": "Fiesta de San Mart\u00edn de Porres - ritual de San Mart\u00edn de Porres, Ecuador" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09664-BIG.jpg", "copyright": "Instituto Nacional de Patrimonio Cultural", "title": "Marimbera, Eloy Alfaro - marimba performer from Eloy Alfaro, Ecuador" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09665-BIG.jpg", "copyright": "Instituto Nacional de Patrimonio Cultural", "title": "Danza y conjunto de marimba - marimba dancers and performers, Ecuador" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=MIS71R5rOsk", "copyright": "Buhofilms 2013", "title": "Marimba, cununo and guas\u00e1 guardians" }, { "url": "https:\/\/www.youtube.com\/watch?v=5xItvN0Rx44", "copyright": "Buhofilms 2013", "title": "Marimba, cununo and guas\u00e1 guardians" } ], "sustainability": "" } }, "element_1103": { "type": "element", "label": "Tinian marble craftsmanship", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09587-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09587-HUG.jpg" }, "description": "The art of marble-carving is an expression of the cultural identity of Tinos. Marble craftspeople possess empirical knowledge of the composition and structure of marble-bearing rock, the properties of each kind of marble, and the manipulation of its veins. Marble-carving workshops produce a range of traditional motifs, patterns and symbols such as cypresses, flowers, birds and ships. These draw from and perpetuate a shared symbolic system of religious, magical and oral traditions. Motifs on buildings, road signs, churches and cemeteries ensure propitiation and deflect evil influences, while those engraved on everyday marble vessels and fanlights emphasize fertility and prosperity. Craftspeople sometimes form teams to carry out large projects and individual masters occasionally work alone undertaking minor commissions. Transmission follows longstanding traditions. Workshop apprentices start with menial tasks, such as arranging the master\u2019s tools and cleaning the workshop, before graduating to learning the craft and drawing. Each master supervises and mentors one or two apprentices, usually family members. Once they complete their training and earn the title of master craftsperson, apprentices are presented with a small chest containing a set of tools. Almost one quarter are now women, representing a significant shift in the tradition of marble craftsmanship, which until recently was a male-only activity.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/tinian-marble-craftsmanship-01103", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09581-BIG.jpg", "copyright": "Hellenic Ministry of Culture ans Sports, 2014", "title": "Training class, students at the Panormos School" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09582-BIG.jpg", "copyright": "Hellenic Ministry of Culture ans Sports, 2014", "title": "Two women students at the Panormos School during training at carving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09583-BIG.jpg", "copyright": "Hellenic Ministry of Culture ans Sports, 2014", "title": "Chiseling a marble plaque to make a lintel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09584-BIG.jpg", "copyright": "Hellenic Ministry of Culture ans Sports, 2014", "title": "Fanlights at a house in Pyrgos, Tinos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09585-BIG.jpg", "copyright": "Hellenic Ministry of Culture ans Sports, 2014", "title": "Lintel at house in Pyrgos, Tinos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09586-BIG.jpg", "copyright": "Hellenic Ministry of Culture ans Sports, 2014", "title": "Michael Saltamanicas, marble craftsman in his workshop in Pyrgos, Tinos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09587-BIG.jpg", "copyright": "Hellenic Ministry of Culture ans Sports, 2014", "title": "Restoration works at Athenian Acropolis, Tinian marble craftsmen at work" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09588-BIG.jpg", "copyright": "Hellenic Ministry of Culture ans Sports, 2014", "title": "Marble paving-stone in a street Pyrgos with a child's attempt at the art of marble-crafts" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09589-BIG.jpg", "copyright": "Hellenic Ministry of Culture ans Sports, 2014", "title": "The main fountain in the central square of Pyrgos, Tinos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09590-BIG.jpg", "copyright": "Hellenic Ministry of Culture ans Sports, 2014", "title": "Marble tomb-stone in the cemetery of Pyrgos" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Btiw0n8fQ_U", "copyright": "Ministry of Culture and Sports (Greece), 2014", "title": "'Only holds the mallet...' Tinian marble carving today" } ], "sustainability": "" } }, "element_1104": { "type": "element", "label": "Glasoechko, male two-part singing in Dolni Polog", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08354-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08354-HUG.jpg" }, "description": "Male two-part singing in Dolni Polog is a traditional form of vocal music, known locally as Glasoechko, which is characteristic to the region. Songs are sung in a polyphonic manner with the drone voice moving contrapuntally in relation to the melodic leading voice, often accompanied by a shepherd\u2019s flute and a bagpipe. Glasoechko is performed spontaneously in groups of two or three, at celebrations, assemblies, weddings, dinner parties and other social gatherings. Performance of this musical heritage constitutes a symbol of cultural identity for the bearers, integrated within a multi-ethnic society. Practitioners of this tradition are prominent and talented individual singers who have acquired their knowledge by imitating the techniques and skills of their predecessors. Male two-part singing in Dolni Polog faces a number of very serious threats to its viability, however. The number of individuals and groups practising and transmitting it is diminishing rapidly due in part to persistent outward migration of its bearers following the civil war conflict in 2001. Younger generations have extremely limited exposure to Glasoechko performances and older generations consider there is insufficient interest to warrant continued transmission. There are no recordings of Glasoechko songs and in its present state the tradition seems to verge on extinction.", "list": "USL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/glasoechko-male-two-part-singing-in-dolni-polog-01104", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08353-BIG.jpg", "copyright": "Mirjana Gavrovska, 2008", "title": "Portrait 1 Trio Gavrovski" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08354-BIG.jpg", "copyright": "Mirjana Gavrovska, 2008", "title": "Trio Gavrovski" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08355-BIG.jpg", "copyright": "Velika Stojkova Serafimovska, 2011", "title": "Male vocal duo from the village Dzepchishte, Dolni Polog performing 'glasoechko' songs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08356-BIG.jpg", "copyright": "Velika Stojkova Serafimovska, 2011", "title": "Male vocal duo from the village Ratae, Dolni Polog performing 'glasoechko' songs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08357-BIG.jpg", "copyright": "Velika Stojkova Serafimovska, 2011", "title": "Male group from the villages Dzepchishte and Sirichino, Dolni Polog, performing 'glasoechko' songs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08358-BIG.jpg", "copyright": "Velika Stojkova Serafimovska, 2011", "title": "Male group from the villages Dzepchishte and Sirichino, Dolni Polog, performing 'glasoechko' songs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08359-BIG.jpg", "copyright": "Velika Stojkova Serafimovska, 2011", "title": "Male vocal duo from the village Sirichino, Dolni Polog, performing 'glasoechko' songs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08360-BIG.jpg", "copyright": "Velika Stojkova Serafimovska, 2011", "title": "Male vocal duo from the village Dzepchishte, Dolni Polog, performing 'glasoechko' songs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/08361-BIG.jpg", "copyright": "Velika Stojkova Serafimovska, 2011", "title": "Trio 'Gavrovski' performing 'glasoechko' songs" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=UE19DePM4sc", "copyright": "2011 by TV Kiss Tetovo", "title": "The Glasoechko-two part male singing of Dolni Polog" } ], "sustainability": "" } }, "element_1106": { "type": "element", "label": "Classical horsemanship and the High School of the Spanish Riding School Vienna", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09537-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09537-HUG.jpg" }, "description": "Classical horsemanship at the Spanish Riding School Vienna is the traditional art and practice of breeding, keeping, training and riding Lipizzaner horses. The School\u2019s various social practices and culturally-shaped rituals and ceremonies are based on the long-lasting relationship between breeders, grooms, craftspeople, riders and horses. Grooms, the foals\u2019 first point of contact, transmit basic knowledge of horse husbandry to cadets. Breeders tend to the horses and pair up stallions and mares to meet the demands of the School. Experienced riders and young cadets are responsible for the colts resulting in a special relationship between rider and horse. A cadet\u2019s early years are spent learning proper horse care, maintenance and the correct handling and use of equipment. Experienced riders pass on knowledge to cadets through mentoring. Women now have an important role in this traditionally male domain, being equally admitted to all positions. Veterinary surgeons ensure the health of each horse while saddlers, blacksmiths, hatters, tailors and shoemakers are responsible for producing and maintaining the facilities. The tradition also gives communities within the School a strong sense of identity and ensures the safeguarding of techniques and craftsmanship in many fields related to horse husbandry.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/classical-horsemanship-and-the-high-school-of-the-spanish-riding-school-vienna-01106", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09528-BIG.jpg", "copyright": "Spanish Riding School\/www.horses-tale.com, 2013", "title": "Homecoming of the colts" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09529-BIG.jpg", "copyright": "Spanish Riding School, 2011", "title": "Homecoming of the colts in K\u00f6flach" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09530-BIG.jpg", "copyright": "Spanish Riding School\/Herbert Graf, 2005", "title": "Training of eleve (Florian E. Zimmermann)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09531-BIG.jpg", "copyright": "Spanish Riding School, 2009", "title": "Promotion to rider (Florian E. Zimmermann)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09532-BIG.jpg", "copyright": "Spanish Riding School\/ASAblanca.com_Ren\u00e9 van Bakel, 2012", "title": "Performance of High School of Classical Horsemanship" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09533-BIG.jpg", "copyright": "Spanish Riding School\/ASAblanca.com_Ren\u00e9 van Bakel, 2006", "title": "Braiding a stallion's tail (Yusuf T\u00fcrel)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09534-BIG.jpg", "copyright": "Spanish Riding School\/Julie Brass, 2013", "title": "Eleves (Georg Sattler and Ulla Reimers) at work" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09535-BIG.jpg", "copyright": "Spanish Riding School, 2014", "title": "Cleaning stables - groom (Andreas Haipl) and eleve (Andreas Schorn)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09536-BIG.jpg", "copyright": "Spanish Riding School\/ASAblanca.com_Ren\u00e9 van Bakel, 2006", "title": "Rider's meeting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09537-BIG.jpg", "copyright": "Spanish Riding School\/ASAblanca.com_Ren\u00e9 van Bakel, 2013", "title": "School Jump Capriole" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=_PIdziSlGzU", "copyright": "Spanish Riding School\/Austrian Broadcasting Corporation, Regional Studio Styria, 2004\r\nSpanish Riding School\/PINK LUPO Medien, 2012\r\nSpanish Riding School\/The Raven Films, 2014\r\nSpanish Riding School\/Science Vision\/Satel, 2012\r\nSpanish Riding School, 2006", "title": "Spanish Riding School Vienna" } ], "sustainability": "" } }, "element_1108": { "type": "element", "label": "Charrer\u00eda, equestrian tradition in Mexico", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09779-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09779-HUG.jpg" }, "description": "Charrer\u00eda is a traditional practice of livestock herding communities in Mexico. It was initially used to help herders managing livestock from different estates better coexist. Techniques were then passed on to younger generations within families. These days, purpose-built charrer\u00eda associations and schools assist in continuing transmission of the tradition, also considered a sport, by training members of the community, including up to competition level. Various categories of charrer\u00eda performed in front of an audience are called charreadas. Charreadas give spectators an opportunity to see livestock herding skills, for example roping and reining using wild mares and bulls. Trained herders demonstrate their abilities on foot or horseback while dressed in traditional costume that features a wide-brimmed hat for a charro (male herder) and a colourful shawl for a charra (female herder). The outfits, as well as equipment required for the practice, like saddles and spurs, are designed and produced by local artisans, forming additional components of the traditional practice. Charrer\u00eda is considered an important aspect of the identity of bearer communties and their cultural heritage. Practitioners also see the tradition as a way of transferring to younger generations important social values, such as respect and equality for people in the community.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/charreria-equestrian-tradition-in-mexico-01108", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09771-BIG.jpg", "copyright": "Janet Jarman", "title": "Charro parade at the beginning of a charreada festivity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09772-BIG.jpg", "copyright": "Janet Jarman, 2007", "title": "A crowded keyhole-shaped charro arena during a charreada festivity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09773-BIG.jpg", "copyright": "Janet Jarman", "title": "Test of the obedience of the horse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09774-BIG.jpg", "copyright": "Janet Jarman", "title": "A traditional charro hat maker shop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09775-BIG.jpg", "copyright": "Janet Jarman", "title": "A rope throw that catches a wild mare hind legs at full speed" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09776-BIG.jpg", "copyright": "Janet Jarman", "title": "Chasing a bull on horseback and fell it by grabbing the tail" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09777-BIG.jpg", "copyright": "Janet Jarman, 2007", "title": "Women's mounted team. During this event a team of 8 women riding sidesaddle and dressed in traditional dresses perform a variety of intricate patterns at full gallop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09778-BIG.jpg", "copyright": "Janet Jarman, 2011", "title": "An artisan working in making 'piteado' the embroidery found on the saddles, belts and other accessories. It is a technique done by hand over leather, using a domestic fiber produced from mag\u00fcey and agave plants" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09779-BIG.jpg", "copyright": "Janet Jarman", "title": "A charro demonstrating his mastery in rope flourishing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10045-BIG.jpg", "copyright": "Janet Jarman", "title": "Several charra Queens as spectators at a coronation ball" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=W6RSAskWEYA", "copyright": "Yossadara Tejeida, 2011", "title": "Charrer\u00eda" } ], "sustainability": "" } }, "element_1112": { "type": "element", "label": "Traditional art of Shital Pati weaving of Sylhet", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09851-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09851-HUG.jpg" }, "description": "Shital Pati is the traditional art of making a handcrafted mat by weaving together strips of a green cane known as \u2018Murta\u2019. The mat is used by people all over Bangladesh as a sitting mat, bedspread or prayer mat. The main bearers and practitioners are weavers living mostly in the low-lying villages in the greater Sylhet region of Bangladesh, but there are also pockets of Shital Pati weavers in other areas of the country. Both men and women participate in collecting and processing Murta, with women being more involved in the weaving process. The craft is a major source of livelihood and a strong marker of identity; primarily a family-based craft, it helps to reinforce family bonding and create a harmonious social atmosphere. Mastery of the technique commands social prestige, and the practice empowers underprivileged communities, including women. The government promotes awareness of the element through local and national craft fairs, and Shital Pati communities are increasingly being organized into cooperatives to ensure the efficient safeguarding and transmission of the craft and guarantee its profitability. Safeguarding efforts involve the direct participation of the communities concerned and the practice is primarily transmitted from generation to generation within the families of craftspeople.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-art-of-shital-pati-weaving-of-sylhet-01112", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09851-BIG.jpg", "copyright": "Monirul Masum, Bangladesh, 2014", "title": "Banitosh Dey Gurudas collecting raw materials for shital pati, Murta, in Hinganagar, Tangail" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09852-BIG.jpg", "copyright": "Monirul Masum, Bangladesh, 2014", "title": "Murta plants are being taken from nature to the weaving community" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09853-BIG.jpg", "copyright": "Monirul Masum, Bangladesh, 2014", "title": "Pulling out of cane-slips (beti) from the Murta plants a Rajnagar, Moulavibazar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09854-BIG.jpg", "copyright": "Monirul Masum, Bangladesh, 2014", "title": "The strings are being boiled in a mixture of boiled rice juice, hogplum leaves, and boalilota to give them their smooth shiny texture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09855-BIG.jpg", "copyright": "Monirul Masum, Bangladesh, 2014", "title": "Members of the same family are involved in weaving the strings derived from Murta plants." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09856-BIG.jpg", "copyright": "Monirul Masum, Bangladesh, 2014", "title": "Details showing how patterns are formed" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09857-BIG.jpg", "copyright": "Monirul Masum, Bangladesh, 2014", "title": "Mokhhi Rani weaving shital pati sitting in her veranda at Hinganagar, Tangail" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09858-BIG.jpg", "copyright": "Monirul Masum, Bangladesh, 2014", "title": "Artisans themselves are taking their products to the village fai at Hinganagar, Tangail" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09859-BIG.jpg", "copyright": "Monirul Masum, Bangladesh, 2014", "title": "Weavers selling their products in paati-haat at Hinganagar village in Tangail. The second shot is from a pati store at a town market in Tangail." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09860-BIG.jpg", "copyright": "Monirul Masum, Bangladesh, 2014", "title": "Shital pati serves both the Hindus and the Muslims. The prayer mat in the first picture adorns Islamic motif; the second picture shows shital pati being used for a Hindu wedding ritual." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=fKFXu4fq5Fc", "copyright": "Bangladesh National Museum", "title": "The Shital Pati Tradition" } ], "sustainability": "The traditional art of Shital Pati weaving generates income for the communities in the Sunanganj and Jamalganj areas of the Sylhet Region, especially during the long monsoon season when there are few employment opportunities. Family members gather to produce the eco-friendly mats and make a reasonable income. Through different seasons, the living heritage alleviates poverty and empowers underprivileged and marginalized communities, including women and practitioners from lower castes, as the artisans are recognized and fairly remunerated. Local cooperatives are established to ensure profitability as well as continued transmission. This element also links to SDG # 12: Responsible Production and Consumption, and SDG #15: Life on Land." } }, "element_1155": { "type": "element", "label": "Traditional system of Corongo\u2019s water judges", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10009-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10009-HUG.jpg" }, "description": "The Traditional System of Corongo\u2019s Water Judges is an organizational method developed by the people of the district of Corongo in Northern Peru, embracing water management and historical memory. The system, which dates back to pre-Inca times, is primarily aimed at supplying water fairly and sustainably, which translates into proper land stewardship, thereby ensuring the existence of these two resources for future generations. The people of Corongo are the main bearers of the element since the system regulates their agricultural tasks, and the highest authority is the water judge, whose role is to manage water and organize the main festivities in Corongo. The element is the pillar of Corongo\u2019s memory and cultural identity and complies with the fundamental principles of solidarity, equity and respect for nature. Its functions, significance and value are transmitted to younger generations within the family and public spheres, and emblematic dances of the city, linked to the system, are taught across all school levels. The relationship between St Peter and water, and hence prosperity and wellbeing, is one of the main values passed on; children learn about devotion to the patron saint either by participating in religious celebrations or through the oral tradition.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-system-of-corongo-s-water-judges-01155", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10004-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2015", "title": "The city of Corongo located in the department of Ancash in northern Peru is home of the traditional system of water judges since pre-Hispanic times" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10005-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2015", "title": "At the beginning of the year, the water judges and their wives from the two farm sectors of Corongo take an oath before they undertake to discharge their duties all year long" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10006-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2015", "title": "Each water judge leads the people in their moiety to clean water reservoirs and canals that irrigate the farm lands" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10007-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2015", "title": "As a token of devotion and authority, the water judges bear all year long a wooden rod with the image of the patron St. Peter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10008-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2015", "title": "Each year the authorities of the system of water judges are responsible for properly managing water. The devotion to St. Peter is one of the cornerstones of Corongo's identity and the system's as well" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10009-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2015", "title": "Pallas is a traditional dance of Corongo in which women and girls dance in honor of St. Pater. This dance is part of the celebrations promoted by the water judges" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10010-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2015", "title": "Panataguas is a representative dance of Corongo and, like the Pallas, is related to the city's history. This dance in honor of St. Peter is staged by the cabecillas who, as a part of the system, assist the water judge" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10011-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2015", "title": "One of the main duties of the water judge is to organize the Feast of St. Peter, the city's patron saint. The water judges lead all the celebrations related to the patron saint" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10012-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2015", "title": "Every day the campos are in charge of equally distributing water among the district's users: to that aim they handle the valves of the irrigation and reservoir canals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10013-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2015", "title": "Both of the two farm sectors of Corongo shelter large water reservoirs. The water judges are responsible for the yearly cleaning and maintenance of these reservoirs" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ImnLF_1MZxM", "copyright": "Ministry of Culture of Peru, 2015", "title": "Traditional system of Corongo's water Judges" }, { "url": "https:\/\/www.youtube.com\/watch?v=S0GscphNQfc", "copyright": "Ministry of Culture of Peru, 2015", "title": "Traditional system of Corongo's water Judges" } ], "sustainability": "The traditional system of Corongo\u2019s water judges in Peru encompasses various components, including the practice of fair water supply through the remembrance of sacred historical memory. With cultural roots that date back to pre-Inca times and linkages to the worship of Saint Peter, the water judge system plays a significant role in sustainable and inclusive water management for agriculture. Festivals and folk dances invoke the tradition of water judges, and children learn about this system and its values via oral traditions, in schools, and by participating in cultural events. Corongo\u2019s cultural identity and solidarity are linked to its tradition of sustainable water resource management. This element also links to SDG # 15: Life on Land and SDG #16: Peace, Justice and Strong Institutions." } }, "element_1156": { "type": "element", "label": "Oselvar boat - reframing a traditional learning process of building and use to a modern context", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10021-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10021-HUG.jpg" }, "description": "Previously western Norway\u2019s main mode of transportation, also used for recreation, the wooden oselvar boat almost became obsolete with the introduction of modern boats in the 1940s, as well as government price restrictions forcing builders to find alternative work, and greater road transport in the 1960s. To help safeguard the traditional practice, the Os B\u00e5tbyggjarlag boat-builders guild, Os Municipality and Hordaland County, supported by the Arts Council Norway, founded the non-profit boatyard and workshop foundation Oselvarverkstaden. Operating since 1997, it recruits apprentice boat builders, facilitates the transmission of expert know-how on building techniques (normally passed down from father to son), attracts active builders providing them with infrastructure and supports the oselvar manufacturing market. So far, more than 85 boats have been built and 40 repaired. Five of its six apprentices remain active and four builders participate. They have access to a workshop where skills sharing is encouraged, as well as materials and tools. Constructing the 5m to 10m boats made for racing, freighting or fishing is a 500 to 600 hour process, from negotiating with material suppliers to rigging and testing the final product. The builders also conduct field studies, demonstrations and participate in seminars and exhibitions, locally and internationally.", "list": "GSP", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/oselvar-boat-reframing-a-traditional-learning-process-of-building-and-use-to-a-modern-context-01156", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10014-BIG.jpg", "copyright": "Oselvarverkstaden, 2014", "title": "The Oselvarverkstaden building is situated at the mouth of the Os River, close to the Bjornefjord" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10015-BIG.jpg", "copyright": "Oselvarverkstaden, 2014", "title": "Boat-builder Berit Osmundsen cutting a pine tree large enough for Oselvar building" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10016-BIG.jpg", "copyright": "Oselvarverkstaden, 2014", "title": "Boat-builder Leif Harald Amundsen sawing boards from a pine log" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10017-BIG.jpg", "copyright": "Kjell Magnus \u00d8kland, 2015", "title": "Boat-builder Berit Osmundsen shaping a garboard, a plank in the bottom of an Oselvar boat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10018-BIG.jpg", "copyright": "Vidar Langeland, 2002", "title": "Boat-builder Maik Riebort prepares the 'b\u00f8rabord', the broadest strake in an Oselvar boat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10020-BIG.jpg", "copyright": "Tone Marie Solbakken, 2012", "title": "Boat-builder Leif Harald Amundsen is klinking two strakes together on a Oselvar boat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10021-BIG.jpg", "copyright": "Kjell Magnus \u00d8kland, 2011", "title": "Boat-builder Stig Henneman is mounting the stem fittings on an Oselvar boat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10022-BIG.jpg", "copyright": "Kjell Magnus \u00d8kland, 2011", "title": "Father and sons rowing a four oared Oselvar boat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10023-BIG.jpg", "copyright": "Kjell Magnus \u00d8kland, 2011", "title": "The Oselvar meeting its predecessors. Foreground: a replica of the Halsnoy boat (ca. 300 AD). Middle: a copy of the Gokstad faering (ca. 900 AD). Background: an Oselvar from 2002" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10024-BIG.jpg", "copyright": "Trond J. Hansen, 2010", "title": "Norwegian championship in Oselvar sailing with modern sails and traditional boats" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=8m3CALqBIik", "copyright": "Oselvarverkstaden 2014", "title": "Oselvarverkstaden - a project on building and use of Oselvar boats" } ], "sustainability": "This project illustrates an innovative educational programme aimed at safeguarding the traditional knowledge of boat building and adapting the use of boats to the contemporary context. Various stakeholders collaborated to establish a boatyard and workshop where junior builders can come to apprentice with experts and share skills, materials, and tools. The workshop also supports field studies, seminars and exhibitions. The effort to reframe the traditional learning process through structured educational activities has successfully strengthened the traditions of Oselvar boat production and enhanced the livelihoods of the people, reflecting the goals of education for sustainable development and non-formal education and training. This element also links to SDG # 8: Decent Work and Economic Growth and SDG # 12: Responsible Consumption and Production. " } }, "element_1159": { "type": "element", "label": "Khidr Elias feast and its vows", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10025-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10025-HUG.jpg" }, "description": "Every year in February communities in Iraq honour Alkhidr, a holy figure who, according to ancient beliefs, grants worshippers their wishes particularly those in need. In northern Iraq, during the last three days of the month, families gather on a hill where the sanctuary of Alkhidr is thought to be. Dressed in traditional clothes they enjoy specially prepared dishes and perform a popular dance called the dabkka. In the centre of Iraq, community members join on the bank of Tigris, which they believe is the sanctuary of Alkhidr. They deliver sugar, salt, henna, sweets and myrtle leaves and at night send lit candles on wood along the river, making vows for their wishes to be granted. If the candles go out before reaching the other side, the wishes are said to come true. In the south of Iraq, myrtle leaves are also brought but only one candle lit. If the candle goes out before reaching the other side, believers are encouraged to give to the poor on a Friday so their wishes are met. Younger generations learn about the practice from older family members and at school. Shared identification with the tradition has helped to build social cohesion within communities.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/khidr-elias-feast-and-its-vows-01159", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10025-BIG.jpg", "copyright": "Juma'a Hussien Zboon, 2010", "title": "Men and women perform the popular Turkmen dance named Dabkka while wearing the traditional clothes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10026-BIG.jpg", "copyright": "Juma'a Hussien Zboon, 2008", "title": "The traditional clothes of the Assyrian girls during the celebration of Al Khidr festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10027-BIG.jpg", "copyright": "Hashim Al Hakeem, 1980", "title": "Baghdadi families' presence next to Al Khidr's famous sanctuary on the bank of Tigris" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10028-BIG.jpg", "copyright": "Hashim Al Hakeem, 1987", "title": "Baghdadi women practice her traditional ritual by putting light candles on a piece of cork to send them into the river" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10029-BIG.jpg", "copyright": "Juma'a Hussien Zboon, 1999", "title": "Al Khidr sweets that are particularly made in Al Mosul province throughout Al Khidr Feast" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10030-BIG.jpg", "copyright": "Juma'a Hussien Zboon, 2009", "title": "Baghdadi women practice their ancient rituals inside Al Khidr's sanctuary" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10031-BIG.jpg", "copyright": "Juma'a Hussien Zboon, 2012", "title": "Baghdadi families' gathering in the courtyard of Al Kidr's famous sanctuary on the bank of Tigris under Bab Al Muadham bridge" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10032-BIG.jpg", "copyright": "Hashim Al Hakeem, 1998", "title": "Baghdadi women and their children practice one of the traditional rituals inside Al Khidr sanctuary" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10033-BIG.jpg", "copyright": "Juma'a Hussien Zboon, 2009", "title": "The tray of Khidr Elias" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10034-BIG.jpg", "copyright": "Juma'a Hussien Zboon, 2010", "title": "Azzidis and Turkmen gathering next to Al Khidr's popular sanctuary in Tal Afar district throughout his feast" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=vu9bBba7J7o", "copyright": "2014, Ministry of Culture, Cultural Relations Directorate, Iran", "title": "Khidr Elias feast and its vows" } ], "sustainability": "The Khidr Elias feast and its vows are held every year in February to honor Alkhidr, a holy figure who grants worshippers their wishes. The feast features social customs and traditions of families spending time together, sharing food and necessities with the poor and making wishes. Diverse wish-making rituals are observed in different parts of Iraq, reflecting the integration of local interpretations and beliefs. The shared heritage strengthens social cohesion within and among the communities of diverse ethnic and religious backgrounds. The feast plays a crucial role in unifying different parts of society as they take part in associated rituals, dances and culinary practices. The element also linko SDG #5 Reduced Inequalities." } }, "element_1162": { "type": "element", "label": "Music and dance of the merengue in the Dominican Republic", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10316-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10316-HUG.jpg" }, "description": "The merengue is considered part of the national identity of the Dominican community. It plays an active role in various aspects of people\u2019s daily lives \u2013 from their education to social gatherings and celebrations, even political campaigning. In 2005, the traditional practice was recognised by presidential decree with November 26 declared National Merengue Day. Merengue festivals are held in cities in the Dominican Republic like Santo Domingo and Puerto Plata every year. Danced in pairs, flirtatious gestures are used as participants move in circles to the rhythm of music played on instruments such as the accordion, drum and saxophone. It is a dance that is usually introduced to learners at an early age. Knowledge and skills on the practice are transmitted through observation, participation and imitation. The merengue attracts people of different social classes, which helps to promote respect and coexistence among individuals, groups and communities. The north of the country is considered to be the cradle of the practice with the area of influence extending to Puerto Rico, the United States of America and the Caribbean region. The merengue is also popular in other Latin American countries such as Venezuela and Colombia where variations have emerged, and countries in Central America.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/music-and-dance-of-the-merengue-in-the-dominican-republic-01162", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10311-BIG.jpg", "copyright": "Ministerio de Cultura de la Rep\u00fablica Dominicana, 2012", "title": "Merengue Festival with typical ensemble" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10312-BIG.jpg", "copyright": "Ministerio de Cultura de la Rep\u00fablica Dominicana, 2012", "title": "Rural dancers of 'merengue t\u00edpico'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10313-BIG.jpg", "copyright": "Ministerio de Cultura de la Rep\u00fablica Dominicana, 2012", "title": "Musical instruments of merengue ''Perico Ripiao'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10314-BIG.jpg", "copyright": "Ministerio de Cultura de la Rep\u00fablica Dominicana, 2012", "title": "Merengue dance lessons to impart merengue dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10315-BIG.jpg", "copyright": "Ministerio de Cultura de la Rep\u00fablica Dominicana, 2012", "title": "Transmission of merengue dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10316-BIG.jpg", "copyright": "Ministerio de Cultura de la Rep\u00fablica Dominicana, 2015", "title": "Merengue musicians" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10317-BIG.jpg", "copyright": "Ministerio de Cultura de la Rep\u00fablica Dominicana, 2012", "title": "Craftsman of drums used in Merengue music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10318-BIG.jpg", "copyright": "Ministerio de Cultura de la Rep\u00fablica Dominicana, 2012", "title": "Guira craftsman" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10319-BIG.jpg", "copyright": "Ministerio de Cultura de la Rep\u00fablica Dominicana, 2015", "title": "Merengue music and singing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10320-BIG.jpg", "copyright": "Ministerio de Cultura de la Rep\u00fablica Dominicana, 2015", "title": "'Perico ripiao'" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=fautemcgU48", "copyright": "Ministerio de Cultura de Rep\u00fablica Dominicana", "title": "Music and dance of the Dominican merengue" } ], "sustainability": "" } }, "element_1163": { "type": "element", "label": "Yoga", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10104-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10104-HUG.jpg" }, "description": "The philosophy behind the ancient Indian practice of yoga has influenced various aspects of how society in India functions, whether it be in relation to areas such as health and medicine or education and the arts. Based on unifying the mind with the body and soul to allow for greater mental, spiritual and physical wellbeing, the values of yoga form a major part of the community\u2019s ethos. Yoga consists of a series of poses, meditation, controlled breathing, word chanting and other techniques designed to help individuals build self-realization, ease any suffering they may be experiencing and allow for a state of liberation. It is practised by the young and old without discriminating against gender, class or religion and has also become popular in other parts of the world. Traditionally, yoga was transmitted using the Guru-Shishya model (master-pupil) with yoga gurus as the main custodians of associated knowledge and skills. Nowadays, yoga ashrams or hermitages provide enthusiasts with additional opportunities to learn about the traditional practice, as well as schools, universities, community centres and social media. Ancient manuscripts and scriptures are also used in the teaching and practice of yoga, and a vast range of modern literature on the subject available.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/yoga-01163", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10099-BIG.jpg", "copyright": "Morarji Desai National Institue of Yoga (MDNIY), New Delhi, India", "title": "Natrajasana (Lord of the dance pose Nataraja is one of the names given to the God Shiva in his form as the cosmic dancer. This aesthetic, stretching and balancing asana is used in Indian classical dances also.)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10100-BIG.jpg", "copyright": "Morarji Desai National Institue of Yoga (MDNIY), New Delhi, India", "title": "Chakrasana (Wheel pose. It is a backbending pose and an important posture of Hatha Yoga widely practiced for a healthy spine.)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10101-BIG.jpg", "copyright": "Morarji Desai National Institue of Yoga (MDNIY), New Delhi, India", "title": "Nadi Shodhan (Alternate Nostril breathing is a technique that helps clear out blocked energy channels in the body, which in turn calms the mind. It is also known as 'Anulom Vilom pranayama' in India.)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10102-BIG.jpg", "copyright": "Morarji Desai National Institue of Yoga (MDNIY), New Delhi, India", "title": "Pranavasana (It is also called Yognidrasana said to be practiced by the Yogies for deep relaxation. It is an advanced posture being practiced for attainment of control over the senses.)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10103-BIG.jpg", "copyright": "Morarji Desai National Institue of Yoga (MDNIY), New Delhi, India", "title": "Sutraneti (The yogic system of body cleansing techniques In sutra neti, a length of wet string or thin surgical tubing is carefully and gently inserted through the nose and into the mouth. The end is then pulled out of the mouth and while holding both ends at once the string is alternately pulled in and out of the nose and sinuses. This helps to practice Pranayama with comfort and effectively.)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10104-BIG.jpg", "copyright": "Morarji Desai National Institue of Yoga (MDNIY), New Delhi, India", "title": "A yoga camp in India" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10105-BIG.jpg", "copyright": "Sangeet Natak Akademi, India, 2015", "title": "Tha-mula bandha (nauli) with Tha-uddiyana bandha\r\nInternal yogic locks (bandhas) have some structural functions, but primarily they are energetic in nature, and on a very tangible level they regulate the flow of blood through the body. Anatomically a bandha is the co-activation (simultaneous tensing) or opposing muscles around a joint complex." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10106-BIG.jpg", "copyright": "Sangeet Natak Akademi, India, 2015", "title": "Yoga and its deep-rooted connection with performing arts of India" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10107-BIG.jpg", "copyright": "Sangeet Natak Akademi, India, 2015", "title": "Yoga-sutras\r\n196 aphorisms that constitute the foundational text of Ashtanga yoga (The eight limb path of yoga) written some 2200 years ago by Indian Sage Patanjali" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10108-BIG.jpg", "copyright": "Sangeet Natak Akademi, India, 2015", "title": "Yoga - ancient scientific and medical knowledge of humanity" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=WsfQBF6neJE", "copyright": "", "title": "Yoga" } ], "sustainability": "Yoga is a traditional holistic wellness system that focuses on both physical and mental health. The tradition is widely practiced by people of all genders, ages, and socioeconomic backgrounds. Practitioners experience a broad range of benefits from the unification of their spiritual, mental, and physical being. It promotes peace and clarity of mind through concentration and mindfulness. Yoga also enhances overall physical well-being through various types of controlled movements and postures that support flexibility, strength, and good posture. It is a living tradition that promotes harmony within a person and among groups of people." } }, "element_1164": { "type": "element", "label": "Gada system, an indigenous democratic socio-political system of the Oromo", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10121-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10121-HUG.jpg" }, "description": "Gada is a traditional system of governance used by the Oromo people in Ethiopia developed from knowledge gained by community experience over generations. The system regulates political, economic, social and religious activities of the community dealing with issues such as conflict resolution, reparation and protecting women\u2019s rights. It serves as a mechanism for enforcing moral conduct, building social cohesion, and expressing forms of community culture. Gada is organized into five classes with one of these functioning as the ruling class consisting of a chairperson, officials and an assembly. Each class progresses through a series of grades before it can function in authority with the leadership changing on a rotational basis every eight years. Class membership is open to men, whose fathers are already members, while women are consulted for decision-making on protecting women\u2019s rights. The classes are taught by oral historians covering history, laws, rituals, time reckoning, cosmology, myths, rules of conduct, and the function of the Gada system. Meetings and ceremonies take place under a sycamore tree (considered the Gada symbol) while major clans have established Gada centres and ceremonial spaces according to territory. Knowledge about the Gada system is transmitted to children in the home and at school.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gada-system-an-indigenous-democratic-socio-political-system-of-the-oromo-01164", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10119-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2014", "title": "Guyo Goba, the seventieth Abaa Gada of the Borana Oromo, ties \u2018kallacha\u2019 headgear on his forehead which is a symbol of power, and bearing a staff known as Hororo and a whiplash (Litcho) in his hand and wearing shorts (Hida)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10120-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2014", "title": "Gorfo, a leather dress made of skin of cow and beautified with stripes symbolizes that the women are mothers of the Dabballe. They are greatly honoured; their blessings are sought by women. Dabballe dhali \u2018May you give birth to dabballe\u2019." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10121-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2014", "title": "Abba Gadas transmit the knowledge and practices associated with the Gada System" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10122-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2014", "title": "Most of the meetings of the various Gada councils convened under the shade of Oda tree, emblem and sacred tree for the Oromo, used to review the laws, resolve major conflicts and deal with the issue of power transfer." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10123-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2014", "title": "Participants take with them a bunch of green grass and Ada (Abyssinian daises) to be placed on the shore of Hora (Lake) Arsadi while chanting thanks to Waqqa at Irreecha Festival celebrated in September at national level in Bishoftu Town" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10124-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2014", "title": "On the occasion of the Irrecha Festival celebrated at national level, women walking to Hora (Lake) Arsadi holding siinqee (stick) and one of them also carrying caaccuu, a religious object made of skin of cow decorated with cowry shell" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10125-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2014", "title": "AIn the power take over ceremony, referred as Balli Walirafudhu, the outgoing Gada ruling class handover ostrich feather, a symbol of authority, to the incoming. The handover of power is often undertaken every eight years smoothly and peacefully." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10126-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2014", "title": "Abba Gada Beyene Sanbeto with his wife at the power transfer ceremony. He is president of the Gada Council established recently at Bishoftu to promote the Gada System, realize good governance and ensure peace and stability of the Oromo people." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10127-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2014", "title": "Dhichisa, a traditional dancing in which men perform fast and high jumps during the Gada Power transfer ceremony and other rituals in connection with the System. In this dancing, those who accomplish heroic deeds including the Gada officials are praised.\u2002\u2002\u2002\u2002\u2002" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10128-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2014", "title": "A marriage ceremony held during the Irrecha Festival presided by Abba Gada and other officials. In the Gada System, marriage ceremonies constitute a rite of passage from Kusa to Raba Dori grade for most of the members of the class." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=c8oyqCdEQ8k", "copyright": "Authority for Research and conservation of Cultural Heritage (ARCCH), 2015", "title": "The Gada system, an indigenous democratic socio-political system of the Oromo" } ], "sustainability": "Gada is an indigenous democratic socio-political system of the Oromo people in Ethiopia. It comprises a complex set of knowledge and customs that regulate all facets of life, ranging from economic and social to political and religious dimensions, with the aim of keeping peace and order in the community. Male members are organized into five classes and progress through grades to positions of leadership, while women are consultants on specific issues such as women\u2019s rights. The system operates on a democratic basis where leaders rotate every eight years. Gada also embodies lifelong education covering different subjects that are vital to their way of life. The living heritage also links to SDG #3 Quality Education, SDG #5 Gender Equality and SDG #10 Reduced Inequalities." } }, "element_1165": { "type": "element", "label": "Chapei Dang Veng", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10171-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10171-HUG.jpg" }, "description": "Chapei Dang Veng is a Cambodian musical tradition closely associated with the life, customs and beliefs of the Cambodian people. It features the chapei (a type of lute often played at cultural festivals) accompanied by singing. Song lyrics range from the educational and a type of social commentary, to satire while incorporating traditional poems, folk tales or Buddhist stories. The tradition is considered to have multiple functions within Cambodian communities, such as safeguarding traditional rituals; transmitting social, cultural and religious knowledge and values; providing exposure to the old Khmer language; creating a space for social and political commentary; entertaining; connecting generations; and building social cohesion. Apart from musical talent, skills required to be a chapei player include wit, the ability to improvise and be a good storyteller. While performers are generally male, there are no gender restrictions on who can play the chapei. Transmitted orally within families and informal master-apprentice relationships, today the art form is practised by few performers and even fewer masters exist. The Khmer Rouge regime severely affected the bearer population and disrupted transmission of the practice with long-term implications as communities now face the prospect of a tradition that could potentially disappear.", "list": "USL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/chapei-dang-veng-01165", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10165-BIG.jpg", "copyright": "Cambodian Living Arts, 2014", "title": "The demonstration of Chapei Dang Veng by Master Kong Nai and Cambodian Living Chapei's artists at Preah Sisowath High School, where about more than 200 students attended." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10166-BIG.jpg", "copyright": "Cambodian Living Arts, 2014", "title": "Students of Cambodian Living Chapei do the experiment by playing Chapei Dang Veng with other instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10167-BIG.jpg", "copyright": "Cambodian Living Arts, 2014", "title": "Two artists perform the Chapei in call and response style for about 400 students at the Singing Kites Organization, Takeo province." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10168-BIG.jpg", "copyright": "Cambodian Living Arts, 2014", "title": "Community students play Chapei Dang Veng together with school students, who accompany the songs by reading the written script in the demo production." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10169-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts, Cambodia, 2015", "title": "The demonstration of Chapei by the grand master Kong Nai organized by the Cambodian Living Arts at the Svay Antor Primary School, Kampot province." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10170-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts, Cambodia, 2015", "title": "The demonstration of Chapei by the students of Cambodian Living Chapei organized by the Cambodian Living Arts at the Svay Antor Primary School, Kampot province." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10171-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts, Cambodia, 2015", "title": "The demonstration of Chapei by a student of Cambodian Living Chapei organized by the Cambodian Living Arts at the Svay Antor Primary School, Kampot province." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10172-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts, Cambodia, 2014", "title": "Chapei performance in call and response style during the National Art Performing Festival of Ayai, Chapei and Ksae Diev, hold on December 3-5, 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10173-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts, Cambodia, 2015", "title": "The master Kong Nai teaches his grandson how to play the Chapeai Dang Veng at his house, Kampot province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10174-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts, Cambodia, 2015", "title": "Chapei played in the Pleng Areak, a Khmer traditional music ensemble for spiritual medium, during the spiritual entranced ritual asking for villagers' happiness, Siem Reap province." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=m6l-eGE20eQ", "copyright": "", "title": "Chapei Dang Veng" } ], "sustainability": "" } }, "element_1166": { "type": "element", "label": "Palov culture and tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10322-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10322-HUG.jpg" }, "description": "There is a saying in Uzbekistan that guests can only leave their host\u2019s house after palov has been offered. Palov is a traditional dish made and shared throughout rural and urban communities of Uzbekistan. It is prepared with ingredients such as rice, meat, spices and vegetables and in addition to be enjoyed as a regular meal, is served as a gesture of hospitality, to celebrate special occasions like weddings and new year, to help those in need who are underprivileged, or to honour loved ones who have passed away. Palov may also feature at events alongside other rituals taking place such as prayer and performances of traditional music. It is a dish that is cooked by men and women regardless of age or social status. Knowledge and skills associated with the practice are handed down from older to younger generations formally and informally using a master-apprentice model or by demonstration and participation within families, peer groups, community-based establishments, religious organizations and vocational educational institutions. The making and sharing of the traditional dish acts to strengthen social ties, promote values including solidarity and unity and assist in the continuity of local traditions that form a part of the community\u2019s cultural identity.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/palov-culture-and-tradition-01166", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10321-BIG.jpg", "copyright": "2015 by Republican Scientific-Methodological Center for Folk Art of Uzbekistan", "title": "Palov ingrediens" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10322-BIG.jpg", "copyright": "2015 by Republican Scientific-Methodological Center for Folk Art of Uzbekistan", "title": "Oriental market" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10323-BIG.jpg", "copyright": "2015 by Republican Scientific-Methodological Center for Folk Art of Uzbekistan", "title": "Carrot cutting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10324-BIG.jpg", "copyright": "2015 by Republican Scientific-Methodological Center for Folk Art of Uzbekistan", "title": "Rice cleaning" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10325-BIG.jpg", "copyright": "2015 by Republican Scientific-Methodological Center for Folk Art of Uzbekistan", "title": "Palov transmission - bearer and apprentice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10326-BIG.jpg", "copyright": "2015 by Republican Scientific-Methodological Center for Folk Art of Uzbekistan", "title": "Transmission - grandmother and daughter in law" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10327-BIG.jpg", "copyright": "2015 by Republican Scientific-Methodological Center for Folk Art of Uzbekistan", "title": "Charity actions - Palov treating for orphans" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10328-BIG.jpg", "copyright": "2015 by Republican Scientific-Methodological Center for Folk Art of Uzbekistan", "title": "Youth contest on Palov making" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10329-BIG.jpg", "copyright": "2015 by Republican Scientific-Methodological Center for Folk Art of Uzbekistan", "title": "Sharing Palov in tea-house" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10330-BIG.jpg", "copyright": "2015 by Republican Scientific-Methodological Center for Folk Art of Uzbekistan", "title": "Palov festival" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=t6H_3uvMNlE", "copyright": "Republican Scientific-Methodological Center for Folk Art, 2015", "title": "Palov culture and tradition" } ], "sustainability": "" } }, "element_1167": { "type": "element", "label": "Traditional wall-carpet craftsmanship in Romania and the Republic of Moldova", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10399-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10399-HUG.jpg" }, "description": "In the past, wall carpets produced by weavers in communities of Romania and the Republic of Moldova were used not only as decorative features and sources of insulation but also as part of a bride\u2019s dowry. A variety of techniques were needed to produce the pieces with impressive motifs. Certain patterns also indicated where the weaver was from. The carpets had additional roles in community practices, such as at funerals where they symbolized a passage for the soul to the hereafter. They were also displayed at international exhibitions as markers of national identity. These days, wall carpets are mainly appreciated as works of art for public and private spaces and exhibited at city festivals and ceremonies. Techniques have changed from vertical or horizontal looms practised in some parts, to tight picking (thread by thread) and other forms with weavers now able to work from home. In villages, girls learn the art form from their mother or grandmother, while in cities craft centers, associations and colleges, as well as museums provide classes. Viewed as an expression of creativity and identity marker, wall carpet craftsmanship is also considered as a tool to unite groups in society of different ages and socioeconomic backgrounds.", "list": "RL", "year": 2016, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-wall-carpet-craftsmanship-in-romania-and-the-republic-of-moldova-01167", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10393-BIG.jpg", "copyright": "Ministry of Culture of Romania, 2015", "title": "Carpet workshop of the Australis Prod SRL society in Bechet, Dolj County, Romania, 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10394-BIG.jpg", "copyright": "Ministry of Culture of Romania, 2015", "title": "Adela Petre weaver, Buz\u0103u, and her wall-carpet collection, 'Dimitrie Gusti' National Village Museum, Romania, 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10395-BIG.jpg", "copyright": "Ministry of Culture of Romania, 2015", "title": "Carpet weaving on the horizontal loom, Varvara Todici, T\u00e2rgu Neam\u0163, Romania, 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10396-BIG.jpg", "copyright": "Ministry of Culture of Romania, 2015", "title": "Floarea Maxim weaver, Tudora, Boto\u015fani, Romania, 2015" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10397-BIG.jpg", "copyright": "Ministry of Culture of Romania, 2015", "title": "Household interior from B\u00e2rsana, Maramure\u015f, Romania, 2015" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10398-BIG.jpg", "copyright": "National Museum of Ethnography and Narural History, Ministry of Culture of the Republic of Moldova, 2015", "title": "Olga Pasat, a weaver from craft centre 'Rustic Art' Cli\u015fova Nou\u0103, 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10399-BIG.jpg", "copyright": "National Museum of Ethnography and Narural History, Ministry of Culture of the Republic of Moldova, 2015", "title": "Spinning of woolen threads, Lucia Leonte, Ign\u0103\u0163ei, the Republic of Moldova, 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10400-BIG.jpg", "copyright": "National Museum of Ethnography and Narural History, Ministry of Culture of the Republic of Moldova, 2015", "title": "Exposing carpets in the sun, Cli\u015fova Nou\u0103, the Republic of Moldova, 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10401-BIG.jpg", "copyright": "National Museum of Ethnography and Narural History, Ministry of Culture of the Republic of Moldova, 2015", "title": "Ecaterina Popescu presents wool coloured with natural pigments, Cli\u015fova Nou\u0103, the Republic of Moldova, 2014" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=H3ZTBIe6gOU", "copyright": "Ministry Of Culture of Romania \/ Ministry of Culture of the Republic of Moldova : Studioul Video Art", "title": "Traditional wall-carpet craftsmanship in Romania and the Republic of Moldova" }, { "url": "https:\/\/www.youtube.com\/watch?v=LfmN8Oonweg", "copyright": "Ministry Of Culture of Romania \/ Ministry of Culture of the Republic of Moldova : Studioul Video Art", "title": "Traditional wall-carpet craftsmanship in Romania and the Republic of Moldova" } ], "sustainability": "" } }, "element_1169": { "type": "element", "label": "Regional Centres for Craftsmanship: a strategy for safeguarding the cultural heritage of traditional handicraft", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10262-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10262-HUG.jpg" }, "description": "The Werkraum Bregenzerwald, Hand.Werk.Haus Salzkammergut, and Textiles Zentrum Haslach are three centres in Austria run by local, traditional craftspeople who, for the past 15 years, have been collaborating with international artists, educational institutions, craft businesses and other entities to help safeguard their practices for future generations. The centres have been providing a range of public activities to help maintain the crafts that include woodwork, painting and textile practices, which provide communities with a sense of identity and continuity. Governed by associations in cooperation with craft businesses, as well as educational and scientific institutions, they offer training on traditional techniques, such as introductory courses for primary school students, weekend and summer schools, apprenticeship programmes, and postgraduate courses. Local and international experts help to run the classes, transmitting specialist knowledge and skills associated with the various practices. The centres on craftsmanship also host exhibitions and competitions to enhance visibility of the traditional crafts, attracting local and international designers and artists. Furthermore, they act as bridges between art and industry, providing platforms for the sharing of ideas and experiences on traditional craft practice and the development of cooperative networks. Partnerships between cultural, educational and economic fields are also created, further strengthening safeguarding efforts.", "list": "GSP", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/regional-centres-for-craftsmanship-a-strategy-for-safeguarding-the-cultural-heritage-of-traditional-handicraft-01169", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10261-BIG.jpg", "copyright": "Peter Loewy, 2014", "title": "The 'Werkraum House' designed by Peter Zumthor and built by regional craftsmen\/-women" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10262-BIG.jpg", "copyright": "Peter Loewy, 2014", "title": "The 'Werkraum' introduces visitors and clients to the art and knowledge of traditional handicraft" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10263-BIG.jpg", "copyright": "Roswitha Natter, 2010", "title": "Official Board Meeting of the Craftsmen\/-women of Werkraum Bregenzerwald" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10264-BIG.jpg", "copyright": "Werkraum, 2014", "title": "Apprentices of the Werkraum Bregenzerwald participating in the transmission programmes at the centre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10265-BIG.jpg", "copyright": "Hand.Werk.Haus\/Stadler 2013", "title": "The Centre for Regional Handicraft ('Hand.Werk.Haus Salzkammergut') in Bad Goisern" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10266-BIG.jpg", "copyright": "Hand.Werk.Haus\/M.Kern 2012", "title": "Craftsmen\/-women like Master Turner Herbert Schenner seek to transit handicraft techniques and knowledge of the material to the next generation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10267-BIG.jpg", "copyright": "Hand.Werk.Haus\/Besendorfer 2012", "title": "The joiner Ernst Maier, member of the 'Hand.Werk.Haus Salzkammergut', working with a whittling knife on a shaving horse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10268-BIG.jpg", "copyright": "Textiles Zentrum Haslach, 2014", "title": "Students working on table-looms in the hand weaving studio of the Textile Center Haslach, creating seat pads out of waste materials" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10269-BIG.jpg", "copyright": "Textiles Zentrum Haslach, 2014", "title": "Member of stuff of the Manufaktur Haslach in the Textile Center Haslach who is producing felted slippers out of wool of local sheep" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10270-BIG.jpg", "copyright": "Textiles Zentrum Haslach, 2014", "title": "Workshop with children of the local school who visit the Textile Center Haslach and weave together a woolen carpet as a collaboration project" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=_Wkb8cGFitg", "copyright": "Austrian Commission for UNESCO, 2015", "title": "Regional Centres for Craftsmanship in Austria" }, { "url": "https:\/\/www.youtube.com\/watch?v=_yK8mBMXyOM", "copyright": "Austrian Commission for UNESCO, 2015", "title": "Regional Centres for Craftsmanship in Austria" } ], "sustainability": "The Regional Centres for Craftsmanship in Austria were established with a focus on safeguarding the cultural heritage of traditional handicrafts. They are run by local craftspeople in partnership with national and international parties. To maintain and pass on the meanings and values associated with the intangible cultural heritage, the centers collaborate with educational and scientific institutions to develop and offer formal and non-formal training to interested individuals coming from diverse backgrounds. Traditional masters and the public are linked through educational and awareness-raising programs and activities. The business sector also plays a part in supporting the economic regeneration of the artisans, promoting the sustainability of the intangible cultural heritage and the art industry. As such, this network is a good example of multisectoral partnership that is crucial in strengthening the communities\u2019 sense of identity and enhancing their capacities in safeguarding their heritage for sustainable development. Other SDGs that connect to this element are SDG #4 Quality Education and SDG #8 Decent Work and Economic Growth." } }, "element_1170": { "type": "element", "label": "Gnawa", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10415-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10415-HUG.jpg" }, "description": "Gnawa refers to a set of musical events, performances, fraternal practices and therapeutic rituals mixing the secular with the sacred. Gnawa is first and foremost a Sufi brotherhood music combined with lyrics with a generally religious content, invoking ancestors and spirits. Originally practised by groups and individuals from slavery and the slave trade dating back to at least the 16th century, Gnawa culture is now considered as part of Morocco\u2019s multifaceted culture and identity. The Gnawa, especially in the city, practise a therapeutic possession ritual through all-night rhythm and trance ceremonies combining ancestral African practices, Arab-Muslim influences and native Berber cultural performances. The Gnawa in rural areas organize communal meals offered to marabout saints. Some Gnawa in urban areas use a stringed musical instrument and castanets, while those in rural areas use large drums and castanets. Colourful, embroidered costumes are worn in the city, while white attire with accessories characterize rural practices. The number of fraternal groups and master musicians is constantly growing in Morocco\u2019s villages and major cities, and Gnawa groups \u2013 organized into associations \u2013 hold local, regional, national and international festivals year-round. This allows young people to learn about both the lyrics and musical instruments as well as practices and rituals related to Gnawa culture generally.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gnawa-01170", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10414-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2015", "title": "Pr\u00e9paration du \u00ab bsis \u00bb, p\u00e2te de semoule distribu\u00e9e \u00e0 l'assistance et aux membres du groupe gnaoua avant le spectacle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10415-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2015", "title": "Gnaoua de la campagne: organisation de tourn\u00e9es dans les villages voisins" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10416-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2015", "title": "Gnaoua de la ville : d\u00e9ambulation dans les ruelles de la m\u00e9dina" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10418-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2015", "title": "Gnaoua de la campagne: spectacle au cours d'un festival local \u00e0 Inzegane" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10419-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2015", "title": "Gnaoua de la ville d'Essaouira: au cours d'une veill\u00e9e th\u00e9rapeutique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10420-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2015", "title": "Grands tambours \u00ab ganga \u00bb utilis\u00e9 par les gnaoua de la ville et de la campagne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10421-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2015", "title": "M\u00e2allem (ma\u00eetre musicien gnaoua) avec son instrument \u00e0 corde \u00ab guenbri \u00bb" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10422-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2015", "title": "Jeunes gnaoua apprenant \u00e0 jouer aux crotales" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10423-BIG.jpg", "copyright": "Direction du patrimoine culturel, Maroc, 2013", "title": "Sc\u00e8ne du grand Festival Gnaoua et Musique du Monde d'Essaouira" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=DfifnNfYwu8", "copyright": "Soufiane Bouhali, 2015", "title": "Gnaoua" } ], "sustainability": "" } }, "element_1172": { "type": "element", "label": "Traditional technique of making Airag in Khokhuur and its associated customs", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10430-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10430-HUG.jpg" }, "description": "Traditional technique of making Airag in Khokhuur and its associated customs includes the traditional method of making airag \u2013 a fermented beverage made from mare\u2019s milk \u2013 and the related equipment, such as the khokhuur (cowhide vessel), buluur (paddle) and khovoo (kibble), associated with the social customs and rituals. The basic airag-making technique consists of milking the mares, cooling the fresh milk, and repeatedly churning it inside the khokhuur \u2013 over 500 times \u2013 with starter left inside to assist fermentation. The khokhuur and related equipment are made by individuals with centuries-old knowledge and skills, and the skills required for preparing and maintaining the yeast are also particularly important. A nutritious and easily digestible beverage, airag is an important part of the daily diet of Mongolians and has also been proven to be effective for curing certain diseases. It also plays an essential role as a symbolic beverage in the daily lives of herders and various social celebrations: airag is used and served as a key holy drink during various fests and in offerings and ritual blessings. Bearers and practitioners inherit the related traditional practices and knowledge from their parents, which has kept the tradition alive for thousands of years.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-technique-of-making-airag-in-khokhuur-and-its-associated-customs-01172", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10424-BIG.jpg", "copyright": "B.Taivanjargal, Mongolia, 2012", "title": "Milking mare, Dundgovi province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10425-BIG.jpg", "copyright": "B.Taivanjargal, Mongolia, 2012", "title": "Tethering of foals, Dundgovi province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10426-BIG.jpg", "copyright": "B.Taivanjargal, Mongolia, 2012", "title": "Branding of foals, Dundgovi province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10427-BIG.jpg", "copyright": "B.Taivanjargal, Mongolia, 2010", "title": "Airag making ceremony part from painting One day of Mongolia, by Marzan Sharav" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10428-BIG.jpg", "copyright": "B.Taivanjargal, Mongolia, 2011", "title": "Leather bag - khokhuur, Bulgan province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10429-BIG.jpg", "copyright": "B.Taivanjargal, Mongolia, 2013", "title": "Leather bag- khokhuur, Uvurkhangai province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10430-BIG.jpg", "copyright": "B.Taivanjargal, Mongolia, 2013", "title": "Leather bag -khokhuurm Arkhangai aimag" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10431-BIG.jpg", "copyright": "B.Taivanjargal, Mongolia, 2000", "title": "The boy is churning the airag in khokhuur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10432-BIG.jpg", "copyright": "B.Taivanjargal, Mongolia, 2014", "title": "The airag degustation festival in Khotont soum, Arkhangai province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10433-BIG.jpg", "copyright": "B.Taivanjargal, Mongolia, 2014", "title": "The airag degustation festival in Khotont soum, Arkhangai province" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=YlXHKyx7yzg", "copyright": "Semuun, 2015", "title": "Traditional technique of Airag making in Khokhuur and its associated customs" } ], "sustainability": "For thousands of years, nomadic communities have practiced the traditional technique of making a fermented beverage made from mare\u2019s milk. Produced using time-tested methods and local ingredients, the beverage provides essential nutrients and also possesses curative properties. In addition to the health benefits, the drink is an important component in Mongolian\u2019s daily lives as well as in social events, rituals and celebrations. Sustainable land use for horse caring also supports the sustainable development of the community\u2019s nomadic livelihoods. This element also links to SDG #3: Good Health and Well-being. " } }, "element_1177": { "type": "element", "label": "Safeguarding of the folk music heritage by the Kod\u00e1ly concept", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10304-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10304-HUG.jpg" }, "description": "Over the past century, the Kod\u00e1ly concept of safeguarding traditional folk music has helped to promote, transmit and document local practices in Hungary and assisted communities abroad for similar purposes. Devised by researcher, composer and pedagogue Zolt\u00e1n Kod\u00e1ly and supported by the Hungarian Academy of Sciences, it advocates: making traditional folk music accessible for everyone through mainstream education and civic organizations; teaching music skills; encouraging everyday use of the music by communities concerned; researching and documenting it using local and international strategies; coexistence between research, education, community culture and composition; and respect for all music traditions. The concept has been incorporated in school curricula since 1945, where primary, secondary and tertiary students can learn about the songs, their importance and are encouraged to take part. It has also been used to document traditional music involving bearers, civic groups and culture institutes like the Institute for Musicology (with 15,000 hours of recorded folk music and 200,000 melodies from over a thousand settlements), Kod\u00e1ly Institute, and the International Kod\u00e1ly Society which also disseminate the concept internationally providing academic programmes where more than 60 countries have participated. The safeguarding concept has also inspired artists to integrate folk music in their compositions.", "list": "GSP", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/safeguarding-of-the-folk-music-heritage-by-the-kodaly-concept-01177", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10301-BIG.jpg", "copyright": "Eszter Csonka-Tak\u00e1cs", "title": "The members of the folk song circle from Holl\u00f3k\u0151 (UNESCO World Heritage Site) are singing local folk songs in the old town" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10302-BIG.jpg", "copyright": "J\u00f3zsef Birinyi", "title": "Generations are singing together in the Csutor\u00e1s International Folk Music and Dance Camp. An old folk artist lady in the traditional Pal\u00f3cz dress and her educands from the same village are performing together" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10303-BIG.jpg", "copyright": "\u00c1ron Cserdi", "title": "The tradition bearer community of Moh\u00e1cs performs folk songs during the 'Clear Source Settlement' Price (marble plaque giving) ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10304-BIG.jpg", "copyright": "Kod\u00e1ly Institute", "title": "'Ringat\u00f3' - a demonstration class with toddlers and their mothers at the International Kod\u00e1ly Seminar, teacher: Ilona G\u00e1ll-Gr\u00f3h" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10305-BIG.jpg", "copyright": "Kod\u00e1ly Institute", "title": "Demonstration at the 21st International Kod\u00e1ly Symposium by a Kecskem\u00e9t kindergarten group - recognition of song performed on the recorder by the teacher (Helga Dietrich)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10306-BIG.jpg", "copyright": "J\u00f3zsef Birinyi", "title": "At the Folk Music Workshop of T\u00e1borfalva, Sluczn\u00e9 dr. \u00c9va B\u00fckki is teaching upper-primary students, how to play on the zither. In the workshop, 6 music groups, choirs and folk song circles are operating" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10307-BIG.jpg", "copyright": "Kod\u00e1ly Institute", "title": "3rd graders of the Kecskem\u00e9t Kod\u00e1ly School: clapping rhythm exercise to prepare sight-reading of a folksong" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10308-BIG.jpg", "copyright": "J\u00f3zsef Birinyi", "title": "Folk song learning and common singing in the 26th Csutor\u00e1s International Folk Music and Folk Dance Camp. Children, adults, families, grandparents, music groups, different communities are participating on the event. Istv\u00e1n\u00e9 Uram, a folk singer from N\u00f3dr\u00e1gsipek and a young girl from the camp's participants are singing together" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10309-BIG.jpg", "copyright": "J\u00f3zsef Birinyi", "title": "Kod\u00e1ly Choir Gathering in the Saint Imre High School's saloon. The members of the Kossuth School's Children Choir are singing Kod\u00e1ly works" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10310-BIG.jpg", "copyright": "Kod\u00e1ly Institute", "title": "Choir rehearsal in the Kod\u00e1ly Institute, conductor: Prof. Peter Erdei" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PxWRPs2ns9Y", "copyright": "", "title": "Safeguard of the folk music heritage by the Kodaly concept" } ], "sustainability": "" } }, "element_1178": { "type": "element", "label": "Bhojpuri folk songs in Mauritius, Geet-Gawai", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10080-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10080-HUG.jpg" }, "description": "Geet-Gawai is a pre-wedding ceremony that combines rituals, prayer, songs, music and dance. It is performed mainly by Bhojpuri-speaking communities in Mauritius who have Indian descent. The traditional practice takes place at the home of the bride or groom and involves female family members and neighbours. It begins with five married women sorting items (turmeric, rice, grass and money) in a piece of cloth while other participants sing songs that honour Hindu gods and goddesses. After the site has been sanctified, the mother of the bride or groom and a drummer honour musical instruments to be played during the ceremony, such as the dholak (a two-headed drum). Uplifting songs are then performed and everyone joins in and dances. Geet-Gawai is an expression of community identity and collective cultural memory. The practice also provides participants with a sense of pride and contributes to greater social cohesion, and breaking class and caste barriers. Knowledge about the practice and its associated skills are transmitted from older to younger generations on an informal and formal basis. This is done via observation and participation by families, semi-formal teaching houses, community centres, and academies. Nowdays, the practice of Geet-Gawai extends to public performances and men also participate.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/bhojpuri-folk-songs-in-mauritius-geet-gawai-01178", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10079-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2015 & Nipon Medhi, 2015", "title": "Lagan-kholna, five married women sorting out the ingredients with women around singing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10080-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2015 & Nipon Medhi, 2015", "title": "Dholak-puja, paying respect to the musical instrument" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10081-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2015 & Nipon Medhi, 2015", "title": "Dharti-bandhai, seeking permission from mother earth" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10082-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2015 & Nipon Medhi, 2015", "title": "Serving of snacks" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10083-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2015 & Nipon Medhi, 2015", "title": "Appreciation by donation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10084-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2015 & Nipon Medhi, 2015", "title": "Discussion within the group practitioners" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10085-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2015 & Nipon Medhi, 2015", "title": "Enacting lyrics in the 'Jhumar'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10086-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2015 & Nipon Medhi, 2015", "title": "Singing and dancing showing emotions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10087-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2015 & Nipon Medhi, 2015", "title": "The youth joining in the occasion" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10088-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2015 & Nipon Medhi, 2015", "title": "Gammat performance by two decorated gammat performers" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=YXDOBeQQl60", "copyright": "National Heritage Fund\/Mauritius Film Development Corporation, 2015", "title": "Bhojpuri folk songs of Mauritius, Geet-Gawai" }, { "url": "https:\/\/www.youtube.com\/watch?v=nZgefY3xv9s", "copyright": "National Heritage Fund\/Mauritius Film Development Corporation, 2015", "title": "Bhojpuri folk songs of Mauritius, Geet-Gawai" } ], "sustainability": "" } }, "element_1181": { "type": "element", "label": "Flatbread making and sharing culture: Lavash, Katyrma, Jupka, Yufka", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10292-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10292-HUG.jpg" }, "description": "The culture of making and sharing flatbread in communities of Azerbaijan, Iran, Kazakhstan, Kyrgyzstan and Turkey carries social functions that have enabled it to continue as a widely-practised tradition. Making the bread (lavash, katyrma, jupka or yufka) involves at least three people, often family members, with each having a role in its preparation and baking. In rural areas, neighbours participate in the process together. Traditional bakeries also make the bread. It is baked using a tandyr\/tan\u016br (an earth or stone oven in the ground), s\u0101j (a metal plate) or kazan (a cauldron). Besides regular meals, flatbread is shared at weddings, births, funerals, various holidays and during prayers. In Azerbaijan and Iran, it is put on the bride\u2019s shoulders or crumbled over her head to wish the couple prosperity while in Turkey it is given to the couple\u2019s neighbours. At funerals in Kazakhstan it is believed the bread should be prepared to protect the deceased while a decision is made from God and in Kyrgyzstan sharing the bread provides a better afterlife for the deceased. The practice, transmitted by participation within families and from master to apprentice, expresses hospitality, solidarity and certain beliefs that symbolize common cultural roots reinforcing community belonging.", "list": "RL", "year": 2016, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/flatbread-making-and-sharing-culture-lavash-katyrma-jupka-yufka-01181", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10291-BIG.jpg", "copyright": "M. Rahimov\/Ministry of Culture and Tourism of Azerbaijan, 2015", "title": "Social gathering while preparing traditional flatbread lavash (Azerbaijan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10292-BIG.jpg", "copyright": "M. Rahimov\/Ministry of Culture and Tourism of Azerbaijan, 2015", "title": "Explanation of knowledge and skills related to preparing flatbread lavash (Azerbaijan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10293-BIG.jpg", "copyright": "ICHHTO, 2014", "title": "Spreading for baking on S\u0101j, Anarak village, province of Kohgiluyeh va Boyer Ahmad (Islamic Republic of Iran)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10294-BIG.jpg", "copyright": "ICHHTO, 2014", "title": "Inserting lavash in tan\u016br by the man and spreading the dough by the woman, D\u016bsh\u0101nl\u016b village, Meshkin Shahr, province of Ardabil (Islamic Republic of Iran)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10295-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Kazakhstan, 2015", "title": "Preparing traditional flatbread katyrma (Kazakhstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10296-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Kazakhstan, 2015", "title": "Sharing of flatbread katyrma with neighbors (Kazakhstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10297-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Kyrgyzstan, 2015", "title": "Process of preparation of flatbread jupka (Kyrgyzstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10298-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Kyrgyzstan, 2015", "title": "Traditional table with flatbread jupka (Kyrgyzstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10299-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey", "title": "Yufka being cooked on the 'sac' on embers (Turkey)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10300-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey", "title": "Flatbreads being prepared for eating\/service by sprinkling water over them in order to make them softer by the hands of talented Yoruk woman-practitioner (Turkey)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=bCOVtnQE3sE", "copyright": "Ministry of Culture and Tourism of Azerbaijan\/ICHHTO\/Ministry of Culture and Tourism of Turkey, 2015", "title": "Flatbread making and sharing culture: Lavash, Katyrma, Jupka, Yufka" } ], "sustainability": "" } }, "element_1182": { "type": "element", "label": "Ritual journeys in La Paz during Alasita", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10517-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10517-HUG.jpg" }, "description": "During the ritual journeys in La Paz during Alasita, which begin on 24 January and last two or three weeks, participants procure \u2018good luck\u2019 miniatures associated with Ekeko, the city\u2019s beneficent god of fertility. The activities begin with the search for and acquisition of the miniatures, followed by their consecration with the different Andean ritualists or their blessing by the Catholic Church. The miniatures acquire a new meaning since the individuals have vested them with faith, allowing their wishes to come true. People also exchange the miniatures to symbolically pay debts. The bearers and practitioners include a broad community of stakeholders, and inhabitants of the city participate irrespective of their social status. The practice promotes social cohesion and intergenerational transmission and improves intra-family relationships. The importance granted to donations and the payment of debts, even if symbolic, also lowers tensions between individuals and even social classes. Alasita rituals are primarily transmitted naturally within families, with children accompanying their parents during the journey. Efforts to safeguard Alasita have been continuous and depend mainly on civil society. Conservatories and museum exhibitions have raised awareness about certain Alasita themes, and municipal contests are organized to encourage the craft production of the miniatures and develop creativity, enjoying an ever-increasing number of participants.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ritual-journeys-in-la-paz-during-alasita-01182", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10516-BIG.jpg", "copyright": "Loza 2015", "title": "Habitant de La Paz recr\u00e9e la recherche de l'Ekeko pendant son itin\u00e9raire rituel \u00e0 l'Alasita" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10517-BIG.jpg", "copyright": "Loza 2015", "title": "Ancienne artisane de l'Alasita \u00e0 c\u00f4t\u00e9 des petites poup\u00e9es faites \u00e0 la main" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10518-BIG.jpg", "copyright": "Loza 2015", "title": "Table rituelle pour commencer l'Alasita chaque ann\u00e9e comme un geste propitatoire pour l'Ekeko" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10519-BIG.jpg", "copyright": "Loza 2015", "title": "Multiconfessionali\u00e9 est \u00e0 la base des pratiques rituelles de l'Alasita de La Paz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10520-BIG.jpg", "copyright": "Loza 2015", "title": "Miniatures doivent \u00eatre soumises aux encensements et aux libations pour prendre vie et devenir la r\u00e9alit\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10521-BIG.jpg", "copyright": "Solgar 2015", "title": "B\u00e9n\u00e9diction des miniatures de l'Alasita \u00e0 la Cath\u00e9drale m\u00e9tropolitaine de La Paz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10522-BIG.jpg", "copyright": "Solgar 2015", "title": "Transmission de g\u00e9n\u00e9ration en g\u00e9n\u00e9ration de la ritualit\u00e9 de l'Alasita \u00e0 La Paz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10523-BIG.jpg", "copyright": "Solgar 2015", "title": "Enfant initi\u00e9 comme ritualiste \u00e0 l'Alasita de la ville de La Paz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10524-BIG.jpg", "copyright": "Solgar 2015", "title": "Entre la modernit\u00e9 et la tradition, les enfants pendant l'Alasita de la ville de La Paz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10525-BIG.jpg", "copyright": "Solgar 2015", "title": "Liseurs d'\u00e9tain d\u00e9couvrent le futur et les d\u00e9sirs des participants \u00e0 l'Aalasita de la ville de La Paz" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=nvjbYxEBMPM", "copyright": "", "title": "La alasita y sus itinerarios rituales en la ciudad de La Paz" }, { "url": "https:\/\/www.youtube.com\/watch?v=aeh7nqNNY4I", "copyright": "", "title": "La alasita y sus itinerarios rituales en la ciudad de La Paz" } ], "sustainability": "" } }, "element_1184": { "type": "element", "label": "Momoeria, New Year's celebration in eight villages of Kozani area, West Macedonia, Greece", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10288-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10288-HUG.jpg" }, "description": "From December 25 to January 5 in Kozani (north-western Greece), dancers, actors and musicians can be seen performing in village streets and visiting people\u2019s homes to celebrate the coming of the new year. The Momoeria dancers, a group made up of 30 male performers, are a special focus. They represent the priests of Momos (god of laughter and satire) or commanders of Alexander the Great wearing helmets, pleated skirts, traditional shoes and brandishing sticks dancing under their leader\u2019s command to convince the powers of nature not to endanger the livelihood of villagers. Actors surround the dancers performing a well-known satirical play featuring characters like an old man and the devil (this can vary among villages) who the audience is invited to tease creating a fun atmopshere. Instruments like the bagpipe play in the background. The practice is mainly to wish the community prosperity in the year ahead, including healthy offspring and good harvests but now also encourages the sustainable management of natural resources. Festivities culminate in the town square with everyone singing and dancing around a fire until morning. Transmitted informally from older to younger generations, it symbolizes part of the community\u2019s cultural identity and helps to build social integration.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/momoeria-new-year-s-celebration-in-eight-villages-of-kozani-area-west-macedonia-greece-01184", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10281-BIG.jpg", "copyright": "Kostas Alexandridis, 2014", "title": "Momoeri dance in a village house yard, with the 'bride' they 'protect' in the middle of their circle, where is also lurking 'the devil', Tetralofos village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10282-BIG.jpg", "copyright": "Kostas Alexandridis, 2014", "title": "The 'old woman' pretends that she cannot walk, so one of the spectators is obliged to carry her in his back. Agios Demetrios village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10283-BIG.jpg", "copyright": "Kostas Alexandridis, 2014", "title": "Momoeri visiting one be one all the houses in their village, Tetralofos village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10284-BIG.jpg", "copyright": "Kostas Alexandridis, 2014", "title": "The treats and 'tsipouro' (local alcoholik drink) are ready to be offered to the Momoeri, after they finish their performance that brings prosperity and happiness in the house they visit, Karyohori village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10285-BIG.jpg", "copyright": "Kostas Alexandridis, 2014", "title": "The procession of Momoeri walks through the village, going from one house to the next, Karyohori village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10286-BIG.jpg", "copyright": "Kostas Alexandridis, 2014", "title": "Momoeri enjoy the treats and 'tsipouro' after they have danced in the house-yard, Karyohori village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10287-BIG.jpg", "copyright": "Kostas Alexandridis, 2014", "title": "The spectators and 'the devil' cooperate to reveal the hiding place where the 'abductor' keeps the 'bride', Tetralofos village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10288-BIG.jpg", "copyright": "Kostas Alexandridis, 2014", "title": "Momoeri dance in the yard of a house, Tetrafolos village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10289-BIG.jpg", "copyright": "Kostas Alexandridis, 2014", "title": "After the Momoeri and the theatrical team have finished their performance, a big feast is held in the central square of each village, Tetrafolos village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10290-BIG.jpg", "copyright": "Kostas Alexandridis, 2014", "title": "'The doctor' 'examines' not only 'the bride', but the spectators as well, Thessaloniki" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=zWevfCgboSM", "copyright": "Modern Cultural Assets and Intangible Cultural Heritage Directorate, Hellenic Ministry of Culture, Education and Religious Affairs", "title": "Momoeria" } ], "sustainability": "" } }, "element_1185": { "type": "element", "label": "Rumba in Cuba, a festive combination of music and dances and all the practices associated", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10273-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10273-HUG.jpg" }, "description": "The music and movements of rumba in Cuba are mainly associated with African culture but also feature elements from Antillean culture and Spanish flamenco. Historically, rumba in Cuba developed in marginal neighbourhoods of cities in Cuba like Havana and Matanzas, near other ports and shanty towns and grew especially popular in rural areas where communities of African slaves lived. Spreading from the west to the east of the country, it has been a major symbol of a marginal layer of Cuban society and identity, acting as an expression of self-esteem and resistance and tool for social outreach, helping to enrich the lives of practising communities. Performances consist of verbal and non-verbal forms of communication such as chants, gestures, handclapping, dance and specific body language. Instruments, either percussion or simply utensils from the home or work, are part of the practice. A festive atmosphere develops where the performers, working within specific cultural codes, and the audience begin to interact. The dances and chants evoke a sense of grace, sensuality and joy that aims to connect people, regardless of their social and economic background, gender or ethnicity. The practice of rumba in Cuba has been transmitted over generations by imitation within families and neighbourhoods.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/rumba-in-cuba-a-festive-combination-of-music-and-dances-and-all-the-practices-associated-01185", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10271-BIG.jpg", "copyright": "National Council for Cultural Heritage, 2014", "title": "Rumba is an inclusive expression that can be learned and practiced regardless of gender, age or race" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10272-BIG.jpg", "copyright": "National Council for Cultural Heritage, 2014", "title": "Dancing couple of the project of children 'Los Clumbianitos'. They performance a guaguanc\u00f3 in the Callej\u00f3n de las Tradiciones, (Alley of Traditions), Matanzas. Is a dance of seduction and conquer in which sensual and fast movements are combine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10273-BIG.jpg", "copyright": "Medina Hern\u00e1ndez, AHS, 2015", "title": "Performance of the tumbadora. Callej\u00f3n de Hamel, Cayo Hueso, La Habana" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10274-BIG.jpg", "copyright": "Medina Hern\u00e1ndez, AHS, 2015", "title": "Rumba is play and dance in the community of Callej\u00f3n de Hamel, Cayo Hueso, La Habana" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10275-BIG.jpg", "copyright": "National Council for Cultural Heritage, 2014", "title": "Group of children 'Rumbeando'. They play guatacaca, el g\u00fciro and tumbadoras" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10276-BIG.jpg", "copyright": "National Council for Cultural Heritage, 2014", "title": "Cencerro is one of the instruments used in the rumba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10277-BIG.jpg", "copyright": "National Council for Cultural Heritage, 2014", "title": "Drummer playing the percussion instrument called caj\u00f3n" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10278-BIG.jpg", "copyright": "National Council for Cultural Heritage, 2014", "title": "At Ana P\u00e9rez home, from Matanazas, a rumba called 'de caj\u00f3n' is play there due to the instrument" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10279-BIG.jpg", "copyright": "National Council for Cultural Heritage, 2014", "title": "The rhythm can be followed using work or home utensils" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10280-BIG.jpg", "copyright": "Medina Hern\u00e1ndez, AHS, 2015", "title": "Community of rumbers from Callej\u00f3n de Hamel celebrate their party every Sunday, Cayo Hueso, La Habana" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4wblApq2pl4", "copyright": "AHS, 2015", "title": "La rumba cubana" }, { "url": "https:\/\/www.youtube.com\/watch?v=NPVEZwwRVHc", "copyright": "AHS, 2015", "title": "La rumba cubana" } ], "sustainability": "" } }, "element_1187": { "type": "element", "label": "Ma'di bowl lyre music and dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10202-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10202-HUG.jpg" }, "description": "The Ma\u2019di bowl lyre music and dance is a cultural practice of the Madi people of Uganda. Passed on by the community\u2019s ancestors, the songs and dances involved in the tradition are performed for various purposes, including weddings, political rallies, to celebrate good harvests, educate children, resolve conflict or mourn the passing of loved ones. Several rituals also take place regarding the production and use of the lyre: preparing a special meal to bless the instrument while it is being made; placing pieces of broom and stone taken from a \u2018quarrelsome woman\u2019 inside it and praying to the ancestors so the instrument will resemble a similar sound; naming the instrument; and shaking it before and after playing to show respect for it. The traditional practice is a tool for strengthening family ties and clan unity, as well as educating younger generations about their community\u2019s history, values and culture. Associated knowledge and skills on the practice are transmitted from senior bearers to young people. However, the tradition\u2019s continuity is at risk due to it being perceived as old fashioned by new generations and materials that are used to make the instrument coming from plants and animals now being considered endangered.", "list": "USL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/ma-di-bowl-lyre-music-and-dance-01187", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10195-BIG.jpg", "copyright": "David Cudi, 2014", "title": "Madi community members in Moyo District in a consultative meeting at Moyo Multipurpose Centre discussing the modalities of nominating the Madi Bowl lyre music and dance (O'di) in to UNESCO Urgent Safeguarding List" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10196-BIG.jpg", "copyright": "David Cudi, 2014", "title": "O'di practitioners performing the Madi Bowl lyre music and dance in an ensemble at Moyo Multipurpose Training Centre, Moyo District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10197-BIG.jpg", "copyright": "Idro Williams Jean, 2014", "title": "Solo o'di performance accompanied by singing and dancing during the consultative meeting with practitioners in Adjumai District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10198-BIG.jpg", "copyright": "Idro Williams Jean, 2014", "title": "O'di performance by women showing the sliding dancing style and gettle waist wriggling during interviews" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10199-BIG.jpg", "copyright": "Idro Williams Jean, 2014", "title": "Women in Panyanga village, Moyo District, preparing a meal for o'di makers. Cooking and eating food is one of the rituals performed when making an o'di instrument." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10200-BIG.jpg", "copyright": "Idro Williams Jean, 2014", "title": "O'di makers placing the turtle shell on the skin for naming o'di. Naming of o'di is another important ritual that happens before an animal skin is laced on the turtle shell. An o'di is referred to by such a name throughout its lifespan." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10201-BIG.jpg", "copyright": "Idro Williams Jean, 2014", "title": "Picture showing the ritual of inserting a piece of broom and stone picked from a quarrelsome women into the sound bowl of the Madi Bowl lyre. This is a ritual performed to make o'di sound loud and enjoyable." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10202-BIG.jpg", "copyright": "Idro Williams Jean, 2014", "title": "Picture showing Mzee Juluga Thomas playing a newly made o'di and a colleague singing together with him at Laropi, Moyo District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10203-BIG.jpg", "copyright": "Idro Williams Jean, 2014", "title": "A picture showing children consenting to nominate the Madi Bowl lyre music and dance (O'di) into the UNESCO Urgent Safeguarding List" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KCM22XoqTwY", "copyright": "Alex Kiyaga, Uganda, 2015", "title": "The Madi Bowl lyre music and dance (O'di)" } ], "sustainability": "" } }, "element_1188": { "type": "element", "label": "Dolma making and sharing tradition, a marker of cultural identity", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11389-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11389-HUG.jpg" }, "description": "Dolma tradition is a set of knowledge and skills relating to the preparation of the traditional meal \u2018dolma\u2019, which takes the form of small fillings (containing meat, onion, rice, peas and spices) wrapped in fresh or pre-cooked leaves or stuffed in fruits and vegetables. The name of the tradition originates from the shortened Turkic word \u2018doldurma\u2019, meaning \u2018stuffed\u2019. The meal is shared within families or local communities, with different methods, techniques and ingredients used to prepare the traditional meal by different communities. The tradition is present throughout the Republic of Azerbaijan, and is perceived as a central culinary practice in all regions. It is enjoyed on special occasions and gatherings and expresses solidarity, respect and hospitality. It is transmitted from generation to generation and transcends ethnic and religious boundaries within the country. Bearers consist of traditional cooking practitioners, mostly women, and the wider community of people that use dolma for various cultural and social purposes. The tradition is transmitted through parent-child relationships, while formal transmission mainly occurs in vocational and apprenticeship schools. The element enjoys great visibility within Azerbaijani society, and its viability is ensured by the communities through numerous awareness-raising activities and events such as festivals, vocational schools that teach the tradition and the preparation of publications on the subject.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/dolma-making-and-sharing-tradition-a-marker-of-cultural-identity-01188", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11387-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Gathering grapevine leaves for preparing one of the types of dolma \u2013 yarpaq dolmasi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11388-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Storing leaves in jars for dolma preparation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11389-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Mother showing to daughter how to wrap dolma fillings" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11390-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Mixing up ingredients" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11391-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Wrapping technique for yarpaq dolmasi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11392-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Preparing yarpaq dolmasi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11393-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Moment of bringing family and guests around the table to taste dolma" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11394-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Yarpaq dolmasi \u2013 grapevine leaves dolma" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11395-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Other type of dolma preparations \u2013 badimcan dolmasi (vegetable or assorti dolma)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11397-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Other type of dolma preparations \u2013 kelem dolmasi (cabbage leaves dolma)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=WaLRpY9iSjI", "copyright": "Ministry of Culture and Tourism of Azerbaijan, 2016", "title": "Dolma making and sharing tradition" } ], "sustainability": "" } }, "element_1189": { "type": "element", "label": "Tahteeb, stick game", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10392-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10392-HUG.jpg" }, "description": "In ancient Egypt, tahteeb was used as a form of martial arts. Its role has since changed to that of a festive game but some of the symbolism and values associated with the practice remain. Performed in front of an audience, it involves a brief, non-violent interchange between two adversaries, each wielding a long stick while folk music plays in the background. Complete control must be exercised as no striking is allowed. Practitioners are male both young and old, mostly from Saeedy populations in upper Egypt, particularly rural areas where the tahteeb stick has been used by inhabitants as part of their daily lives and considered a sign of manhood. The rules of the game are based on values such as mutual respect, friendship, courage, strength, chivalry and pride. Tahteeb is practised in public and private social settings. Sometimes competitions are held to encourage new players and special tahteeb evenings involving different governorates that can last almost a week. Transmission occurs within families, neighbourhoods and to anyone who wishes to learn. The game gives participants confidence from skills acquired and a sense of pride performing before their community. It also helps to strengthen family ties and foster good communal relations.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/tahteeb-stick-game-01189", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10383-BIG.jpg", "copyright": "Ayman Khoury, 2013", "title": "Percussion and Mizmar players with a stick player" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10384-BIG.jpg", "copyright": "Ayman Khoury, 2013", "title": "Two stick players raising there sticks, indication of the beginning of the game" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10385-BIG.jpg", "copyright": "Ayman Khoury, 2013", "title": "Two stick players surrounded by spectators" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10386-BIG.jpg", "copyright": "Ayman Khoury, 2013", "title": "Two stick players playing and dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10387-BIG.jpg", "copyright": "Ayman Khoury, 2013", "title": "Two stick players one attacking the other in defence mode" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10388-BIG.jpg", "copyright": "Ayman Khoury, 2013", "title": "Two stick players one attacking the other in defence mode" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10389-BIG.jpg", "copyright": "Ayman Khoury, 2013", "title": "Percussion and Mizmar players" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10390-BIG.jpg", "copyright": "Ayman Khoury, 2013", "title": "Stick player raising his stick" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10391-BIG.jpg", "copyright": "Ayman Khoury, 2013", "title": "Two stick players one attacking the other in defence mode" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10392-BIG.jpg", "copyright": "Auman Khoury, 2013", "title": "One stick player playing in defence mode" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=QkbEI7co0y4", "copyright": "Ayman Khoury, 2013", "title": "Tahtib, le jeu du b\u00e2ton" } ], "sustainability": "" } }, "element_1190": { "type": "element", "label": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10579-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10579-HUG.jpg" }, "description": "Yalli, traditional group dances, are dance expressions based exclusively on collective performances. Typically, yalli are performed in a circle, chain or line, and involve elements of games, pantomime (bird or other animal imitations), physical exercises and movements. The community of the yalli dances consists of practising dancers, who enact the dances either spontaneously or in a planned manner at various festivities and celebrations. Some variants of yalli bear a song-like character and are practised by both women and men, while others are practised by men only and imitate pastoralist games with some elements of butting animals. Until the mid-twentieth century, yalli were widely practised but several factors have impacted the transmission of the practice thereafter. They include a gradual loss of social functions for certain types of yalli, a preference for staged performances, external factors such as labour migration and the economic crises of the late 1980s and early 1990s, a shift from informal to formal transmission, and a drastic simplification of the dances, which has entailed a loss of diversity.", "list": "USL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/yalli-kochari-tenzere-traditional-group-dances-of-nakhchivan-01190", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10577-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Azerbaijan", "title": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10578-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Azerbaijan", "title": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10579-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Azerbaijan", "title": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10581-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Azerbaijan", "title": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10583-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Azerbaijan", "title": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10584-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Azerbaijan", "title": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10585-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Azerbaijan", "title": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12033-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Azerbaijan", "title": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12034-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Azerbaijan", "title": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12035-BIG.jpg", "copyright": "G. Abdullayeva\/Ministry of Culture and Tourism of Azerbaijan", "title": "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PKoxh-jdaec", "copyright": "", "title": "Yalli" } ], "sustainability": "" } }, "element_1191": { "type": "element", "label": "Oshi Palav, a traditional meal and its social and cultural contexts in Tajikistan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10131-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10131-HUG.jpg" }, "description": "Oshi palav (pilaf) is a traditional dish of communities in Tajikistan recognized as a part of their cultural heritage. Otherwise known as the \u2018King of meals\u2019, it is based on a recipe using vegetables, rice, meat and spices but up to 200 varieties of the dish exist. Considered an inclusive practice that aims to bring people of different backgrounds together, oshi palav is prepared to be enjoyed at regular mealtimes, as well as social gatherings, celebrations and rituals. The importance of the dish to communities in Tajikistan is indicative in sayings such as \u201cNo Osh, no acquaintance\u201d or \u201cIf you have eaten Osh from somebody, you must respect them for 40 years\u201d. Groups of men or women prepare the dish either in their homes or at teahouses while socalizing or playing music and singing. Knowledge and skills associated with the practice is transmitted on an intergenerational basis in families, in addition to cooking schools from master to apprentice. Once an apprentice masters oshi palav, the apprentice hosts a dinner for the trainer and guests during which the trainer receives a skull-cap and traditional dress while the apprentice receives a skimmer (a tool for cooking oshi palav) symbolizing the apprentice\u2019s independence.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/oshi-palav-a-traditional-meal-and-its-social-and-cultural-contexts-in-tajikistan-01191", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10129-BIG.jpg", "copyright": "2015, Dilshod Rahimov", "title": "The dish of Oshi Palav" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10130-BIG.jpg", "copyright": "2015, Tajik National Comission for UNESCO", "title": "The ingredients of Oshi Palav" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10131-BIG.jpg", "copyright": "2015, Tajik National Comission for UNESCO", "title": "The ritual Sabzirezakunon (cutting the carrots) in Panjakent" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10132-BIG.jpg", "copyright": "2015, Dilshod Rahimov", "title": "Halim Salohiddinov, the Master of cooking of the Oshi Palav with his disciple" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10133-BIG.jpg", "copyright": "2015, Dilshod Rahimov", "title": "Oshi Nahor (morning Osh) celebration in Hisar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10134-BIG.jpg", "copyright": "2015, Dilshod Rahimov", "title": "Social gathering 'Gapkhuri' in Sari Sang village of Khujand" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10135-BIG.jpg", "copyright": "2015, Dilshod Rahimov", "title": "Women celebration 'Oshi zanho'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10136-BIG.jpg", "copyright": "2015, Tajik National Comission for UNESCO", "title": "Traditional Tajik folk dance with wooden dish" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10137-BIG.jpg", "copyright": "2015, Dilshod Rahimov", "title": "The Oshi Palav lesson in the Liceum of Service and Tourism of Tajikistan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10138-BIG.jpg", "copyright": "2015, Tajik National Comission for UNESCO", "title": "Competition of 'Best Oshi Palav Cook' in Dushanbe" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=5W3gBtGJz8A", "copyright": "Nosiri Rahmon, 2015", "title": "Oshi Palav" } ], "sustainability": "" } }, "element_1194": { "type": "element", "label": "Cossack\u2019s songs of Dnipropetrovsk Region", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10189-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10189-HUG.jpg" }, "description": "Cossack songs are sung by communities of the Dnipropetrovsk region which tell stories about the tragedy of war but also the personal relationships of Cossack soldiers. Singers practise the tradition in three different groups: Krynycya, Boguslavochka and Pershocvit. The songs are sung for pleasure and so practitioners can have a connection to the past \u2013 their ancestors and their community\u2019s history. Many of the singers, both men and women, are aged in their 70s and 80s and have been involved in the practice for most of their lives. The groups operate around two main performers: the first who has knowledge of all the song lyrics starts the singing, then the second begins (in an upper voice), followed by the rest of the group (with middle and lower voices). If male singers are not present in the group, women impersonate them by deepening their voices. The singers normally meet regularly and while not requiring an audience, may sometimes give a concert. It is a tradition that is transmitted within families where younger members learn from those more experienced, but its continuity is now in question due to an aging bearer population and the sparsity of other knowledge sources for new generations to learn from.", "list": "USL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/cossack-s-songs-of-dnipropetrovsk-region-01194", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10185-BIG.jpg", "copyright": "Kravchenko Dmytro, 2014", "title": "Singing group 'Pershotsvit' (primrose) from Kocherezhky village against the background of inscription '30 Years of group 'Pershotsvit'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10186-BIG.jpg", "copyright": "Kravchenko Dmytro, 2014", "title": "The old participants of group 'Pershotsvit' (from left to right): Praskeviia Gorodynska (b. 1931), Nadia Parshuk (b. 1931) and Maria Pylchonok (b. 1931)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10187-BIG.jpg", "copyright": "Kravchenko Dmytro, 2014", "title": "Safeguarding of ensemble practice in performance of element 'Cossack songs of Dnipropetrovsk region': younger inhabitants of Kocherezhky village perform old-time Cossack song 'O, from over the mountains, from over the mountains falcon flied' with the eldest participants of group 'Pershotsvit'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10188-BIG.jpg", "copyright": "Kravchenko Dmytro, 2014", "title": "Singing group 'Boguslavochka' from Boguslav village and their pupils" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10189-BIG.jpg", "copyright": "Kravchenko Dmytro, 2014", "title": "The eldest participants of group 'Boslavochka' (from left to right:) Kateryna Nagorna (b. 1934), Ganna Loza (b. 1933), Galyna Khorolska (b. 1935) and Ganna Kovaliova (b. 1932)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10190-BIG.jpg", "copyright": "Kravchenko Dmytro, 2014", "title": "Safeguarding of ensemble practice in the performance of element 'Cossack songs of Dnipropetrovsk region': the younger inhabitants of Boguslav village learn the Cossack songs from old women from the group 'Boguslavochka'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10191-BIG.jpg", "copyright": "Kravchenko Dmytro, 2014", "title": "Tradition of the Cossack songs performance: principal performers (performer beginning a song and performer singing upper voice) sit knee by knee slightly bending to each other (picture of two old women in the center); when singing, the performers 'withdraw into themselves'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10192-BIG.jpg", "copyright": "Dnipropetrovsk Regional Council, 2014", "title": "Singing group 'Krynycia' from Pidgorodne town" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10193-BIG.jpg", "copyright": "Kravchenko Dmytro, 2014", "title": "The founders of group 'Krynycia' (from left to right:) Raisa Polyviana (b. 1938), Maria Kornuta (b. 1934) and Maria Zaugolna (b. 1938)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10194-BIG.jpg", "copyright": "Dnipropetrovsk Regional Council, 2014", "title": "Safeguarding of ensemble practice in the performance of element 'Cossack songs of Dnipropetrovsk region': Valentyna Kolisnyk (b. 1940), a performer of upper voice ('vyvodyty') from group 'Krynycia', trains Kateryna Karapysh (b. 1954) in the performance of 'vyvodyty'" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=bHTCn1ag4Mw", "copyright": "Wagner, 2015", "title": "Cossack songs of Dniepropetrovsk region" } ], "sustainability": "" } }, "element_1196": { "type": "element", "label": "Alardah Alnajdiyah, dance, drumming and poetry in Saudi Arabia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10233-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10233-HUG.jpg" }, "description": "Alardah is a traditional performance combining dance, drumming and chanting poetry that signifies the start and end of notable occasions, such as religious holidays, weddings, births, graduation ceremonies, or events of national or local significance. It is considered a fundamental component of the cultural expressions of the practicing communities. Alardah performers include drummers, dancers and poets. Males performing Alardah carry light swords and stand shoulder to shoulder in two sets of facing rows, leaving space between them to accommodate drummers. One performer in full costume carries a flag. A poet chants verses specific to the occasion in a loud voice, which are then sung antiphonally by the participants. Large dance drums then strike strokes in quick succession, followed by smaller drums. While singing, all performers rock back and forth, side to side and move their swords up and down in rhythmic movements in harmony with the drumbeats and verses. As the poem ends, the men gather around the flag. Males may participate, regardless of social status, age or professional background. Women also participate as costume-makers. While fostering a sense of mutual respect, the performance consolidates social cohesion. Troupes and local citizens, schools, provinces and neighbourhood communities all engage in teaching, performing, popularizing and transmitting Alardah.", "list": "RL", "year": 2015, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/alardah-alnajdiyah-dance-drumming-and-poetry-in-saudi-arabia-01196", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10232-BIG.jpg", "copyright": "Ahmed Alsheme, 2015", "title": "Alardhah Alnajdiyah dance, Saudi Arabia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10233-BIG.jpg", "copyright": "Ahmed Alsheme, 2015", "title": "Alardhah Alnajdiyah drams playing, Saudi Arabia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10234-BIG.jpg", "copyright": "Ahmed Alsheme, 2015", "title": "Alardhah Alnajdiyah 'Horab', Saudi Arabia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10235-BIG.jpg", "copyright": "Ahmed Alsheme, 2015", "title": "Alardhah Alnajdiyah 'dancing', Saudi Arabia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10236-BIG.jpg", "copyright": "Ahmed Alsheme, 2015", "title": "Alardhah Alnajdiyah 'Alsabhah', Saudi Arabia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10237-BIG.jpg", "copyright": "Ahmed Alsheme, 2015", "title": "Alardhah Alnajdiyah 'Mulaqqin', Saudi Arabia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10238-BIG.jpg", "copyright": "Ahmed Alsheme, 2015", "title": "Alardhah Alnajdiyah 'Tathlith', Saudi Arabia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10239-BIG.jpg", "copyright": "Ahmed Alsheme, 2015", "title": "Alardhah Alnajdiyah 'Takhmir', Saudi Arabia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10240-BIG.jpg", "copyright": "Ahmed Alsheme, 2015", "title": "Alardhah Alnajdiyah 'Clothes', Saudi Arabia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10241-BIG.jpg", "copyright": "Ahmed Alsheme, 2015", "title": "Alardhah Alnajdiyah 'dancing with drams', Saudi Arabia" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=0dinIKjrgW0", "copyright": "Riyadh School, Saudi Arabia, 2015", "title": "Alardhah in the graduation ceremony" } ], "sustainability": "" } }, "element_1197": { "type": "element", "label": "Pinisi, art of boatbuilding in South Sulawesi", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10440-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10440-HUG.jpg" }, "description": "Pinisi, or the Art of Boatbuilding in South Sulawesi, refers to the rig and sail of the famed \u2018Sulawesi schooner\u2019. The construction and deployment of such vessels stand in the millennia-long tradition of Austronesian boatbuilding and navigation that has brought forth a broad variety of sophisticated watercrafts. For both the Indonesian and the international public, Pinisi has become the epitome of the Archipelago\u2019s indigenous sailing craft. Today, the centres of boatbuilding are located at Tana Beru, Bira and Batu Licin, where about 70 per cent of the population make a living through work related to boatbuilding and navigation. Shipbuilding and sailing are not only the communities\u2019 economic mainstay, however, but also the central focus of daily life and identity. The reciprocal cooperation between the communities of shipwrights and their relations with their customers strengthen mutual understanding between the parties involved. Knowledge and skills related to the element are passed down from generation to generation within the family circle, as well as to individuals outside of the family through the division of labour. The communities, groups and individuals concerned are actively involved in safeguarding efforts, for example through marketing initiatives and the publication of books on the subject.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pinisi-art-of-boatbuilding-in-south-sulawesi-01197", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10434-BIG.jpg", "copyright": "Ministry of Education and Culture, Indonesia, 2015", "title": "The boat is ready to sail" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10435-BIG.jpg", "copyright": "Ministry of Education and Culture, Indonesia, 2015", "title": "Ritual of cutting keel in one of the Bantilang in Tana Beru" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10436-BIG.jpg", "copyright": "Ministry of Education and Culture, Indonesia, 2015", "title": "Assembling the hull's plank at the Bantilang" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10437-BIG.jpg", "copyright": "Ministry of Education and Culture, Indonesia, 2015", "title": "The boat's launching ritual attended by Panrita Lopi, Sambalu and community" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10438-BIG.jpg", "copyright": "Ministry of Education and Culture, Indonesia, 2015", "title": "Panrita Lopi leads the boat's launching to the sea" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10439-BIG.jpg", "copyright": "Ministry of Education and Culture, Indonesia, 2015", "title": "The first 'touch' of the boat on to sea" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10440-BIG.jpg", "copyright": "Ministry of Education and Culture, Indonesia, 2015", "title": "The process of knowledge transmission to children through habituation while playing around at Bantilang or boat workshp" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10441-BIG.jpg", "copyright": "Ministry of Education and Culture, Indonesia, 2015", "title": "The situation of teaching and learning at Nautical Vocational School of Bulukumba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10442-BIG.jpg", "copyright": "Ministry of Education and Culture, Indonesia, 2015", "title": "The Bitti trees in Taman Hutan Rakyat (people's forest) of South Sulawesi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10443-BIG.jpg", "copyright": "Ministry of Education and Culture, Indonesia, 2015", "title": "The involvement of communities in the process of preparing the document of 'Pinsi'" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=R8za8EJHIAY", "copyright": "2015 by Directorate of Internalization of Value and Culture Diplomacy, Indonesia", "title": "Pinisi, the art of boatbuilding of the people of South Sulawesi" } ], "sustainability": "Pinisi, the art of boatbuilding in South Sulawesi, is a tradition of Austronesian boatbuilding and navigation which has developed over millennia. Today, the craft employs over 70% of the local population in the centres of Tana Beru, Bir, and Batu Licin. These communities transmit the knowledge and skills of the craft within the family and build strong relationships with their customers. Builders are active in safeguarding this craft and its associated ritual practices, which are a cornerstone of the socio-economic structure and cultural identity in Sulawesi. This element also links to SDG # 7: Affordable and Clean Energy." } }, "element_1198": { "type": "element", "label": "Carnival of El Callao, a festive representation of a memory and cultural identity", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10337-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10337-HUG.jpg" }, "description": "The Carnival of El Callao, practised in communities of Venezuela, is associated with cannes brul\u00e9es emancipation celebrations in French-speaking islands of the Caribbean. Running from January to March, the traditional practice features parades of people dressed as characters from history and fantasy, as well as calypso music, dancing and concerts throughout town streets with up to 3,000 people taking part. The parades are led by the madamas (the pillars of Callaoense identity representing Antillean matrons considered the communicators of values, who dance and wear colourful dresses); the medio-pintos (young people that entertain audiences by smudging charcoal on people who do not give a donation); the mineros (gold miners); and the diablos (people who wear masks, dance and carry a whip to maintain order). Other adults and young people wear costumes and also join in. The carnival highlights Callaoense history and diversity honouring its Afro-Antillean links and other community influences, reinforces its cultural identity, promotes unity and encourages younger generations to discover their heritage. Intergenerational transmission of the practice occurs mainly within families and schools run by tradition bearers where children learn skills so they can participate in the carnival like writing tunes, playing an instrument, singing, dancing or making masks.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/carnival-of-el-callao-a-festive-representation-of-a-memory-and-cultural-identity-01198", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10331-BIG.jpg", "copyright": "Centro dela Diversidad Cultural, 2015", "title": "The Madamas, in their role as communicators of values, are seen as pillars of the Callaoenses" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10332-BIG.jpg", "copyright": "Centro dela Diversidad Cultural, 2015", "title": "The carnival is a time to play and reinforce in the Callaoenses the 'sense of belonging' when they partake in the enjoyment, the singing and the dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10333-BIG.jpg", "copyright": "Centro dela Diversidad Cultural, 2015", "title": "The element is open and inclusive, and favors understanding and dialog between cultures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10334-BIG.jpg", "copyright": "Centro dela Diversidad Cultural, 2015", "title": "Bearers encourage, among the younger ones, the skills required to participate in the element, either by singing, dancing, playing an instrument or making costumes and masks" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10335-BIG.jpg", "copyright": "Centro dela Diversidad Cultural, 2015", "title": "The carnival, as a social practice that summons the Callaoenses, allows for all sorts of people to enjoy, regardless of the gender, age, public or private nature" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10336-BIG.jpg", "copyright": "Centro dela Diversidad Cultural, 2015", "title": "Historical figures are represented as a means to understand and re-signify the past, renovating the community's sense of belonging in the process" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10337-BIG.jpg", "copyright": "Centro dela Diversidad Cultural, 2015", "title": "Through generations, women represent Antillean matrons from long time ago, sport colorful dresses with ample skirts and long necklaces, while dancing Calipso rhythmically" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10338-BIG.jpg", "copyright": "Centro dela Diversidad Cultural, 2015", "title": "Calipso in El Callao has acquired an innate quality thanks to human ingenuity, which allowed rhythmic and technological innovations, which have made possible the manufacturing of musical instruments out of recycled objects" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10339-BIG.jpg", "copyright": "Centro dela Diversidad Cultural, 2015", "title": "Children begin to participate in the comparsas at a very early age, thus allowing the Callaoenses families to recover their heritage and reinforce their identity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10340-BIG.jpg", "copyright": "Angel Dejes\u00fas, 2015", "title": "The semilleros de Calipso promotes creative skills among the young" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=mGpC3oshv88", "copyright": "Centro de la Diversidad Cultural, 2015", "title": "The Carnival of El Callao: a festive representation of a memory and cultural identity" } ], "sustainability": "" } }, "element_1199": { "type": "element", "label": "Bisalh\u00e3es black pottery manufacturing process", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10175-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10175-HUG.jpg" }, "description": "Bisalh\u00e3es in Portugal is known as \u2018the land of pot and pan producers\u2019 or more specifically, where black pottery is made. Designed for decorative and cooking purposes, the traditional practice that features on the village\u2019s coat of arms has been an important part of the community\u2019s identity, with old methods still used today to create pieces resembling those of the past. Several steps are involved in making black pottery. First, the clay is crushed with a wooden hammer in a stone tank before it is sifted, water added to it, then kneaded, formed, defined using various laths, smoothened by pebbles, decorated using a stick and finally fired in a kiln. The division of work has evolved over time with the labour-intensive clay preparation now assigned to men, while women still mainly decorate the pots. Furthermore, clay used in the process is now sourced from local tile factories instead of being extracted from pits. Transmitted almost exclusively through kinship ties, the future of the practice appears in jeopardy due to a diminishing number of bearers, waning interest from younger generations to continue the tradition and popular demand for industrially-made alternatives.", "list": "USL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/bisalhaes-black-pottery-manufacturing-process-01199", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10175-BIG.jpg", "copyright": "2015 by Paulo Ara\u00fajo", "title": "Crushing the clay with a 'pico' (wood hammer) in a stone tank ('pio')" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10176-BIG.jpg", "copyright": "2015 by Paulo Ara\u00fajo", "title": "Screening the clay with a sifter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10177-BIG.jpg", "copyright": "2015 by Paulo Ara\u00fajo", "title": "Mixing the sifted clay with water, inside a bowl and kneaded with the help of the hands, making the 'beloiros' (kneaded clay balls)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10178-BIG.jpg", "copyright": "2015 by Paulo Ara\u00fajo", "title": "'Pele de barro' - 'clay skin', made with up to four 'beloiros' (kneaded clay balls), a large piece of clay ready for storage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10179-BIG.jpg", "copyright": "Paulo Ara\u00fajo, 2015", "title": "Potter Ant\u00f3nio Jorge Romalho working at the low-wheel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10180-BIG.jpg", "copyright": "2015 by Paulo Ara\u00fajo", "title": "No\u00e9mia Rocha burnishing (polishing with a little stone from the river) the pottery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10181-BIG.jpg", "copyright": "2015 by Paulo Ara\u00fajo", "title": "Maria de F\u00e1tima Mac\u00e1rio decorating the pottery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10182-BIG.jpg", "copyright": "2015 by Paulo Ara\u00fajo", "title": "Piling up the pottery in the kiln, in Bisalh\u00e3es" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10183-BIG.jpg", "copyright": "2015 by Paulo Ara\u00fajo", "title": "Firing the pottery in the kiln" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10184-BIG.jpg", "copyright": "2015 by Paulo Ara\u00fajo", "title": "Taking the pottery out of the kiln" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=OtpuHzDtdMc", "copyright": "2015, by Paulo Ara\u00fajo", "title": "Bisalh\u00e3es black pottery manufacturing process" } ], "sustainability": "" } }, "element_1200": { "type": "element", "label": "Idea and practice of organizing shared interests in cooperatives", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10052-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10052-HUG.jpg" }, "description": "A cooperative is an association of volunteers that provides services of a social, cultural or economic nature to members of the community to help improve living standards, overcome shared challenges and promote positive change. Based on the subsidiarity principle that puts personal responsibility above state action, cooperatives allow for community building through shared interests and values creating innovative solutions to societal problems, from generating employment and assisting seniors to urban revitalization and renewable energy projects. Anyone can participate, with members also able to acquire shares in the association and have a say in its future direction. The system makes available low-interest loans to farmers, craftspeople and entrepreneurs. Today, about a quarter of Germany\u2019s population are members of a cooperative, which besides farmers and craftspeople, includes 90 per cent of its bakers and butchers and
75 per cent of its retailers. Some cooperatives have also been set up specifically for students to gain experience. Associated knowledge and skills are transmitted by cooperatives, universities, the German Cooperative and Raiffeisen Confederation, The Akademie Deutscher Genossenschaften, the German Hermann-Schulze-Delitzsch Society and the German Friedrich-Wilhelm-Raiffeisen Society.
", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/idea-and-practice-of-organizing-shared-interests-in-cooperatives-01200", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10046-BIG.jpg", "copyright": "Schulze-Delitzsch-Haus 2010", "title": "The 'Delitzscher Gespr\u00e4che' (Delitzsch talks) are a series of symposiums about cooperative issues and developments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10047-BIG.jpg", "copyright": "Winfried Clever, DESWOS, 2011", "title": "Housing Project Jutiapa - members of the ACAMS, 'Associaci\u00f3n Cooperativa de Ahorro y Cr\u00e9dito Mujeres Solidarias' de Responsabilidad Limitada" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10051-BIG.jpg", "copyright": "Karin Just, 2013", "title": "The inhabitants of the WOGENO-house in Munich's Westend district are proud of the cooperative model and participate in protests against the development of rents in Munich" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10052-BIG.jpg", "copyright": "RWGV, 2004", "title": "The cooperative 'Marktgenossenschaft der Naturland-Bauern' grows organic carrots" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10053-BIG.jpg", "copyright": "RWGV, 2013", "title": "The cooperatives Raiffeisen Hellweg Lippe and Raiffeisen Sauerland pooled their forces" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10054-BIG.jpg", "copyright": "Genossenschaftsverband Frankfurt e. V. 2006", "title": "Interview with members of a pupils cooperative" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10055-BIG.jpg", "copyright": "Genossenschaftsverband Frankfurt e. V. 2006", "title": "Members of the pupils cooperative 'Coole Schule'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10056-BIG.jpg", "copyright": "Energiegenossenschaft Vogelsberg eG (EGV), 2014", "title": "Annual general meeting of the energy cooperative Vogelsberg in D-36341 Lauterbach, Posthotel Johannesberg" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10057-BIG.jpg", "copyright": "Schulze-Delitzsch-Haus 2011", "title": "Inside Schulze-Delitzsch-House. German Cooperative Museum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10058-BIG.jpg", "copyright": "Schulze-Delitzsch-Haus 2010", "title": "View into Schulze-Delitzsch-House. German Cooperative Museum" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1yxNDMl7Fns", "copyright": "cine plus Leipzig GmbH 2015", "title": "Idea and practice of organizing shared interests in cooperatives" }, { "url": "https:\/\/www.youtube.com\/watch?v=bgdhxeNT1vU", "copyright": "cine plus Leipzig GmbH 2015", "title": "Idea and practice of organizing shared interests in cooperatives" } ], "sustainability": "" } }, "element_1201": { "type": "element", "label": "Winegrowers\u2019 Festival in Vevey", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10090-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10090-HUG.jpg" }, "description": "In Vevey, Switzerland there is a tradition that recognizes the community\u2019s winegrowers involving not only those in the industry but also members of the public and local artists. Originally a single pageant, The Winegrowers\u2019 Festival now features 15 events over three weeks and 5,000 contributors. Every festival is based on the recreation of a traditional theme, such as working the earth and vines, seasonal cycle and brotherhood. Pageants are held throughout the festival, as well as prizes awarded to the best winegrowers, music performances and songs sung such as the Ranz des Vaches (Alpine cow-herder\u2019s song) and processions to the neighbouring town of La Tour-de-Peilz. Costumed extras can also be seen, as well as grotesques (wooden figurines on sticks). Taking place five times every hundred years, The Winegrowers\u2019 Festival involves mainly volunteers who spend several years preparing for it. Transmission occurs within families and by the not-for-profit association the Vevey Brotherhood of Winegrowers, which coordinates the festival and whose members include winegrowers and the general public. The tradition encourages community spirit, helps to maintain the area\u2019s artistic life and provides a sense of cultural continuity while facilitating the know-how of master winegrowers. The next festival will be in 2019.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/winegrowers-festival-in-vevey-01201", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10089-BIG.jpg", "copyright": "Confr\u00e9rie des Vignerons, 1999", "title": "Vue des ar\u00e8nes. Les estrades occupent toute la place du March\u00e9 de Vevey et offrent une vue panoramique sur le lac et les montagnes. Le d\u00e9cor naturel fait partie int\u00e9grante du lieu sc\u00e9nique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10090-BIG.jpg", "copyright": "Confr\u00e9rie des Vignerons, 1999", "title": "C\u00e9r\u00e9monie du Couronnement. L'Abb\u00e9-Pr\u00e9sident et les vignerons couronn\u00e9s en compagnie du vigneron de fiction 'Arlevin' (gant\u00e9 de rouge). \u00c0 l'arri\u00e8re-plan, les figurants rassembl\u00e9s c\u00e9l\u00e8brent ceux pour qui la F\u00eate est mise sur pied" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10091-BIG.jpg", "copyright": "Confr\u00e9rie des Vignerons, 1999", "title": "Les armaillis chantent le Ranz des vaches. Ce chant traditionnel des gardiens de troupeaux est un moment fort de la F\u00eate. Il est chant\u00e9 depuis 1819 et toujours en ch\u0153ur par les spectateurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10092-BIG.jpg", "copyright": "Confr\u00e9rie des Vignerons, 1999", "title": "Les \u00e0-c\u00f4t\u00e9s du spectacle. Les animaux sont suivis par les 'ramasseurs de crottes', des b\u00e9n\u00e9voles costum\u00e9s comme tous les figurants, qui ont connu un v\u00e9ritable triomphe lors de chacune de leurs apparitions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10093-BIG.jpg", "copyright": "Confr\u00e9rie des Vignerons, 1999", "title": "Enfants de la St-Martin. Des enfants espi\u00e8gles entourent un jeune preneur de son. Jusque dans le spectacle, figurants et b\u00e9n\u00e9voles se m\u00ealent en un seul 'peuple de la F\u00eate'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10094-BIG.jpg", "copyright": "Confr\u00e9rie des Vignerons, 1999", "title": "Enfants du Messager boiteux. L'escargot est l'attribut traditionnel du Messager boiteux, personnage fictif tir\u00e9 du titre de l'almanach qui para\u00eet \u00e0 Vevey depuis le 18e si\u00e8cle et fait partie du spectacle depuis 1927" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10095-BIG.jpg", "copyright": "Confr\u00e9rie des Vignerons, 1999", "title": "Marmousets. Avant la premi\u00e8re F\u00eate (1797), on c\u00e9l\u00e9brait la vie rurale en paradant avec des marmousets (litt\u00e9ralement petits gamins), figurines de bois fix\u00e9es sur des b\u00e2tons, le plus souvent port\u00e9es par des enfants durant les cort\u00e8ges" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10096-BIG.jpg", "copyright": "Confr\u00e9rie des Vignerons, 1999", "title": "Cort\u00e8ge (ici le Ch\u0153ur Rouge). Outre les spectacles, la F\u00eate comporte plusieurs cort\u00e8ges. C'est la forme originelle de la F\u00eate, un moment de contact appr\u00e9ci\u00e9 entre figurants, artistes professionnels et les miliers de spectateurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10097-BIG.jpg", "copyright": "Confr\u00e9rie des Vignerons, 1999", "title": "Les coulisses. Lors des F\u00eates, chacun et chacune participe: enfants, hommes, femmes et divers animaux. M\u00eame l'arm\u00e9e et la protection civile viennent en renfort des bonnes volont\u00e9s locales afin d'assurer le bien-\u00eatre de tous" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10098-BIG.jpg", "copyright": "Confr\u00e9rie des Vignerons, 1999", "title": "Biennale (AG) de la Confr\u00e9rie des Vignerons, Vevey, juin 2013. Sur proposition du Conseil, ce sont les membres de la Confr\u00e9rie lors de telles biennales qui d\u00e9cident de la mise sur pied d'une nouvelle F\u00eate, une dizaine d'ann\u00e9es avant l'\u00e9v\u00e9nement" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=pMN_J67PXZA", "copyright": "Confr\u00e9rie des Vignerons, Nic\u00e9phore Productions, 2015", "title": "La f\u00eate des vignerons de Vevey" }, { "url": "https:\/\/www.youtube.com\/watch?v=KWrVWmNOv-Y", "copyright": "Confr\u00e9rie des Vignerons, Nic\u00e9phore Productions, 2015", "title": "La f\u00eate des vignerons de Vevey" } ], "sustainability": "" } }, "element_1202": { "type": "element", "label": "Puppetry in Slovakia and Czechia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10246-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10246-HUG.jpg" }, "description": "Puppet theatre for communities in Slovakia and Czechia is not only a popular form of traditional entertainment but also a way of conveying a vision of the world, and an educational tool with messages on moral values. The puppets, whose characters are real or imaginary, are mostly made of wood and animated using various methods. Initial bearers of the practice were families of travelling puppeteers whose works later absorbed local influences in language and themes using namely comical figures with distinct characteristics. Puppet theatre is an integral part of Slovak and Czech local theatre and literary tradition. It also plays an important role in socialization, helping performers to develop as creative thinkers and learn about cooperation, communication and to strengthen their sense of identity in society. Featuring with other traditional rituals and festive events like feast days, markets and fairs, puppet shows today come in many different forms but still draw from tradition. Practice bearers include performers, playwrights, puppet and costume makers, as well as stage designers. Skills are transmitted by imitation and practice within performer communities, while in Slovakia also transmission takes place in traditional puppetry dynasties, as well as through workshops run by not-for-profit organizations and music and arts schools.", "list": "RL", "year": 2016, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/puppetry-in-slovakia-and-czechia-01202", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10243-BIG.jpg", "copyright": "SL'UK Bratislava, 2014", "title": "The devils from the private puppet collection of family Anderle in Bansk\u00e1 Bystrica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10244-BIG.jpg", "copyright": "SL'UK Bratislava, 2014", "title": "Character of Ka\u0161p\u00e1rek in different design. Puppets from family puppet theater. Collection of Moravian Museum in Brno" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10245-BIG.jpg", "copyright": "SL'UK Bratislava, 2014", "title": "Czech puppeteer Franti\u0161ek Petr\u00e1k during the international festival of traditional puppet theater Anderleho Radva\u0148 in Bansk\u00e1 Bystrica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10246-BIG.jpg", "copyright": "SL'UK Bratislava, 2014", "title": "The 'Ka\u0161parek' puppet from the performance 'Johannes Faust' by the Slovak Marionetten Theatre from Bratislava" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10247-BIG.jpg", "copyright": "SL'UK Bratislava, 2014", "title": "Viewers watching a puppet show at the opening 62nd Puppeteer's in Chrudim" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10248-BIG.jpg", "copyright": "SL'UK Bratislava, 2014", "title": "Workshop with traditional family puppet theater during exhibition 'Family puppet scenes - modest little temples of the Muses' in Moravian Museum Brno" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10249-BIG.jpg", "copyright": "SL'UK Bratislava, 2014", "title": "The puppet exhibition 'Alois Tomanek - Pavel Kalfus: together, but everybody is going by his own way'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10258-BIG.jpg", "copyright": "SL'UK Bratislava, 2014", "title": "Performance of the traditional theater Tyj\u00e1tr from Nitra" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10259-BIG.jpg", "copyright": "SL'UK Bratislava, 2014", "title": "Rastislav Anderle, representative of the fourth generation of puppet dynasty Anderle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10260-BIG.jpg", "copyright": "SL'UK Bratislava, 2014", "title": "Workshop of the creation of puppet theater during exhibition 'Forgotten Puppets' in Moravian Museum in Brno" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=L1cw3SfGJAE", "copyright": "SL'UK Bratislava, 2015", "title": "Slovak and Czech puppetry" } ], "sustainability": "" } }, "element_1203": { "type": "element", "label": "\u0160kofja Loka passion play", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10071-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10071-HUG.jpg" }, "description": "In \u0160kofja Loka, Slovenia, a folk play performed as a procession takes place in the streets of the town\u2019s medieval centre during Lent and Easter involving more than 900 local performers. The \u0160kofja Loka Passion Play, based on the ancient works of a Capuchin monk, demonstrates 20 scenes of the stations of the cross and others from the Old Testament and New Testament. Performed in the dialect of the time it was written, the play takes place at a series of locations. In addition to the actors, 400 other volunteers from the community participate in the play\u2019s production. Due to the complexity involved, the \u0160kofja Loka Passion Play is only performed every six years. While it is considered to be an important part of local identity, the play also contributes to social cohesion giving residents involved an opportunity to connnect with one other and feel like they are contributing to their community. Knowledge and skills associated with the practice of the play are transmitted from older to younger generations by families who participate, and craftspeople assisting in the play\u2019s production who host classes passing on know-how to others. The Passion Play is also included in the curricula of local schools.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/skofja-loka-passion-play-01203", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10069-BIG.jpg", "copyright": "Jure Nastran, 2015", "title": "Medieval \u0160kofja Loka with four scenes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10070-BIG.jpg", "copyright": "Toma\u017e Lunder, 2015", "title": "Night procession on the first scene in the centre of the town \u0160kofja Loka" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10071-BIG.jpg", "copyright": "Toma\u017e Lunder, 2015", "title": "Performers waiting for their turn to walk on the first scene" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10072-BIG.jpg", "copyright": "Toma\u017e Lunder, 2015", "title": "United passion brass band that honors modern man" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10073-BIG.jpg", "copyright": "Toma\u017e Lunder, 2015", "title": "Honorary passion cavalry military honors baroque period" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10074-BIG.jpg", "copyright": "Toma\u017e Lunder, 2015", "title": "Children of Adam (souls of descendants) with black belts (mortality) and walking sticks (constant search) in heaven" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10075-BIG.jpg", "copyright": "Toma\u017e Lunder, 2015", "title": "Brotherhood of hell with Lucifer and doomed soul" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10076-BIG.jpg", "copyright": "Toma\u017e Lunder, 2015", "title": "Coronation of Christ, porters in red frocks (suffering in blood), whippers and cross carriers in black" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10077-BIG.jpg", "copyright": "Jana Jocif, 2015", "title": "Make-up room - performers being made up for their roles (Lucifer, Death)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10078-BIG.jpg", "copyright": "Jure Nastran, 2015", "title": "All participants - volunteers in the 2009 \u0160kofja Loka passion play" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=lqFnBWBs8zg", "copyright": "2015, by Marjan Cerar", "title": "The \u0160kofja Loka passion play" } ], "sustainability": "" } }, "element_1205": { "type": "element", "label": "Living culture of three writing systems of the Georgian alphabet", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10613-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10613-HUG.jpg" }, "description": "The evolution of Georgia\u2019s written language has produced three alphabets \u2013 Mrgvlovani, Nuskhuri and Mkhedruli \u2013 which all remain in use today. Mrgvlovani was the first alphabet from which Nuskhuri was derived and then Mkhedruli. The alphabets coexist thanks to their different cultural and social functions, reflecting an aspect of Georgia\u2019s diversity and identity. Their ongoing use in a cultural sense, also gives communities a feeling of continuity. The alphabets Mrgvlovani and Nuskhuri are practised and taught informally predominately by the community of the Georgian Apostolic Autocephalous Orthodox Church. For example, the alphabets feature in texts used by church worshippers such as the psalms and hymns and on inscriptions of display items used in the church, like the icons. Traditional craftspeople (goldsmiths, embroiderers, icon-painters and sculptors) who create pieces for the church can also be considered as practitioners and transmitters of the alphabets, as well as some theological schools, tertiary institutions, linguists, scholars and historians. Georgia\u2019s educational system, however, is based on the Mkhedruli alphabet. Taught in primary and high school, the Mkhedruli alphabet is also transmitted informally in the home from older to younger generations. The Mrgvlovani and Nuskhuri alphabets are taught in schools in Georgia but at a basic level.", "list": "RL", "year": 2016, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/living-culture-of-three-writing-systems-of-the-georgian-alphabet-01205", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10613-BIG.jpg", "copyright": "National Agency for Cultural Heritage Prservation of Georgia, 2015", "title": "Students of the Graphic Design Faculty of the State Academy of Fine Arts in calligraphy of three systems of Georgian alphabet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10614-BIG.jpg", "copyright": "National Agency for Cultural Heritage Prservation of Georgia, 2015", "title": "The stylization of Mkhedruli Georgian alphabet by a graphic designer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10615-BIG.jpg", "copyright": "National Agency for Cultural Heritage Prservation of Georgia, 2015", "title": "The linguists study the 13th century royal decree, written with Mkhedruli Georgian alphabet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10616-BIG.jpg", "copyright": "National Agency for Cultural Heritage Prservation of Georgia, 2015", "title": "Metropolitan David elaborates the scripts with Mrgvlovani, Nuskhuri and Mkhedruli Georgian alphabets. He has been endorsed with the honor to rewrite with hand the Gospel Book" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10617-BIG.jpg", "copyright": "National Agency for Cultural Heritage Prservation of Georgia, 2015", "title": "Metropolitan David practices Mkhedruli script" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10618-BIG.jpg", "copyright": "National Agency for Cultural Heritage Prservation of Georgia, 2015", "title": "Morning prayer in Svetitskhoveli Cathedral, Mtskheta. The Psalm-reader reads the Psalm with Nuskhuri alphabet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10619-BIG.jpg", "copyright": "National Agency for Cultural Heritage Prservation of Georgia, 2015", "title": "The Gospel Book and the Book of Psalms written with Nuskhuri is usually used in liturgy. Morning prayer in Svetitskhoveli Cathedral, Mtskheta" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10620-BIG.jpg", "copyright": "National Agency for Cultural Heritage Prservation of Georgia, 2015", "title": "Children learn Mkhedruli alphabet in primary school" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10621-BIG.jpg", "copyright": "National Agency for Cultural Heritage Prservation of Georgia, 2015", "title": "Teaching reading Mkhedruli alphabet in primary school" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10622-BIG.jpg", "copyright": "National Agency for Cultural Heritage Prservation of Georgia, 2015", "title": "Art historian discusses the variety of avant-garde Georgian fonts from early 20th century, using three writing systems of Georgian alphabet, Archive of Grishashvili Museum, Tbilisi" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=sdCcuoXRsVU", "copyright": "National Agency for Cultural Heritage Preservation of Georgia, 2015", "title": "Living culture of three writing systems of the Georgian alphabet" } ], "sustainability": "" } }, "element_1207": { "type": "element", "label": "The skills related to perfume in Pays de Grasse: the cultivation of perfume plants, the knowledge and processing of natural raw materials, and the art of perfume composition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11604-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11604-HUG.jpg" }, "description": "The skills related to perfume in Pays de Grasse cover three different aspects: the cultivation of perfume plants; the knowledge and processing of natural raw materials; and the art of perfume composition. The practice involves a wide range of communities and groups, brought together under the Association du Patrimoine Vivant du Pays de Grasse (Living Heritage Association of the Region of Grasse). Since at least the sixteenth century, the practices of growing and processing perfume plants and creating fragrant blends have been developed in Pays de Grasse, in a craft industry long dominated by leather tanning. Perfume plant cultivation involves a wide range of skills and knowledge, for instance pertaining to nature, soil, weather, biology, plant physiology and horticultural practices, as well as specific techniques such as extraction and hydraulic distillation methods. The inhabitants of Grasse have made these techniques their own and helped improve them. In addition to technical skills, however, the art also calls for imagination, memory and creativity. Perfume forges social bonds and provides an important source of seasonal labour. Related knowledge is mostly transmitted informally through a long learning process that still takes place primarily in perfumeries. In recent decades, however, there has been a growing interest in standardizing learning through formalized teaching.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/the-skills-related-to-perfume-in-pays-de-grasse-the-cultivation-of-perfume-plants-the-knowledge-and-processing-of-natural-raw-materials-and-the-art-of-perfume-composition-01207", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11598-BIG.jpg", "copyright": "JM. Ghibaudo APVPG 2011", "title": "La culture de la plante \u00e0 parfum : la cueillette de la rose centifolia au mois de mai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11599-BIG.jpg", "copyright": "Mus\u00e9es de Grasse 2011", "title": "La connaissance des mati\u00e8res premi\u00e8res naturelles : atelier M\u00e9diation - Jardin du Mus\u00e9e international de la parfumerie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11600-BIG.jpg", "copyright": "N. B\u00e9dar APVPG 2015", "title": "La connaissance des mati\u00e8res premi\u00e8res et leur transformation : la transformation de la rose centifolia, dite rose de mai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11601-BIG.jpg", "copyright": "C. Barbiero\/Mus\u00e9es de Grasse 2010", "title": "La connaissance des mati\u00e8res premi\u00e8res naturelles et leur transformation : atelier des absolus, transformation de l'immortelle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11602-BIG.jpg", "copyright": "Daniel, Serre, M. Roudnitska APVPG 2014", "title": "L'art de composer le parfum : le parfumeur \u00e0 son orgue" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11603-BIG.jpg", "copyright": "Mus\u00e9es de Grasse 2012", "title": "L'art de composer le parfum : atelier M\u00e9diation au Mus\u00e9e international de la parfumerie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11604-BIG.jpg", "copyright": "G. Voinot\/Universit\u00e9 Sophia Antiopolis 2011", "title": "La recherche de nouvelles plantes \u00e0 parfum et nouveaux proc\u00e9d\u00e9s de transformation : sc\u00e8ne d'exp\u00e9rimentation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11605-BIG.jpg", "copyright": "Esat Les Restanques 2013", "title": "Le paysage olfactif grassois : la culture de plante \u00e0 parfum au c\u0153ur de la ville" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11606-BIG.jpg", "copyright": "Forum des Associations Pays de Grasse 2014", "title": "Pratiques sociales li\u00e9es au parfum : messe de la Jasminade, f\u00eate du jasmin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11607-BIG.jpg", "copyright": "PH. Mass\u00e9 APVPG 2014", "title": "La culture de la plante \u00e0 parfum : un cultivateur dans son champs d'iris en Pays de Grasse" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1lSR1paTXpo", "copyright": "Z.Ali - N.B\u00e9dar APVPG\/CAPG 2015", "title": "Les savoir-faire li\u00e9s au parfum en Pays de Grasse" } ], "sustainability": "" } }, "element_1208": { "type": "element", "label": "Tamboradas drum-playing rituals", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10637-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10637-HUG.jpg" }, "description": "Tamboradas drum-playing rituals are loud, group rituals based on the simultaneous, intense beating of thousands of drums, played uninterruptedly for days and nights in public spaces in towns and villages. Each year, this creates a captivating landscape of sound and identity in an atmosphere charged with emotion and an intense feeling of collective communion. The tamboradas are part of the Catholic Holy Week celebrations, and have special significance according to different places, days and times. Everywhere, whether religious and devotional or secular and playful, the practice creates a landscape of sensations and mutual respect. The costumes, instruments, drum beats and drum rolls generate a rich local craft in which families and women play an important role. Shared meals in public spaces also enhance the feeling of friendliness. Communities prepare for the ritual all year round and are organized into different groups. The practice and knowledge are transmitted within these groups by the most experienced individuals, and the transmission process generates a strong sense of belonging to the group and a deep connection with the ritual among the entire community. Various events ensure the intergenerational transmission of the practice, such as children\u2019s and national tamboradas, drum roll and embroidery workshops, and competitions.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/tamboradas-drum-playing-rituals-01208", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10637-BIG.jpg", "copyright": "Manuel Rold\u00e1n Galisteo, 2010", "title": "Boys and girls from the 'turba coliblanca' (with-maned group), Baena (C\u00f3rdoba), playing their drums during Holy Week. They wear a metal helmet with a white horse's mane hanging from it, which is their symbol of identification" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10638-BIG.jpg", "copyright": "Manuel Rold\u00e1n Galisteo, 2010", "title": "The black-maned squad playing the drum in the historic center of Baena (C\u00f3rdoba), during Holy Week. These people wear the traditional colorful attire with an embroidered jacket, trousers and helmet, with the distinctive black mane" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10639-BIG.jpg", "copyright": "Ayuntamiento de Albalate de Arzobispo, 2009", "title": "Albalate del Arzobispo (Teruel), the craftsman Jos\u00e9 Mar\u00eda Gasco de la Rosa in his workshop making the instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10640-BIG.jpg", "copyright": "Mar\u00eda del Carmen Navarro Roquer, 2010", "title": "Good Friday in Calanda (Teruel). In the procession of the opening speech drums and bass drums are heard. Purple tunics and hoods are worn. Women, children and men of all ages perform a drum-roll in unison" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10641-BIG.jpg", "copyright": "Jos\u00e9 Antonio Iniesta Villanueva, 2006", "title": "The 'Tamborada' (drum festival) of Holy Wednesday, from 3:00 o'clock in the afternoon on, drummers of both gender and all ages flood the streets of the historic center of Hell\u00edn" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10642-BIG.jpg", "copyright": "Guillermo A. Paterna Alfaro, 2007", "title": "The end of the 'Tamborada' in Tobarra (Albacete), next to the Drum Monument, just minutes before midnight of Easter Sunday, the moment when everyone will stop playing the drum at the exact same time, falling into silence until the following year" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10643-BIG.jpg", "copyright": "Jos\u00e9 Perezperez", "title": "Tamborada Intercultural, Desfile Ret" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10644-BIG.jpg", "copyright": "Ayuntamiento de l'Alcora", "title": "The small children parade in the Rompida also" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10645-BIG.jpg", "copyright": "PINES, 2007", "title": "The Friday before Holy Week ('Viernes de Dolores') in Moratalla (Murcia) a children's 'tamborada (drum festival). The children carry on the tradition and show what they have learned at drum school, carrying the same drums and wearing the same clothes as the adults" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10646-BIG.jpg", "copyright": "Jos\u00e9 Antonio Gutierrez Gonz\u00e1lez, 2010", "title": "The Night of the Drums, this takes place on Holy Tuesday at midnight in the Square of the Town Hall, Mula (Murcia). Thousands of drummers, dressed in black tunics, sound their drums seamlessly until the evening of Holy Wednesday" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=W3z72-_pcHk", "copyright": "Adarve Producciones 2011", "title": "'Tamboradas, drumplaying rituals" }, { "url": "https:\/\/www.youtube.com\/watch?v=16QF_oGszAs", "copyright": "Adarve Producciones 2011", "title": "'Tamboradas, drumplaying rituals" }, { "url": "https:\/\/www.youtube.com\/watch?v=aLE7WxabTlI", "copyright": "Adarve Producciones 2011", "title": "'Tamboradas, drumplaying rituals" }, { "url": "https:\/\/www.youtube.com\/watch?v=gTqKB4MUzQs", "copyright": "Adarve Producciones 2011", "title": "'Tamboradas, drumplaying rituals" } ], "sustainability": "" } }, "element_1222": { "type": "element", "label": "The art of B\u00e0i Ch\u00f2i in Central Viet Nam", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10447-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10447-HUG.jpg" }, "description": "The art of B\u00e0i Ch\u00f2i in Central Viet Nam is a diverse art combining music, poetry, acting, painting and literature. It takes two main forms: \u2018B\u00e0i Ch\u00f2i games\u2019 and \u2018B\u00e0i Ch\u00f2i performance\u2019. B\u00e0i Ch\u00f2i games involve a card game played in bamboo huts during the Lunar New Year. In Bai Choi performances, male and female Hieu artists perform on a rattan mat, either moving from place to place or in private occasions for families. The bearers and practitioners of the art of B\u00e0i Ch\u00f2i are Hieu artists, solo B\u00e0i Ch\u00f2i performers, card-making folk artists and hut-making folk artists. The art of B\u00e0i Ch\u00f2i is an important form of culture and recreation within village communities. Performers and their families play a major role in safeguarding the practice by teaching song repertoires, singing skills, performance techniques and card-making methods to younger generations. Together with communities, these performers have set up nearly 90 B\u00e0i Ch\u00f2i teams, groups and clubs to practise and transmit the art form, which attracts wide community participation. Most performers of the art learn their skills within the family and the skills are mainly transmitted orally, but artists specializing in B\u00e0i Ch\u00f2i also transmit knowledge and skills in clubs, schools and associations.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/the-art-of-bai-choi-in-central-viet-nam-01222", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10444-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2014", "title": "Panorama of B\u00e0i ch\u00f2i festival in V\u00f5 Ninh commune, Qu\u1ea3 Ninh district, Qu\u1ea3ng B\u00edn" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10445-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2014", "title": "The Hi\u1ec7u performers from B\u00e0i ch\u00f2i S\u00f4ng Y\u00ean club, H\u00f2a Vang district, \u0110\u00e0 N\u1eb5ng city are announcing the name of the card" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10446-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2014", "title": "View of B\u00e0i ch\u00f2i festival in G\u00f2 market, Tuy Ph\u1ef1\u1edbc district, B\u00ednh \u0110\u1ecbnh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10447-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2014", "title": "The Hi\u1ec7u performers from B\u00e0i ch\u00f2i folk art Club in Ho\u00e0i Thanh commune, Ho\u00e0i Nh\u1ee3 district, B\u00ednh \u0110\u1ecbn province, are offering a reward of wine to the winner" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10448-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2014", "title": "Folk artist Nguy\u1ec5n C\u1ea3i (94 years old) from An Ninh T\u00e2y commune, Tuy An district, Ph\u00fa Y\u00ean province, is talking about the cards" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10449-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2014", "title": "Folk artist L\u00ea Th\u1ecb \u0110\u00e0o (90 years old) from M\u1ef9 Th\u1ea1nh hamlet, Nh\u1ee3n district, B\u00ednh \u0110\u1ecbn province is performing the excerpt Tho\u1ea1i Khanh - h\u00e2u Tu\u1ea7 (belonging to the type B\u00e0i ch\u00f2i rong - mobile B\u00e0 ci ch\u00f3i)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10450-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2014", "title": "Folk artist Tr\u1ecbnh Th\u1ecb H\u1ed3ng (on the left, 64 years old) and folk artist Tr\u1ef1\u1ee3ng Th\u1ecb H\u1eb1ng (on the right, 58 years old) from B\u00e0i ch\u00f2i club in H\u00f2a Ki\u1ebfn commune, Tuy H\u00f2a city, Ph\u00fa Y\u00ean province, are performing B\u00e0i ch\u00f2i l\u1edbp" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10451-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2014", "title": "Staff of the Center of Culture & Information in H\u1ed9i An old town, Qu\u1ea3ng Nam province, are teaching B\u00e0i ch\u00f2i to school-goers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10452-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2014", "title": "Woodblocks used to print paper cards in T\u1eeba Thi\u00ean Hu\u1ebf and some sample cards" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10453-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2014", "title": "Some tools and musical instruments used by B\u00e0i ch\u00f2i players and the music band in B\u00e0i ch\u00f2i game" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=mcILpWU81GU", "copyright": "Vietnamese Institute for Musicology, 2015", "title": "B\u00e0i ch\u00f2i in central Viet Nam" } ], "sustainability": "" } }, "element_1254": { "type": "element", "label": "Margilan Crafts Development Centre, safeguarding of the atlas and adras making traditional technologies", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10817-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10817-HUG.jpg" }, "description": "The history of ikat atlas and adras-making technologies in the territory of modern-day Uzbekistan dates back to the Late Antique Period. Historically, Margilan was the centre for making atlas and adras \u2013 vivid and fine traditional fabrics. Traditional crafts went through turbulent times during the Soviet period, jeopardizing some ancient handmade production technologies. Due to the acute need to revive and safeguard traditions at risk of disappearing, the local community came up with an initiative to launch the Crafts Development Centre (CDC) in 2007. The CDC\u2019s goal is to safeguard, develop and promote the method of Uzbek traditional atlas and adras making through innovative training sessions, exhibitions and craft fairs, traditional textile festivals, and the publication of safeguarding materials and manuals. The CDC also promotes the use of natural materials, and supports the transmission of knowledge and skills about nature and the universe and their role in ensuring people\u2019s health and wellbeing. The CDC\u2019s success stems from its focus on a spirit of partnership, and the local communities play a key role in its initiatives since there is a common understanding that atlas and adras fabrics are central to their identity.", "list": "GSP", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/margilan-crafts-development-centre-safeguarding-of-the-atlas-and-adras-making-traditional-technologies-01254", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10808-BIG.jpg", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Master Rasuljon Mirzaakhmedov" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10809-BIG.jpg", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Ancient technology of twisting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10811-BIG.jpg", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Training seminar on the secrets of dyeing in Nukus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10812-BIG.jpg", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Workshop on natural dyeing techniques in CDC" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10813-BIG.jpg", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Master class by Rasul Mirzaakhmedov on Ikat Weaving for local artisans in Afghanistan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10814-BIG.jpg", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Practical seminar on woodblock printing with natural dyes in CDC" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10815-BIG.jpg", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Training seminar on restoring traditional natural dyeing technologies in Kyrgyzstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10816-BIG.jpg", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Training Seminar on woodblock printing for orphanages" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10817-BIG.jpg", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Master Faridakhon Xomidova" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10818-BIG.jpg", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Master class on dyeing and weaving technologies" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=q7y7SyF0-YY", "copyright": "2016 by the National Commission of Uzbekistan for UNESCO", "title": "Margilan Crafts Development Centre, Uzbekistan" } ], "sustainability": "The Margilan Crafts Development Centre (CDC) is actively engaged in safeguarding the Uzbek Ikat textile traditions of atlas and adras through innovative training, exhibitions, craft fairs and the publication of materials. The Centre applies a holistic approach to safeguarding, providing master-apprentice training for youth and encouraging sustainable production through the use of natural fabrics and dyes. Through its national and international promotion of atlas and adras textiles, the CDC expands markets, thus boosting employment and sustainable income for the community, including youth and vulnerable groups. The Centre also emphasizes the cultural significance of these textiles to Uzbek identity. This element also links to SDG # 12: Responsible Consumption and Production." } }, "element_1255": { "type": "element", "label": "Zaouli, popular music and dance of the Guro communities in C\u00f4te d\u2019Ivoire", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10843-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10843-HUG.jpg" }, "description": "Zaouli is a popular music and dance practised by the Guro communities of the Bouafl\u00e9 and Zu\u00e9noula departments of C\u00f4te d\u2019Ivoire. A homage to feminine beauty, Zaouli is inspired by two masks: the Blou and the Djela. Its other name, Djela lou Zaouli means Zaouli, the daughter of Djela. In a single event, the practice brings together sculpture (the mask), weaving (the costume), music (the band and song) and dance. There are seven types of Zaouli masks, each translating a specific legend. The bearers and practitioners include sculptors, craftspeople, instrumentalists, singers, dancers and the notables (the guarantors of the community\u2019s customs and traditions). Zaouli plays an educational, playful and aesthetic role, contributes to environmental preservation, conveys the cultural identity of its bearers and promotes integration and social cohesion. Transmission occurs during musical performances and learning sessions, when amateurs learn under the supervision of experienced practitioners. The viability of Zaouli is ensured through popular performances organized two or three times a week by the communities. The traditional chiefdom, the guarantor of traditions, also plays a key role in the transmission process and inter-village dance competitions and festivals offer further opportunities for revitalization. Research and documentation activities are also underway.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/zaouli-popular-music-and-dance-of-the-guro-communities-in-cote-d-ivoire-01255", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10842-BIG.jpg", "copyright": "Aka Konin\/Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Danseur masqu\u00e9 du Zaouli ou Zaouli Bozan du village de Maminigui" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10843-BIG.jpg", "copyright": "Aka Konin\/Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Danseur masqu\u00e9 du Zaouli ou Zaouli Bozan du village de Manfla" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10844-BIG.jpg", "copyright": "Aka Konin\/Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Danseur masqu\u00e9 du Zaouli ou Zaouli Bozan du village de Zrabiss\u00e9hifla" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10845-BIG.jpg", "copyright": "Aka Konin\/Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Musiciens-instrumentistes du Zaouli de Zrabiss\u00e9hifla" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10846-BIG.jpg", "copyright": "Aka Konin\/Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Danseur masqu\u00e9 du Zaouli ou Zaouli Bozan du village de Bl\u00eafla" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10847-BIG.jpg", "copyright": "Aka Konin\/Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Danseur accompagnateur du Zaouli ou Zaouli Zouzan du village de Bl\u00eafla" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10848-BIG.jpg", "copyright": "Aka Konin\/Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Danseur masqu\u00e9 du Zaouli ou Zaouli Bozan du village de Tib\u00e9ita" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10849-BIG.jpg", "copyright": "Aka Konin\/Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Danseur masqu\u00e9 du Zaouli ou Zaouli Bozan du village de Bouafla" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10850-BIG.jpg", "copyright": "Aka Konin\/Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Fl\u00fbtistes du Zaouli du village de Bouafla jouant trois fl\u00fbtes droites en bois (m\u00e2le, femelle, enfant) ou B\u00e9li" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10851-BIG.jpg", "copyright": "Aka Konin\/Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Danseur masqu\u00e9 de Zaouli ou Zaouli Bozan du village de Dianfla" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=b48CRIII54c", "copyright": "Office Ivoirien du patrimoine culturel (OIPC), 2015", "title": "Zaouli" } ], "sustainability": "" } }, "element_1256": { "type": "element", "label": "Taskiwin, martial dance of the western High Atlas", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10825-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10825-HUG.jpg" }, "description": "Taskiwin is a martial dance specific to the western High Atlas mountain range in Central Morocco. The dance gets its name from the richly decorated horn each dancer carries \u2013 the Tiskt \u2013 and involves the art of shaking one\u2019s shoulders to the rhythm of tambourines and flutes. The practice fosters social cohesion and harmony and provides a key means of socialization for young people. Transmission to young generations mainly occurs informally through direct learning. Due to several factors, however, the dance is now limited to a small number of villages and is at risk of disappearing. Globalization has driven it closer to oblivion, as reflected by young people\u2019s increasing disdain for traditional heritage in favour of modern artistic practices. The dance is no longer practised by several communities and the remaining enthusiasts and bearers cannot find aspirants to whom they can transmit their know-how. Craftsmanship relating to the instruments and accessories is also in decline. Nonetheless, the last two decades have seen an increased collective awareness of the need to ensure the viability of Taskiwin among some communities. To this end, the first dedicated association in the region was created in 1993, an initiative followed by several other villages, and several local associations are now being created.", "list": "USL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/taskiwin-martial-dance-of-the-western-high-atlas-01256", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10819-BIG.jpg", "copyright": "Association Targa-Aide (Rabat, Maroc), 2016", "title": "Entr\u00e9e des danseurs sur la sc\u00e8ne (Assays)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10820-BIG.jpg", "copyright": "Association Targa-Aide (Rabat, Maroc), 2016", "title": "Partie de la danse en rang" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10821-BIG.jpg", "copyright": "Association Targa-Aide (Rabat, Maroc), 2016", "title": "Partie de la danse en cercle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10822-BIG.jpg", "copyright": "Association Targe-Aide (Rabat, Maroc), 2016", "title": "Instruments de musique utilis\u00e9s: flutes et tambourins" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10823-BIG.jpg", "copyright": "Association Targa-Aide (Rabat, Maroc), 2016", "title": "Phase joyeuse de la danse Taskiwin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10824-BIG.jpg", "copyright": "Association Targa-Aide (Rabat, Maroc), 2016", "title": "Taskiwin: ma\u00eetrise du rythme et des mouvements d'\u00e9paules" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10825-BIG.jpg", "copyright": "Association Targa-Aide (Rabat, Maroc), 2016", "title": "Tiskt: l'objet embl\u00e9matique de la danse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10826-BIG.jpg", "copyright": "Association Targa-Aide (Rabat, Maroc), 2016", "title": "Accessoires de la danse: poignard et costumes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10827-BIG.jpg", "copyright": "Association Targa-Aide (Rabat, Maroc), 2016", "title": "Asga: variante joyeuse avec la participation de la femme" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10828-BIG.jpg", "copyright": "Association Targa-Aide (Rabat, Maroc), 2016", "title": "Transmission de la danse" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=jH2ahNFcAjY", "copyright": "Association Targa-Aide, 2016", "title": "Taskiwin" } ], "sustainability": "" } }, "element_1257": { "type": "element", "label": "Sega tambour of Rodrigues Island", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10948-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10948-HUG.jpg" }, "description": "Sega Tambour of Rodrigues Island is a vibrant rhythmic performance of music, song and dance with its origins in slave communities. The leading percussion, the tambour, is banged energetically, while a triyang is hit from the side and the bwat and mayos are clapped. Sega Tambour is performed all over Rodrigues Island in the home and on the streets, at formal and informal functions. The primary bearers are the Rodrigues community, as well as the diaspora on the island of Mauritius and elsewhere, and the art is open to everyone irrespective of age, gender or status. With its origins in defiance and resilience, Sega Tambour facilitates conflict resolution, fosters socialization and consolidates bonds. The government recognizes it as a symbol of the history of the Rodriguan community. Sega Tambour is safeguarded through the efforts of numerous groups that have sprung up since the 1970s and a dedicated NGO now exists. Competitions and rehearsals are organized in community centres, and the element is also performed in tourism facilities, contributing to the generation of revenue for performers. Knowledge and skills relating to the practice are transmitted from elders to youth through imitation and observation, and instrument-making skills are learned through apprenticeship with experienced craftspeople.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/sega-tambour-of-rodrigues-island-01257", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10946-BIG.jpg", "copyright": "Vedita Jha, Mauritius, 2015", "title": "Initiating and transmitting tambour making skills to children and youth who are keen to learn from the master tambour maker and player, Mr Louis Saint-Ange Philippe (Thiong) at Mon Plaisir Cultural and Leisure Centre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10947-BIG.jpg", "copyright": "Vedita Jha, Mauritius, 2015", "title": "A national passion, a unifier of gender, all age groups, creed and class; Sega tambour performance organized by Tourism Office every Saturday on the streets, at the center of Port-Mathurin where the public and tourists participate." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10948-BIG.jpg", "copyright": "James Castel, 2015", "title": "The energetic and deep-voiced Mareshal Clecia Clair leading the chorus and hitting the bwat as the other members of this experienced and veteran group respond with enthusiasm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10949-BIG.jpg", "copyright": "George Abungu, 2015", "title": "Stafford and Wallis of Kouloudenn group warming the tambour on a bonefire under the appreciative eyes of dancers and performers before and in between the performance at Sainte Famille village." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10950-BIG.jpg", "copyright": "George Abungu, 2015", "title": "Stage performance of Sega tambour by Cardinal Blanc group during the workshop held in the context of the preparation of the nomination file at Mon Plaisir Cultural and Leisure Centre Rodrigues" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10951-BIG.jpg", "copyright": "George Abungu, 2015", "title": "Alpha Omega group exhibiting the 'ants on the leg' phenomenon of Sega tambour; formally dressed dancers show the art of flowing movement and the physical fitness with a natural smile that comes with it a Patate Th\u00e9ophile village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10952-BIG.jpg", "copyright": "2015 by George Abungu", "title": "The composer, singer, tambour player and committed transmitter of knowledge to the youth, the Mareshal Jacqueline Allas, demonstrating her exceptional skills in tambour playing; she is a leading proponent of Sega tambour knowledge transmission in Rodrigues" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10953-BIG.jpg", "copyright": "2015 by nhf, Mauritius", "title": "Two young grand children of the well-known Mareshal Lorenza Gaspard of the famous song 'Donn mwa lamin' learning the art of Sega dancing at Lataniers village where transmission to the youth at an early age is a common practice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10954-BIG.jpg", "copyright": "2015 by Anabelle Agathe, Mauritius", "title": "Bridging the gap: elders and the youth performing together in the group Pigeon Blanc at Pistaches; the young boy is playing mayos as the young girl plays the triyang under the guidance of Christian Prosper and Ah Kong Ste. Marie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10955-BIG.jpg", "copyright": "2015 by Anabelle Agathe, Mauritius", "title": "Madam Lucr\u00e8ce Prosper at far-end leading weekly rehearsals by Camaron group founded in 1975 and in casual outfit at Citron Donis, with a woman tambour player; the group has recorded their meetings since 1975, creating valuable archival material" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=wvEZCtWxBC4", "copyright": "National Heritage Fund, Mauritius, 2016", "title": "Sega tambour of Rodrigues" }, { "url": "https:\/\/www.youtube.com\/watch?v=4PaddrUwZFw", "copyright": "National Heritage Fund, Mauritius, 2016", "title": "Sega tambour of Rodrigues" } ], "sustainability": "" } }, "element_1258": { "type": "element", "label": "Kumbh Mela", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10855-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10855-HUG.jpg" }, "description": "Kumbh Mela (the festival of the sacred Pitcher) is the largest peaceful congregation of pilgrims on earth, during which participants bathe or take a dip in a sacred river. Devotees believe that by bathing in the Ganges one is freed from sins liberating her\/him from the cycle of birth and death. Millions of people reach the place without any invitation. The congregation includes ascetics, saints, sadhus, aspirants-kalpavasis and visitors. The festival is held at Allahabad, Haridwar, Ujjain and Nasik every four years by rotation and is attended by millions of people irrespective of caste, creed or gender. Its primary bearers, however, belong to akhadas and ashrams, religious organizations, or are individuals living on alms. Kumbh Mela plays a central spiritual role in the country, exerting a mesmeric influence on ordinary Indians. The event encapsulates the science of astronomy, astrology, spirituality, ritualistic traditions, and social and cultural customs and practices, making it extremely rich in knowledge. As it is held in four different cities in India, it involves different social and cultural activities, making this a culturally diverse festival. Knowledge and skills related to the tradition are transmitted through ancient religious manuscripts, oral traditions, historical travelogues and texts produced by eminent historians. However, the teacher-student relationship of the sadhus in the ashrams and akhadas remains the most important method of imparting and safeguarding knowledge and skills relating to Kumbh Mela.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kumbh-mela-01258", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10852-BIG.jpg", "copyright": "S.A. Murugesan (IAS), India, 2016", "title": "Night shot of Haridwar Ardh Kumbh Mela" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10853-BIG.jpg", "copyright": "S.A. Murugesan (IAS), India, 2016", "title": "People watching Pooja (acts of worship)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10854-BIG.jpg", "copyright": "S.A. Murugesan (IAS), India, 2016", "title": "Prior to Shahi Snan (Royal bath)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10855-BIG.jpg", "copyright": "Satish Ramchandra Lalit, India, 2015", "title": "Naga Babas or Saints" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10856-BIG.jpg", "copyright": "S.A. Murugesan (IAS), India, 2016", "title": "Sadhvis, women Saints in procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10857-BIG.jpg", "copyright": "Sanjay Jagtap, India, 2015", "title": "Antics of the Naga Babas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10858-BIG.jpg", "copyright": "Satish Ramchandra Lalit, India, 2015", "title": "Large human gathering at Kumbh Mela" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10859-BIG.jpg", "copyright": "Sanjay Jagtap, India, 2015", "title": "Shahi Snan or Royal bath" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10860-BIG.jpg", "copyright": "Sanjay Jagtap, India, 2015", "title": "Saints at the river front" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10861-BIG.jpg", "copyright": "Sanjay Jagtap, India, 2015", "title": "Havan (ritual) Pooja by Naga Saint" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PSM7MYwwgpU", "copyright": "2016 (2001, 2010, 2015) by DD. Bharati, National TV Channel", "title": "Kumbh Mela" } ], "sustainability": "The Kumbh Mela festival takes place once every four years, rotating between four pilgrimage sites on four sacred rivers. Drawing millions of pilgrims, the Kumbh Mela is one of the world\u2019s largest peaceful human congregations. Though rooted in Hinduism, the festival is attended by people of all races, castes, creeds and genders, who join to observe and also participate in the ritual bathing in the river. The festival is also a vital source of livelihood and a boost to the urban economy for many, as artisans and hawkers come to sell their goods. This element also links to SDG #11: Sustainable Cities and Communities, and SDG#16: Peace, Justice, and Strong Institutions." } }, "element_1259": { "type": "element", "label": "Kushtdepdi rite of singing and dancing", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10917-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10917-HUG.jpg" }, "description": "The Kushtdepdi rite of singing and dancing is a performing art involving creative poeticizing focused on good feelings and wishes. It involves singing with vocal improvisation and dancing with movements of the hands, gestures and footsteps in accordance with the tune of the song. The rite serves as a tool for conveying good wishes and is an inseparable part of ceremonies and national celebrations. The bearers and practitioners are the master singers and dancers experienced in the art and able to pass on the vocal techniques and the skills of the dance. The element serves as a bridge between generations based on shared spiritual and cultural values. The bearers and practitioners are actively involved in safeguarding the element, and community members ensure the viability of the element through performances at ceremonies and social gatherings that foster social cohesion and mutual understanding. Community members also partake in compiling introductory teaching resources on the practice and regular field expeditions are organized to gather information about it. Knowledge and skills relating to the practice are traditionally transmitted from master singers to amateurs through informal oral learning and practical training, but specialized music schools and cultural centres also help amateurs develop their skills through formal training.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kushtdepdi-rite-of-singing-and-dancing-01259", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10914-BIG.jpg", "copyright": "2015 by the Secretariat of the Turkmen National Commission for UNESCO", "title": "Traditional dresses of bearers of the element: turkmen women and girls" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10915-BIG.jpg", "copyright": "2015 by the Secretariat of the Turkmen National Commission for UNESCO", "title": "A group of practitioners, performers with children's group of Kushtdepdi rite of singing and dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10916-BIG.jpg", "copyright": "2015 by the Secretariat of the Turkmen National Commission for UNESCO", "title": "Training of amateurs for dancing skills of the element" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10917-BIG.jpg", "copyright": "2015 by the Secretariat of the Turkmen National Commission for UNESCO", "title": "Starting of the Kushtdepdi rite by performance of poetry at sitting position" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10918-BIG.jpg", "copyright": "2015 by the Secretariat of the Turkmen National Commission for UNESCO", "title": "Introduction movements into the Kushtdepdi rite performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10919-BIG.jpg", "copyright": "2015 by the Secretariat of the Turkmen National Commission for UNESCO", "title": "Expression of good wishes by Young performers of the Kushtdepdi rite" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10920-BIG.jpg", "copyright": "2015 by the Secretariat of the Turkmen National Commission for UNESCO", "title": "Expression of good wishes by elder bearers and practioners of the element" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10921-BIG.jpg", "copyright": "2015 by the Secretariat of the Turkmen National Commission for UNESCO", "title": "Prefinal dancing movements and emotions at performing of the Kushtdepdi rite" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10922-BIG.jpg", "copyright": "2015 by the Secretariat of the Turkmen National Commission for UNESCO", "title": "Common view of the singing and dancing circle of the element including singers and dancers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10923-BIG.jpg", "copyright": "2015 by the Secretariat of the Turkmen National Commission for UNESCO", "title": "Ending of the Kushtdepdi rite of singing and dancing with praying to the nature" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=en3bW5EVJGs", "copyright": "", "title": "Kushtdepdi rite of singing and dancing" } ], "sustainability": "" } }, "element_1260": { "type": "element", "label": "Xoan singing of Ph\u00fa Th\u1ecd province, Viet Nam ", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10832-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10832-HUG.jpg" }, "description": "As a performing art, Xoan singing of Pho Tho province includes singing, dancing, drumming and clapper beating. It is closely linked to the worship of the Hung Kings, a belief rooted in the ancestor worship practice of the Viet people. Bearers and practitioners form four guilds, in which the male and female Trum play the most important role; they preserve the songs, select students, transmit the singing styles and repertoires and organize practices. They are also active in introducing and teaching Xoan singing at the four Xoan guilds, and in clubs and guilds. As a community performing art, Xoan singing fosters cultural understanding, community cohesion and mutual respect. The Vietnamese Institute for Musicology has collected 31 Xoan songs, and thanks to the efforts of several Xoan artists four guilds have been established. 33 dedicated clubs also exist, and seminars are held to expand knowledge of Xoan. Leaders and senior Xoan artists transmit the singing orally, combined with the use of written songs and audio and visual recordings. Experienced artists also teach Xoan singing to members of clubs and to music teachers in schools, who then transmit this knowledge to other club members and students. ", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/xoan-singing-of-phu-th-province-viet-nam-01260", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10831-BIG.jpg", "copyright": "Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam, 2016", "title": "On the first day of the Lunar New Year, the An Th\u00e1i Xoan guild brings offerings to C\u1ea9m Temple to invite the Hung Kings to their village communal house and request permission for organising Spring festival and singing Xoan." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10832-BIG.jpg", "copyright": "Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam, 2016", "title": "Dressing up before Xoan performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10833-BIG.jpg", "copyright": "Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam, 2016", "title": "A Xoan performance by the Xoan artists at L\u00e3i L\u00e8n temple, the place where Xoan was first taught, as the legend says" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10834-BIG.jpg", "copyright": "Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam, 2016", "title": "The Ph\u00f9 \u0110\u1ee9c Xoan guild's artists performing a ritual song of honouring the H\u00f9ng Kings (h\u00e1t th\u1edb) at Trung temple" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10835-BIG.jpg", "copyright": "Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam, 2016", "title": "Artists of Th\u00e9t Xoan guild's (Kim \u0110\u1ee9c commune) performing songs for honouring the Kings (h\u00e1t th\u1edb)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10836-BIG.jpg", "copyright": "Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam, 2016", "title": "Children from the An Th\u00e0 Xoan guild performing a song for honouring the Kings (h\u00e1t th\u1edb) at B\u00ecnh Ch\u00ecnh village communal house" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10837-BIG.jpg", "copyright": "Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam, 2016", "title": "Performance of ritual songs for honouring the Kings at B\u00ecnh Ch\u00ecnh communal house following the friendship-bonding between An Th\u00e1i Xoan guild and Cao M\u1ea1i village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10838-BIG.jpg", "copyright": "Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam, 2016", "title": "Young female and male artists of Ph\u00f9 \u0110\u1ee9c Xoan guild performing the first phase songs of honouring the Kings at Trung communal house" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10839-BIG.jpg", "copyright": "Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam, 2016", "title": "Mr Nguy\u1ec5n V\u0103n Quy\u1ebft (b. 1986), leader Kim \u0110\u00e1i Xoan guild is teaching how to sing and dance Xoan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10840-BIG.jpg", "copyright": "Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam, 2016", "title": "A festive songs' performance between An Th\u00e1i Xoan guild and Cao M\u1ea1i village" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Vair7eo_NHE", "copyright": "2016 by Ph\u00fa Th\u1ecd Department of Culture, Sports and Tourism, Viet Nam", "title": "Xoan singing of Ph\u00fa Th\u1ecd province, Vi\u1ec7t Nam" } ], "sustainability": "" } }, "element_1261": { "type": "element", "label": "Al-Qatt Al-Asiri, female traditional interior wall decoration in Asir, Saudi Arabia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10910-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10910-HUG.jpg" }, "description": "Al-Qatt Al-Asiri, a traditionally female interior wall decoration, is an ancient art form considered as a key element of the identity of the region of Asir. It is a spontaneous art technique carried out largely by women today in the community that involves decorating the interior walls of their houses, specifically rooms for visiting guests. Women invite female relatives of various age groups to help them in their homes, thereby transmitting this knowledge from generation to generation. The base is usually white gypsum and the patterns consist of icons of geometric shapes and symbols. In the past, only women practised the element, but nowadays male and female artists, designers, interior designers and architects practise it, including on other surfaces. The art enhances social bonding and solidarity among the community and has a therapeutic effect on its practitioners. The application of the art in most households ensures its viability within the community, and local individuals have created galleries within their houses in order to safeguard it. Observation and practice are the key methods for transmitting the practice from one generation to the next, and societies, NGOs and individuals all play a key role in safeguarding, promoting and transmitting the related knowledge and skills.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-qatt-al-asiri-female-traditional-interior-wall-decoration-in-asir-saudi-arabia-01261", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10904-BIG.jpg", "copyright": "2016 by Ahmad AlSheme, Saudi Arabia", "title": "Modern Al-Qatt in Al-Moftahah village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10905-BIG.jpg", "copyright": "2016 by Ahmad AlSheme, Saudi Arabia", "title": "100 year old Qatt in Royal Alma'a" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10906-BIG.jpg", "copyright": "2016 by Ahmad AlSheme, Saudi Arabia", "title": "Old Qatt in Al Razih Fort" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10907-BIG.jpg", "copyright": "2016 by Ahmad AlSheme, Saudi Arabia", "title": "Faitimah Hadi, one of the oldest Qatt artist" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10908-BIG.jpg", "copyright": "2016 by Ahmad AlSheme, Saudi Arabia", "title": "Painting using natural pigments and wooden sticks" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10909-BIG.jpg", "copyright": "2016 by Ahmad AlSheme, Saudi Arabia", "title": "Modern painting of Al-Qatt using synthetic colors" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10910-BIG.jpg", "copyright": "2016 by Ahmad AlSheme, Saudi Arabia", "title": "Wall painting by Fatimah Faye'e of modern Al-Qatt" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10911-BIG.jpg", "copyright": "2016 by Ahmad AlSheme, Saudi Arabia", "title": "Products with Al-Qatt painted on them" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10912-BIG.jpg", "copyright": "2016 by Ahmad AlSheme, Saudi Arabia", "title": "Pigments extracted from natural resources" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10913-BIG.jpg", "copyright": "2016 by Ahmad AlSheme, Saudi Arabia", "title": "Al-Qatt of Royal Alma'a" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=swLtZIftq74", "copyright": "2016 by Ahma Alsheme, Saudi Arabia", "title": "Al-Qatt Al-Asiri" } ], "sustainability": "" } }, "element_1262": { "type": "element", "label": "Basel Carnival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10969-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10969-HUG.jpg" }, "description": "Beginning on the Monday following Ash Wednesday and lasting exactly 72 hours, Basel Carnival is the largest carnival in Switzerland. Two parades take place on the Monday and Wednesday, bringing together 11,000 costumed carnivalists in parades of fife and drum cliques, floats and carriages. Tuesday is dedicated to children, with concerts and lantern exhibitions, while other events also punctuate the festival. The carnival can be compared to a huge satirical magazine where all visual or rhetorical means are used to make fun of flaws and blunders. Around 20,000 people of any age, social status, origin and political persuasion actively participate in the festival, which attracts around 200,000 Swiss and foreign visitors. The bearers and practitioners form associations of different types, composed equally of men and women. The carnival contributes to social cohesion, promotes tolerance through social criticism and helps safeguard the local dialect. Transmission occurs informally in families taking part for several generations. The \u2018cliques\u2019 also play an important role in this regard, with several having a section dedicated to encouraging the next generation. Several pre-carnival events are also organized, allowing for transmission beyond the carnival. The carnival has been successfully safeguarded over past decades thanks to measures taken by the communities as well as the authorities\u2019 constant support.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/basel-carnival-01262", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10966-BIG.jpg", "copyright": "Fasnachts-Comit\u00e9, 2015", "title": "Diane ('Morgenstreich'). Le Carnaval de B\u00e2le d\u00e9bute \u00e0 4 heures du matin par le d\u00e9fil\u00e9 des fifres et tambours \u00e0 la lumi\u00e8re des lanternes g\u00e9antes et des milliers de petites lanternes port\u00e9es sur la t\u00eate ou \u00e0 la main" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10967-BIG.jpg", "copyright": "Tageswoche-Fasnachts-Comit\u00e9, 2015", "title": "Groupes satiriques ('Schnitzelb\u00e2nke'). Des petits groupes composent et chantent des po\u00e8mes en dialecte b\u00e2lois en moquant des sujets de l'actualit\u00e9, remportant un vif succ\u00e8s aupr\u00e8s du public. Ils sont souvent accompagn\u00e9s instrumentalement et compl\u00e9t\u00e9s par des illustrations ('Helgen')" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10968-BIG.jpg", "copyright": "SFR, conc\u00e9d\u00e9 par TELEPOOL GmbH, 2012", "title": "Cort\u00e8ges. Environ 500 soci\u00e9t\u00e9s de carnaval participent aux cort\u00e8ges en pr\u00e9sentant leurs 'Sujets' de raillerie et en distribuant du mimosa et des oranges aux millieux de spectateurs. Le trac\u00e9 traverse la vieille ville, lieu des festivit\u00e9s, en enjambant le Rhin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10969-BIG.jpg", "copyright": "basel-foto, 2011", "title": "Clique de fifres et tambours. Chaque soci\u00e9t\u00e9 raille un th\u00e8me comme ici la politique locale. Les fifres d\u00e9filent en premier, puis vient une grande figure, le tambour-major (repr\u00e9sent\u00e9 ici par une presonnalit\u00e9 politique locale), qui donne le rythme aux tambours" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10970-BIG.jpg", "copyright": "Fasnachts-Comit\u00e9, 2015", "title": "Transmission. La transmission de l'\u00e9l\u00e9ment est le fait des familles, des soci\u00e9t\u00e9s de carnaval et de l'\u00e9cole. Les enfants aprennent \u00e0 r\u00e9aliser des masques ou encore \u00e0 jouer du fifre ou du tambour ; ils d\u00e9filent \u00e9galement lors des cort\u00e8ges" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10971-BIG.jpg", "copyright": "Fasnachts-Comit\u00e9, 2016", "title": "Peintures des masques ('Larven'). R\u00e9alis\u00e9s traditionellement en papier m\u00e2ch\u00e9, les masques sont ensuite peints \u00e0 la main dans des ateliers sp\u00e9cialement d\u00e9di\u00e9s aux masques" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10972-BIG.jpg", "copyright": "Fasnachts-Comit\u00e9, 2016", "title": "Lanternes. La r\u00e9alisation des lanternes g\u00e9antes est l'\u0153uvre d'artistes ou d'amateurs. N\u00e9cessitant en moyenne 200 heures de travail, elles restent confidentielles jusqu'au d\u00e9but du carnaval et pr\u00e9sentent les 'Sujets' de raillerie choisis par les soci\u00e9t\u00e9s de carnaval" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10973-BIG.jpg", "copyright": "Fasnachts-Comit\u00e9, 2015", "title": "Fanfares ('Guggenmusiken'). D\u00e9filant durant les cort\u00e8ges, les fanfares du carnaval sont des formations musicales compos\u00e9es pour la plupart de cuivres, de percussion et de fifres. Elles donnent des concerts sur les grandes places de la ville le mardi soir" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10975-BIG.jpg", "copyright": "Fasnachts-Comit\u00e9, 2012", "title": "'G\u00e4ssle'. Durant le carnaval, des groupes non organis\u00e9s fl\u00e2nent dans les ruelles de la vieille ville. Ces formations, qui jouent du fifre ou du tambour, entre amis ou en famille, d\u00e9ambulent costum\u00e9es donnant \u00e0 la ville une ambiance po\u00e9tique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10976-BIG.jpg", "copyright": "Fasnachts-Comit\u00e9, 2016", "title": "Exposition des lanternes en plein air. Situ\u00e9e sur la place de la Cath\u00e9drale, l'expostion pr\u00e9sente toutes les lanternes r\u00e9alis\u00e9es pour l'\u00e9dition en question. Les nombreux spectateurs se prom\u00e8nent au c\u0153ur de cette exposition \u00e9ph\u00e9m\u00e8re et admirent les 'Sujets' des lanternes" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=OQD2voQgfb4", "copyright": "Office f\u00e9d\u00e9ral de la culture suisse, 2016", "title": "The Basel Carnival" }, { "url": "https:\/\/www.youtube.com\/watch?v=cdnLrcrjbRo", "copyright": "Office f\u00e9d\u00e9ral de la culture suisse, 2016", "title": "The Basel Carnival" } ], "sustainability": "" } }, "element_1263": { "type": "element", "label": "Hurling", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12025-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12025-HUG.jpg" }, "description": "Hurling, or Camogie (a form of Hurling played by women), is a field game played by two teams which dates back 2,000 years and features strongly in Irish mythology, most notably in the epic saga of C\u00fa Chulainn. It is played throughout the island of Ireland, particularly in more fertile agricultural areas, as well as overseas. Traditionally, the number of players in the game was unregulated and games were played across open fields. Nowadays, there are fifteen players on adult teams and the game is played on a clearly marked pitch. Players use a wooden stick (hurley), similar to a hockey stick but with a flat end, and a small ball (sliotar), with the aim being to use the hurley to strike the sliotar and hit it between the opposing team\u2019s goalposts. The primary bearers and practitioners are the players, known as \u2018hurlers\u2019 (male) and \u2018cam\u00f3gs\u2019 (female). Hurling is considered as an intrinsic part of Irish culture and plays a central role in promoting health and wellbeing, inclusiveness and team spirit. Today, the skills are promoted and transmitted through coaching and games in schools and clubs. As the custodians of Hurling, the Gaelic Athletic Association and the Camogie Association, both volunteer-led organizations, play a central role in transmitting the skills and values associated with Hurling.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/hurling-01263", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11587-BIG.jpg", "copyright": "Sam Barnes, Sportsfile", "title": "Caoilinn N\u00ed N\u00e9ill of Croydon Camogie Club (London) in action against Kerri McGinley of New York GAA during Day 3 of the Etihad Airways GAA World Games 2016 in Dublin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11590-BIG.jpg", "copyright": "Ray McManus, Sportsfile", "title": "HRH the Duke of Edinburgh examines a hurley and sliotar which was presented to him by the President of the GAA, Christy Cooney, in the presence of the President of Ireland, Mary McAleese, her husband Dr. Martin McAleese, and HM Queen Elizabeter II during the historic tour of Croke Park" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12025-BIG.jpg", "copyright": "Cody Glenn, Sportsfile", "title": "Patrick Reissner of Germany in action against New York Native during Day 1 of the Etihad Airways GAA World Games 2016" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12026-BIG.jpg", "copyright": "Paul Mohan, Sportsfile", "title": "James McCarthy of Munster in action against Ruairi Haffey of Ulster during the M. Donnelly GAA Wheelchair Hurling Finals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12027-BIG.jpg", "copyright": "Odhran Ducie", "title": "An 6 year old player learning the skills of Hurling at a Kellogg's GAA C\u00fal Camp in Portroe GAA Club during Summer 2017" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12028-BIG.jpg", "copyright": "Odhran Ducie", "title": "A number of young members of Portroe GAA Club participating in a Kellogg's GAA C\u00fal Camp in Summer 2017" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12029-BIG.jpg", "copyright": "Odhran Ducie, OD Photography", "title": "Cillian Hayes (Dublin Plunkett) in action against Billy Campbell and Matt McAreavy (Down)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12030-BIG.jpg", "copyright": "Paul Mohan, Sportsfile", "title": "P\u00e1draic Maher of Tipperary in action against Eoin Larkin of Kilkenny during the All Ireland Hurling Final 2016" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12031-BIG.jpg", "copyright": "David Maher, Sportsfile", "title": "Trista Talan of Scoil Bhirde in Blanchardstown and Clodagh McDonnell of Scoil Mhuire in the Dublin Primary School Camogie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12032-BIG.jpg", "copyright": "Stephen McCarthy, Sportsfile", "title": "Kilkenny and Tipperary players and supporters stand for the National Anthem before the throw in of the All Ireland Hurling Final" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=pnOnc91W0KE", "copyright": "GAALearning, 2014", "title": "What is Hurling?" } ], "sustainability": "" } }, "element_1264": { "type": "element", "label": "Uilleann piping", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11005-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11005-HUG.jpg" }, "description": "Uilleann piping is a musical practice which uses a particular type of bagpipe (known as the \u2018uilleann\u2019, \u2018Irish\u2019 or \u2018union\u2019 pipes) to play Irish music. It is a highly developed instrument with strong roots in tradition dating back many generations. Bearers and practitioners are dispersed throughout the world, but the greatest concentration is in Ireland and Irish communities abroad. Uilleann piping offers an important way of socializing and plays an integral role in life events such as marriages and funerals, where it provides a sense of rootedness and a connection to the past. The most highly valued method of transmission is the practice of one-to-one, master-to-student instruction, but transmission also occurs through more modern methods such as video and DVD tutorials and the internet. The most prominent group involved in safeguarding Uilleann piping is Na P\u00edobair\u00ed Uilleann (NPU), which was founded in 1968 by pipers with a mission to stop the decline of the instrument. Through a programme of research, publications, tuition and training, the NPU has contributed to a huge increase in the use and appreciation of the instrument and its music, resulting in a flowering of the art in modern times, with more players than in any previous period.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/uilleann-piping-01264", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11001-BIG.jpg", "copyright": "NPU, 1968", "title": "Gathering of pipers in Bettystown, Co. Louth, Ireland in 1968. This gathering led to the foundation of Na P\u00edobair\u00ed Uilleann" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11002-BIG.jpg", "copyright": "NPU, 2013", "title": "Set of Uilleann Pipes attributed to Timothy Kenna, early 19th century" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11003-BIG.jpg", "copyright": "NPU, 2013", "title": "Set of pipes by Leo Rowsome (1903-1970), circa 1940" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11004-BIG.jpg", "copyright": "NPU, 2015", "title": "Graduation of students in 2015 from three-year pipe-making course at the Pipe Craft training workshop run by Na P\u00edobair\u00ed Uilleann" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11005-BIG.jpg", "copyright": "NPU, 2015", "title": "Fionn\u00e1n Mac Gabhan (left) teaching a piping class at the 2015 Scoil Samhraidh Willie Clancy (Willie Clancy Summer School)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11006-BIG.jpg", "copyright": "NPU, 2013", "title": "Irial \u00d3 Casaide playing at end-of-term recital" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11007-BIG.jpg", "copyright": "NPU, 2015", "title": "Sin\u00e9ad Nic C\u00e1rthaigh and P\u00e1draig \u00d3g Mac Aog\u00e1in playing as a duet, 2015" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11008-BIG.jpg", "copyright": "NPU, 2012", "title": "Three Wexford pipers - Brendan Wickham, Ned Wall and Mark Redmond - performing at the Ace & Deuce of Piping concert in Dublin, 2014" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11009-BIG.jpg", "copyright": "NPU, 2013", "title": "Gay McKenon conducting a piping class in Havana, Cuba 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11010-BIG.jpg", "copyright": "NPU, 2015", "title": "Group photograph of the annual gathering of Na P\u00edobair\u00ed Uilleann, Tramore, Co. Waterford, Ireland, 2015" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4MxFsk4sYM4", "copyright": "NPU, 2016", "title": "Uillean Piping" } ], "sustainability": "" } }, "element_1265": { "type": "element", "label": "Craft of the miller operating windmills and watermills", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10984-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10984-HUG.jpg" }, "description": "The craft of the miller operating windmills and watermills involves the knowledge and skills necessary to operate a mill and maintain it in a good state of repair. With a declining number of people earning their livelihood from the craft, millers today also play a key role in transmitting the cultural history of the practice. There are currently approximately forty professional millers; together with volunteers, they keep the miller\u2019s craft alive. The Guild of Volunteer Millers has around 105 instructors in the field, and 11 Master Millers are now active in the Netherlands. Mills, and therefore the miller\u2019s craft, play a significant social and cultural role in Dutch society and have an iconic value, contributing to a sense of identity and continuity. Various safeguarding activities are undertaken, including training, support and capacity building, educational activities in schools and traineeships. Traditionally, the miller\u2019s craft was transmitted from master to apprentice but since the establishment of the Guild of Volunteer Millers in 1972, almost 2000 volunteers have obtained a miller\u2019s qualification; anyone interested in the craft can apply for training. The Guild offers millers support in keeping their knowledge up-to-date, for example through excursions to mills, evening theory classes, conferences and meetings.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/craft-of-the-miller-operating-windmills-and-watermills-01265", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10981-BIG.jpg", "copyright": "Huisinga Fotografie, 2016", "title": "Unrolling the sailcloth over the sails" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10982-BIG.jpg", "copyright": "Huisinga Fotografie, 2016", "title": "Attaching the sailcloth to the stocks (with a rope)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10983-BIG.jpg", "copyright": "Huisinga Fotografie, 2016", "title": "Releasing the brake to start the mill" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10984-BIG.jpg", "copyright": "Huisinga Fotografie, 2016", "title": "Pumping water out with the paddle wheel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10985-BIG.jpg", "copyright": "Huisinga Fotografie, 2016", "title": "Clearing the sluice of the watermill" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10986-BIG.jpg", "copyright": "Huisinga Fotografie, 2016", "title": "Dressing (sharpening) a millstone" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10987-BIG.jpg", "copyright": "Huisinga Fotografie, 2016", "title": "Dressing (sharpening) a millstone" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10988-BIG.jpg", "copyright": "Huisinga Fotografie, 2016", "title": "Apprentice miller learning to check the quality of the flour" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10989-BIG.jpg", "copyright": "Amsterdamse Filmstichting, 2016", "title": "Explaining the craft to schoolchildren" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10990-BIG.jpg", "copyright": "Mark Ravesloot, 2010", "title": "National Mill Day" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=WXv5hby9GuM", "copyright": "2016 Amsterdamse Filmstichting", "title": "The craft of the miller on wind- and watermills" } ], "sustainability": "The windmills and watermills crafted and maintained by the Guild of Volunteer Millers in the Netherlands operate on sustainable and clean energy sources, namely wind and water. While not as widely used as in the past, the mills continue to function for the purpose of grinding grains into flour. The Guild of Volunteer Millers organizes a range of safeguarding activities, including training and educational activities in schools. The mills are a meaningful part of Dutch history and cultural identity, and safeguarding the craft raises awareness about the role of wind and water sources of sustainable energy. This element also links to SDG #3 Quality Education and SDG #12 Responsible Consumption and Production. " } }, "element_1266": { "type": "element", "label": "Multipart singing of Horehronie", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10992-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10992-HUG.jpg" }, "description": "The Multipart Singing of Horehronie is characterized by a variable solo melody of pre-singing and more static choir answers, either by men or women. The singing culminates in intertwined parallel melodies with rich variations, consisting of two or three parts; each section presents a variation of the initial melodic formula. The song genres are associated with agricultural work, the family cycle and calendric events, and new songs arise in response to social events affecting people\u2019s lives. The bearers and practitioners are the inhabitants of the villages in question as well as the broader public. The folk multipart singing is perceived as a characteristic local phenomenon, which provides an opportunity for relaxing and socializing as a group, contributes to overall social cohesion and gives people a sense of pride in their local tradition. Bearers endorse the element by practising it and using it in regular cross-generational exchanges, and its viability is manifested through spontaneous singing during celebrations and ceremonies, church performances, local festivals and singing and dancing workshops. The practice is transmitted from generation to generation mainly in family circles, as well as through informal education and thanks to the efforts of local folklore groups, local municipalities and individual singers.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/multipart-singing-of-horehronie-01266", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10991-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Female vocal group at the Christmas performances in the village of Z\u00e1vadka nad Hronom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10992-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Men from Vern\u00e1r sing and dance with the music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10993-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Folklore group from He\u013epa in the farmyard" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10994-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Older women at the liturgy in the Greek Catholic church in Telg\u00e1rt" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10995-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Singing in front of the church after the ceremony in Pohorel\u00e1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10996-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Singing during the wedding ritual (putting the brides bonnet on her head) in Pohorel\u00e1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10997-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Wedding ritual (paying a ransom for the bride) in Pohorel\u00e1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10998-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Girls in front of the church in He\u013epa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10999-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Singers from villages of \u0160umiac, Pohorel\u00e1 and He\u013epa at festival Horehronsk\u00e9 dni spevu a tanca in He\u013epa (Horehronie days of singing and dancing in He\u013epa)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11000-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Singers from Vern\u00e1r, Telg\u00e1rt, \u0160umiac and Pohorel\u00e1 at the Ceremony of inscription the element on the Representative List of the Intangible Cultural Heritage of Slovakia" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=kk2awBnC3_E", "copyright": "Slovak Intangible Cultural Heritage Centre, 2016", "title": "Multipart singing of Horehronie" } ], "sustainability": "" } }, "element_1268": { "type": "element", "label": "Al Azi, art of performing praise, pride and fortitude poetry", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11143-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11143-HUG.jpg" }, "description": "Al Azi is a traditional poetry recital performed by a group of individuals without rhythmical or musical instruments. It consists of a full-rhymed poem based on traditional poetry and the lines of poetry are sometimes interposed with sayings and proverbs. Bearers and practitioners include the poet, performer, chorus and audience. The practice strengthens bonds and is connected with knowledge and practices related to nature. Al Azi was performed regularly by communities until the mid-1900s, when performances began to dwindle gradually. Due to development, thousands of inhabitants moved from the desert to urban areas, and the economic boom from 1970 to 1990 led to citizens abandoning employment in traditional sectors and the culture and arts associated with such activities. Another factor has been the enactment of State laws instead of traditional tribal customs. The number of poets has decreased greatly over the past twenty years. Despite these challenges, Al Azi has withstood extinction thanks to the efforts of a number of creative people and traditional art troupes. The practice enjoyed a revival several years ago when it was introduced into national events, with a highly successful theatrical production, and media coverage has helped revive Al Azi, encouraging more poets to compose Al Azi poems.", "list": "USL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/al-azi-art-of-performing-praise-pride-and-fortitude-poetry-01268", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11142-BIG.jpg", "copyright": "Abou Dhabi Tourism and Cultural Authority (TCA), 2016", "title": "Bin No\u2019man troupe performing during Alqattara Heritage Festival in the traditional Thursday and Friday Souq AlAin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11143-BIG.jpg", "copyright": "Abou Dhabi Tourism and Cultural Authority (TCA), 2016", "title": "UAE citizens showing Al A\u2019zi in a parade during the 44th National Day" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11144-BIG.jpg", "copyright": "Abou Dhabi Tourism and Cultural Authority (TCA), 2016", "title": "Performing Al A\u2019zi in the opening of Sheikh Zayed Heritage Festival,\r\nAbu Dhabi 2016" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11145-BIG.jpg", "copyright": "Abou Dhabi Tourism and Cultural Authority (TCA), 2016", "title": "A poet demonstrating Al A'zi for the participants of the workshop with community participation for the preparation of the nomination file (Al A\u2019zi), March 2016, Al Ain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11146-BIG.jpg", "copyright": "Abou Dhabi Tourism and Cultural Authority (TCA), 2016", "title": "A group of performing art in Fujairah open theatre , 19 February 2016" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11147-BIG.jpg", "copyright": "Abou Dhabi Tourism and Cultural Authority (TCA), 2015", "title": "More than a 60 thousand of audience react with the famous performer and poet Aidha Al minhali in Zayed football stadium, 2 December 2015" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11148-BIG.jpg", "copyright": "Abou Dhabi Tourism and Cultural Authority (TCA), 2016", "title": "Researchers participating in the workshop with community participation for the preparation of the nomination file (Al A\u2019zi), March 2016, Al Ain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11149-BIG.jpg", "copyright": "Abou Dhabi Tourism and Cultural Authority (TCA), 2016", "title": "Students participating and performing Al A\u2019zi in Fujairah International Arts Festival, 19-29 February2016" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11150-BIG.jpg", "copyright": "Abou Dhabi Tourism and Cultural Authority (TCA), 2016", "title": "Community members of Al A'zi art moderating and participating actively in Al A'zi wokshop in AlAin, from the left Dr Saeed Al Haddad, researcher and performer, Khalfan AL Kaabi, Manager of the Heritage Village and Salem Al Neyadi, poet and performer of Al A\u2019zi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11151-BIG.jpg", "copyright": "Abou Dhabi Tourism and Cultural Authority (TCA), 2015", "title": "Husain Al Jasmi, the famous singer, presents Al A'zi art in the Opening of AlWathba Festival, reciting the words of the poet Saif Al Kaabi , with the participation of five thousand presenters and performers and a large number of horses and camels, 2014" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=GFIwn3Ct1Ew", "copyright": "", "title": "Al-Azi, the art of performing praise, pride and fortitude poetry" } ], "sustainability": "" } }, "element_1270": { "type": "element", "label": "Kolo, traditional folk dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11011-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11011-HUG.jpg" }, "description": "Kolo is a traditional, collective folk dance performed by dancers who are interlinked to form a chain, usually moving in a circular line holding hands with their arms down. It is performed to the accompaniment of music at private and public gatherings and involves all members of the local community. Cultural-artistic societies and folk dance troupes are also important bearers and practitioners of the element. Kolo has an important integrative social function, fostering collective identities at different levels in the communities. It is a symbol of national identity and bears the hallmark of local and regional communal identities. Performances during celebrations of the most important events in individuals\u2019 and communities\u2019 lives make this element very present and sustainable at all levels. Bearers and local communities ensure its visibility by organizing local, regional and national fairs, festivals and competitions, and the sustainability of the practice is also ensured by cultural and artistic societies. Learning through direct participation is the most common way of transmitting the skills and skilled dancers motivate other players, awakening in them a desire to learn and improve their own performance. Knowledge is also acquired through the regular education system and in ballet and music schools.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kolo-traditional-folk-dance-01270", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11011-BIG.jpg", "copyright": "Kolo Ensemble, 2010", "title": "Performance of the kolo step pattern as part of a choreography of the Kolo Ensemble" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11012-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2011", "title": "A kolo performance at the inauguration of the International Conference of the ICOM Costume Committee at the Ethnographic Museum in Belgrade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11013-BIG.jpg", "copyright": "Kolo Ensemble, 2015", "title": "A round dance formation on stage in a performance by the Kolo Ensemble" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11014-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2011", "title": "A collective performance of the kolo by members of folklore ensembles, participants in '\u010civijada' at \u0160abac" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11015-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2015", "title": "The performance of the kolo at a wedding party in Belgrade. The lead dancer (kolovo\u0111a) is the groom's brother (dever), who has the ceremonial role of the 'bride's guardian'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11016-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2015", "title": "Childbirth celebration in which relatives and friends accompany the child's father. The kolo is performed to the accompaniment of music by the celebration's participants at a Belgrade restaurant" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11017-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2015", "title": "A spontaneous performance of the kolo by participants and visitors of the 'Livada' Fest (Meadow Fest - Zlatibor Haymow) at Vodice. While experienced dancers perform various versions of the basic step pattern, visitors learn to dance the kolo by imitating their their steps" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11018-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2015", "title": "A massive kolo performance by visitors at the Oplenac Harvest at Topola. Good dancers demonstrate their dancing skills and physical stamina, while those less skilled freely enjoy dancing and socializing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11019-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2015", "title": "Practice of the 'Vila' (Fairy) Children's Folklore Ensemble from Novi Sad" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11020-BIG.jpg", "copyright": "Homeland Museum Knja\u017eevac, 2010", "title": "A kolo performance as part of a satellite programme within the celebration of '\u0110ur\u0111evdan' (St George's feast) in the village of Vrtovac near Knja\u017eevac. The youngest members of the local folklore ensemble present a kolo variant from their cultural heritage" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=DcYnwb-hAK0", "copyright": "Ensemnble 'Kolo', 2016", "title": "Kolo, traditional dance in Serbia" } ], "sustainability": "" } }, "element_1271": { "type": "element", "label": "Raiho-shin, ritual visits of deities in masks and costumes", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11579-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11579-HUG.jpg" }, "description": "Raiho-shin rituals take place annually in various regions of Japan \u2013 especially in the Tohoku, Hokuriku, Kyushu and Okinawa regions \u2013 on days that mark the beginning of the year or when the seasons change. Such rituals stem from folk beliefs that deities from the outer world \u2013 the Raiho-shin \u2013 visit communities and usher in the new year or new season with happiness and good luck. During the rituals, local people dressed as deities in outlandish costumes and frightening masks visit houses, admonishing laziness and teaching children good behaviour. The head of the household treats the deities to a special meal to conclude the visit, and in some communities the rituals take place in the streets. In some communities, men of a certain age become the Raiho-shin, while in others women play such roles. Because the rituals have developed in regions with different social and historical contexts, they take diverse forms, reflecting different regional characteristics. By performing the rituals, local people \u2013 notably children \u2013 have their identities moulded, develop a sense of affiliation to their community, and strengthen ties among themselves. In accordance with their ancestors\u2019 teachings, community members share responsibilities and cooperate in preparing and performing the rituals, acting as the practitioners responsible for transmitting the related knowledge.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/raiho-shin-ritual-visits-of-deities-in-masks-and-costumes-01271", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11573-BIG.jpg", "copyright": "Agency of Cultural Affairs (Japan), 2017", "title": "A Raiho-shin known as Toshidon places mochi, a rice cake, on the back of a young boy to grant him good luck. (Koshikijima no Toshidon)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11574-BIG.jpg", "copyright": "Agency of Cultural Affairs (Japan), 2017", "title": "Raiho-shin known as Namahage engage in dialogue with members of a family that welcomed the deities into the house. (Oga no Namahage)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11575-BIG.jpg", "copyright": "Agency of Cultural Affairs (Japan), 2017", "title": "Raiho-shin known as Amamehagi with the family that welcomed them into the house. (Noto no Amamehagi)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11576-BIG.jpg", "copyright": "Agency of Cultural Affairs (Japan), 2017", "title": "Raiho-shin known as Paantou appear and walk through the community with local people. (Miyakojima no Paantou)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11577-BIG.jpg", "copyright": "Agency of Cultural Affairs (Japan), 2017", "title": "Raiho-shin known as Amahage admonish a young boy. (Yuza no Koshogatsu Gyoji)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11578-BIG.jpg", "copyright": "Agency of Cultural Affairs (Japan), 2017", "title": "Raiho-shin throw buckets of water on houses in the community as part of a ritual to prevent disasters. (Yonekawa no Mizukaburi)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11579-BIG.jpg", "copyright": "Agency of Cultural Affairs (Japan), 2017", "title": "Raiho-shin known as Kasedori bang a bamboo pole on the floor of a house to ward off misfortune. (Mishima no Kasedori)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11580-BIG.jpg", "copyright": "Agency of Cultural Affairs (Japan), 2017", "title": "A Raiho-shin known as Suneka asks a young boy whether he has behaved well over the past year. (Yoshihama no Suneka)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11582-BIG.jpg", "copyright": "Agency of Cultural Affairs (Japan), 2017", "title": "Members of a safeguarding association explain to visitors the appropriate way to behave in front of Raiho-shin known as Toshidon. (Koshikijima no Toshidon)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11583-BIG.jpg", "copyright": "Agency of Cultural Affairs (Japan), 2017", "title": "A safeguarding association member teaches children how to twine straw ropes that will be used in costumes worn by Raiho-shin known as Namahage. (Oga no Namahage)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=n1h_sykcyAI", "copyright": "Agency for Cultural Affairs (Japan), 2017", "title": "Raiho-shin, ritual visits of deities in masks and costumes" } ], "sustainability": "" } }, "element_1272": { "type": "element", "label": "Artisanal processes and plant fibers techniques for talcos, crinejas and pintas weaving of the pinta\u2019o hat", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11030-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11030-HUG.jpg" }, "description": "The artisanal process of obtaining the plant fibres for weaving talcos, crinejas and pintas used to make pintao hats is a manual process carried out using five plants and swamp mud. Artisans weave braids and create talco weaves with different designs and pintas. Participants either plant, process the raw materials, weave or create the braids used to make the hat. The pintao hat has become an integral part of regional outfits throughout the country worn during traditional dances and community festivities. The practice promotes solidarity as artisans and plant suppliers are encouraged to form cooperatives and groups. As part of efforts to safeguard the craft, the Pintao Hat Museum in the La Pintada District recreates the artisan\u2019s processes and environment and displays hats from different periods. There is a Civic and Memorial Day of the Pintao Hat on 19 October, and the General Directorate of Artisanship holds artisanal markets and fairs to promote artisanal products. The processes and techniques are passed down from generation to generation, and weaving contests encourage artisans to perfect their art. Currently, more than 400 artisans working with the traditional techniques have been identified; artisans make a living from their craft and are proud of their creations.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/artisanal-processes-and-plant-fibers-techniques-for-talcos-crinejas-and-pintas-weaving-of-the-pinta-o-hat-01272", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11021-BIG.jpg", "copyright": "MICI, 2014", "title": "Cutting plant belota" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11022-BIG.jpg", "copyright": "MICI, 2014", "title": "Slitting plant belota" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11023-BIG.jpg", "copyright": "MICI, 2014", "title": "Drying fibers acorns" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11024-BIG.jpg", "copyright": "MICI, 2014", "title": "Unraveling the thread pita" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11025-BIG.jpg", "copyright": "MICI, 2014", "title": "Leaves chisn\u00e1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11026-BIG.jpg", "copyright": "MICI, 2013", "title": "Dyeing chonta and junco with chisn\u00e1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11027-BIG.jpg", "copyright": "MICI, 2013", "title": "Weaving a braid talco" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11028-BIG.jpg", "copyright": "MICI, 2015", "title": "Linking crinejas and talcos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11029-BIG.jpg", "copyright": "MICI, 2015", "title": "Tissues pintao hat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11030-BIG.jpg", "copyright": "MICI, 2013", "title": "Children in the parade" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=lffRbGf9Ndk", "copyright": "MICI, 2016", "title": "Artisan processes and methods of vegetable fibers for weaving talcos, crinejas and pintas of the pintao hat" } ], "sustainability": "" } }, "element_1274": { "type": "element", "label": "Knowledge and skills of the water measurers of the foggaras or water bailiffs of Touat and Tidikelt", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11652-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11652-HUG.jpg" }, "description": "The element concerns the knowledge and skills of the water measurers of the foggaras (system of channels), or water bailiffs, of the ksour (village) communities of Touat and Tidikelt. The water measurers are involved in various operations, from calculating water shares to repairing distribution combs and conducting water in the channel. Every foggara connects several categories of social agents and knowledge bearers, including owners, manual workers, accountants and water measurers, but it is the water measurers\u2019 knowledge that appears to be under threat. The water measurers are a key figure in the life of the Saharan ksour because they manage a domain vital to the survival of all. They play both an intellectual and a manual role and can be called upon continuously by the community. However, there is currently a lack of communication between young people and their elders, and several factors have disrupted the proper functioning of the foggara, including changes by the central government to relations of ownership, the effects of urbanization and modernisation, and a lack of consideration as to what steps need to be taken to ensure knowledge is transmitted. The loss of activity for water measurers is directly reflected in their advanced age, which demonstrates a lack of new practitioners entering the business.", "list": "USL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/knowledge-and-skills-of-the-water-measurers-of-the-foggaras-or-water-bailiffs-of-touat-and-tidikelt-01274", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11650-BIG.jpg", "copyright": "Rachid, Bellil, 2016", "title": "Le village d'In Belbal (Tidikelt), Alg\u00e9rie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11651-BIG.jpg", "copyright": "Rachid, Bellil, 2016", "title": "Le peigne r\u00e9partiteur (Qasri), Alg\u00e9rie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11652-BIG.jpg", "copyright": "Rachid, Bellil, 2016", "title": "Croisement entre plusieurs s\u00e9guias, Alg\u00e9rie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11653-BIG.jpg", "copyright": "Rachid, Bellil, 2016", "title": "Rigole (s\u00e9guia) emmenant l'eau vers la palmeraie, Alg\u00e9rie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11654-BIG.jpg", "copyright": "Rachid, Bellil, 2016", "title": "Mesureur d'eau avec son instrument droit (Hallafa), Alg\u00e9rie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11655-BIG.jpg", "copyright": "Rachid, Bellil, 2016", "title": "Mesureur d'eau avec son instrument circulaire (Chegfa), Alg\u00e9rie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11656-BIG.jpg", "copyright": "Rachid, Bellil, 2016", "title": "Bassin traditionnel (majen), Alg\u00e9rie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11657-BIG.jpg", "copyright": "Rachid, Bellil, 2016", "title": "Jardin (jnan) avec les parcelles (guemoune), Alg\u00e9rie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11658-BIG.jpg", "copyright": "Rachid, Bellil, 2016", "title": "Parcelles d'un jardin qui vient d'\u00eatre irrigu\u00e9, Alg\u00e9rie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11659-BIG.jpg", "copyright": "Rachid, Bellil, 2016", "title": "Maison (en briques d'adobe) du ksar, Alg\u00e9rie" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=COpmRTtksPs", "copyright": "CNRPAH 2015", "title": "Les mesureurs d'eau du Touat Tidikelt \"Kiyalin El Ma\"" } ], "sustainability": "The water measurers of the foggaras (system of channels) in the Saharan communities of Touat and Tidikelt possess traditional knowledge and skills of water management in communities where water is scarce. The complex system ensures that the water will be fairly and sustainably distributed to the community members. The traditional system includes both water shares calculation, distribution, and repair and maintenance. The traditional wisdom is especially vital for the people living in the desert to combat the harsh climatic conditions and the impacts of climate change. It is an example of intangible cultural heritage that addresses sustainable water management through communal collaboration and peaceful agreement. This element also links to SDG # 15: Life on Land and SDG #16: Peace, Justice and Strong Institutions." } }, "element_1276": { "type": "element", "label": "Celestinian forgiveness celebration", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13089-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13089-HUG.jpg" }, "description": "The Celestinian forgiveness celebration was inspired by Pope Celestine V, who issued a historical \u2018Bull\u2019 as an act of partnership among local populations. Taking place in the city and province of L\u2019Aquila, the tradition comprises a set of rituals and celebrations transmitted uninterruptedly since 1294. The practice conveys a sense of continuity and cultural identity for the whole community. The \u2018Forgiveness Walk\u2019 opens with the lighting of the \u2018Fire of Morrone\u2019 and its descent, accompanied by a candlelight procession. The procession proceeds along a traditional itinerary marked by the lighting of tripods in each of the twenty-three villages involved, where the mayor signs a parchment recalling the Bull\u2019s symbolic values. The community gathering ends on 23 August in L\u2019Aquila with the lighting of the last tripod. Drums, clarions and flag bearers enliven and mark the rhythm of the Parade, which involves 1000 citizens dressed in traditional costumes. Participants walk along with the three main characters \u2013 the \u2018Lady of the Bull\u2019, the \u2018Young Lord\u2019 and the \u2018Lady of the Cross\u2019 \u2013 symbolizing the traditional values of the celebration: hospitality, solidarity and peace. The meanings and traditional practices of the element are transmitted through tales told at home, in schools and in community gathering places, and the community\u2019s constant participation in the celebration has ensured its viability over time.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/celestinian-forgiveness-celebration-01276", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13081-BIG.jpg", "copyright": "Marco Equizi\/Celestinian Forgiveness Committee, 2017", "title": "Celestinian Walk, 2017, Municipality of Castelvecchio-Subequo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13082-BIG.jpg", "copyright": "Marco Equizi\/Celestinian Forgiveness Committee, 2017", "title": "L'Aquilla, 2017, Participants at the historical parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13083-BIG.jpg", "copyright": "Marco Equizi\/Celestinian Forgiveness Committee, 2017", "title": "Celestinian Movement, Historical Bull Parade, 2017" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13084-BIG.jpg", "copyright": "Massimo Alesii\/Celestinian Forgiveness Committee, 2017", "title": "Artistic expressions during the celebration in l'Aquila, 2018" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13085-BIG.jpg", "copyright": "Raniero Pizzi\/Celestinian Forgiveness Committee, 2017", "title": "L'Aquila, 2018, Lady of the Bull" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13086-BIG.jpg", "copyright": "Raniero Pizzi\/Celestinian Forgiveness Committee, 2017", "title": "Historical Bull Parade, Lady of the Cross and Young Lord, 2018" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13087-BIG.jpg", "copyright": "Raniero Pizzi\/Celestinian Forgiveness Committee, 2017", "title": "Historical Parade, Performance of Sbandieratori of L'Aquila, 2018" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13088-BIG.jpg", "copyright": "Raniero Pizzi\/Celestinian Forgiveness Committee, 2017", "title": "Historical Parade, arrival at the Basilica of Collemaggio" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13089-BIG.jpg", "copyright": "Massimo Alesii\/Celestinian Forgiveness Committee, 2017", "title": "L'Aquila, 2018, Little girls wear historical clothes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13090-BIG.jpg", "copyright": "Massimo Alesii\/Celestinian Forgiveness Committee, 2017", "title": "Crowd the crosses the holy door of the Basilica di Collemaggio" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=VmSWd6BpoFc", "copyright": "Comitato Perdonanza Celestiniana-Comune d'Aquila, 2018", "title": "Celebration of Celestinian Forgiveness" } ], "sustainability": "" } }, "element_1277": { "type": "element", "label": "Organ craftsmanship and music", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11053-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11053-HUG.jpg" }, "description": "Organ craftsmanship and music has shaped Germany\u2019s musical landscape and instrument-making for centuries, and there are a diverse number of related traditions in the country. Organ craftsmanship and music are closely related since each instrument is created specifically for the architectural space in which it will be played. The highly specialized knowledge and skills related to the practice have been developed by craftspeople, composers and musicians working together throughout history, and the specialized and mostly informally-transmitted knowledge and skills are significant markers of group identity. Transcultural by its very nature, organ music is a universal language that fosters interreligious understanding. Though mostly associated with church services, concerts and modern cultural events, it is also played during important community-building festivities. There are 400 medium-sized craftspeople\u2019s establishments in Germany, which guarantee its viability and transmission, as well as some larger family-owned workshops. Knowledge and skills related to the element are transmitted through a direct teacher-pupil experience, which is complemented by training in vocational schools and universities. Apprentices gain practical experience in organ construction workshops as well as theoretical knowledge in vocational schools, and efforts to safeguard the element also include teaching in universities and music academies, conferences, and presentations via the media.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/organ-craftsmanship-and-music-01277", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11051-BIG.jpg", "copyright": "2008 by Killinger Pfeifen Freiberg", "title": "The pipes of the organ consist mostly of metal and wood. For the preparation of the metal, tin and plomb have to be liquefied and poured to form plates" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11052-BIG.jpg", "copyright": "2008 by Killinger Pfeifen Freiberg", "title": "Parts from the metal plates are cut out for the organ pipes. Piece by piece they are soldered. In order to achieve the necessary precision, it requires a skilled and steady hand and a lot of experience" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11053-BIG.jpg", "copyright": "2007 by Wolfgang Gourg\u00e9", "title": "An apprentice cuts the lip of a pipe that he has produced by himself, so that the sound can be heard when the wind is blown into it" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11054-BIG.jpg", "copyright": "2006 by Thomas Ehret", "title": "After restoration in a workshop, a historic organ is rebuilt in the church. The organ builder puts into place each piece of equipment and each pipe successively" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11055-BIG.jpg", "copyright": "2006 by Thomas Ehret", "title": "After the technical work has been completed during the construction or restoration of an organ, every single of hundreds of pipes has to be tuned again" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11056-BIG.jpg", "copyright": "2007 by Dorothea Burkhardt", "title": "An organ expert checks the pipes inside an organ if they are correctly installed" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11057-BIG.jpg", "copyright": "2006 by Katholische Kirchengemeinde St. Cyriakus Karlsruhe", "title": "Before the organ accompanies the liturgy, it is consecrated in a special ceremony. Here, the Archbishop of Freiburg is accompanied by the clergy and the parish" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11058-BIG.jpg", "copyright": "2007 by Wolfgang Gourg\u00e9", "title": "At large organs, organists often play with their hands on several manuals. Sometimes they change the sound by drawing a stop or register" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11059-BIG.jpg", "copyright": "2016 by Kerstin Petersen", "title": "A concert organist is teaching a young girl in special organ lessons for children starting from six years" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11060-BIG.jpg", "copyright": "2011 by Wolfgang Gourg\u00e9", "title": "Rarely two or more organists are playing on an organ. It is also rare that the organ is so close to the audience" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ovBBd4l65lI", "copyright": "", "title": "Organ craftsmanship and music" } ], "sustainability": "" } }, "element_1278": { "type": "element", "label": "Door-to-door rounds of Kurenti", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11033-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11033-HUG.jpg" }, "description": "Door-to-door rounds of Kurenti is a Shrovetide custom practised from Candlemas (2 February) to Ash Wednesday. Kurenti practise their rounds through villages and nowadays also through the town of Ptuj. Groups consisting of Kurenti and one or more devils run from house to house, form a circle in the yard and jump around the owners. According to their beliefs, the noisy bell-ringing and brandishing of the wooden stick chase everything evil away and bring happiness to those they visit. Men, women and children are actively involved in all activities associated with the custom. Kurenti normally form groups, and some establish associations. One important bearer is the Federation of Kurenti Associations, which acts as the umbrella organization. The practice helps strengthen interpersonal bonds and is key to the regional identity of the communities concerned. Kindergartens and elementary schools assist in the safeguarding process, and some formal education courses and informal workshops help maintain respect for the practice. Related knowledge and skills are most commonly transmitted within the family, but youngsters also learn from elderly members of the groups they are part of and schools and museums play an important role by organizing activities, workshops and contests. ", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/door-to-door-rounds-of-kurenti-01278", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11031-BIG.jpg", "copyright": "Andrej Brence, 2009", "title": "Feathered Korants, Markovci" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11032-BIG.jpg", "copyright": "Andrej Brence, 2007", "title": "Feathered Korants, Markovci" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11033-BIG.jpg", "copyright": "Andrej Brence, 2011", "title": "Feathered Korants, Cirkulane" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11034-BIG.jpg", "copyright": "Andrej Brence, 2011", "title": "Horned Korants, Jablovec" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11035-BIG.jpg", "copyright": "Andrej Brence, 2009", "title": "Feathered Korants, Repi\u0161\u010de" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11036-BIG.jpg", "copyright": "Andrej Brence, 2005", "title": "Feathered Korants, Ptuj" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11037-BIG.jpg", "copyright": "\u010crtomir Goznik, 2012", "title": "Feathered Korants, Ptuj" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11038-BIG.jpg", "copyright": "Adela Pukl, 2016", "title": "Kurenti go from house to house, running and jumping" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11039-BIG.jpg", "copyright": "Adela Pukl, 2016", "title": "Outside the house, Kurenti jump in a circle around the master\/mistress" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11040-BIG.jpg", "copyright": "Miha \u0160pi\u010dek, 2016", "title": "A woman tying a kerchief to a 'hedgehog' stick" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=oz-o7ZNR1T0", "copyright": "Denis del Bianchi, 2015", "title": "Door-to-door rounds of Kurenti" } ], "sustainability": "" } }, "element_1279": { "type": "element", "label": "Craftmanship of Estremoz clay figures", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11044-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11044-HUG.jpg" }, "description": "The Craftsmanship of Estremoz Clay Figures involves a production process lasting several days: the elements of the figures are assembled before being fired in an electric oven and then painted by the artisan and covered with a colourless varnish. The clay figures are dressed in the regional attires of Alentejo or the clothing of religious Christian iconography, and follow specific themes. The production of clay figures in Estremoz dates back to the seventeenth century, and the very characteristic aesthetic features of the figures make them immediately identifiable. The craft is strongly attached to the Alentejo region, since the vast majority of the figures depict natural elements, local trades and events, popular traditions and devotions. The viability and recognition of the craft are ensured through non-formal education workshops and pedagogical initiatives by the artisans, as well as by the Centre for the Appreciation and Safeguarding of the Estremoz Clay Figure. Fairs are organized at the local, national and international levels. Knowledge and skills are transmitted both in family workshops and professional contexts, and artisans teach the basics of their craft through non-formal training initiatives. Artisans are actively involved in awareness-raising activities organized in schools, museums, fairs and other events.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/craftmanship-of-estremoz-clay-figures-01279", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11041-BIG.jpg", "copyright": "Munic\u00edpio de Estremoz, 2015", "title": "The modelling process of Estremoz clay figures begins with the creation of a clay plaque, which will be the base that supports the figure" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11042-BIG.jpg", "copyright": "Munic\u00edpio de Estremoz, 2015", "title": "The artisan models the figure's body, legs and arms with rolls of clay, fundamental elements of the modelation process" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11043-BIG.jpg", "copyright": "Munic\u00edpio de Estremoz, 2015", "title": "The ball is another of the fundamental elements in the modelling process of Estremoz clay figures and it's used to create the head and other parts" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11044-BIG.jpg", "copyright": "Munic\u00edpio de Estremoz, 2015", "title": "The end of the modelling process consists of 'dressing' and ornamenting the figure, using clay plaques that involve and decorate the rest of the elements" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11045-BIG.jpg", "copyright": "Munic\u00edpio de Estremoz, 2015", "title": "The clay figures are dried and fired in an electric oven for 10 hours at 900\u00baC temperature" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11046-BIG.jpg", "copyright": "Munic\u00edpio de Estremoz, 2015", "title": "After being fired in the oven, the clay figures are painted with tempers of vivid colors and covered with a colorless varnish" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11047-BIG.jpg", "copyright": "Munic\u00edpio de Estremoz, 2015", "title": "The core of Estremoz clay figures is composed of 90 figures, even though, the most known are the figures called 'The Spring' and 'Love is Blind'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11048-BIG.jpg", "copyright": "Munic\u00edpio de Estremoz, 2015", "title": "The Estremoz clay figures depict the traditions, practices and customs of Portuguese people, being a particular way of transmitting their cultural identity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11049-BIG.jpg", "copyright": "Munic\u00edpio de Estremoz, 2015", "title": "The Municipal Museum of Estremoz is performing educational activities, in which the artisans teach children and young people how to model clay figures, ensuring the safeguard of this art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11050-BIG.jpg", "copyright": "Munic\u00edpio de Estremoz, 2015", "title": "The artisan Perp\u00e9tua Sousa teaches her nephew Ricardo Fonseca how to model Estremoz clay figures" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=YiEv3wuzv0c", "copyright": "Munic\u00edpio de Estremoz, 2016", "title": "Craftsmanship of Estremoz clay figures" }, { "url": "https:\/\/www.youtube.com\/watch?v=n2QcyhgeuqM", "copyright": "Munic\u00edpio de Estremoz, 2016", "title": "Craftsmanship of Estremoz clay figures" } ], "sustainability": "" } }, "element_1282": { "type": "element", "label": "Chog\u0101n, a horse-riding game accompanied by music and storytelling", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10874-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10874-HUG.jpg" }, "description": "Chog\u0101n is a traditional horse-riding game accompanied by music and storytelling; it has a history of over 2,000 years in Iran and has mostly been played in royal courts and urban fields. In Chog\u0101n, two rider teams compete and the aim is to pass the ball through the opposing team\u2019s goal posts using a wooden stick. Chog\u0101n includes the main game, a corresponding musical performance and storytelling. Bearers include three primary groups: the players, the storytellers and the musicians. Chog\u0101n is a cultural, artistic and athletic element with a strong connection to the identity and history of its bearers and practitioners. It has a strong presence in the literature, storytelling, proverbs, handicrafts and ornaments that are valuable parts of the symbolism of its practitioners. As an element that promotes the health of the body and soul, Chog\u0101n also establishes a connection between nature, humankind and horses. Traditionally, transmission has occurred informally within the family or in workshops, and Chog\u0101n techniques continue to be actively safeguarded by families and local practitioners. However, over the last decades, Chog\u0101n associations have also been established, which hold training courses, support local masters and provide assistance in transmitting all aspects of Chog\u0101n while safeguarding local diversity.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chogn-a-horse-riding-game-accompanied-by-music-and-storytelling-01282", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10873-BIG.jpg", "copyright": "2016 by Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)", "title": "Naghsh-e-Jah\u0101n Square, as a cultural space in the City of Isfahan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10874-BIG.jpg", "copyright": "2016 by Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)", "title": "Chog\u0101nb\u0101zi (playing Chog\u0101n) Isfahan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10875-BIG.jpg", "copyright": "2016 by Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)", "title": "Chog\u0101nb\u0101zi (playing Chog\u0101n)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10876-BIG.jpg", "copyright": "2016 by Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)", "title": "Chog\u0101n music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10877-BIG.jpg", "copyright": "2016 by Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)", "title": "The transmission and training of Chogan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10878-BIG.jpg", "copyright": "2016 by Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)", "title": "Morshedkh\u0101ni (narration) in Chog\u0101n" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10879-BIG.jpg", "copyright": "2016 by Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)", "title": "Heralding Nowrouz (narration) in Chog\u0101n" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10880-BIG.jpg", "copyright": "2016 by Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)", "title": "The Nowrouz performance of Pahlav\u0101ni (heroic) ritual in Chog\u0101n" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10881-BIG.jpg", "copyright": "2016 by Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)", "title": "Chog\u0101n influence on Ghalamk\u0101r (textile printing) motifs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10882-BIG.jpg", "copyright": "2016 by Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)", "title": "Chog\u0101n influence on miniature motifs" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=eJt66cC9yaU", "copyright": "2016 by the Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "Chog?n, a horse-riding game accompanied by music and storytelling" } ], "sustainability": "" } }, "element_1284": { "type": "element", "label": "Spring celebration, H\u0131drellez", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11065-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11065-HUG.jpg" }, "description": "The Spring Celebration \u2018Hidrellez\u2019 takes place annually on 6 May, which is recognized as Spring Day, or the awakening of nature. \u2018Hidrellez\u2019 is a compound noun derived from \u2018Hidir\u2019 and \u2018Ilyas\u2019, which are believed to be the protectors of earth and water and the helpers of individuals, families and communities in need of them. To mark this occasion, various ceremonies and rituals connected with nature are performed, guaranteeing the wellbeing, fertility and prosperity of the family and community and protecting livestock and crops for the upcoming year. The element belongs to all participants: families, children, youth, adults, dancers and singers. The rituals have deep-rooted cultural meanings and provide the community with a sense of belonging and cultural identity and an opportunity to strengthen relations. The communities concerned ensure the viability of the element by participating in the Spring Celebration on an annual basis. The complex organization of related events at the local, regional and national levels ensures the wide participation of individuals, groups and communities. The element is recognized as a key part of the cultural identity of the local communities and related knowledge and skills are transmitted within the family and between community members through oral communication, observation, participation and performances.", "list": "RL", "year": 2017, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/spring-celebration-hdrellez-01284", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11061-BIG.jpg", "copyright": "Zdru\u017eenie Festival Proletni Veselbi 2010", "title": "Pelivan wrestling on Hidrellez Day, North Macedonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11062-BIG.jpg", "copyright": "Zdru\u017eenie Festival Proletni Veselbi 2010", "title": "People are put swing up on fertile tree and swinging, North Macedonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11063-BIG.jpg", "copyright": "Zdru\u017eenie Festival Proletni Veselbi 2010", "title": "Girls are gathering around the pot for practicing Martufal rituals, North Macedonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11064-BIG.jpg", "copyright": "Zdru\u017eenie Festival Proletni Veselbi 2010", "title": "Young girls mix the Nishans inside the pot and picks them one by one, North Macedonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11065-BIG.jpg", "copyright": "Zdru\u017eenie Festival Proletni Veselbi 2010", "title": "Girls are singing mani during Martufal rituals, North Macedonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11066-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2013", "title": "Lighting the bonfire, T\u00fcrqyie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11067-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2014", "title": "Celebrations of Hidrellez Day, T\u00fcrkiye" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11068-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2014", "title": "Putting wishes inside the pot during Martafal rituals, T\u00fcrkiye" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11069-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2014", "title": "Girl is tying a ribbon on rose tree for her wish, T\u00fcrkiye" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11070-BIG.jpg", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2014", "title": "Girls and women are putting rings in a pot filled with water, flowers and herbs for their wishes, T\u00fcrkiye" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=vT4_4aOAD6E", "copyright": "Zdru\u017eenie Proletni Veselbi\/Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training 2014", "title": "Spring celebration, H?drellez" } ], "sustainability": "" } }, "element_1285": { "type": "element", "label": "Colombian-Venezuelan llano work songs", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11115-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11115-HUG.jpg" }, "description": "Colombian-Venezuelan llano work songs are a practice of vocal communication consisting of tunes sung individually, a capella, on the themes of herding and milking. The practice emerged from the close relationship between human communities and cattle and horses and is in harmony with the environmental conditions and the dynamics of nature, forming part of the traditional animal husbandry system of the Llanos. Transmitted orally from childhood, the songs are repositories of the individual and collective stories of the llaneros. Llano work songs have been gradually affected by economic, political and social processes that, modifying the llanero cultural universe, have significantly weakened the practice. For example, ambitious government plans conceived from a developmental perspective have led to profound changes in the use of the land and in ownership systems, and the modification of the social, cultural and natural sites of the songs have resulted in a loss of interest in the values and techniques of llano work. Llanero work songs thus face various threats to their viability. Efforts to safeguard the element are nonetheless widespread, including a pedagogical strategy involving more than twenty meetings for bearers and young people in the region, training projects for schoolteachers and a proliferation of festivals.", "list": "USL", "year": 2017, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/USL\/colombian-venezuelan-llano-work-songs-01285", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11111-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2016", "title": "While milking, the melodious and intimate singing to the cow cements its relationship with the milker and favors its disposition for the chore" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11112-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2016", "title": "The complexity of llano work includes tasks aimed at the sale of livestock and derived products, but also at domestic consumption" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11113-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2016", "title": "The productive and playful dimensions of the llano work songs motivate the participation of adults, youth and children according to the complexity of each task" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11114-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2016", "title": "Safeguarding the llano work songs is a bi-national effort, so that new generations may appreciate, make their contribution and engage in dialogue about the knowledge, memories and ways of life of their shared llanero identity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11115-BIG.jpg", "copyright": "Sebastian Londo\u00f1o, 2013", "title": "En souvenir d'autrefois" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11116-BIG.jpg", "copyright": "Juanita Escobar, 2009", "title": "In Colombia and Venezuela, llano work is in harmony with the environment and local way of life, and has been enriched by the songs and sounds performed during cattle herding and milking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11117-BIG.jpg", "copyright": "Juanita Escobar, 2009", "title": "The herding of the cattle in the open savannas of the Colombo-Venezuelan Llanos is accompanied bi singing, shouting, whistling and japeos (yelps)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11118-BIG.jpg", "copyright": "Juanita Escobar, 2010", "title": "In the transport of the herd, the song of the cabrestero (halter man) leads the way; the cattle respond to it, driven by vaqueros (cowboys) whose position in the group define them as punteros (led men), traspunteros (middle men) or culateros (rear men)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11119-BIG.jpg", "copyright": "Juanita Escobar, 2008", "title": "The characteristic sunsets of the vast region of the Llanos have inspired countless songs, lyrics, poems and artistic works in both countries" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11120-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2016", "title": "The skills of llano work and its associated songs, learned by imitation and practice from childhood, accustom the cattle to human presence for its optimal handling" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TosdEunVh6g", "copyright": "Centro de la Diversidad Cultural, 2016\/Jhon E. Moreno Ria\u00f1o, 2016\/FUNDASET", "title": "Colombian-Venezuelan llano work songs" } ], "sustainability": "" } }, "element_1286": { "type": "element", "label": "Art of crafting and playing with Kamantcheh\/Kamancha, a bowed string musical instrument", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11411-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11411-HUG.jpg" }, "description": "The art of crafting and playing with Kamantcheh\/Kamancha (\u2018little bow\u2019), a bowed string instrument, has existed for over 1,000 years. In the Islamic Republic of Iran and Azerbaijan, it constitutes a major element of classical and folkloric music, and performances occupy a central place in a wide number of social and cultural gatherings. Contemporary practitioners mainly use a four-stringed Kamantcheh\/Kamancha comprising a body and bow made with horsehair and players perform either individually or as part of orchestras. Bearers and practitioners consist of craftspeople, amateur or professional players, and teachers and students of the element. Kamantcheh\/Kamancha is an essential part of musical culture in both countries, and while crafting the instrument represents a direct source of earning a living, craftspeople also perceive the art as a strong part of the intangible cultural heritage of their communities. Through their music, performers convey many themes, from the mythological to the gnostic and the comic. Today, knowledge of performing and crafting Kamantcheh\/Kamancha is transmitted both within families and in State-sponsored musical institutions and schools. Knowledge about the importance of the music in promoting cultural identity is transmitted from generation to generation in all strata of society in both countries.", "list": "RL", "year": 2017, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/art-of-crafting-and-playing-with-kamantcheh-kamancha-a-bowed-string-musical-instrument-01286", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11410-BIG.jpg", "copyright": "2016, Safa Music Institute, Islamic Republic of Iran", "title": "Samples of Iranian Kamantcheh; left to right: Torkaman Sahra (3-string), Classical (4-string), Tabriz, Azarbayjan (4-string), Lorestan (open-in-the-back, 4-string)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11411-BIG.jpg", "copyright": "2015, Siyah-o-Sefid Institute, Islamic Republic of Iran", "title": "Maleki family Kamantcheh workshop, Lorestan: the master craftsman is preparing the finger-board for attachment to the sound-box" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11412-BIG.jpg", "copyright": "2015, Siyah-o-Sefid Institute, Islamic Republic of Iran", "title": "Inside a nomadic tent in Lorestan: a folkloric Kamantcheh player in traditional costume is accompanied by a Tombak (Iranian percussion) player" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11413-BIG.jpg", "copyright": "2015, Siyah-o-Sefid Institute, Islamic Republic of Iran", "title": "Tehran, a private music institute: a little girl is practicing on her new Kamantcheh lesson, under the supervision of her teacher" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11414-BIG.jpg", "copyright": "2015, Siyah-o-Sefid Institute, Islamic Republic of Iran", "title": "Ostad (Master musicien) Ardeshir Kamkar, the well-known Iranian Kamantcheh player and musician, continues, among his other activities, with training a new generation of Kamantcheh players in his private classes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11415-BIG.jpg", "copyright": "2016, Ministry of Culture and Tourism of Azerbaijan", "title": "Master Musa Yagubov makes Kamancha" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11416-BIG.jpg", "copyright": "2016, Ministry of Culture and Tourism of Azerbaijan", "title": "Covering the body" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11417-BIG.jpg", "copyright": "2016, Ministry of Culture and Tourism of Azerbaijan", "title": "Decoration of Kamancha with national elements" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11418-BIG.jpg", "copyright": "2016, Ministry of Culture and Tourism of Azerbaijan", "title": "During the Kamancha playing lession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11419-BIG.jpg", "copyright": "2016, Ministry of Culture and Tourism of Azerbaijan", "title": "Family performance in Kamancha" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4rdARfmYb-Y", "copyright": "", "title": "Art of crafting and playing with Kamantcheh\/Kamancha, a bowed string musical instrument" } ], "sustainability": "" } }, "element_1287": { "type": "element", "label": "Cultural practices associated to the 1st of March", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09353-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09353-HUG.jpg" }, "description": "Cultural Practices Associated to the 1st of March comprise traditions transmitted since ancient times to celebrate the beginning of spring. The main practice consists of making, offering and wearing a red and white thread, which is then untied when the first blossom tree, swallow or stork is seen. A few other local practices also form part of a larger spring celebration, such as purification actions in Moldova. The artefact is considered to provide symbolic protection against perils such as capricious weather, with the practice ensuring a safe passage from winter to spring for individuals, groups and communities. All members of the communities concerned participate, irrespective of their age, and the practice contributes to social cohesion, intergenerational exchange and interaction with nature, fostering diversity and creativity. Informal education is the most frequent means of transmission: in rural areas, young girls are taught how to make the thread by older women, while in urban areas apprentices learn from teachers, craftspeople and through informal education. Another occasion for transmission is provided by Martenitsa\/Martinka\/M\u0103r\u0163i\u015for workshops organized by ethnographic museums. The communities concerned are actively involved in efforts to inventory, research, document and promote the element, and numerous cultural projects geared at its safeguarding are underway.", "list": "RL", "year": 2017, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-practices-associated-to-the-1st-of-march-01287", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09352-BIG.jpg", "copyright": "Valentin Voskresenski 2013", "title": "Martenitsa with a couple of a male and female figures, called Pizho and Penda, Bulgaria" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09353-BIG.jpg", "copyright": "Atanaska Stancheva 2012", "title": "Martenitsi workshop with children at the Ethnographic Museum in Sofia, Bulgaria" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09354-BIG.jpg", "copyright": "Iva Stanoeva 2013", "title": "Tree with martenitsi tied to its branches, Bulgaria" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09355-BIG.jpg", "copyright": "National Commission for the Safeguarding of the Intangible Cultural Heritage, Ministry of Culture, 2014", "title": "Making the m?r?i?or tassel, Republic of Moldova" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09356-BIG.jpg", "copyright": "National Commission for the Safeguarding of the Intangible Cultural Heritage, Ministry of Culture, 2014", "title": "Workshop for making m?r?i?oare, Republic of Moldova" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09357-BIG.jpg", "copyright": "Constantin Br?iloiu Institute of Ethnography and Folklore, Romanian Academy, 2014", "title": "The protective function of the m?r?i?or, Romania" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09358-BIG.jpg", "copyright": "Constantin Br?iloiu Institute of Ethnography and Folklore, Romanian Academy, 2014", "title": "M?r?i?or with a coin amulet, Romania" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09360-BIG.jpg", "copyright": "ictmncmacedonia, 2013", "title": "Young people celebrating the 1 of March in Skopje city square, North Macedonia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09361-BIG.jpg", "copyright": "ictmncmacedonia, 2013", "title": "Modern version of martinka made by young students, North Macedonia" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=53R1H9Z_UaM", "copyright": "Tsvetelina Dimitrova, Pavel Hadzihev, Bulgarian National Television-Archive (Bulgaria); Opetcheska Tatarchevska\/2014 (Macedonia); Ministry of Culture of Republic of Moldova; Consatntin Br?iloiu Institute of Ethnography and Folklore, Romanian Academy, 2016", "title": "Cultural practices associated to the 1st of March" } ], "sustainability": "" } }, "element_1288": { "type": "element", "label": "Konjic woodcarving", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11086-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11086-HUG.jpg" }, "description": "Konjic woodcarving is an artistic craft with a long tradition in the Konjic municipality. The woodcarvings \u2013 which include furniture, sophisticated interiors and small decorative objects \u2013 stand out for their recognizable hand-carved motifs and overall visual identity. The woodcarving is a constitutive part of the local community\u2019s culture, a measure of the beauty and amenity of home interiors, and a tradition that forges a sense of community and belonging. The practice not only plays a very important role at the community level in Konjic, however, but also countrywide and in diaspora communities. It is an economically viable, socially inclusive and ecologically sustainable craft practised by different ethnic and confessional groups, which serves as an instrument of dialogue and cooperation. The craft is widespread among Konjic inhabitants, both as an occupation and as a hobby, and while the main bearers are trained craftspeople who work in woodcarving workshops, bearers who practise the craft at home are equally important. The owners of family-run woodcarving workshops are most responsible for safeguarding the element, training apprentice woodcarvers and popularizing the craft. Knowledge and skills are transmitted primarily through on-the-job training of novices in the practising workshops, as well as through intergenerational transmission within the family.
", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/konjic-woodcarving-01288", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09938-BIG.jpg", "copyright": "Rukotvorine doo, Konjic, 2015", "title": "Woodcarvers in Rukotvorine worshop: Mina \u0160a\u0161i\u0107 (1964), Dino \u0160a\u0161i\u0107 (1959), Salko Nuhi\u0107 (1950), Kenan Bubalo (1996), Armin Boloban (1975)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09939-BIG.jpg", "copyright": "Rukotvorine doo, Konjic, 2015", "title": "Workshop for tudents of industrial design at Sarajevo Arts Academy (ALU): Ermin Ljevo, woodcarver and Haris Arnautovi\u0107, student" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/09941-BIG.jpg", "copyright": "Rukotvorine doo, Konjic, 2014", "title": "Workshop 'meet the old craft' for the students of the elementary school 'Mula Mustafa Ba\u0161eskija', Sarajevo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11081-BIG.jpg", "copyright": "Rukotvorine doo, Konjic, 2014", "title": "Friends having coffee in a home with hand-carved furniture in Konjic (Razija Krivi\u0107, Koso Rujveda, Sabina Kralju\u0161i\u0107, Muamer Kori\u0107, D\u017eemal)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11082-BIG.jpg", "copyright": "Rukotvorine doo, Konjic, 2010", "title": "Interior of a home in Konjic with hand-carved furniture typically produced by Konjic woodcarvers (hand-carved sofa and hexagonal tables and stools)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11083-BIG.jpg", "copyright": "Rukotvorine doo, Konjic, 2014", "title": "Craftsman's hands carving a table top" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11084-BIG.jpg", "copyright": "Rukotvorine doo, Konjic, 2016", "title": "Mirsada Nuhi\u0107 decorates the small pieces of woodcarving product at her home" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11085-BIG.jpg", "copyright": "Rukotvorine doo, Konjic, 2016", "title": "Students from the mixed secondary school in Konjic during a study tour of Rukotvorine woodcarving workshop (Emina Hondo, Amina Mad\u017eak, Elma Hondo and Izet Bubalo demonstrator)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11086-BIG.jpg", "copyright": "Rukotvorine doo, Konjic, 2014", "title": "The process of carving a hand-carving motif on a modern product" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11087-BIG.jpg", "copyright": "Rukotvorine doo, Konjic, 2014", "title": "Three generations of the Nik\u0161i\u0107 family: woodcarving in conveyed orally" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=17M7-Lk9TVg", "copyright": "2014, Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "Drawing a soul in texture of wood (Crtanje du\u0161e u teksturi drveta)" } ], "sustainability": "" } }, "element_1289": { "type": "element", "label": "Picking of iva grass on Ozren mountain", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11619-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11619-HUG.jpg" }, "description": "On 11 September each year, the day of the beheading of St. John the Baptist, inhabitants of the villages around Ozren mountain go to Gostilij to pick iva grass. After hiking up the hills, villagers of all social, gender and age groups pick iva grass, both individually and in groups. Iva must be picked carefully and pickers need to find it among the higher grass; the process therefore usually takes a few hours. When the picking is done, they climb up Gostilij and assemble into smaller groups, many wearing Ozren folk costumes, to play, dance and sing traditional music. In the afternoon, Orthodox priests climb up to the peak of Gostilij where they consecrate the iva. Iva is consumed in different ways (as a tea, soaked in brandy, mixed with honey) both for its curative effect and preventively. While in the past the practice was exclusively related to folk medicine, nowadays its primary functions include hospitality and social integration, as well as helping to safeguard Ozren costumes, songs and dances that have been gradually disappearing. The practice is transmitted spontaneously within the family, as well as in primary schools. Several local associations also invite similar organizations from different regions to take part in the practice, leading to the inclusion of many practitioners from outside of Ozren.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/picking-of-iva-grass-on-ozren-mountain-01289", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11610-BIG.jpg", "copyright": "Museum in Doboj, 2002", "title": "Children climbing the Gostilj peak" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11611-BIG.jpg", "copyright": "Museum in Doboj, 2002", "title": "Gatherings of folklore societies from different places after iva grass picking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11612-BIG.jpg", "copyright": "Museum in Doboj, 2004", "title": "View from the Gostilj peak" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11613-BIG.jpg", "copyright": "Museum in Doboj, 2005", "title": "Iva grass picking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11614-BIG.jpg", "copyright": "Museum in Doboj, 2005", "title": "Gatherings of folklore societies from different places after iva grass picking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11615-BIG.jpg", "copyright": "Museum in Doboj, 2012", "title": "Climbing the Gostilj peak" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11616-BIG.jpg", "copyright": "Museum in Doboj, 2014", "title": "The boy - iva grass picking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11617-BIG.jpg", "copyright": "Museum in Doboj, 2014", "title": "The father and son - iva grass picking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11618-BIG.jpg", "copyright": "Museum in Doboj, 2002", "title": "Iva grass picking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11619-BIG.jpg", "copyright": "Museum in Doboj, 2006", "title": "Gatherings of all participans on the top of peak Gostilj, after iva grass picking" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=hIeE6s1gZ-c", "copyright": "Museum in Doboj, 2016", "title": "Picking of iva grass on Ozren Mountain" } ], "sustainability": "" } }, "element_1290": { "type": "element", "label": "Dikopelo folk music of Bakgatla ba Kgafela in Kgatleng District", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10939-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10939-HUG.jpg" }, "description": "The Dikopelo music practice involves vocal singing and dancing in a patterned choreography without musical instruments in which people from a particular area join together to sing as a choir. The element is practised by men, women and children but is mostly dominated by Elders who, forming an informal Council of Advisors, transmit their skills to the younger generation. Dikopelo is a communal practice involving a shared vision of community life. The element is no longer as widespread as it was in the past. Though Dikopelo originated as a communal event practised on farmlands, due to the decline in people engaged in farming the choirs have moved to villages where modernization makes practising it more difficult. Modern entertainment practices have also reduced the number of knowledgeable practitioners capable of explaining the significance of the element. However, though the viability of Dikopelo is low, the community and practitioners are committed to safeguarding it, as illustrated by their willingness to compete with groups from other districts and efforts to revive Dikopelo as a strategy to protect young people from social ills and promote positive messages among the community.", "list": "USL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/dikopelo-folk-music-of-bakgatla-ba-kgafela-in-kgatleng-district-01290", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10936-BIG.jpg", "copyright": "2013 by Legae Digwaamaje, Department of Arts and Culture, Botswana", "title": "Traditional choir demonstrating the message of the song" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10937-BIG.jpg", "copyright": "2013 by Legae Digwaamaje, Department of Arts and Culture, Botswana", "title": "Young and elderly members of Sedibelo Choir ensuring transmission of the element" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10938-BIG.jpg", "copyright": "Legae Digwaamaje, Department of Arts and Culture, Botswana, 2013", "title": "True Fighters Choir showcasting their famous marching step style" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10939-BIG.jpg", "copyright": "2013 by Legae Digwaamaje, Department of Arts and Culture, Botswana", "title": "Practitioners demonstrating dancing styles at the height of the song during performing arts regional competition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10940-BIG.jpg", "copyright": "2013 by Legae Digwaamaje, Department of Arts and Culture, Botswana", "title": "An elderly whistle blower signalling the end of the song" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10941-BIG.jpg", "copyright": "2013 by Legae Digwaamaje, Department of Arts and Culture, Botswana", "title": "Audience with adjudicators during the Pr\u00e9sidents Day Choir competitions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10942-BIG.jpg", "copyright": "2013 by Legae Digwaamaje, Department of Arts and Culture, Botswana", "title": "Sedibelo Choir in jubliation after winning Presidents' Day competitions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10943-BIG.jpg", "copyright": "2013 by Legae Digwaamaje, Department of Arts and Culture, Botswana", "title": "Dikhwaere also form part of cultural ceremonies such as letlhafula thanks giving ceremony and weddings" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10944-BIG.jpg", "copyright": "2013 by Legae Digwaamaje, Department of Arts and Culture, Botswana", "title": "Elderly members of the community singing traditional choir songs during a wedding procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10945-BIG.jpg", "copyright": "2013 by Legae Digwaamaje, Department of Arts and Culture, Botswana", "title": "Contemporary presentation of Dikhwaere folk music" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=nYWQFf_n3xU", "copyright": "S.O. Rampete\/Bakgatla ba Kgafela, 2011", "title": "Traditional folk music of Bakgatla ba kgafela" } ], "sustainability": "" } }, "element_1291": { "type": "element", "label": "Rebetiko", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11094-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11094-HUG.jpg" }, "description": "Rebetiko is a musical and cultural expression directly linked to song and dance that initially spread among the urban lower and working-class populations in the early twentieth century. Rebetiko songs are now a standardized repertoire in almost every social occasion involving music and dance. The element is performed in public and performers encourage audience participation. The practice is open to all and bearers could include any Greek or Greek-speaking person who enjoys this form of music and dance. Rebetiko songs contain invaluable references to the customs, practices and traditions of a particular way of life, but above all the practice is a living musical tradition with a strong symbolic, ideological and artistic character. Initially, transmission occurred exclusively orally, through the live performance of songs and the instruction of younger performers with older instrumentalists and singers. This non-formal method of learning is still important, but the recent spread of sound recordings, the mass media and cinema have reinforced other methods of transmission. In the past decade, Rebetiko has increasingly been taught in music schools, conservatories and universities, contributing to its wider dissemination, and the musicians and people who enjoy Rebetiko continue to play a key role in keeping the practice alive.

", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/rebetiko-01291", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11089-BIG.jpg", "copyright": "Greek Ministry of Culture and Sports, 2016", "title": "No other instrument is as intertwined with the history of Rebetiko as the bouzouki is" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11090-BIG.jpg", "copyright": "Greek Ministry of Culture and Sports, 2016", "title": "The art of constructing handmade traditional musical instruments is part of Intangible Cultural Heritage of Rebetiko. The artisan Tasos Katsifis works on the creation of bouzouki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11091-BIG.jpg", "copyright": "Greek Ministry of Culture and Sports, 2016", "title": "A 78 rmp record, recorded in America in the early 20th century" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11092-BIG.jpg", "copyright": "Greek Ministry of Culture and Sports, 2016", "title": "A gramophone and a gramophone record. Publishing Rebetiko songs on gramophone records contributed to the propagation of Rebetiko music to Greek people globally" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11093-BIG.jpg", "copyright": "Greek Ministry of Culture and Sports, 2016", "title": "Modern music hall, 'rebetadiko' as it is called in Greek, where one can enjoy Rebetiko songs nowadays" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11094-BIG.jpg", "copyright": "Greek Ministry of Culture and Sports, 2016", "title": "A Rebetiko Kompan\u00eda, called the 'Rebetokafenes Trio'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11095-BIG.jpg", "copyright": "Greek Ministry of Culture and Sports, 2016", "title": "Dancing in the rhythm of 'zeibekiko', on of the most typical rhythms in Rebetiko music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11096-BIG.jpg", "copyright": "Greek Ministry of Culture and Sports, 2016", "title": "Greeks' unique way of celebrating and having fun or else, 'glenti' as it is called. Musicians and audience become one" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11097-BIG.jpg", "copyright": "Greek Ministry of Culture and Sports, 2016", "title": "Street music performers playing Rebetiko songs in Athens" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11098-BIG.jpg", "copyright": "Greek Ministry of Culture and Sports, 2016", "title": "Initiating the younger generation in the art of the bouzouki and the music tradition of Rebetiko" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=YHewYT_hfXg", "copyright": "Hellenic Ministry of Culture and Sports, 2016", "title": "Rebetiko" } ], "sustainability": "" } }, "element_1292": { "type": "element", "label": "Nsima, culinary tradition of Malawi", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10959-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10959-HUG.jpg" }, "description": "Nsima, the Culinary Tradition of Malawi, is a compound name for the culinary and dietary tradition of Malawians as well as the name of a single component of this tradition, a form of thick porridge prepared with maize flour. Nsima is prepared through an elaborate process requiring specific knowledge, from pounding the maize into flour to selecting the accompanying food and then preparing and serving it. Certain customs are followed during mealtimes, for example to regulate gluttony and promote cleanliness and cohesion. The process of growing, storing, processing and preparing the maize from which Nsima is made is bound up with Malawians\u2019 way of life, and eating Nsima is a communal tradition in families and an opportunity to strengthen bonds. At an early age, girls learn to pound maize or sift flour to prepare Nsima, while young boys hunt for animals to provide accompaniments. Communities ensure the safeguarding of the element through continued practice, the publication of schoolbooks and recipes on Nsima, the organization of festivals and the revitalization of the practice. Most restaurants in Malawi also feature Nsima on their menus. Knowledge relating to the element is transmitted informally between adults and children, and through on-the-job training and education.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nsima-culinary-tradition-of-malawi-01292", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10956-BIG.jpg", "copyright": "Malawi National Commission for UNESCO, 2016", "title": "Shelled maize ready for pounding" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10957-BIG.jpg", "copyright": "Malawi National Commission for UNESCO, 2016", "title": "Pounding maize" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10958-BIG.jpg", "copyright": "Malawi National Commission for UNESCO, 2016", "title": "Soacking maize" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10959-BIG.jpg", "copyright": "Malawi National Commission for UNESCO, 2016", "title": "Drying maize" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10960-BIG.jpg", "copyright": "Malawi National Commission for UNESCO, 2016", "title": "Cooking of Nsima" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10961-BIG.jpg", "copyright": "Malawi National Commission for UNESCO, 2016", "title": "Nsima cooked to taste" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10962-BIG.jpg", "copyright": "Malawi National Commission for UNESCO, 2016", "title": "Serving Nsima" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10963-BIG.jpg", "copyright": "Malawi National Commission for UNESCO, 2016", "title": "Nsima (including side dishes)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10964-BIG.jpg", "copyright": "Malawi National Commission for UNESCO", "title": "Men eating Nsima communally" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10965-BIG.jpg", "copyright": "Malawi National Commission for UNESCO, 2016", "title": "Women eating Nsima communally" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=jG_-e7y9F34", "copyright": "Malawi National Commission for UNESCO, 2016", "title": "Nsima, culinary tradition of Malawi" } ], "sustainability": "The Nsima culinary tradition is a daily practice that reflects Malawians\u2019 cultural identity in many ways. Taught by their elders and in schools, Malawian children learn various skills associated with the traditional diet, which centers around a thick porridge made with maize flour. The knowledge related to crop cultivation, hunting, and meal preparation that has been transmitted from generation to generation is an invaluable lifelong asset for the community. It promotes food security and prevents malnutrition through the philosophy of sustainable agriculture and local foodways. This element also links to SDG # 12: Responsible Production and Consumption." } }, "element_1293": { "type": "element", "label": "Mwinoghe, joyous dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11849-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11849-HUG.jpg" }, "description": "Mwinoghe is an instrumental dance performed among three ethnic communities \u2013 Sukwa, Ndali and Bandya \u2013 in the northern region of Malawi. In the Chisukwa dialect, the word \u2018Mwinoghe\u2019 literally means \u2018Let us enjoy ourselves\u2019: the dance is therefore performed to express joy and happiness. Derived from a ceremonial dance of the neighbouring Karonga district, called Indingala, Mwinoghe is a relatively recent dance. Dancers line up in two rows, with men on one side and women on the other, and perform twisting body and elaborate foot movements. There is no singing; the only sound comes from the three drums, the whistle, and the group leader\u2019s commands. Mwinoghe is performed at social gatherings for entertainment purposes, including on days of national significance. People from all walks of life gather to watch the dance, which serves a unifying function among different communities. Other traditional dances are also organized on such occasions, enabling people to celebrate their different cultures together. Related skills and knowledge are mainly transmitted through observation and participation by young people during performances, but the practice is also integrated into primary, secondary and tertiary-level curricula. Mwinoghe features heavily in annual independence celebrations and individual communities have also created dance groups that perform at annual festivals and on other occasions.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mwinoghe-joyous-dance-01293", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11845-BIG.jpg", "copyright": "Museums of Malawi, 2013", "title": "Mwinoghe dance troupe leader being explained to before giving out the consent" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11846-BIG.jpg", "copyright": "Museums of Malawi, 2013", "title": "Mwinoghe dance troupe leader giving out verbal consent" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11847-BIG.jpg", "copyright": "Museums of Malawi, 2013", "title": "Mwinoghe dance troupe members posing for a photograph" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11848-BIG.jpg", "copyright": "Museums of Malawi, 2013", "title": "Mwinoghe drummers posing with their drums" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11849-BIG.jpg", "copyright": "Museums of Malawi, 2013", "title": "Drummers of Mwinoghe dance in action" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11850-BIG.jpg", "copyright": "Museums of Malawi, 2013", "title": "Mwinoghe dancers entertaining the dancing arena" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11851-BIG.jpg", "copyright": "Museums of Malawi, 2013", "title": "Mwinoghe group leader giving out commands to dancers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11852-BIG.jpg", "copyright": "Museums of Malawi, 2013", "title": "Mwinoghe dance reaching climax" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11853-BIG.jpg", "copyright": "Museums of Malawi, 2013", "title": "Mwinoghe dancers waving to the audience before exiting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11854-BIG.jpg", "copyright": "Museums of Malawi, 2013", "title": "An official from the Department of Culture addressing the gathering after the performances" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=_axKOaqhOMU", "copyright": "", "title": "Mwinoghe, the Joyous Dance" } ], "sustainability": "" } }, "element_1294": { "type": "element", "label": "Kok boru, traditional horse game", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10893-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10893-HUG.jpg" }, "description": "Kok boru, a traditional horse game, is a synthesis of traditional practices, performances and the game itself. It is a traditional game played by two teams on horseback, where players try to manoeuvre with a goat\u2019s carcass (replaced with a mould in modern-day games), or \u2018ulak\u2019, and score by putting it into the opponents\u2019 goal. The community of bearers includes players united in higher league, semi-professional and amateur teams, as well as the general public. The most experienced players serve as referees, while another category consists of the \u2018Kalystar\u2019 (elders), who ensure the fairness of the game. The element is an expression of the cultural and historic tradition and spiritual identity of its practitioners and serves to unite communities regardless of social status, fostering a culture of teamwork, responsibility and respect. Knowledge related to the element is primarily transmitted naturally by means of demonstration, as well as during festive and social events, and the community concerned is actively involved in ensuring its viability through the transmission of knowledge and skills, research and the organization of training. The National Kok-Boru Federation, established in 1998, plays a key role in promoting and safeguarding the element through the development and organization of activities.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kok-boru-traditional-horse-game-01294", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10893-BIG.jpg", "copyright": "2016 by National Kok-Boru Federation, Kyrgyzstan", "title": "The teams during the Kok boru game" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10894-BIG.jpg", "copyright": "2016 by National Kok-Boru Federation, Kyrgyzstan", "title": "Team building before the game" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10895-BIG.jpg", "copyright": "2016 by National Kok-Boru Federation, Kyrgyzstan", "title": "The players of the 'Dostuk' (Osh city) and 'Talas' (Talas city) teams" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10896-BIG.jpg", "copyright": "2016 by National Kok-Boru Federation, Kyrgyzstan", "title": "The players of the 'Dostuk' (Osh city) and 'Talas' (Talas city) teams" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10898-BIG.jpg", "copyright": "2016 by National Kok-Boru Federation, Kyrgyzstan", "title": "The craftsman Bukardinov Muftidin producing saddle for the Kok-Boru players" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10899-BIG.jpg", "copyright": "2016 by National Kok-Boru Federation, Kyrgyzstan", "title": "The player of the 'Kok-Djal' team (Chui region, Kyrgyzstan) Mutasov Maksim keeping in hand his horse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10900-BIG.jpg", "copyright": "2016 by National Kok-Boru Federation, Kyrgyzstan", "title": "The player is demonstrating the protective suit" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10901-BIG.jpg", "copyright": "2016 by National Kok-Boru Federation, Kyrgyzstan", "title": "The player throws the moulage to the goal of opponents" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10902-BIG.jpg", "copyright": "2016 by National Kok-Boru Federation, Kyrgyzstan", "title": "The Kok boru team of the village Dachasu (Chui region, Kyrgyzstan) in the local field" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10903-BIG.jpg", "copyright": "2016 by National Kok-Boru Federation, Kyrgyzstan", "title": "The horse breeder Djumabekov Erlan preparing the horse to the competition (Issyk-Kul region, Kyrgyzstan)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LOCqc0w8RXY", "copyright": "2016 by the National Commission for UNESCO of the Kyrgyz Republic", "title": "Kok-boru, Kyrgyz traditional horse game" } ], "sustainability": "" } }, "element_1295": { "type": "element", "label": "Kochari, traditional group dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10928-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10928-HUG.jpg" }, "description": "Kochari is a traditional dance that is widely performed throughout Armenia during holidays, festive celebrations, family ceremonies and other social events. It is open to all participants, irrespective of age, gender or social status. Kochari provides a sense of shared identity and solidarity, contributes to the continuity of historical, cultural and ethnic memory, and fosters mutual respect among community members of all ages. It is transmitted through both non-formal and formal means, and is one of the rare traditional dances whose chain of transmission has never been interrupted. Formal means of transmission include the inclusion of a \u2018folk song and dance\u2019 course in the curricula of comprehensive schools in Armenia since 2004, educational programmes in youth arts centres, increased visibility of the element through the internet and other media outlets, and institutional initiatives. Folk dance groups have also been active in various communities since the 1960s, and non-governmental organizations regularly hold dance classes. Non-formal transmission occurs within families and through spontaneously formed dance groups. Communities, groups and individuals are actively involved in ensuring the viability of the element, notably through the \u2018Our dances and we\u2019 initiative, which has been carried out since 2008, with experienced practitioners playing a key role in safeguarding efforts.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kochari-traditional-group-dance-01295", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10925-BIG.jpg", "copyright": "Gagik Ginosyan, 2013", "title": "Kochari dance scene" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10926-BIG.jpg", "copyright": "Andranik Manukyan, 2013", "title": "Kochari dancing technique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10927-BIG.jpg", "copyright": "Hasmik Baghramyan, 2015", "title": "Men and women dancing Kochari" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10928-BIG.jpg", "copyright": "Avag Avagyan, 2014", "title": "The structure of Kochari dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10929-BIG.jpg", "copyright": "Andranik Manukyan, 2014", "title": "Performance of Kochari dance by young generation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10930-BIG.jpg", "copyright": "Sargis Paramazyan, 2015", "title": "Kochari dance scene in art centre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10931-BIG.jpg", "copyright": "Narine Shamamyan, 2013", "title": "Kochari dance as a unifying factor" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10932-BIG.jpg", "copyright": "Gagik Ginosyan, 2013", "title": "Kochari dance, platform for performance and socialization" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10933-BIG.jpg", "copyright": "Gagik Ginosyan, 2014", "title": "Kochari dance performance during cultural event" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/10934-BIG.jpg", "copyright": "Gagik Ginosyan, 2015", "title": "Kochari dance, sense of shared identity" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=nvSVXd1lI5c", "copyright": "Ministry of Culture of the Republic of Armenia, 2016", "title": "Kochari, traditional group dance" } ], "sustainability": "" } }, "element_1296": { "type": "element", "label": "Khaen music of the Lao people", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11154-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11154-HUG.jpg" }, "description": "The khaen music of the Lao people is played with a mouth organ that resembles panpipes but made with bamboo tubes of varying lengths, each with a metal reed. The player blows into the instrument through an air chamber and the sound produced depends on the size of the tube. Khaen music is popular in all regions of the Lao People\u2019s Democratic Republic due to its harmonic richness. It is usually part of village festivals and it is customary for people listening to it to become active participants in the songs and dances, rather than merely spectators. Khaen music is an integral part of Lao life that promotes family and social cohesion. Thanks to the use of bamboo, the practice is also linked to natural agriculture and healthy lifestyles. Families play an important role in transmitting the art and khaen player associations exist in many local communities where young people can learn the art. To maintain the practice in spite of lifestyle changes \u2013 including urbanization \u2013 several local communities, associations and groups have begun various initiatives to consolidate and promote it through formal and non-formal education. In 2005, the Association of Khaen Arts was established and various festivals are organized to promote and enhance the art.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/khaen-music-of-the-lao-people-01296", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11152-BIG.jpg", "copyright": "2015 by De\u00e9partement du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique populaire lao", "title": "L'orchestre de kh\u00e8nes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11153-BIG.jpg", "copyright": "2015 by De\u00e9partement du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique populaire lao", "title": "L'orchestre est accompagn\u00e9 par des kh\u00e8nes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11154-BIG.jpg", "copyright": "2014 by De\u00e9partement du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique populaire lao", "title": "Le festival traditionnel du kh\u00e8ne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11156-BIG.jpg", "copyright": "2010 by De\u00e9partement du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique populaire lao", "title": "la fabrication du kh\u00e8ne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11386-BIG.jpg", "copyright": "D\u00e9partement du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique populaire lao", "title": "Le kh\u00e8ne est partie prenante de la f\u00eate du Nouvel an des communaut\u00e9s Hmong (Lao Soung)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11398-BIG.jpg", "copyright": "D\u00e9partement du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique populaire lao", "title": "Les jeunes gar\u00e7ons apprennent \u00e0 jouer au kh\u00e8ne huit, puis du kh\u00e8ne neuf." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11399-BIG.jpg", "copyright": "D\u00e9partement du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique populaire lao", "title": "La fabrication du kh\u00e8ne." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11400-BIG.jpg", "copyright": "D\u00e9partement du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique populaire lao", "title": "L'orchestre est accompagn\u00e9 par des kh\u00e8nes; pr\u00e9sentation par des groupes d'enfants de l'Association de Dane Xang Vientiane." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11401-BIG.jpg", "copyright": "D\u00e9partement du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique populaire lao", "title": "L'orchestre est accompagn\u00e9 par des kh\u00e8nes; pr\u00e9sentation par des jeunes filles." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11402-BIG.jpg", "copyright": "D\u00e9partement du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique populaire lao", "title": "Le kh\u00e8ne est accompagn\u00e9 par un chant (Khab ou Lam)." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XstshoSh6eU", "copyright": "2010 by D\u00e9partment du cin\u00e9ma aupr\u00e8s du Minist\u00e8re de l'information, de la culture et du tourisme, R\u00e9publique d\u00e9mocratique d\u00e9mocratique populaire lao", "title": "Comment fabrique-t-on le kh\u00e8ne? Procession traditionnelle du kh\u00e8ne lao" } ], "sustainability": "" } }, "element_1297": { "type": "element", "label": "Punto", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11100-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11100-HUG.jpg" }, "description": "Punto is the poetry and music of Cuban farmers, consisting of a tune or melody over which a person sings an improvised or learned stanza of ten octameter verse lines, with a rhyming scheme. There are two main variants of Punto: punto libre, a tune of free metre; and punto fijo, which can be in key or crossed. Throughout history, the element has typically been practised in the countryside, though variants now exist throughout the rest of the population. Punto is an essential element of Cuban intangible cultural heritage open to all, which promotes dialogue and expresses the feelings, knowledge and values of the communities concerned. Knowledge and techniques related to the practice are transmitted from one generation to the next, with one key method of transmission being based on imitation. A teaching programme is also organized in Houses of Culture across the country, involving workshops taught by bearers and practitioners of the element. Seminars, workshops, contests, festivals and events aimed at safeguarding and revitalizing Punto are organized throughout the country and an occupational category has now been assigned to the work of the practitioners and bearers, turning this into a way of living for many.", "list": "RL", "year": 2017, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/punto-01297", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11100-BIG.jpg", "copyright": "Juan Carlos Borjas. Grupo Guijarro. Consejo Nacional de Casas de Cultura, 2009", "title": "Parranda of the peasants in a house in the town of Arroyo Blanco in Sancti Spiritus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11101-BIG.jpg", "copyright": "Juan Carlos Borjas. Grupo Guijarro. Consejo Nacional de Casas de Cultura, 2010", "title": "Parranda Los S\u00e1nchez, unique because it uses the violin as one of the instruments in the parranda" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11102-BIG.jpg", "copyright": "Juan Carlos Borjas. Grupo Guijarro. Consejo Nacional de Casas de Cultura, 2009", "title": "String instruments that are played to accompany Punto" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11103-BIG.jpg", "copyright": "Juan Carlos Borjas. Grupo Guijarro. Consejo Nacional de Casas de Cultura, 2009", "title": "Parranderos Diosdado Jim\u00e9nez and Romelio Cabrera of the Parranda de Florencia, Ciego de \u00c1vila" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11104-BIG.jpg", "copyright": "V\u00edctor Fabi\u00e1n. Grupo Guijarro, Consejo Nacional de Casas de Cultura, 2016", "title": "Cantur\u00eda at the Hogar Cucalamb\u00e9 in M\u00e1ximo G\u00f3mez, Matanzas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11105-BIG.jpg", "copyright": "Jos\u00e9 Ignacio V\u00e1zquez. Grupo Guijarro, Consejo Nacional de Casas de Cultura, 2010", "title": "Concert of Punto Guajiro at the Casa Nabor\u00ed, in Limonar, Matanzas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11106-BIG.jpg", "copyright": "Juan Carlos Borjas, Consejo Nacional de Casas de Cultura, 2009", "title": "Poets, tune composers and players in the International Book Fair" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11107-BIG.jpg", "copyright": "Juan Carlos Borjas, Consejo Nacional de Casas de Cultura, 2009", "title": "Poet and improviser Noel S\u00e1nchez accompanied by lute player Ignacio de la Nuez in the Contest of Improvisers El Laurel de Placido en Matanzas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11108-BIG.jpg", "copyright": "Dunia Cordero. Grupo Guijarro, Consejo Nacional de Casas de Cultura, 2013", "title": "Lute player Barbarito Torres, tres player Francisco Rodr\u00edguez and the child tune composer Adriel P\u00e9rez recording an album of Punto guajiro in the recording studio in Cienfuegos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11109-BIG.jpg", "copyright": "Luis Bruz\u00f3n. Grupo Guijarro. Consejo Nacional de Casas de Cultura, 2012", "title": "Tune composer Daisa together with the Quinteto Criollo in the Contest of Tunes Celina Gonz\u00e1lez, at the Casa Nabor\u00ed, Limonar, Matanzas" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=F9S9F1jI8ns", "copyright": "Grupo Guijarro, Consejo Nacional de Casas de Cultura, 2016", "title": "El Punto" } ], "sustainability": "" } }, "element_1301": { "type": "element", "label": "As-Samer in Jordan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11375-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11375-HUG.jpg" }, "description": "Practised across many areas of Jordan, As-Samer consists mainly of dancing and singing and is performed on various occasions, most commonly during marriage ceremonies. Practitioners range from young to older individuals, with children being encouraged to take part during performances. On the wedding day, the father of the groom instructs the attendees to line up and start applauding and singing. The performance that follows involves specific roles for certain people. The Al-Hashi is a veiled woman, always one of the inviters\u2019 relatives, who sings and dances in front of the Al-Samer row while wearing an Abaya (a loose, black garment worn over the traditional garment). Another person is the \u2018Wasq Al-Hashi\u2019, one of the Al-Hashi\u2019s relatives, who takes hold of her sleeve or Abaya and asks her to sit down. Then comes the role of the Al-Badda, a man who starts singing by directly addressing Al-Hashi, to resume the dancing with poetry. The lines of poetry uttered during the performance form an integral part of the tradition, expressing feelings of joy, peace, intimacy and empathy among attendees. Practising As-Samer consolidates social bonds and promotes cohesion, and attendees of all ages are encouraged to participate spontaneously, in an effort to transmit the related skills and knowledge to the next generations.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/as-samer-in-jordan-01301", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11373-BIG.jpg", "copyright": "Jordanian Ministry of Culture, 2015", "title": "The beginning of the performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11374-BIG.jpg", "copyright": "Jordanian Ministry of Culture, 2015", "title": "Local community's participation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11375-BIG.jpg", "copyright": "Jordanian Ministry of Culture, 2015", "title": "A woman acting as Al-hashi with the man" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11376-BIG.jpg", "copyright": "Jordanian Ministry of Culture, 2015", "title": "The participation of youth and the young" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11377-BIG.jpg", "copyright": "Jordanian Ministry of Culture, 2015", "title": "Youth spectators" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11378-BIG.jpg", "copyright": "Jordanian Ministry of Culture, 2015", "title": "Al-hashi with one of her relations performing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11379-BIG.jpg", "copyright": "Jordanian Ministry of Culture, 2015", "title": "In front of all performers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11380-BIG.jpg", "copyright": "Jordanian Ministry of Culture, 2015", "title": "Hospitality is part of the ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11381-BIG.jpg", "copyright": "Jordanian Ministry of Culture, 2015", "title": "A joint dance between Al-hashi and one of the spectators" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11382-BIG.jpg", "copyright": "Jordanian Ministry of Culture, 2015", "title": "Two women play Al-hashi role with the men" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=v53H5a4-wz4", "copyright": "Jordanian Ministry of Culture, 2015", "title": "As-Samer in Jordan" } ], "sustainability": "" } }, "element_1309": { "type": "element", "label": "\u2018Hatajo de Negritos\u2019 and \u2018Hatajo de Pallitas\u2019 from the Peruvian south-central coastline", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11483-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11483-HUG.jpg" }, "description": "\u2018Hatajo de Negritos\u2019 and the \u2018Hatajo de Pallitas\u2019 from the Peruvian south-central coastline are two complementary expressions featuring music and singing as part of Christmas celebrations, hailing from the central department of Ica in Peru. The expressions are biblical representations of the story of the visit of a group of shepherds to the new-born baby Jesus and the arrival of the Wise Men. Both expressions combine pre-Hispanic Andean values with the European Catholicism and rhythmical inheritance of African descendants arriving in the Americas in colonial times. This complexity has allowed both expressions to become representations of the mestizo and afro-descendant identity of the region. The dance of the \u2018negritos\u2019 is mostly performed by men to the tune of a long fiddle, along with singing, shoe-tapping dance and bells. The dance of \u2018pallitas\u2019 is performed by women to the sound of the guitar or fiddle, accompanied by a \u2018zapateo\u2019 and singing. Both dances \u2013 regarded as symbols of religious devotion and spiritual contemplation \u2013 are performed by groups of up to fifty people in town squares and churches in December and January, as well as in family homes. Both expressions are taught to the younger generation from early childhood, with elders encouraging children to learn a large variety of Christmas carols, \u2018zapateo\u2019 rhythms and dance sequences as a sign of devotion.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/hatajo-de-negritos-and-hatajo-de-pallitas-from-the-peruvian-south-central-coastline-01309", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11480-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2016", "title": "The hatajo de negritos and the hatajo of pallitas are performed before nativity scenes and shrines prepared to commemorate the birth of Jesus Christ" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11481-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2016", "title": "The dance of pallitas or pastoras is performed by women to the twang of the guitar or the sound of a fiddle accompanied with zapateo and singing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11482-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2016", "title": "It is mandatory for all the dancers of the groups to participate in regular rehearsals commencing a few months before Christmas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11483-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2016", "title": "The hatajo de negritos and the hatajo of pallitas are taught to the younger generation from early childhood within a family" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11484-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2016", "title": "Rehearsals are a crucial time to learn choreographies, rhythms and chants from both dances. Thanks to these seasoned dancers young members can learn the significance of the dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11485-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2016", "title": "All the groups conduct a ceremony called baptism where all dancers reaffirm their commitment to the group and promise of devotion to baby Jesus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11486-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2016", "title": "Each group is under the artistic direction of a lead-dancer whose role is to teach the choreography, songs and rhythms to the participants" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11487-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2016", "title": "During their performance, the groups offer salutation and worship songs to Baby Jesus and the Virgin Mary" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11488-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2016", "title": "Groups of dancers perform also for family homes featuring nativity scenes. Hence, they are regarded as symbols of religious devotion, spiritual contemplation and joy of the population" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11489-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2016", "title": "The hatajo de negritos is performed in town squares and in churches during December and January in preparation for Christmas, the Epiphany, the Festivity of the Virgin of El Carmen and the visit to Melchorita, the Servant of God" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=VGsVGvwVsIY", "copyright": "Ministry of Culture of Peru", "title": "Hatajo de Negritos and Hatajo de Pallitas" } ], "sustainability": "" } }, "element_1359": { "type": "element", "label": "Horse and camel Ardhah", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11826-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11826-HUG.jpg" }, "description": "Horse and camel Ardhah is practised across many regions of Oman. On Alardhah day (meaning the \u2018day of the festival\u2019 in Arabic), people gather around the racecourse to watch shows by horse and camel riders that reflect Omani people\u2019s skill in dealing with and taming the animals. Traditional arts (such as the reciting of traditional poems) also accompany the demonstrations. Alardhah starts with a display of traditional acts, such as horses and camels lying down, riding standing up, joining hands with another rider at great speed, and other similar actions. This is followed by a display of horses and camels draped with decorative clothing and beautiful silver sets. Alardhah is associated with many social occasions in Omani society, such as religious and national celebrations. The practice is an integral part of the society\u2019s culture in rural and urban areas and reflects great skill as well as people\u2019s devotion to the care of animals. Alardhah involves both men and women and is an opportunity for traditional bands and craftspeople to display their talents. At the community level, Omanis organize Alardhah on various social occasions, which involve young people. Civil organizations also play a key role in transferring the related skills, and horse groups at the university teach students equestrian skills and how to perform Alardhah.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/horse-and-camel-ardhah-01359", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11825-BIG.jpg", "copyright": "Mohammed Al Balushi, Oman, 2016", "title": "Al Ardhah file preparing committee conducts workshops to raise awareness of the inscription" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11826-BIG.jpg", "copyright": "Mohammed Al Balushi, Oman, 2016", "title": "Practitioners of Al Ardhah intend to transmit knowledge within generations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11827-BIG.jpg", "copyright": "Abdul Malik Al Maimani, Oman, 2016", "title": "People in Oman interested in Al Ardhah and attending Al Ardha shows with their families" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11828-BIG.jpg", "copyright": "Abdul Malik Al Maimani, Oman, 2016", "title": "Al Ardhah needs certain handicrafts made by women" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11829-BIG.jpg", "copyright": "Abdul Malik Al Maimani, Oman, 2016", "title": "A large number of people fan of Al Ardhah" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11830-BIG.jpg", "copyright": "Hamood Al Kausi, Oman, 2016", "title": "Layering horses and camels (Tanweem) is the closing part of Al Ardhah" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11831-BIG.jpg", "copyright": "Hamood Al Kausi, Oman, 2016", "title": "Tohoreeb\/Hambal are important traditional poems chanted by riders in Al Ardhah" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11832-BIG.jpg", "copyright": "Hamood Al Kausi, Oman, 2016", "title": "Al Ardhah horses and camels riders should have distinguished riding skills" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11833-BIG.jpg", "copyright": "Khalil Al Zedjali, Oman, 2016", "title": "Nowadays women started to practice Al Ardhah on several occasions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11834-BIG.jpg", "copyright": "Abdul Malik Al Maimani, Oman, 2016", "title": "Involving academic institutions which took a part in Al Ardhah file preparation to boost the knowledge about ICH" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=lNJGmVglZZ8", "copyright": "", "title": "Horse and camel Ardhah" } ], "sustainability": "" } }, "element_1362": { "type": "element", "label": "Nativity scene (szopka) tradition in Krakow", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11566-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11566-HUG.jpg" }, "description": "The Nativity Scene (szopka) tradition in Krakow is a social practice originating from Christmas celebration customs, centred around constructing cribs. Born in the nineteenth century, the tradition is indissolubly connected to the City of Krakow and based on skills and knowledge passed down for generations. The szopka is a lightweight construction featuring the nativity scene surrounded by representations of houses and monuments of Krakow, all transformed by the individual maker. Other scenes are also represented through figurines and artificial lighting, depicting historical, cultural and contemporary social events relating to life in the City of Krakow, Poland and the world. On the first Thursday of every December, makers gather on Krakow Main Square to present their work, and the Historical Museum of the City of Krakow makes their work accessible to the public from December to February, helping to transmit knowledge related to the practice. Practitioners include a group of forty of the most active bearers, who construct new cribs every year and run workshops and lectures to promote the practice and transmit related knowledge. The tradition is open to everyone, encompassing a wide circle of people including spectators and visitors belonging to the urban community. The practice also has significant educational functions, passing on knowledge about the history of the city, its local architecture and customs.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nativity-scene-szopka-tradition-in-krakow-01362", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11563-BIG.jpg", "copyright": "Andrzej Janikowski\/Historical Museum of the city of Krakow (Poland), 2012", "title": "The Nativity Scene by Zbigniew Gillert placed on the footsteps of the Adam Mickiewicz Monument on the Main Square in Krakow. The crib shows constructor's inspiration: the architecture of St. Mary's Church, particularly its towers." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11564-BIG.jpg", "copyright": "Andrzej Janikowski\/Historical Museum of the city of Krakow (Poland), 2012", "title": "Nativity Scene constructors and tourists who admire their works lined up on the footsteps of the Adam Mickiewicz Monument on the Main Square in Krakow on the first Thursday of December. The crib makers prepare for it all year long." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11565-BIG.jpg", "copyright": "Jakub Zawadzi\u0144ski (Poland), 2015", "title": "Filip Fotomajczyk constructing a crib on the table in his flat in Krakow." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11566-BIG.jpg", "copyright": "Bart\u0142omiej Szoja\/Historical Museum of the city of Krakow (Poland), 2012", "title": "Jan Kirsz constructing a crib in his workshop in Krakow." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11567-BIG.jpg", "copyright": "Jakub Zawadzi\u0144ski (Poland), 2015", "title": "Meticulous craft work of Filip Fotomajczyk on a miniature crib." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11568-BIG.jpg", "copyright": "Andrzej Janikowski\/Historical Museum of the city of Krakow (Poland), 2015", "title": "Rozalia Malik with her daughter standing in front of the crib she had made together with her mother Anna Malik. The crib is aligned on the footsteps of the Adam Mickiewicz Monument on the Main Square in Krakow" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11569-BIG.jpg", "copyright": "Andrzej Janikowski\/Historical Museum of the city of Krakow (Poland), 2016", "title": "The Nativity Scene construction workshops for the visually impaired. The workshops are conducted by the crib makers Marzena Krawczyk in the Historical Museum of the city of Krakow (MHK), with the assistance of volunteers. The workshop participants include the youth and adults, both men and women." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11570-BIG.jpg", "copyright": "Andrzej Janikowski\/Historical Museum of the city of Krakow (Poland), 2012", "title": "Pawe\u0142 Nawa\u0142a with his father carrying their reday-made crib on the Main Square in Krakow." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11571-BIG.jpg", "copyright": "Marek Markowski (Poland), 2015", "title": "The Nativity Scene made by Renata, Edward, Marek and Marek jr Markowski, presented on the exhibition at the Notre-Dame Cathedral in Paris (France)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11572-BIG.jpg", "copyright": "Stanislas Malik (Poland), 2017", "title": "The meeting of crib makers in the Historical Museum of the city of Krakow, during which the Nativity Scene tradition safeguarding plans are discussed. The meeting is conducted by Dariusz Czy\u017c, the representative of the crib makers." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=J1LaafOU1Zc", "copyright": "Historical Museum of the city of Krakow (Poland), 2017", "title": "Nativity scene (szopka) tradition in Krakow" } ], "sustainability": "This tradition demonstrates the relationship between the Historical Centre of Krakow\u2014also a World Heritage Site\u2014and ICH, reflecting how the WHS inspires ICH as its citizens build elaborate cribs to celebrate their historic urban landscape and cultural space. The craft building and nativity presentations take place at the city's main square where all people can participate. The tradition supports the intergenerational transmission of the urban residents\u2019 love for their city, including its histories, architectural heritage, and local customs. As children, adults, and people of all genders and cultural backgrounds participate in the event as builders or spectators, they deepen their understanding and respect for their urban cultural space. The appreciation also promotes local efforts in protecting their built heritage. The Nativity scene tradition in Krakow exemplifies sustainable and inclusive urbanization, sustainable cities and communities, and protection of cultural heritage." } }, "element_1364": { "type": "element", "label": "Khorazm dance, Lazgi", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12129-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12129-HUG.jpg" }, "description": "The movements of Khorazm dance, Lazgi encapsulate human creativity by reflecting the sounds and phenomena of surrounding nature, feelings of love and happiness. Initially associated with the Khorazm Region, Khorazm dance, Lazgi has since become widespread in Uzbekistan. Paintings of the dance can be found in the archaeological site of Tuproqqala, in the Khorazm Region, testifying to its centuries-old roots. Informed by the social life and activities of the local communities, Lazgi dance represents real life in all its movements. During the dance, all the musicians, singers and dance performers act in a harmonized way, and the lyrics of the songs are mainly devoted to glorifying love and kindness. Two types of dance exist: the \u2018scenery\u2019 dance and the interpretive improvised form. While the scenery dance represents these feelings through concrete movements, its interpretation focuses on improvisation as the rhythm and dance movements become more dynamic with changeable actions. The melody and dance of Lazgi are so attractive that spectators start dancing voluntarily. Khorazm Dance, Lazgi is a key form of self-expression and is transmitted across the generations through the creation of new versions of performances. It is performed during national holidays and folk festivities in scenery forms, as well as in the daily-based interpretation form during community and family events.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/khorazm-dance-lazgi-01364", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12129-BIG.jpg", "copyright": "Oltin Meros Public Foundation, 2017", "title": "Lazgi dance perfomance at Urgench Bank College during national holiday" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12130-BIG.jpg", "copyright": "Oltin Meros Public Foundation, 2017", "title": "Lazgi dance classes at the Urganch Art College" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12131-BIG.jpg", "copyright": "Oltin Meros Public Foundation, 2017", "title": "Lazgi dancing by elderely members of the local community in Khiva" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12132-BIG.jpg", "copyright": "Oltin Meros Public Foundation, 2017", "title": "Lazgi dancing during folk festival in Khiva" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12133-BIG.jpg", "copyright": "Oltin Meros Public Foundation, 2017", "title": "Lazgi dancing by groom's friends in wedding ceremony in Urgench" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12134-BIG.jpg", "copyright": "Oltin Meros Public Foundation, 2017", "title": "Lazgi dance perfomance at school party in Urgench" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12135-BIG.jpg", "copyright": "Oltin Meros Public Foundation, 2017", "title": "Lazgi dancing by women of the local community in Urgench" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12136-BIG.jpg", "copyright": "Oltin Meros Public Foundation, 2017", "title": "Chanak Lazgi dancing in Khiva" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12137-BIG.jpg", "copyright": "Oltin Meros Public Foundation, 2017", "title": "Changak Lazgi dancing in Khiva" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=q2QkeYjh9AU", "copyright": "Oltin Meros Public Foundation, 2017", "title": "Khorazm dance - Lazgi, Uzbekistan" } ], "sustainability": "" } }, "element_1365": { "type": "element", "label": "Blaudruck\/Modrotisk\/K\u00e9kfest\u00e9s\/Modrotla\u010d, resist block printing and indigo dyeing in Europe", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11705-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11705-HUG.jpg" }, "description": "Blaudruck\/Modrotisk\/K\u00e9kfest\u00e9s\/Modrotla\u010d, which translates directly as blueprint or blue-dyeing, refers to the practice of printing a dye-resistant paste onto a cloth before dyeing over it with indigo dye. The resistant paste prevents the dye from penetrating the design, thereby ensuring the applied design remains white or undyed after the dyeing process. To apply the designs onto the cloth, practitioners use hand-crafted blocks that are up to 300 years old, featuring regionally-inspired patterns as well as generic designs or Christian motifs. The representation of local flora and fauna is interrelated with the local culture of the regions. Traditional indigo blue-dyeing does not end with printing, however: the textile chain involves preparing the raw materials and spinning, weaving, finishing, printing and dyeing them. Nowadays, businesses engaged in the practice mainly comprise small, family-owned workshops, run by the second to seventh generation of printers. Each family workshop involves the cooperation of the various family members, who each participate in every step of the production regardless of their gender. Traditional knowledge is still based on (mainly family-owned) journals dating back to the nineteenth century and passed on through observation and hands-on practice. Stakeholders feel a strong emotional bond with their products, and the element encapsulates a sense of pride in long-lasting family traditions.", "list": "RL", "year": 2018, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/blaudruck-modrotisk-kekfestes-modrotla-resist-block-printing-and-indigo-dyeing-in-europe-01365", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11700-BIG.jpg", "copyright": "Hungarian Open Air Museum, 2016", "title": "Restoration of the hand-crafted blocks (Modeln \/ formy \/ nyom\u00f3d\u00fac \/ formy) used to apply the designs onto cloth" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11701-BIG.jpg", "copyright": "Peter Trnka", "title": "Production of the indigo dye using natural indigo. In Europe, practitioners used this plant (Isatis tinctoria) until the end of the 19th century. Since the introduction of synthetic indigo most European practitioners use synthetic indigo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11702-BIG.jpg", "copyright": "Archive of The National Institute of Folk Culture (Czechia), 2017", "title": "A dye-resistant paste is applied to the cloth. What ingredients are used, how they are mixed, in what proportions, as well as information about additional ingredients are well-kept secrets of each practitioner" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11703-BIG.jpg", "copyright": "Martin Kleibl", "title": "Practitioners use handcrafted blocks to apply the resist-printed designs onto cloth. The resist paste prevents the dye from penetrating the design and the printed pattern remains undyed after immersion in the indigo vat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11704-BIG.jpg", "copyright": "Archive of The National Institute of Folk Culture (Czechia), 2017", "title": "The printed fabric is stretched onto a special frame (called Stern- Reif \/r\u00e1fy \/r\u00e1f \/r\u00e1fy), immersed in the indigo bath (a vat called K\u00fcppe\/ kypa\/ K\u00fcpe\/ k\u00fcpa\/ kypa) and left under the surface. As the cloth is removed, it takes in oxygen from the air, and the fabric turns from yellow to green to blue" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11705-BIG.jpg", "copyright": "Joseph Ko\u00f3, 2017", "title": "After dyeing the fabric is hung up to dry. Indigo builds colour on the cloth, becoming deeper with each immersion in the dye" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11707-BIG.jpg", "copyright": "Gerg\u0151 G\u00f6ncz\u00f6l, 2012", "title": "In recent years, the practitioners have begun to cooperate with designers and artists on a local, as well as international, level. A growing number of designers and artists interpret the tradition in new ways, such as Anna Laura Heged\u00fcs \/ PIROSHKA (Hungarian designer)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11708-BIG.jpg", "copyright": "Michal Veselsk\u00fd", "title": "Young designers, in particular, are making increasing use of the products and, thus, promote local cultures across borders. This not only supports the practitioners but also brings a sense of pride and self-esteem to local communities" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Q-L0phapf80", "copyright": "Austrian Comission for UNESCO, 2017", "title": "Blaudruck\/Modrotisk\/K\u00e9kfest\u00e9s\/Modrotla\u010d - resist block printing and indigo dyeing in Europe" } ], "sustainability": "Blaudruck\/Modrotisk\/K\u00e9kfest\u00e9s\/Modrotla\u010d is a craft tradition of resist block printing and indigo dyeing found in Austria, Chechia, Germany, Hungary and Slovakia. The craft involves using a dye-resistant paste to print woodblock patterns onto cloth before dyeing with indigo. The craft encompasses knowledge related to the cultivation and weaving of the cotton fabric, the preparation of the indigo dye, the preparation of the resistant paste, and the final design of craft products. Knowledge of the indigo dye and resistance paste in particular are traditionally a form of secret knowledge, but recently practitioners have begun to work with researchers to revitalize and safeguard the knowledge of local plants and make the practice more ecologically sustainable. Young designers are also using innovative techniques such as 3D printing to replace the woodblock prints. This element also links to SDG #8: Decent Work and Economic Growth, SDG #9: Industry, Innovation and Infrastructure, SDG #15: Life on Land, and SDG #17: Partnership for the Goals." } }, "element_1366": { "type": "element", "label": "Ommegang of Brussels, an annual historical procession and popular festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12123-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12123-HUG.jpg" }, "description": "Ommegang of Brussels, an annual historical procession and popular festival takes place annually over two evenings in July in the historic centre of Brussels. The celebration begins with a crossbow competition and a ceremony in Sablon Church. In the surrounding streets, various groups form a large procession. The procession follows a 1.5 km route through the city to the Grand-Place, where the groups join the Magistrate of Brussels and bearers of various forms of living heritage. Together, they march around and some groups partake in an organic performance that has evolved since 1930. Having originated as a religious event in 1348, the tradition declined in the 18th century and the modern Ommegang was then recreated in 1928-1930 based on descriptions of the procession Charles V attended in 1549. Nowadays, the tradition has evolved into a festive, local heritage event. Among the participants are various groups of volunteers who meet and prepare their roles together, encouraging younger members to get involved. These groups have become club associations which, during the Ommegang in early July, meet and socialize with other groups. Children attend with their parents, and many people have been involved for forty or fifty years. The viability of the practice is constantly monitored, and the association overseeing the Ommegang is continuously engaged in preparing and promoting the next event.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ommegang-of-brussels-an-annual-historical-procession-and-popular-festival-01366", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12119-BIG.jpg", "copyright": "Ommegang, Fr\u00e9d\u00e9ric Andrieu, 2016", "title": "Retrouvailles d\u2019une partie du groupe Bon Peuple dans un quartier de Bruxelles avant le d\u00e9part du cort\u00e8ge" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12120-BIG.jpg", "copyright": "Ommegang, Denis No\u00eb, 2016", "title": "Concours de tir \u00e0 l\u2019arbal\u00e8te Place du Sablon entre les deux Serments, en pr\u00e9ambule \u00e0 l\u2019Ommegang" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12121-BIG.jpg", "copyright": "Ommegang, Marcel Vanhulst, 2016", "title": "D\u00e9part du cort\u00e8ge de l\u2019Ommegang de la Place du Sablon en direction de la Grand-Place de Bruxelles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12122-BIG.jpg", "copyright": "Ommegang, Marcel Vanhulst, 2016", "title": "Animations dans les rues durant le passage du cort\u00e8ge, avec la participation de l\u2019assistance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12123-BIG.jpg", "copyright": "Ommegang, Fr\u00e9d\u00e9ric Andrieu, 2012", "title": "Jeunes filles et gar\u00e7ons pr\u00e9sentent d\u2019impressionnants lancers de drapeaux sur la Grand-Place" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12124-BIG.jpg", "copyright": "Ommegang, Marcel Vanhulst, 2016", "title": "Pr\u00e9paration de la charrette de fleurs dans la cour de l\u2019H\u00f4tel de Ville en vue de la f\u00eate populaire" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12125-BIG.jpg", "copyright": "Ommegang, Fr\u00e9d\u00e9ric Andrieu, 2015", "title": "Parade de l\u2019escorte imp\u00e9riale et pr\u00e9sentation des possessions territoriales de Charles Quint" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12126-BIG.jpg", "copyright": "Ommegang, Fr\u00e9d\u00e9ric Andrieu, 2012", "title": "A la tomb\u00e9e de la nuit, le cort\u00e8ge venant du Sablon se pr\u00e9sente \u00e0 l\u2019assistance sur la Grand-Place" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12127-BIG.jpg", "copyright": "Ommegang, Fr\u00e9d\u00e9ric Andrieu, 2016", "title": "A la tomb\u00e9e de la nuit, le cort\u00e8ge venant du Sablon se pr\u00e9sente \u00e0 l\u2019assistance sur la Grand-Place" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12128-BIG.jpg", "copyright": "Ommegang, Marcel Vanhulst, 2016", "title": "Pr\u00e9sentation des g\u00e9ants et animaux processionnels lors de la f\u00eate qui rassemble les 1200 participants" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=BahBtCnxPOk", "copyright": "Soci\u00e9t\u00e9 Royale de l'Ommegang, 2017", "title": "Ommegang" } ], "sustainability": "" } }, "element_1367": { "type": "element", "label": "Traditional Turkish archery", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12109-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12109-HUG.jpg" }, "description": "Traditional Turkish archery encompasses principles, rituals and social practices, the craftsmanship of traditional equipment, archery disciplines and shooting techniques that have evolved over the centuries. In traditional Turkish archery, there are different types of disciplines practised on foot and horseback. Bearers and practitioners train individually or collectively to improve their skills, carry out individual shootings and take part in competitions and festive events. The craftsmanship of traditional archery equipment is a key component of the element. The equipment is made with raw materials such as trees grown under certain climatic conditions at high altitudes, organic glues, horns, tendons, silk and leather. Craftspeople must therefore have advanced knowledge of nature, including plants, animals and the climate. Archery equipment is generally decorated with calligraphy, ornaments and marquetry. Craftspeople engaged in the craftsmanship of traditional archery equipment also play an important role in safeguarding the element, with the related skills being transmitted from master to apprentice or through self-learning. In recent years, there has been a remarkable increase in the number of female archers and trainees, as well as a significant increase in the number of non-governmental organizations involved in archery in various regions of Turkey. Bearers and practitioners ensure the continued viability of the element by adopting it to fit contemporary conditions.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-turkish-archery-01367", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12109-BIG.jpg", "copyright": "Mustafa \u00c7elik\/MoCT, 2017", "title": "Puta (target) shooting in \u00c7anakkale Biga Province Competition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12110-BIG.jpg", "copyright": "Hayati T\u00fcrko\u011flu\/MoCT, 2017", "title": "Horseback Kabak shooting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12111-BIG.jpg", "copyright": "MoCT, 2017", "title": "Ercan \u00d6zek (bow maker)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12112-BIG.jpg", "copyright": "MoCT, 2017", "title": "Raw materials and tools in Ercan \u00d6zek's bow making atelier" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12113-BIG.jpg", "copyright": "MoCT, 2017", "title": "Raw materials and tools in Orhan Parla\u011f\u0131's Zihgir making atelier" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12114-BIG.jpg", "copyright": "MoCT, 2017", "title": "Raw materials and tools in Bekir B\u00fcy\u00fcks\u0131nd\u0131r's Zihgir making atelier" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12115-BIG.jpg", "copyright": "MoCT, 2017", "title": "Horseback archer with traditional attire and equipment" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12116-BIG.jpg", "copyright": "MoCT, 2017", "title": "Master and trainees in training session, called 'Me\u015fk'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12117-BIG.jpg", "copyright": "Ertan Ta\u015fk\u0131n\/MoCT, 2017", "title": "The rituals of Permission, called 'kabza alma t\u00f6reni' (taking grip ceremony)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12118-BIG.jpg", "copyright": "Davut \u00c7ak\u0131r\/MoCT, 2017", "title": "Archers shoot arrows through their rings in the wedding ceremony" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Z4WQD_up15w", "copyright": "Ministry of Culture and Tourism of Turkey, General Directorate of Research and Training, 2017", "title": "Traditional Turkisch archery" } ], "sustainability": "" } }, "element_1368": { "type": "element", "label": "Shadow play", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11710-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11710-HUG.jpg" }, "description": "Shadow play is a traditional art consisting of handmade puppets moving behind a thin translucent curtain or screen inside a dark theatre, now practised mainly in Damascus. A light from behind the stage projects the shadows of the puppets onto the screen as they move along to an oral script and music. The theatrical content of Shadow play revolves around humorous social criticisms \u2013 employing elements of suggestion, poetry, prose, singing and music \u2013 and satire is employed to relay narratives between the two main characters, the na\u00efve Karakoz and his clever friend Eiwaz. Other characters include female personalities and talking animals. Performances are traditionally held in popular cafes, where people gather to watch stories about everyday life. The prevalence of Shadow play has declined over the years, however, notably due to the spread of modern technology and digital forms of entertainment, and the mass displacement of Syrian people both inside and outside the country as a result of armed conflicts in Syria. Performances in popular cafes have waned and are now mostly confined to festivals, special holidays and theatres. The confluence of these factors has negatively affected the sustainability of the element, to the point that there is only one active Mukhayel (puppeteer) left in Damascus.", "list": "USL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/shadow-play-01368", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11710-BIG.jpg", "copyright": "Syria Trust for Development, 2016", "title": "Picture showing the puppets of naive Karakoz and his clever friend Eiwaz, made by the Mukhayels themselves from individual parts attached together with buttons (to allow movements), like the head, torso, and limbs. The puppet is controlled by one or more hemp sticks attached from the back." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11711-BIG.jpg", "copyright": "Syria Trust for Development, 2016", "title": "Puppeteer, Shadi Hallaq, structuring the theater (play) which consists of the 'tent' - a white silk canvas tightly fastened to a rectangular wooden frame to form a screen. The upper arm of the frame has several wholes." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11712-BIG.jpg", "copyright": "Syria Trust for Development, 2016", "title": "Puppeteer, Shadi Hallaq, performing. He uses his skills of puppet control and storytelling, imitating various voices and sounds and speaking different accents and vernaculars." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11713-BIG.jpg", "copyright": "Syria Trust for Development, 2015", "title": "Image showing how the knowledge and skills associated with making the instruments of shadow play are transmitted from the puppeteer to children by using basic materials, such as cardboard, so that the children can perform their own show by using their puppets." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11714-BIG.jpg", "copyright": "Syria Trust for Development, 2016", "title": "Children paint, colour and cut their characters using cardboard, then attached to a stick. They write a story to perform a show too." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11715-BIG.jpg", "copyright": "Syria Trust for Development, 2016", "title": "A group of children use cardboard, glue and a light canvas to perform shadow theater behind the curtain." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11716-BIG.jpg", "copyright": "Syria Trust for Development, 2016", "title": "A group of children before their show, after drawing and cutting characters and writing stories." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11717-BIG.jpg", "copyright": "Syria Trust for Development, 2016", "title": "A group of children perform their show entitled 'sheep and shepherd' using their voices, their characters and their theater which is totally made by the children themselves." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11718-BIG.jpg", "copyright": "Syria Trust for Development, 2015", "title": "Children interact with the shadow play by asking questions to the puppeteer, stimulating their imagination and feeding their information." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11719-BIG.jpg", "copyright": "Syria Trust for Development, 2016", "title": "Tools used in shadow play performances, now available in the Azem Palace, Damascus" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=A-5WLhhtQfA", "copyright": "The Syria Trust for Development, 2016-2017", "title": "Shadow play, Karakoz and Eiwaz" } ], "sustainability": "" } }, "element_1369": { "type": "element", "label": "Practices and craftsmanship associated with the Damascene rose in Al-Mrah", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12383-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12383-HUG.jpg" }, "description": "The practices and craftsmanship associated with the Damascene rose are mainly practised by farmers and families in Al-Mrah village, in rural Damascus, who possess expert knowledge of producing essential oils and traditional medicine from the Damask Rose, among other things, as well as the village community and families who organize the yearly Damascene Rose Festival. The Damascene Rose begins to bloom in May when the picking commences and the annual festival kicks off. Farmers and their families head to the fields in the early morning to handpick the roses and then return home by afternoon, when the whole family helps sort the rose buds that are dried to make tea. The other rose petals are stored and prepared for distillation. The women of the village help each other make rose syrup, jam and pastries as they sing along to local tunes. Apothecaries sell the dried Damascene Rose for its numerous medicinal benefits. The festival attracts people from many surrounding villages who come to take part and enjoy the atmosphere. Rose-infused dishes are presented by women and a collection of folk songs and incantations celebrating the Rose are sung by all. The festival is a testament to the element\u2019s unfading cultural significance for its bearers and their enduring commitment to its safeguarding.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/practices-and-craftsmanship-associated-with-the-damascene-rose-in-al-mrah-01369", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12379-BIG.jpg", "copyright": "The Syria Trust for Development, 2015", "title": "Planting the Damas rose in October by digging a medium depth hole and placing a seed. Farmers surround the seed with dirt and support the area on three sides until the roots hold together." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12380-BIG.jpg", "copyright": "The Syria Trust for Development, 2016", "title": "Farmers attend to their rose bushes throughout the winter and protect them from insects and pests." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12381-BIG.jpg", "copyright": "The Syria Trust for Development, 2016", "title": "Family members out in the fields pick the roses in the early morning taking their lunch and drink to work." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12382-BIG.jpg", "copyright": "The Syria Trust for Development, 2016", "title": "The women sort the crop where the buds are separated from the petals." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12383-BIG.jpg", "copyright": "The Syria Trust for Development, 2016", "title": "Older women prepare the rose jam while the younger women cann the jam." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12384-BIG.jpg", "copyright": "The Syria Trust for Development, 2016", "title": "The distillation of the roses through copper distilleries called Alkirkh placed over a fire after adding water to the petals and waiting for the boil. Rose water is then placed in vials until it is ready for use." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12385-BIG.jpg", "copyright": "The Syria Trust for Development, 2016", "title": "Buds are placed in a wide and open place to be well mitigated and later used in herbal medicines to be sold to store owners at the old Buzuriyah souk." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12386-BIG.jpg", "copyright": "The Syria Trust for Development, 2016", "title": "Rose is considered the most important maize products from the medical, cosmetic and food products for its health benefits, consumed by Syrians, generation after generation." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12387-BIG.jpg", "copyright": "The Syria Trust for Development, 2016", "title": "Residents of Al Marah village hold an annual festival to celebrate the Damask rose harvest with the attendance of civil societies and governmental officials, honouring the farmers and bearers of the element who sing along to song during the harvest." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12388-BIG.jpg", "copyright": "The Syria Trust for Development, 2016", "title": "RThe Damask rose, a national and cultural heritage symbol." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=mbKhpm7XNCk", "copyright": "The Syria Trust for Development, 2016-2017", "title": "Practices and crafts associated with the Damask rose in the village of Al Marah" } ], "sustainability": "" } }, "element_1370": { "type": "element", "label": "R\u016bkada N\u0101tya, traditional string puppet drama in Sri Lanka", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11953-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11953-HUG.jpg" }, "description": "R\u016bkada N\u0101tya is a type of drama performed using string puppets, traditionally to provide light entertainment and convey moral lessons to village communities. R\u016bkada N\u0101tya is performed by family groups who belong to, or are connected with, the lineage known as Gamwari, living around the southern coastal towns of Ambalangoda, Balapitiya and Mirissa. The themes are chosen from folktales, Buddhist stories, ancient literature, historical narratives and trivia with humorous anecdotes from contemporary life or nadagam, an extinct form of \u2018folk opera\u2019. Puppeteers make their own wooden puppets and prepare handwritten scripts with dialogues and songs, which they recite while manipulating the puppets. A small band provides a musical accompaniment, and performances are community events. Through the medium of puppet drama, worldviews and core values essential for peaceful communal co-existence come alive for young people to easily comprehend; the practice is therefore an effective way of conveying messages crucial for maintaining cohesiveness among community members. It also allows community members to laugh and have fun together, helping them socialize. Museums play a key role in contributing to the dissemination of related knowledge, as does the traditional practice of holding performances during festive times in May and June at temple premises, traditional community centres in Sri Lankan culture.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/rkada-ntya-traditional-string-puppet-drama-in-sri-lanka-01370", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11953-BIG.jpg", "copyright": "A.M. Dharmasiri Adikari, Sri Lanka, 2013", "title": "'Hanging' puppets inside backstage before a performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11955-BIG.jpg", "copyright": "A.M. Dharmasiri Adikari, Sri Lanka, 2013", "title": "Traditional Sri Lankan trumpet (horanewa) and drum (maddlaya) used as musical instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11956-BIG.jpg", "copyright": "A.M. Dharmasiri Adikari, Sri Lanka, 2013", "title": "Hand-written scripts of puppet dramas" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=djs46NO-dZU", "copyright": "", "title": "Traditional string puppet drame of Sri Lanka" } ], "sustainability": "" } }, "element_1371": { "type": "element", "label": "Chidaoba, wrestling in Georgia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11645-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11645-HUG.jpg" }, "description": "Chidaoba (wrestling) is an ancient form of martial art practised by a large proportion of the male population throughout all the regions, villages and communities of Georgia. Bearers of the tradition include young people, city residents, sports clubs, educational institutions and amateur organizations. The practice is a complex phenomenon that combines elements of wrestling, music, dance and special garments (\u2018chokha\u2019). Having had a combat function until the late Middle Ages, Chidaoba gradually became a spectacular sport. Tournaments take place in an open-air arena, surrounded by a large audience, accompanied by a wind instrument (\u2018zurna\u2019) and Georgian drum (\u2018doli\u2019) music, which marks the beginning. Wrestlers attempt to defeat each other through special holds, and vibrant music enhances the dynamics of the contest. The code of conduct is chivalric, and occasionally the wrestlers leave the arena with a Georgian folk dance. Chidaoba uses an important number of special wrestling holds: there are an estimated 200 such holds and counter-holds, the combination of which speaks to the wrestlers\u2019 creativity. The practice encourages a healthy lifestyle and plays an important role in intercultural dialogue. From early spring to autumn, young people practise wrestling outdoors, mastering skills previously acquired by watching matches, and there are wrestling sections in almost every village and city of Georgia.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chidaoba-wrestling-in-georgia-01371", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11640-BIG.jpg", "copyright": "President of Georgian National Wrestling Federation, 2017", "title": "Tbilisi city park. Grass cover. 'Ganis gamshleli' (circle widener) provides wrestling order on wrestling pitch" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11641-BIG.jpg", "copyright": "President of Georgian National Wrestling Federation, 2017", "title": "Tbilisi city park. Grass cover. Wrestling competition for children. Georgian wrestling technique - 'mogverdi'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11642-BIG.jpg", "copyright": "President of Georgian National Wrestling Federation, 2017", "title": "Tbilisi city park. Grass cover. Kids wrestling tournament, little wrestler supports to his friends" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11643-BIG.jpg", "copyright": "President of Georgian National Wrestling Federation, 2017", "title": "After children tournament, wrestling fans dancing after there competition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11644-BIG.jpg", "copyright": "President of Georgian National Wrestling Federation, 2017", "title": "Georgian wrestling lesson in the school hall. Georgian wrestling coach talking to the children about basic features" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11645-BIG.jpg", "copyright": "President of Georgian National Wrestling Federation, 2017", "title": "Georgian wrestling lesson in the school hall. Studens are demonstrating exercices" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11646-BIG.jpg", "copyright": "President of Georgian National Wrestling Federation, 2017", "title": "Kvareli Municipality, village Leliani. Sand cover. Wrestling tournament held during the St. Theodore celebration, attended by residents of nearby villages" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11647-BIG.jpg", "copyright": "President of Georgian National Wrestling Federation, 2017", "title": "Kvareli Municipality, village Leliani. Sand cover. St. Theodore celebration. The sole winner. The winner is a resident of the Azerbaijani village Kabali" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11648-BIG.jpg", "copyright": "President of Georgian National Wrestling Federation, 2017", "title": "Kvareli Municipality, village Leliani. Sand cover. St. Theodore celebration. Wrestling technique - 'sarma'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11649-BIG.jpg", "copyright": "President of Georgian National Wrestling Federation, 2017", "title": "Kvareli Municipality, village Leliani. Sand cover. Wrestling tournament held on the St. Theodore celebration. Georgian restling technique - 'kisruli'" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=iaIxFpin8dQ", "copyright": "Georgian National Wrestling Federation", "title": "Georgian wrestling" } ], "sustainability": "Chidaoba is a form of traditional wrestling widely practiced by males of all ages in Georgia. Once a form of combat, today the sport contributes to the healthy lifestyle of the people who participate. Children learn and practice the martial art in physical education classes at schools as well as in public spaces. Both formal and informal matches and tournaments are locally and regionally organized, encouraging men of diverse cultural backgrounds to join in this physical activity. This traditional sport contributes to a healthy psychological and physical well-being." } }, "element_1372": { "type": "element", "label": "Mooba dance of the Lenje ethnic group of Central Province of Zambia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12062-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12062-HUG.jpg" }, "description": "Mooba is the main dance of the Lenje ethnic group of Central Province of Zambia, performed since pre-colonial times. It is also practised in parts of Copperbelt and Lusaka Provinces, by both men and women. On certain occasions, when the dance reaches its peak, some lead dancers are possessed by ancestral spirits called BaChooba; it is said that, at this point, the spirits take the lead in dictating the flow of the dance, drumming and singing. Both male and female dancers can be possessed with BaChooba spirits. The costume includes coloured beads, a traditional skirt called a Buyombo, and rattles worn around the calves. In addition, the main dancers hold a spiritual stick known as a Chimika and a fly whisk made out of an animal\u2019s tail. Mooba serves both entertainment and healing functions, and contributes to the spiritual identity of the community. Since the element is performed during social functions that are open to the public, children can observe and learn it freely, with performances attracting a wide audience thanks to their entertaining nature. Almost every adult knows the Mooba dance as it is the main dance of the Lenje people. The Lenje community has also established groups that perform wherever they are invited, helping to promote the practice further afield.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/mooba-dance-of-the-lenje-ethnic-group-of-central-province-of-zambia-01372", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12058-BIG.jpg", "copyright": "Victor Makashi, Department of Arts and Culture, Zambia, 2017", "title": "Chief Liteta signing the consent during the nomination of Mooba dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12059-BIG.jpg", "copyright": "Victor Makashi, Department of Arts and Culture, Zambia, 2017", "title": "Chief Mukuni Ngombe signing the consent during the nomination of Mooba dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12060-BIG.jpg", "copyright": "Victor Makashi, Department of Arts and Culture, Zambia, 2017", "title": "Community members of Liteta chiefdom during the preparation of the nomination file of Mooba dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12061-BIG.jpg", "copyright": "Victor Makashi, Department of Arts and Culture, Zambia, 2017", "title": "Community members, Chief Liteta and ICH experts during the preparation of the nomination file of Mooba dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12062-BIG.jpg", "copyright": "Victor Makashi, Department of Arts and Culture, Zambia, 2017", "title": "Full gear of Mooba costume" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12063-BIG.jpg", "copyright": "Victor Makashi, Department of Arts and Culture, Zambia, 2017", "title": "Mooba dance at its climax" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12064-BIG.jpg", "copyright": "Victor Makashi, Department of Arts and Culture, Zambia, 2017", "title": "Mooba dance at its climax" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12065-BIG.jpg", "copyright": "Victor Makashi, Department of Arts and Culture, Zambia, 2017", "title": "Mooba dancers at chiefdom Liteta" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12066-BIG.jpg", "copyright": "Victor Makashi, Department of Arts and Culture, Zambia, 2017", "title": "Signing of the consent on behalf of the Zambian government, Director of Arts and Culture, Mr Victor Makashi, during the nomination of Mooba dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12067-BIG.jpg", "copyright": "Victor Makashi, Department of Arts and Culture, Zambia, 2017", "title": "The dancers in trance of Bachooba spirit after possession" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4t3W_ngcUnA", "copyright": "Ministry of Tourism and Arts, Zambia, 2017", "title": "Mooba dance" } ], "sustainability": "" } }, "element_1379": { "type": "element", "label": "Practices of Then by T\u00e0y, N\u00f9ng and Th\u00e1i ethnic groups in Viet Nam", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12470-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12470-HUG.jpg" }, "description": "Then, an essential ritual practice in the spiritual life of the T\u00e0y, N\u00f9ng and Th\u00e1i ethnic groups in Viet Nam, reflects concepts about human beings, the natural world and the universe. Then ceremonies describe a journey in which the Then Master (male or female) controls ghost soldiers travelling from the earth realm to the heaven realm, to offer items of worship and present their prayers for peace, for treating illnesses, good crops, a happy new year, etc. The Then Master starts the journey by singing and plucking a t\u00ednh lute. Depending on the worshipping purposes, Then masters arrange worship trips to pray to different native Gods. Then masters use various items \u2013 such as a demon-expelling sword, a yin and yang rod, a bell, etc. \u2013 to perform ceremonies in the believer\u2019s house, outdoors or at the Then alter of the Master\u2019s house. The Master wears ceremonial dress, sings in the language of their ethnic group, plays the t\u00ednh lute, shakes rattle-bells and waves a fan. Some ceremonies are accompanied by a female dancing group. Then is always transmitted orally while its rituals are conducted, reflecting its succession between the generations, and Then Masters play a key role in passing on the related skills and know-how, with some conducting around 200 ceremonies a year.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/practices-of-then-by-tay-nung-and-thai-ethnic-groups-in-viet-nam-01379", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12469-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2016", "title": "The Then rite \u201cThe newly-built house celebration\u201d performed by Male Then Master Ho\u00e0ng \u0110\u1ee9c D\u1ee5c (born in 1962, the T\u00e0y people) in Ba B\u1ec3 district, B\u1eafc K\u1ea1n province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12470-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2016", "title": "The Then rite \u201cPraying for good crop\u201d performed by Female Then Master M\u00f4ng Th\u1ecb S\u1ea5m (born in 1939, the N\u00f9ng people) in L\u1ea1ng S\u01a1n city, L\u1ea1ng S\u01a1n province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12471-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2016", "title": "A worshipping tray in the Then rite \u201cC\u1ea7u Kho\u0103n\u201d (worship for the vital spirit) of the T\u00e0y people in Chi\u00eam H\u00f3a district, Tuy\u00ean Quang province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12473-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2016", "title": "The Kh\u00e1m l\u1ec5 dance in the Then ritual \u201cShowing gratitude to the ancestors\u201d performed by Female Then Master Chu Th\u1ecb H\u1ed3ng V\u00e2n (1974, the N\u00f9ng people) in L\u1ea1ng Giang district, B\u1eafc Giang province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12474-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2016", "title": "The Ch\u1ea7u dance in a Then rite \u201cC\u1ea7u Hoa\u201d (to pray for a child) of the T\u00e0y ethnic group performed by Female Then Master N\u00f4ng Th\u1ecb L\u00ecm (born in 1945, the T\u00e0y people) in Cao L\u1ed9c district, L\u1ea1ng S\u01a1n city, L\u1ea1ng S\u01a1n province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12475-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2016", "title": "The X\u00f2e dance around the Pang tree in a Then rite \u201cPraying for a child\u201d of the Th\u00e1i people in the Tau village, \u0110i\u1ec7n Bi\u00ean Ph\u1ee7 city, \u0110i\u1ec7n Bi\u00ean province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12476-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2016", "title": "The Then C\u1ea5p s\u1eafc (the ritual giving certificate to the profestional practice of the Then master) rite of the T\u00e0y people in Y\u1ebfn L\u1ea1c town, Na R\u00ec district, B\u1eafc K\u1ea1n province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12477-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2016", "title": "The musical instruments, clothes, and objects used in a Then rite performed by Male Then Master L\u01b0u \u0110\u00ecnh B\u1ea1o (born in 1942, the T\u00e0y people) in D\u01b0\u01a1ng Quang commune, B\u1eafc K\u1ea1n province: 1. The T\u00ednh t\u1ea9u lute, 2. Singing, 3. Dress, 4. a picture hung in front of the tray of Master Then, 5. Tintinnabulum, 6. Drill, 7. M\u00e8n (bell), 8. Tag, 9. The con ni\u00eang (reserved for the senior Then Master), 10. sword, 11. seal, 12. a pair of Th\u1ebbn coins" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12478-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2016", "title": "Male Then Master H\u00e0 V\u0103n Thu\u1ea5n (born in 1942, the T\u00e0y people) in Chi\u00eam H\u00f3a district, Tuy\u00ean Quang province teaching the Then singing and the T\u00ednh lute to children at a session of Then singing - the T\u00ednh lute of their community" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12479-BIG.jpg", "copyright": "Vietnamese Institute for Musicology, 2016", "title": "The 2015 fifth festival on Then singing \u2013 T\u00ednh lute of the T\u00e0y, N\u00f9ng, and Th\u00e1i ethnic groups in Tuy\u00ean Quang province" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1cVpYm89scM", "copyright": "", "title": "Practices of Then by T\u00e0y, N\u00f9ng and Th\u00e1i ethnic groups in Viet Nam" }, { "url": "https:\/\/www.youtube.com\/watch?v=pEFIBZzEaPs", "copyright": "", "title": "Practices of Then by T\u00e0y, N\u00f9ng and Th\u00e1i ethnic groups in Viet Nam" } ], "sustainability": "" } }, "element_1374": { "type": "element", "label": "Lkhon Khol Wat Svay Andet", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11778-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11778-HUG.jpg" }, "description": "Lkhon Khol Wat Svay Andet is practised in one community surrounding a Buddhist monastery, Wat Svay Andet \u2013 located about 10km east of Phnom Penh on the Mekong River \u2013 and is performed by men wearing masks to the accompaniment of a traditional orchestra and melodious recitation. The specific aim is to propitiate the Neak Ta (guardian spirits of a place and its people), thereby protecting and bringing prosperity to the community, its lands and harvest. When Lkhon Khol is performed, spirit mediums are present and facilitate interactions between the Neak Ta, performers and villagers. When the spirits are satisfied with the performance, villagers are blessed by them; otherwise, the dancers stop, the music continues, and the audience falls silent and carefully listens to the spirits. Lkhon Khol is performed for ritual purposes, mostly linked to the cycle of rice farming and the needs of farming communities. The practice is transmitted orally within the community, and the Head Monk and retired primary school principal recently initiated additional weekend classes and started writing down scripts for selected episodes. After generations of transmission, however, several factors now threaten the viability of the element, including environmental factors, insufficient resources, economic migration from the community and a fourteen-year break in transmission from 1970 to 1984 due to the war and the Khmer Rouge regime.", "list": "USL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/lkhon-khol-wat-svay-andet-01374", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11771-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts of Cambodia, 2017", "title": "Performance of Lkhon Khol as an offering to Neak Ta (the local gardian spirits)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11772-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts of Cambodia, 2017", "title": "Making offering to Lok Ta Kamheng, Monkey General in Reamker story who became the local gardian spirit for the cure of the diseases" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11773-BIG.jpg", "copyright": "Wat Svay Andet, Cambodia, 2016, 2017", "title": "Annual performance of Lkhon Khol" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11774-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts of Cambodia, 2017", "title": "The scene of the fight between Hanuman, the Monkey General and Virul Chambang, the Demon General" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11775-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts of Cambodia, 2017", "title": "At the backstage, a young boy who plays the role of monkey trying to act the role of Preah Ream by stringing the bow with an arrow" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11776-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts of Cambodia, 2017", "title": "Mr HENG Soa, who is the Master of the monkey role, dressing his son, Mr SOA Vandy, who also plays the monkey role" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11777-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts of Cambodia, 2017", "title": "Week-end training for school boys" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11778-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts of Cambodia, 2017", "title": "Two high school students rehearsing the monkey role" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11779-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts of Cambodia, 2017", "title": "Before the performance, Master IM Saruon took a group photo with his children, grandchildren and great grandchildren" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11780-BIG.jpg", "copyright": "Ministry of Culture and Fine Arts of Cambodia, 2017", "title": "Before the performance, Lkhon Khol performers, reciters and manager took a group photo with monks, representatives from the Ministry of Culture and Fine Arts, representatives from NGOs and village chiefs" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=elSxA_KpQfA", "copyright": "Ministry of Culture and Fine Arts (Kingdom of Cambodia), 2017", "title": "Lkhon Khol Wat Svay Andet" } ], "sustainability": "" } }, "element_1376": { "type": "element", "label": "Traditional hand puppetry", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12216-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12216-HUG.jpg" }, "description": "Al-Aragoz is an old form of Egyptian theatre using traditional hand puppetry. Performances are highly popular events during which puppeteers remain hidden inside a small portable stage while an assistant interacts with the puppets and crowd. Al-Aragoz takes its name from the main puppet, whose distinctive voice is created with a voice modifier. Performers and the audience interact dynamically throughout the shows, which have a comic and entertaining atmosphere, and practitioners must be skilled in manipulating and maintaining the puppet, as well as in improvisation and music. Shows explore a variety of themes relating to daily life, with a recurring theme being the struggle against corruption. The art used to be presented by groups of travelling performers, who moved from one folk celebration to another. However, when these performances began to dwindle, performers and their assistants settled permanently in fixed places, mostly in Cairo. The viability of the practice is threatened by the changing social, political, legal and cultural circumstances of its enactment, such as laws concerning public gatherings, the rise of religious radicalism, an overall decrease in interest among younger generations, and the advanced age of its active practitioners. The number of surviving practitioners has diminished while many of those who once-performed stories have now disappeared. ", "list": "USL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/traditional-hand-puppetry-01376", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12215-BIG.jpg", "copyright": "Nabil Bahgat, Egypt, 2004", "title": "Al-Aragoz at Al-Azhar Park. The photo indicates how the public is highly attracted to the show during the experimental opening of the park despite the absence of a prior publicity about the show." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12216-BIG.jpg", "copyright": "Nabil Bahgat, Egypt, 2004", "title": "It demonstrates that the Arab child is interested and interacted with the show of Aragoz. It is noticed that the faces of the children are focused on it." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12217-BIG.jpg", "copyright": "Nabil Bahgat, Egypt, 2010", "title": "An artistic photo shows a performer of Aragoz with his tent. It is noticed that the tent is a specific kind of show media" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12218-BIG.jpg", "copyright": "Nabil Bahgat, Egypt, 2011", "title": "The picture shows the participation of adults and children during the presentation of a party of the Aragoz in public places." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12219-BIG.jpg", "copyright": "Nabil Bahgat, Egypt, 2014", "title": "The picture shows the Aragoz in one of the shows talking with one of the members of the Aragoz team, the player Mahmoud while giving one of the tales of the Aragoz." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12220-BIG.jpg", "copyright": "Nabil Bahgat, Egypt, 2006", "title": "The photo shows the vehicle of Aragoz in the folk celebration at the holy shrine of Lady Zainab. It is one of the most famous show media. It is made of sheets of iron. It is easy to move because of the wheels attached to it." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12221-BIG.jpg", "copyright": "Nabil Bahgat, Egypt, 2010", "title": "The picture shows Saber, a pioneer of the pioneers of the Aragoz players in Egypt, holding the puppet of the Aragoz that he made." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12222-BIG.jpg", "copyright": "Nabil Bahgat, Egypt, 2009", "title": "A photo was taken from behind. It shows the style of the performer in moving the puppets. The photo introduces Mr Saber and his assistant." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12223-BIG.jpg", "copyright": "Nabil Bahgat, Egypt, 2010", "title": "The photo shows a scene taken from the show of the Barbarian. The photo introduces Al-Aragoz, the Barbarian and the assistant." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=NteJ-vPKzXI", "copyright": "The Cultural Development Fund (Montage Unit), Egypt, 2014", "title": "Aragoz" } ], "sustainability": "" } }, "element_1377": { "type": "element", "label": "Singing to the accompaniment of the Gusle", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11723-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11723-HUG.jpg" }, "description": "Singing to the accompaniment of the Gusle \u2013 a simple string instrument \u2013 is an ancient art of performing primarily heroic epics practised for centuries as a form of historical memory and an expression of cultural identity. Performances involve a complex form of interaction between the audience and performer and are based on the skills and creativity of soloist artists (guslars): the guslars\u2019 ability to dramatize poetic content, body language and charisma are key for successful performances. The repertoire includes songs predominantly about mythical and historical heroes, events from the legendary past, ancient or recent history and, less commonly, ballads and humorous songs. Stage performances take place locally, at festivals, and as part of commemoration practices. Covering a wide range of topics, the songs reflect the value system of the community and their interactive character fosters community feeling. Most modern guslars acquire the basic singing and playing skills from more experienced players in their family, local community or a guslar association, but the skills are also transmitted in public music schools. Local organizations are assembled around the Union of Guslars of Serbia, whose efforts have resulted in the establishment of the Festival of Young Guslars and the Assembly of the Young Guslars of Serbia.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/singing-to-the-accompaniment-of-the-gusle-01377", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11720-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2014", "title": "A gusle player sings at the opening of an exhibition at the Ethnographic Museum in Belgrade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11721-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2014", "title": "A gusle player bows after the performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11722-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2014", "title": "Visitors at the exhibition of gusle 'They Speak where Everyone is Silent' at the Ethnographic Museum in Belgrade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11723-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2014", "title": "Singing to the accompaniment of the gusle within the cultural landscape of Tr\u0161i\u0107 during Vukov Sabor" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11724-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2014", "title": "Hand-making of a gusle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11725-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2014", "title": "A boy singing to the accompaniment of the gusle at the celebration of the slava (the feast of the patron saint)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11726-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2014", "title": "Singing to the accompaniment of the gusle during an informal gathering" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11727-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2014", "title": "A teacher transfers the skill of singing to the accompaniment of the gusle to his student" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11728-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2014", "title": "A boy demonstrating singing to the accompaniment of the gusle to his mates in a primary school" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11729-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2014", "title": "Modern interpretation of singing to the accompaniment of the gusle as part of an orchestra stage performance (composition)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=5vQv6hlzozs", "copyright": "Ethnographic Museum in Belgrade, 2017", "title": "Singing to the accompaniment of the gusle" } ], "sustainability": "" } }, "element_1378": { "type": "element", "label": "Bobbin lacemaking in Slovenia", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11730-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11730-HUG.jpg" }, "description": "Bobbin lacemaking in Slovenia is a handicraft skill of making lace by crossing and twisting thread wound on special wooden sticks known as bobbins. Using locally recognizable patterns with local names, bobbin lacemakers make lace in bands or in finished shapes. The bobbin lacemaking process follows a specific pattern: a drawing on paper is attached to a cylinder pillow in a wicker basket or on a wooden base. The lace is used to adorn clothing and fashion accessories, church and home textiles and representative spaces, but bobbin lacemaking also serves as an inspiration for artistic creations in fields such as the contemporary visual arts, design, architecture and culinary design. It is the creative expression of all those involved in the process, including the pattern designer and the bobbin lacemaker. Bobbin lacemaking has notable therapeutic functions, and is an ecologically clean and sustainability-oriented activity. There are around 120 bobbin lacemaking societies, sections and groups in Slovenia today, which include trained bobbin lacemakers and those who are still learning. Bearers mostly comprise women, and the knowledge and skills related to the practice are most frequently passed down from grandmothers to grandchildren: the socializing of female bobbin lacemakers in neighbourhood communities is also key for transmitting related knowledge and skills.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/bobbin-lacemaking-in-slovenia-01378", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11730-BIG.jpg", "copyright": "Mestni Muzej Idrija, 1992", "title": "Spending the evening with a Cerkno family in 1905" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11731-BIG.jpg", "copyright": "Katja Mohori\u010d Bon\u010da, 2015", "title": "Lacemaking meeting, organised by \u017delezniki Tourist Society" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11732-BIG.jpg", "copyright": "Mira \u010casar, 2016", "title": "8th Grade of Primary School \u0160entjan\u017e pri Dravogradu attending an elective course in lacemaking: basic techniques in Slovene lace" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11733-BIG.jpg", "copyright": "Janez Puk\u0161i\u010d, 1995", "title": "Suzana Rupnik is teaching her graddaughter Sara Rupnik bobbin lacemaking in Indrija" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11734-BIG.jpg", "copyright": "Mestni Muzej Idrija, 2007", "title": "Bobbin lacemaking competition of young and adult lacemakers at Idrija Lace Festival in 2007" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11735-BIG.jpg", "copyright": "Bo\u017eo Ur\u0161i\u010d, 2007", "title": "Vojko \u010cesnik from Idrija is making a lace pillow" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11736-BIG.jpg", "copyright": "Mojca Ferle, 2013", "title": "The offer of patterns designed by Vida Kje\u017ear, Lace Days in \u017delezniki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11737-BIG.jpg", "copyright": "Maja Usnik, 2016", "title": "Lacemakers presentation within the Congress OIDFA in June 2016 on Pre\u0161eren Square in Ljubljana" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11738-BIG.jpg", "copyright": "Toma\u017e Dra\u017e, 2016", "title": "Interpretation of lace in knits" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11739-BIG.jpg", "copyright": "Manca Ahlin, 2017", "title": "Handmade bobbin lace dividing partition in the Mediterranean restaurant in Chelsea, NYC, 10.5m x 3m, hemp rope" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=NjYtxBLocTU", "copyright": "B.Dove\u010der\/\u017d.Emer\u0161i\u010d\/A.Hefferle\/ M.Lapajne\/A.Otov\u010devi\u0107\/M.Pevec\/ T.Prin\u010di\u010d\/N.Valentin\u010di\u010d Furlan\/B.Zrin\u0161ek", "title": "Bobbin lacemaking in Slovenia" } ], "sustainability": "" } }, "element_1380": { "type": "element", "label": "Avalanche risk management", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11746-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11746-HUG.jpg" }, "description": "Avalanche risk management has shaped the identity of Alpine populations, as every winter they deal with the threat avalanches pose to inhabitants, tourists, means of communication and other vital infrastructure. Since the Alps are densely populated, the phenomenon of avalanches is a prime concern and a collective responsibility of the communities. For centuries, inhabitants and highlanders have developed local empirical knowledge, management and risk-avoidance strategies as well as cultural practices to guard themselves against avalanche hazards. Nowadays, modern tools such as measurement instruments and risk mapping complement traditional knowledge, which continues to be developed and adjusted on the ground by knowledge bearers. The element is entrenched in the everyday culture of the communities concerned and underscores the importance of solidarity in crisis situations. Assessing avalanche risks requires a sound knowledge of nature, especially the terrain, snow, weather conditions and past avalanches. While that knowledge was once transmitted verbally, nowadays it is the result of a dynamic process combining empirical knowledge and practical experience: knowledge is transferred from science to practice, and from the ground to research. Numerous training activities are offered, and those interested have access to a wide range of information sources such as avalanche bulletins, the media, checklists, websites, media, manuals and exhibitions.", "list": "RL", "year": 2018, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/avalanche-risk-management-01380", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11740-BIG.jpg", "copyright": "Yann Gross, 2015", "title": "Une avalanche peut se d\u00e9clencher d\u00e8s qu\u2019une pente d\u00e9passe 30\u00a0 et que des couches de neige s\u2019en d\u00e9tachent. Les Alpes suisses et autrichiennes \u00e9tant dens\u00e9ment peupl\u00e9es, les avalanches repr\u00e9sentent un danger pour les hommes, les localit\u00e9s et les infrastructures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11741-BIG.jpg", "copyright": "Friedrich Juen, 2012", "title": "Sauveteurs, b\u00e9n\u00e9voles et guides de montagne recherchent des survivants sur une piste de ski \u00e0 Gargellen (Autriche). Cette avalanche de 4,5 m\u00e8tres de haut a mobilis\u00e9 140 personnes. La solidarit\u00e9 et la rapidit\u00e9 d\u2019intervention sont importantes pour retrouver d\u2019\u00e9ventuels survivants" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11742-BIG.jpg", "copyright": "Stefan Margreth, 2004", "title": "La population alpine a d\u00e9velopp\u00e9 des strat\u00e9gies pour se prot\u00e9ger dans les zones \u00e0 avalanches. Le bloc de pierre et le mur prot\u00e8gent l\u2019habitation d\u2019une \u00e9ventuelle avalanche qui se diviserait en deux et passerait autour du b\u00e2timent (G\u00f6schenen, Suisse)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11743-BIG.jpg", "copyright": "Services des dangers naturels, Canton de Berne, 2016", "title": "Des employ\u00e9s communaux et cantonaux contr\u00f4lent l\u2019\u00e9tat des for\u00eats utilis\u00e9es comme protection naturelle contre les avalanches depuis des si\u00e8cles (Adelboden, Suisse). Les paravalanches et les for\u00eats protectrices repr\u00e9sentent une solution durable qui emp\u00eache la formation d\u2019avalanches sur les pentes escarp\u00e9es" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11744-BIG.jpg", "copyright": "Markus St\u00e4helin, 2015", "title": "Les cours du Club Alpin Suisse permettent aux jeunes d\u2019apprendre \u00e0 \u00e9valuer les dangers d\u2019avalanches en utilisant des cartes topographiques, des bulletins d\u2019avalanches et les pr\u00e9visions m\u00e9t\u00e9orologiques. Ces exercices sont indispensables pour compl\u00e9ter les connaissances transmises sur le terrain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11745-BIG.jpg", "copyright": "Niki Huwyler, 2016", "title": "Les acteurs locaux d\u00e9terminent la taille des grains et la qualit\u00e9 de la neige. A l\u2019aide des observations faites sur le terrain et gr\u00e2ce \u00e0 leur exp\u00e9rience, ils peuvent d\u00e9duire la stabilit\u00e9 du manteau neigeux et \u00e9valuer le danger d\u2019avalanches" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11746-BIG.jpg", "copyright": "Walter W\u00fcrtl\/LO.LA* Peak Solutions GmbH, 2016 ", "title": "Une collaboratrice du Service tyrolien de pr\u00e9vision des avalanches (Autriche) \u00e9tudie la composition et la stabilit\u00e9 du manteau neigeux. Cette m\u00e9thode est un instrument important dans l\u2019\u00e9valuation du danger d\u2019avalanches. Savoirs empiriques et scientifiques se compl\u00e8tent ainsi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11747-BIG.jpg", "copyright": "Ralph Feiner, 2010", "title": "Les 180 stations de mesures automatiques des cantons mesurent le vent, la temp\u00e9rature et la hauteur de neige. Elles compl\u00e8tent les observations faites sur le terrain par plus de 200 acteurs locaux pour \u00e9valuer le danger d\u2019avalanches en Suisse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11748-BIG.jpg", "copyright": "Fondation Barry, 2008", "title": "Le l\u00e9gendaire chien Barry (1800-1814) a sauv\u00e9 de nombreuses victimes d\u2019avalanches. Aujourd\u2019hui le Saint-Bernard symbolise avant tout l\u2019espoir du sauvetage dans l\u2019imaginaire collectif. La d\u00e9tection de victimes sous une avalanche est encore parfois pratiqu\u00e9e \u00e0 l\u2019aide de chiens de sauvetage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11749-BIG.jpg", "copyright": "Sandra M\u00fcller, 2014", "title": "La for\u00eat prot\u00e8ge le village d\u2019Andermatt (Suisse) des avalanches. Chaque ann\u00e9e, un cort\u00e8ge d\u2019\u201ehommes des bois\u201c (Woldmanndli) d\u00e9file avec bruit pour remercier symboliquement les ouvriers qui prennent soin de la for\u00eat, prot\u00e9geant ainsi les habitants des avalanches" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=pm81O-Rqu24", "copyright": "Office f\u00e9d\u00e9ral de la culture, 2017", "title": "Gestion du danger d'avalanches en Suisse et en Autriche" }, { "url": "https:\/\/www.youtube.com\/watch?v=vMXSydLcUC4", "copyright": "Office f\u00e9d\u00e9ral de la culture, 2017", "title": "Gestion du danger d'avalanches en Suisse et en Autriche" }, { "url": "https:\/\/www.youtube.com\/watch?v=QwVBnnuMTuQ", "copyright": "Office f\u00e9d\u00e9ral de la culture, 2017", "title": "Gestion du danger d'avalanches en Suisse et en Autriche" } ], "sustainability": "Avalanche risk management in Switzerland and Austria represents a melding of technology, data science, data management and indigenous knowledge for the purpose of disaster risk prevention. Longstanding risk-avoidance strategies and cultural practices are integrated with modern tools such as measurement and risk mapping to mitigate against avalanche hazards. This knowledge is accessible to the wider public through bulletins, the media, websites, manuals, and exhibitions. This element also links to SDG #13: Climate Action, and SDG #17: Partnerships for the Goals." } }, "element_1381": { "type": "element", "label": "Suri Jagek (observing the sun), traditional meteorological and astronomical practice based on the observation of the sun, moon and stars in reference to the local topography", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11633-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11633-HUG.jpg" }, "description": "Suri Jagek, literally translated as \u2018observing the sun\u2019, is the traditional Kalasha meteorological and astronomical knowledge system and practice \u2013 enacted predominantly in the Hindu Kush mountain range \u2013 based on the observation of the sun, moon, stars and shadows with respect to the local topography. The system is a complex structure of empirically observed knowledge and is repeatedly referenced to allow the Kalasha people to predict the appropriate time for sowing seeds, animal husbandry and natural calamities. It is also used to govern the Kalasha calendar by determining the dates of important social events, festivals, feasts and religious ceremonies. The practice demonstrates the relationship of the Kalasha people with their surroundings and the importance of their immediate geographical context to sustain their way of life. The viability and transmission of the knowledge system rest on an innovative transfer of information through folk stories, songs, proverbs and rhetoric and certain aspects of it \u2013 such as the study of shadows and its use in rearing cattle and livestock \u2013 are being recreated to fit into modern society. However, with the advent of the digital age, people are increasingly opting for more technologically \u2018advanced\u2019 means of predicting weather conditions. While the practice remains visible as an oral tradition, there is currently a lack of awareness among the younger generation about its cultural significance and benefits.", "list": "USL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/suri-jagek-observing-the-sun-traditional-meteorological-and-astronomical-practice-based-on-the-observation-of-the-sun-moon-and-stars-in-reference-to-the-local-topography-01381", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11630-BIG.jpg", "copyright": "Atef Amjad (Trust for History, Art and Architecture [THAAP] - UCA research team), 2016", "title": "View to observe the rising sun from the Balanguru village Suri Jagaekein (Pakistan). Physical development in the form of built structures has impaired the views of the rising sun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11631-BIG.jpg", "copyright": "Ibrahim Mahmood (Trust for History, Art and Architecture [THAAP] - UCA research team), 2016", "title": "Livestock sculptures made from wheat and crushed walnut dough late at night for a ritual known as Kutamru. The ritual commemorates the deep connections the Kalasha community holds with shepherd herding and animal husbandry." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11632-BIG.jpg", "copyright": "Atef Amjad (Trust for History, Art and Architecture [THAAP] - UCA research team), 2016", "title": "The aquila constellation seen at the top right corner is particularly important during spring in the month of Amaal mastruk. The night when the constellation first appears during the month is indicative of the ground turning soft the next morning." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11633-BIG.jpg", "copyright": "Ibrahim Mahmood (Trust for History, Art and Architecture [THAAP] - UCA research team), 2016", "title": "Kisan Khan from Guru village in Birir (Pakistan) ploughing his fields in preparation for the sowing of millet carried through sun observation as his children keenly observe the practice." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11634-BIG.jpg", "copyright": "Ibrahim Mahmood (Trust for History, Art and Architecture [THAAP] - UCA research team), 2016", "title": "Sarazari is celebrated at the start of the Chawmos festival coinciding with the sun rising from the marking Sarazari Gut on the Goremon Mountain (Pakistan). A competitive spirit prevails between the two genders over who lights the biggest juniper fire." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11635-BIG.jpg", "copyright": "Meeza Rishi (Trust for History, Art and Architecture [THAAP] - UCA researcher), 2016", "title": "Early morning an air of silence prevails. The Kalasha temples are painted by young children with drawings using reed pens whose tip is covered with sheep\u2019s wool and dipped in ink made from holly oak and juniper soot." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11636-BIG.jpg", "copyright": "Atef Amjad (Trust for History, Art and Architecture [THAAP] - UCA researcher), 2016", "title": "At sunset, the Kalasha gather inside the temple holding fire torches as the Qazi invites the souls of ancestors from the Mandaw\u2019jaw (graveyard) to feast with them. The deceased make their appearance and share a meal with the living." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11637-BIG.jpg", "copyright": "Ibrahim Mahmood (Trust for History, Art and Architecture [THAAP] - UCA research team), 2016", "title": "Qazis Salamat Khan and Krishna Mochik discussing the traditional Kalasha calendar and its connected rituals and social events, with a local school teacher Sher Alam." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11638-BIG.jpg", "copyright": "Ibrahim Mahmood (Trust for History, Art and Architecture [THAAP] - UCA research team), 2016", "title": "Qazi Gulistan transmiting his own knowledge of Suri Jagek onto the younger generation, standing at the Suri Jagaekein of Guru Village in Birir Valley (Pakistan)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11639-BIG.jpg", "copyright": "Ibrahim Mahmood (Trust for History, Art and Architecture [THAAP] - UCA research team), 2016", "title": "Livestock animals returning from lower pastures to villages during the Kalasha month of Jani Mastruk (Pakistan)." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=FuFeJHjztQc", "copyright": "Embassy of Switzerland, Canada Fund for Local Initiatives and THAPP in collaboration with UNESCO, 2017", "title": "Suri Jagek, traditional Kalasha meteorological and astronomical practice of observing the sun, the moon, stars and shadows" } ], "sustainability": "Suri Jagek is a traditional meteorological and astronomical knowledge system practiced by the Kalasha people who inhabit the Hindu Kush mountains. Suri Jagek involves the observation of the sun, moon, stars, and shadows in relation to the local mountain topography, to determine the appropriate times for farming and animal husbandry, to set dates for cultural events, and to predict natural disasters. Transmitted intergenerationally through songs, folk tales, and proverbs, Suri Jagek reflects the Kalasha community\u2019s accumulated traditional knowledge of their environment, as well as indigenous methods for surviving in the severe, mountainous landscape. As such, Suri Jagek is a vital source of knowledge that can contribute to the goal of climate adaptation and resilience. This element also links to SDG # 4: Quality Education and SDG #15: Life on Land." } }, "element_1383": { "type": "element", "label": "Ritual and festive expressions of the Congo culture", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11753-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11753-HUG.jpg" }, "description": "The ritual and festive expressions of the Congo culture encompass the contemporary vision of a collective celebration of the black rebel descendants enslaved during the colonial period. Nowadays, participants play congo, celebrate their freedom, cheerfully sing about their everyday lives and perform representations and sensual dances barefoot, to communicate with the earth. During the Congo season (from 20 January, San Sebastian Day, until Ash Wednesday), participants spend the day in a palisade; the gathering is celebrated in a matriarchal society ruled by a queen and her court; each person has a role to fulfil to protect the queen and members of the palisade from the devils (diablos). On Ash Wednesday, the season concludes with a confrontation between the diablos and the congos; the queen and congos take off their masks and baptize the devils in a symbolic ritual to free them and neutralize their evil until the cycle recommences the following year. For generations, the expressions have fostered social integration and provided a way of expressing joy and sensuality. Congo culture expressions are transmitted orally and everyone takes part. Congo singing, dancing and music programmes have also been held in schools, instruction is provided at the university level, and courses and weekend workshops are organized.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ritual-and-festive-expressions-of-the-congo-culture-01383", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11750-BIG.jpg", "copyright": "MICI, 2015", "title": "Queen Congo with her court and musicians in Costa Arriba de Colon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11751-BIG.jpg", "copyright": "MICI, 2016", "title": "Congo group in Cocl\u00e9 del Norte, Donoso, Costa Abajo of Colon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11752-BIG.jpg", "copyright": "MICI, 2017", "title": "Queen Congo dancing on Ash Wednesday in Nombre de Dios, Costa Arriba of Colon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11753-BIG.jpg", "copyright": "MICI, 2017", "title": "Clothing of Congo men - Festival of Congo and Devil in Portobelo, Colon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11754-BIG.jpg", "copyright": "MICI, 2016", "title": "The little bird dances with his brother on the beach of Maria Chiquita during the XXII Convivio of the Congo Brotherhood" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11755-BIG.jpg", "copyright": "MICI, 2013", "title": "Young man adjusting the drum before the celebration of the Mama in Palenque, Colon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11756-BIG.jpg", "copyright": "MICI, 2016", "title": "Young Congo group dancing and playing the drum during the Congo's Pollera Festival in Portobelo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11757-BIG.jpg", "copyright": "MICI, 2017", "title": "Confrontation of the Congos and the Devils on Ash Wednesday in Nombre de Dios, Colon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11758-BIG.jpg", "copyright": "MICI, 2016", "title": "Capture of the Devil by the Congo women - Representation in Maria Chiquita, Portobelo, Colon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11759-BIG.jpg", "copyright": "MICI, 2017", "title": "Christening of the devil on Ash Wednesday in Mar\u00eda Chiquita Portobelo, Colon" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=NFJEK3VEId0", "copyright": "MICI, 2017", "title": "Ritual and festive expressions of the Congo culture" } ], "sustainability": "The ritual and festive expressions of the Congo culture are a joyful commemorative celebration of liberation from enslavement and oppression. Practiced each year by the descendants of slaves who were brought to Panama during the colonial period, the Congo rituals symbolically reenact the history and matriarchal social structure of the Congo people. The rituals also express the integration and blending of cultures as Congo culture encountered and absorbed Hispanic and indigenous influences from Panama. The rituals strengthen the cultural identity of the Congo people through dance and performance, while at the same time asserting their social equality. This element also links to SDG #16: Peace, Justice, and Strong Institutions." } }, "element_1384": { "type": "element", "label": "Nuad Thai, traditional Thai massage", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12431-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12431-HUG.jpg" }, "description": "Nuad Thai, traditional Thai massage is regarded as part of the art, science and culture of traditional Thai healthcare. As a non-medicinal remedy and manual therapy, it involves bodily manipulation in which the practitioner helps rebalance the patient\u2019s body, energy and structure to treat illnesses believed to be caused by the obstruction of energy flow along \u2018sen\u2019, lines understood to crisscross the human body. This manipulation is intended to normalize the four body elements: earth, water, wind and fire. To open up blocked routes, Nuad Thai therapists perform a combination of manipulations using their hands, elbows, knees and feet, together with herbal hot compresses to reduce inflammation. Presently, Nuad Thai is classified into two main types: Nuad Thai therapy and Nuad Thai for health promotion. Nuad Thai has its roots in self-care in Thai peasant society of the past; every village had massage healers whom villagers would turn to when they had muscle aches from working in the field. Over time, these experiences have evolved into a formal system of knowledge, and Nuad Thai is now an income-generating occupation. In 1985, the Project for the Revitalization of Thai Massage was launched to revitalize and maximize knowledge of Nuad Thai, and an initiative has also been taken to form an alliance of Nuad Thai practitioners who come together annually.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nuad-thai-traditional-thai-massage-01384", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12429-BIG.jpg", "copyright": "Thai Holistic Health Foundation, 2017", "title": "This illustration of sen, or energy lines, is among a set of stone inscriptions for public learning on display at Pho Temple since King Rama III (1787-1851) and still considered the most comprehensive repertoire of knowledge of traditional Thai massage." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12430-BIG.jpg", "copyright": "Health and Development Foundation, Thailand, 2017", "title": "At a ground-breaking national seminar in 1985, a resource person displays manuscripts of traditional Thai massage passed down in his familial through generations. The meeting marked the watershed leading to the creation of the project for revitalization of traditional Thai massage." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12431-BIG.jpg", "copyright": "Folk Medecine and Thai Health Network Association, 2017", "title": "A Chiang Rai (northern Thailand) folk healer giving massage therapy to a patient" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12432-BIG.jpg", "copyright": "Folk Medecine and Thai Health Network Association, 2017", "title": "A masseuse applies pressure points to relieve headache pain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12433-BIG.jpg", "copyright": "Folk Medecine and Thai Health Network Association, 2017", "title": "A mode of massage that could help simultaneously relieve back, leg and knee pains" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12434-BIG.jpg", "copyright": "Folk Medecine and Thai Health Network Association, 2017", "title": "Herbal compress balls, usually containing 'wind' dispelling herbs, are a traditional Thai massage aiding component used to disperse excess 'wind' in sen lines to increase blood flow and to reduce inflammation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12435-BIG.jpg", "copyright": "Folk Medecine and Thai Health Network Association, 2017", "title": "A visually impaired masseur having received training from the Skills Development Center for the Blind in Nonthaburi (central Thailand), practices traditional Thai massage as an occupation." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12436-BIG.jpg", "copyright": "Folk Medecine and Thai Health Network Association, 2017", "title": "Tambon Chiang Rak Noi Folk Medicine Learning Center in Ayutthaya (central Thailand) offers a training course in traditional Thai massage for the public." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12437-BIG.jpg", "copyright": "Abhaibhubejhr College of Thai Traditional Medicine Prachinburi, 2017", "title": "Students practice their skills of traditional Thai massage in class at Abhaibhubejhr College of Thai Traditional Medicine in Prachinburi (eastern Thailand)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12438-BIG.jpg", "copyright": "Federation of Traditional Thai Medicine of Thailand, 2017", "title": "Practitioners of Thai traditional massage and medicine gather at a Wai Khru ceremony hosted by the Federation of Traditional Medicine of Thailand to express gratitude and reverence to the teachers in the sanctified customs." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=GgpQZhOiGo4", "copyright": "", "title": "Nuad Thai (traditional Thai massage)" } ], "sustainability": "Nuad Thai is a form of traditional knowledge that promotes health and well-being. It is a part of the traditional Thai healthcare and folk healing traditions to relieve muscle aches and rebalance a person\u2019s physical and emotional condition. It is practiced nationwide in both rural and urban areas and it is incorporated into the national healthcare system. Traditional Thai massage is performed as a non-medicinal treatment at various public health facilities, including hospitals, and private health establishments to complement the biomedical methods. Nuad Thai is popular as a relaxing therapy for all classes of people. This element also links to SDG #8: Decent Work and Economic Growth." } }, "element_1385": { "type": "element", "label": "Khon, masked dance drama in Thailand", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12009-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12009-HUG.jpg" }, "description": "Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances \u2013 which involve graceful dance movements, instrumental and vocal renditions and glittering costumes \u2013 depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama\u2019s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese\/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters\u2019 households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/khon-masked-dance-drama-in-thailand-01385", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12009-BIG.jpg", "copyright": "Department of Cultural Promotion, Thailand, 2014", "title": "Khon performance: the battle of Indrajit, episode of Nagabas" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ZD6Zug4fWQY", "copyright": "Department of Cultural Promotion, Ministry of Culture, Thailand, 2017", "title": "Khon" } ], "sustainability": "" } }, "element_1386": { "type": "element", "label": "Lum medicinal bathing of Sowa Rigpa, knowledge and practices concerning life, health and illness prevention and treatment among the Tibetan people in China", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11837-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11837-HUG.jpg" }, "description": "Lum medicinal bathing of Sowa Rigpa is a practice developed by the Tibetan people as part of a life view based on the five elements and a view about health and illness centered on three dynamics (Lung, Tripa and Pekan). In Tibetan, \u2018Lum\u2019 indicates the traditional knowledge and practices of bathing in natural hot springs, herbal water or steam to adjust the balance of the body and mind, ensure health and treat illness. Influenced by the Bon religion and Tibetan Buddhism, Lum embodies folk experiences in illness prevention and treatment, and reflects the transmission of traditional knowledge represented by the Gyud zhi treatise (the Four Tantras) in present-day health practice. Bearers and practitioners include farmers, herdsmen and urban residents in Tibetan areas, with the Manpa (physician), Lum Jorkhan (pharmacist) and Manyok (assistant) bearing special responsibilities for its transmission. The element plays a key role in improving health conditions, fostering a social code of behaviour and promoting respect for nature. It has been transmitted over the generations through daily life, religious rituals, folkloric activities and medicinal practices, and has also been incorporated into the curricula of modern medical colleges as a complement to formal education. ", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/lum-medicinal-bathing-of-sowa-rigpa-knowledge-and-practices-concerning-life-health-and-illness-prevention-and-treatment-among-the-tibetan-people-in-china-01386", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11835-BIG.jpg", "copyright": "Department of Culture of Tibet Autonomous Region, China, 2017", "title": "Sonam Tsering, a Manpa (traditional physician), introducing to students the medicinal herbs for the Lum bathing recorded in the medical thangka of Gyud zhi (the Four Tantras)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11836-BIG.jpg", "copyright": "Department of Culture of Tibet Autonomous Region, China, 2017", "title": "The Terdrom Hot Spring with an altitude of 4,590 meters is a renowned place for Lum and relax. Tibetans come here in an endless stream every year." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11837-BIG.jpg", "copyright": "Department of Culture of Tibet Autonomous Region, China, 2017", "title": "Students of the Tibetan Medical College studying Gyud zhi (the Four Tantras), a treatise containing a record of knowledge on the Lum Medicinal Bathing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11838-BIG.jpg", "copyright": "Department of Culture of Tibet Autonomous Region, China, 2017", "title": "Tensung Dragpa (second from left), a Chimgyud (clan) Manpa (traditional physician), teaching students how to identify medicinal herbs for Lum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11839-BIG.jpg", "copyright": "Department of Culture of Tibet Autonomous Region, China, 2017", "title": "Lhokha: two Manpas (traditional physician) collecting medicinal herbs for Lum at the proper time" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11840-BIG.jpg", "copyright": "Department of Culture of Tibet Autonomous Region, China, 2017", "title": "Lucham Gyal (right), a representative bearer of the element, instructing a Lum Jorkhan (pharmacist) in the preparation of medicinal herbs for Lum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11841-BIG.jpg", "copyright": "Department of Culture of Tibet Autonomous Region, China, 2017", "title": "Mindrug (left), a representative bearer of the element, directing a Lum Jorkhan (pharmacist) on how to boil the five medicinal nectars" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11842-BIG.jpg", "copyright": "Department of Culture of Tibet Autonomous Region, China, 2017", "title": "The Mentseekhang of Tibet Autonomous Region holds the annual Dudtsi Mandrub (the ritual for nectars\u2019 consecrated herbs), a vital part in the preparation of the five medicinal nectars for Lum medicinal bathing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11843-BIG.jpg", "copyright": "Department of Culture of Tibet Autonomous Region, China, 2017", "title": "A Manyok (Lum assistant) in Qinghai Tibetan Medical Hospital provides treatment and nursing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11844-BIG.jpg", "copyright": "Department of Culture of Tibet Autonomous Region, China, 2017", "title": "People are actively involved in the practices of the element during the annual Karma Dulpa Festival celebrated in the seventh month of the Tibetan calendar" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=CCJT99V1DAQ", "copyright": "Department of Culture of Tibet Autonomous Region, 2017", "title": "Lum medicinal bathing of Sowa Rigpa, knowledge and practices concerning life, health and illness prevention and treatment among the Tibetan people in China" } ], "sustainability": "" } }, "element_1387": { "type": "element", "label": "Celebration in honor of the Budsla\u016d icon of Our Lady (Budsla\u016d fest)", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11767-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11767-HUG.jpg" }, "description": "The Budsla\u016d Fest takes place in Budsla\u016d village, in the Minsk region. Since the seventeenth century, every year on the first weekend of July tens of thousands of pilgrims from all over Belarus and other countries have come to Budsla\u016d to participate in the celebrations in honor of the Budsla\u016d icon of Our Lady, with some making the pilgrimage on foot. The Icon, the patroness of Belarusian people, is known for many miracles and Budsla\u016d is recognized as the place where, according to legend, Our Lady appeared to believers in July 1588. Elements of the celebration include priests welcoming the pilgrims, masses, a night procession with the Icon and candles, a youth prayer vigil, and hours of prayer to the Mother of God. The tradition is an integral part of the history and culture of the local community of Budsla\u016d, with bearers including people of all ages and social statuses. It attracts entire families and believers of all ages, which helps strengthen intergenerational ties. Related knowledge is preserved and transmitted by local inhabitants, who are very proud of the relic; they show pilgrims a warm welcome, inviting them to local homes to share meals with them. Pilgrims visiting Budsla\u016d learn all about the local traditional culture, including the ceremony and local traditions such as crafts, customs and cuisine. ", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/celebration-in-honor-of-the-budsla-icon-of-our-lady-budsla-fest-01387", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11760-BIG.jpg", "copyright": "scgiglinskaja, 2014", "title": "Daytime procession in Budsla\u016d" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11761-BIG.jpg", "copyright": "novikau, 2014", "title": "Bicycle pilgrimage led by Metropolitan Kandrusiewicz" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11762-BIG.jpg", "copyright": "vedzen, 2015", "title": "Pilgrims on a halt" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11763-BIG.jpg", "copyright": "vedzen, 2016", "title": "Pilgrims welcome local residents" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11764-BIG.jpg", "copyright": "scgiglinskaja, 2014", "title": "Budsla\u016d fest" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11766-BIG.jpg", "copyright": "scgiglinskaja, 2014", "title": "Night prayer in Budsla\u016d" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11767-BIG.jpg", "copyright": "novikau, 2014", "title": "Night procession in Budsla\u016d" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11768-BIG.jpg", "copyright": "palineuski, 2014", "title": "Night procession in Budsla\u016d" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11769-BIG.jpg", "copyright": "palineuski, 2014", "title": "Night procession in Budsla\u016d with the icon of Our Lady" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11770-BIG.jpg", "copyright": "kalinouskaya, 2016", "title": "Hierarchies of different Christian confessions are involved in the Budsla\u016d fest" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1_9Wa6eJLCY", "copyright": "Orlov, 2015", "title": "Budsla\u016d fest" } ], "sustainability": "" } }, "element_1389": { "type": "element", "label": "The festival of the Sant\u00edsima Trinidad del Se\u00f1or Jes\u00fas del Gran Poder in the city of La Paz", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12081-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12081-HUG.jpg" }, "description": "The festival of the Sant\u00edsima Trinidad del Se\u00f1or Jes\u00fas del Gran Poder takes place on the Day of the Holy Trinity in the city of La Paz. The celebration transforms and stimulates the social life of La Paz every year, emanating from a particular way of understanding and living Andean Catholicism. The Parade begins with a procession through the western part of the city. This procession is central to the event, involving 40,000 devotees who dance and sing in an offering to the patron saint. The dance has a sacred significance for the sixty-nine fraternities involved, which are greeted in the streets in a euphoric atmosphere where the music of 7,000 musicians resonates. The heavy dances begin with the Morenos, the iconic dance of the festival, mixed with light dances; meanwhile, the Sikuris and Qhantus native dances hark back to the origins of the Ch\u2019ijini festival. The next day, the procession members solemnly carry the patron saint on their shoulders in the Gran Poder district; devotees pay tribute to the image with incense, flowers and confetti. The fraternities prepare their musical repertoires throughout the year; embroiderers and jewellers transmit their knowledge within the families of the Gran Poder, and the devotional aspect of the practice is transmitted through devotional ceremonies, evenings and processions.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/the-festival-of-the-santisima-trinidad-del-senor-jesus-del-gran-poder-in-the-city-of-la-paz-01389", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12081-BIG.jpg", "copyright": "Yupanqui, 2016", "title": "La danse de la Kullawada dans le Gran Poder est une repr\u00e9sentation de l\u2019espi\u00e8glerie des jeunes couples qui dansent en prot\u00e9geant leur identit\u00e9 avec un masque" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12082-BIG.jpg", "copyright": "Yupanqui, 2016", "title": "La danse de Caporales a \u00e9t\u00e9 cr\u00e9\u00e9e par la famille Estrada Pacheco pour repr\u00e9senter les chefs d\u2019exploitation m\u00e9tis qui \u00e9taient sous les ordres du ma\u00eetre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12083-BIG.jpg", "copyright": "Yupanqui, 2016", "title": "La danse de la Morenada est l\u2019ic\u00f4ne du Gran Poder, puisque le costume est une source in\u00e9puisable pour la cr\u00e9ation de bijoux et broderies riches" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12084-BIG.jpg", "copyright": "Yupanqui, 2016", "title": "Tout au long de l'ann\u00e9e, des couples de d\u00e9vots re\u00e7oivent la gr\u00e2ce du Seigneur et deviennent Prestes, le catalyseur de la f\u00eate qui rassemble des fid\u00e8les et d\u00e9vots de diff\u00e9rents groupes sociaux quel que soit leur genre ou leur g\u00e9n\u00e9ration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12085-BIG.jpg", "copyright": "Yupanqui, 2016", "title": "Doucement, les d\u00e9vots danseurs s\u2019emparent du quartier de Ch'ijini \u00e0 la ville de La Paz et entourent le Sanctuaire o\u00f9 l'image du Seigneur J\u00e9sus du Gran Poder est prise pour diriger les huit kilom\u00e8tres de procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12086-BIG.jpg", "copyright": "Yupanqui, 2016", "title": "La danse a une valeur sacramentelle pour les 69 fraternit\u00e9s qui sont re\u00e7ues avec euphorie et enthousiasme dans les rues. Les femmes Cholas, \u00e0 l\u2019origine simples porteuses de masques, ensuite elles se sont empar\u00e9es de la sc\u00e8ne depuis les ann\u00e9es soixante-dix" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12087-BIG.jpg", "copyright": "Yupanqui, 2016", "title": "La Sainte Trinit\u00e9 est c\u00e9l\u00e9br\u00e9e \u00e0 La Paz avec la F\u00eate du Gran Poder \u00e0 La Paz. Comme ces danseurs, une procession majestueuse avec plus de 40.000 d\u00e9vots commence le D\u00e9fil\u00e9, en serpentant le c\u00f4t\u00e9 ouest de la ville, la zone qui \u00e9tait traditionnellement indig\u00e8ne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12088-BIG.jpg", "copyright": "Yupanqui, 2016", "title": "La f\u00eate du Seigneur J\u00e9sus du Gran Poder rend hommage \u00e0 la toile des trois visages. Les d\u00e9vots danseurs re\u00e7oivent de lui une source essentielle de force qui d\u00e9finit, transforme et active chaque ann\u00e9e la vie sociale de La Paz comme aucune autre c\u00e9l\u00e9bration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12089-BIG.jpg", "copyright": "Yupanqui, 2016", "title": "Une foule en liesse accueille l'image du Gran Poder avec des fleurs et des confettis, image qui dirigera la procession de huit kilom\u00e8tres avec les d\u00e9vots-danseurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12090-BIG.jpg", "copyright": "Yupanqui, 2016", "title": "Les danses autochtones Qhantus et Sikuris nous transportent aux origines du Gran Poder quand le luxe et la richesse de nos jours n\u2019existaient pas" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=vbssZ9hAjQE", "copyright": "", "title": "La festivit\u00e9 de la 'Santissima Trinidad del Se\u00f1or Jes\u00fas del Gran Poder de la ville de La Paz'" } ], "sustainability": "" } }, "element_1390": { "type": "element", "label": "Enkipaata, Eunoto and Olng'esherr, three male rites of passage of the Maasai community", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11662-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11662-HUG.jpg" }, "description": "Enkipaata, Eunoto and Olng\u2019esherr are three interrelated male rites of passage of the Maasai community: Enkipaata is the induction of boys leading to initiation; Eunoto is the shaving of the morans paving the way to adulthood; and Olng\u2019esherr is the meat-eating ceremony that marks the end of moranism and the beginning of eldership. The rites of passage are mainly practised by young men of the Maasai community aged between fifteen and thirty, but women also undertake certain tasks. By educating young people about their future role in Maasai society, the rites serve to induct them first to moranhood, then as young elders, and finally as senior elders. Respect and responsibility, safeguarding of the lineage, transfer of powers from one age set to the next and the transmission of indigenous knowledge, such as in relation to livestock rearing, conflict management, legends, traditions and life skills, are some of the core values embedded in those rites of passage. However, while the rites still attract relatively sizeable crowds, the practice appears to be rapidly declining due to the fast emergence of agriculture as a main source of income, reforms of the land tenure system and the impact of climate change that affects the survival of cattle.", "list": "USL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/enkipaata-eunoto-and-olng-esherr-three-male-rites-of-passage-of-the-maasai-community-01390", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11660-BIG.jpg", "copyright": "Danson Siminyu, Kenya, 2017", "title": "Maasai elders mentoring young initiates during Enkipata stage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11661-BIG.jpg", "copyright": "Collins Odhiambo, Kenya, 2012", "title": "Elders watching initiates at night in the bush during Enkipaata" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11662-BIG.jpg", "copyright": "Danson Siminyu, Kenya, 2017", "title": "Initiates heading back to the Manyatta accompanied by elders for the Enkipaata ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11663-BIG.jpg", "copyright": "Collins Odhiambo, Kenya, 2010", "title": "Elders blessing initiates by sprinkling milk on them from calabashes whose lids are covered with green grass" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11664-BIG.jpg", "copyright": "Danson Siminyu, Kenya, 2010", "title": "The shaving of Morans dreadlocks during Eunoto is done within four days of festivities" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11665-BIG.jpg", "copyright": "Collins Odhiambo, Kenya, 2010", "title": "The shaving of Morans by their mothers is the climax of Eunoto" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11666-BIG.jpg", "copyright": "Collins Odhiambo, Kenya, 2010", "title": "Meat being roasted for the Olng'\u00e9sherr ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11667-BIG.jpg", "copyright": "Collins Odhiambo, Kenya, 2010", "title": "Elders administering an oath to a couple during Olng'\u00e9sherr to test their morality and commitment to the age set" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11668-BIG.jpg", "copyright": "Danson Siminyu, Kenya, 2017", "title": "Representatives of the nine clans of the Maasai during a workshop on the ICH elements of the community" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11669-BIG.jpg", "copyright": "Danson Siminyu, Kenya, 2017", "title": "Elders giving content to inscription of the three rites of passage" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ZOnB24xI7cM", "copyright": "Department of Culture, Ministry of Sports, Culture and the Arts, Kenya, 2017", "title": "Enikipaata, Eunoto and Olng'esherr, the three male rites of passage of the Maasai community" } ], "sustainability": "" } }, "element_1391": { "type": "element", "label": "Traditions of Pencak Silat", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12441-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12441-HUG.jpg" }, "description": "In addition to their sporting element, Traditions of Pencak Silat also encompass mental-spiritual, self-defence and artistic aspects. The moves and styles of Pencak Silat are strongly influenced by various elements of art, involving a unity of body and movement fitting the accompanying music. The term \u2018pencak\u2019 is better known in Java, while the term \u2018silat\u2019 is better known in West Sumatra, describing a group of martial arts with many similarities. In addition to local terms, each region has its own moves, styles, accompaniments, music, and supporting equipment, which includes costumes, musical instruments, and traditional weapons. Pencak Silat practitioners are taught to maintain their relationship with God, human beings, and nature, and are trained in various techniques to deal with attacks or other dangerous situations based on principles to protect themselves as well as others, avoid harming the offender and build comradeship. The practice strengthens comradeship, maintains social order, and provides entertainment for ritual ceremonies. Related knowledge and skills are commonly taught in non-formal schools and include oral traditions and expressions such as greetings, philosophical phrases, rhymed poems, advice, as well as songs and techniques to play the instruments. ", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditions-of-pencak-silat-01391", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12439-BIG.jpg", "copyright": "Directorate Heritage and Cultural Diplomacy, Indonesia, 2017", "title": "The social function of Pencak Silat is to strengthen comradeship among school members, maintain social order and provide entertainment for ritual ceremonies." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12440-BIG.jpg", "copyright": "Directorate Heritage and Cultural Diplomacy, Indonesia, 2017", "title": "Pencak Silat moves and style are a unity of body movement (wiraga), movement feeling (wirasa) and movement fit the accompaniment music (wirama). The supporting equipment for Pencak Silat includes costumes, music instruments and traditional weapons." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12441-BIG.jpg", "copyright": "Directorate Heritage and Cultural Diplomacy, Indonesia, 2017", "title": "Every region has assimilated the Pencak Silat traditions with their local culture, such as types of accompaniment music along with the musical instrument, costumes, forms of oral tradition and expressions, weapons, etc. without removing the values of Pencak Silat." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12442-BIG.jpg", "copyright": "Directorate Heritage and Cultural Diplomacy, Indonesia, 2017", "title": "The supporting equipment for Pencak Silat includes costumes, music instrument and traditional weapon." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12443-BIG.jpg", "copyright": "Directorate Heritage and Cultural Diplomacy, Indonesia, 2017", "title": "Knowledge of Pencak Silat values and meanings are shared by coaches or masters. The mental spiritual education process starts immediately once the disciple is accepted to the school." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12444-BIG.jpg", "copyright": "Directorate Heritage and Cultural Diplomacy, Indonesia, 2017", "title": "These practitioners are also trained in various techniques to deal with attacks or other dangerous situations based on principles to protect him or herself as well as others, avoid harming the offender and build comradeship." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12445-BIG.jpg", "copyright": "Directorate Heritage and Cultural Diplomacy, Indonesia, 2017", "title": "Pencak Silat is commonly taught through non-formal education in Pencak Silat schools using methods and traits of transmission that are accustomed to each school." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12446-BIG.jpg", "copyright": "Directorate Heritage and Cultural Diplomacy, Indonesia, 2017", "title": "Pencak Silat can be learned by anyone, both men and women of all ages and nationalities, including the disabled." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12447-BIG.jpg", "copyright": "Directorate Heritage and Cultural Diplomacy, Indonesia, 2017", "title": "Skills particularly related to style and technique are taught to the disciples by example. Several schools also teach disciples on how to adjust styles and techniques according to the accompaniment." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12448-BIG.jpg", "copyright": "Directorate Heritage and Cultural Diplomacy, Indonesia, 2017", "title": "Pencak Silat practitioners are taught to maintain their relationship with God, human beings and nature." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=fCPwVb1PHt8", "copyright": "", "title": "tradition of Pencak Silat" } ], "sustainability": "" } }, "element_1392": { "type": "element", "label": "Land-of-Legends programme, for promoting and revitalizing the art of storytelling in Kronoberg Region", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11908-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11908-HUG.jpg" }, "description": "The Land-of-Legends programme is aimed at promoting and revitalizing the art of storytelling in the Kronoberg region of southern Sweden. In Sweden, as elsewhere, factors such as industrialization, urbanization and television and social media have led to the disappearance of traditional venues for storytelling and modes of transmission, with practices of telling stories to exchange experiences and convey knowledge and values dying out. In the late 1980s, a number of librarians and teachers in the Kronoberg region organized a festival involving practitioners, enthusiasts and experts from various parts of Sweden to discuss this situation and devise possible solutions. Shortly after, in November 1990 the Storytelling Network of Kronoberg was created (known as \u2018the Association\u2019) to raise awareness about the endangered viability of storytelling and develop measures for its revitalization. The Association initiated the Land-of-Legends programme, which organizes a range of activities including a storytelling festival, camps for teenagers, activities in schools and academia, courses for future teachers and remedial activities. Over time, international contacts have been developed and several aspects of the programme have served as a model for activities elsewhere. The programme links storytelling to other forms of living heritage, helping to revitalize and promote it as a living art.", "list": "GSP", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/land-of-legends-programme-for-promoting-and-revitalizing-the-art-of-storytelling-in-kronoberg-region-01392", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11907-BIG.jpg", "copyright": "Land of Legends, 2010", "title": "Guided storytelling tour at the Museum of Legends" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11908-BIG.jpg", "copyright": "Land of Legends, 2012", "title": "At the Museum of Legends, visitors meet different creatures. Here is a giant" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11909-BIG.jpg", "copyright": "Land of Legends, 2011", "title": "A story cabinet at one of the legendary places in the Land of Legends, where visitors can read or listen to the story, using their mobile phones" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11910-BIG.jpg", "copyright": "Land of Legends, 2010", "title": "Storytelling at one of the mythical places in the forest" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11911-BIG.jpg", "copyright": "Land of Legends\/Bj\u00f6rn Gullander, 2015", "title": "The Storytelling Festival often gives attention to minorities, such as the Romany storytelling tradition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11912-BIG.jpg", "copyright": "Land of Legends\/Bj\u00f6rn Gullander, 2016", "title": "The Ljungby Storytelling festival, storytelling in the marketplace" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11913-BIG.jpg", "copyright": "Land of Legends, 2012", "title": "The storytelling pedagogue at the Museum is telling together with children" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11914-BIG.jpg", "copyright": "Land of Legends, 2012", "title": "Children learn to use storytelling (connected to the objectives in the curriculum) in school" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11915-BIG.jpg", "copyright": "Land of Legends, 2012", "title": "New technology is used to spread knowledge of oral storytelling, such as geocaching using a GPS and the cache being a story" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RVyS1obCKEo", "copyright": "Sagobygden\/Bj\u00f6rn Gullander", "title": "The Land of Legends" } ], "sustainability": "" } }, "element_1395": { "type": "element", "label": "Truffle hunting and extraction in Italy, traditional knowledge and practice", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14615-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14615-HUG.jpg" }, "description": "Italian truffle hunting and extraction is a set of knowledge and practices that has been transmitted orally for centuries. Today, it still characterizes the rural life of entire communities in the Italian peninsula. Truffle hunters, or tartufai, usually live in rural areas and small villages. There are two steps to truffle hunting: the hunting and the extraction. The hunting entails the identification of areas where the truffle plant grows, from whose roots grows the underground fungus named \u2018truffle\u2019. This step is carried out with the help of a trained dog. The hunters then use a special spade that allows them to extract the truffles without disturbing the soil conditions. Truffle hunting involves a wide range of skills and knowledge (about climate, the environment and vegetation) related to the management of natural ecosystems and to the dog-truffle hunter relationship. This knowledge is passed on through oral traditions, including stories, fables, anecdotes and expressions that reflect the local cultural identity and create a sense of solidarity within the truffle hunting community. Truffle hunting is often associated with popular feasts that mark the beginning and end of the truffle season. The practices respect ecological balance and plant biodiversity, ensuring the seasonal regeneration of the truffle species.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/truffle-hunting-and-extraction-in-italy-traditional-knowledge-and-practice-01395", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14615-BIG.jpg", "copyright": "Archive Associazione Nazionale Citt\u00e0 del Tartufo, 2017", "title": "Black-truffle species extraction technique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14617-BIG.jpg", "copyright": "Archive Associazione Nazionale Citt\u00e0 del Tartufo, 2015", "title": "Exchange of truffle-hunting and extraction experiences and knowledge between bearers (truffle-hunters named 'tartufai')" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14618-BIG.jpg", "copyright": "Archive Associazione Nazionale Citt\u00e0 del Tartufo, 2017", "title": "Truffle-hunting and extraction in natural habitat (guided excursion)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14620-BIG.jpg", "copyright": "Archive Associazione Nazionale Citt\u00e0 del Tartufo, 2019", "title": "Truffle-hunting in hilly natural habitat (truffle-hunter girl)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14622-BIG.jpg", "copyright": "Archive Associazione Nazionale Citt\u00e0 del Tartufo, 2018", "title": "Dog's training by truffle-hunting in spring habitat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14623-BIG.jpg", "copyright": "Archive Associazione Nazionale Citt\u00e0 del Tartufo, 2016", "title": "Lacustrine truffle-territory (Altopiano Laceno, Campania Region)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14624-BIG.jpg", "copyright": "Archive Associazione Nazionale Citt\u00e0 del Tartufo, 2018", "title": "Mountain truffle-territory (Monte Subasio, Umbria Region)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14625-BIG.jpg", "copyright": "Archive Associazione Nazionale Citt\u00e0 del Tartufo, 2018", "title": "Transmission of the truffle-hunting (experience by truffle-hunter to scholars group)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14626-BIG.jpg", "copyright": "Archive Associazione Nazionale Citt\u00e0 del Tartufo, 2017", "title": "Truffle-hunter in natural habitat with dogs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14627-BIG.jpg", "copyright": "Archive Associazione Nazionale Citt\u00e0 del Tartufo, 2019", "title": "Truffle-hunters meeting (truffle-extraction itinerary for young people)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=WihU5XD8oHQ", "copyright": "Associazione Nazionale Citt\u00e0 del Tartuffo (ANCT), 2020", "title": "Truffle hunting and extraction in Italy: traditional knowledge and practices" } ], "sustainability": "" } }, "element_1396": { "type": "element", "label": "Me\u0111imurska popevka, a folksong from Me\u0111imurje", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11870-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11870-HUG.jpg" }, "description": "Me\u0111imurska popevka, a folksong from the Me\u0111imurje region, in the north-western part of Croatia, was historically predominantly a soloist vocal genre practised by women. Nowadays, it is performed by individuals and groups, men and women, in vocal, vocal-instrumental, instrumental, monophonic and multipart renditions, as a musical genre or incorporated into the dance. The lyrics are of great importance and establish a basis for the classification into, among others, love, sad-melancholic, humorous and church popevkas. The most active bearers are mostly members of cultural-artistic societies and associations, which have a long history in the country, but individual singers also play a key role as nuanced soloist renditions are typical for popevka. The element is practised in a broad range of social contexts, from solitary music-making to family and community happenings, work gatherings, religious events, and performances within and outside of Me\u0111imurje. The average inhabitants have all experienced popevka in numerous situations throughout their lives and are encouraged to join the music-making on such occasions. There are currently around fifty singers regarded as masters of the art for their transmission of classical merits of the genre and their capacity to imbue it with personal expressions, and women often serve as mentors in transmitting the practice to younger generations.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/meimurska-popevka-a-folksong-from-meimurje-01396", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11865-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "Family members singing at a family gathering, Zasadbreg" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11866-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "Children from kindergarten Cvr\u010dak in song, \u010cakovec, Novo Selo Rok" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11867-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "Performance of St Nikola Bishop Choir at St Catherine church in Zagreb" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11868-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "An exhibition about Me\u0111imurska popevka at Josip Slavenski High School, \u010cakovec" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11869-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "Re-enactment of harvest traditions and harvest melodies at a Harvest Festival, Cultural Association Gornji Vidovec" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11870-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "Folklore performance of a wedding dance of young women, Mala Subotica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11871-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "Male vocal ensemble performance, Josip \u0160tolcer Slavenski Choir at the Festival of Croatian Me\u0111imurje Folksong (Smotra Me\u0111imurske popevke), Nedeli\u0161\u0107e" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11872-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "Female vocal ensemble performance, Cultural Association Katru\u017ee Ivanovec at the festival of old Me\u0111imurje folk and sacral songs The Songbook of our Mothers (Pjesmarica na\u0161ih mamica), Ivanovec" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11873-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "Children's folklore ensemble performance, Cultural Association Zasadbreg at the Festival of Me\u0111imurje Children's Folksong, Sveti Martin na Muri" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11874-BIG.jpg", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "Funeral procession of a marching band from Donja Dubrava" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=AUPhhigls2U", "copyright": "Ministry of Culture of the Republic of Croatia, 2017", "title": "Me\u0111imurska popevka, a folkosong from Me\u0111imurje" } ], "sustainability": "" } }, "element_1397": { "type": "element", "label": "Chakan, embroidery art in the Republic of Tajikistan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11855-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11855-HUG.jpg" }, "description": "The art of Chakan embroidery is the practice of sewing ornaments, images of flowers and symbolic drawings with colourful threads on cotton or silk fabrics. The tradition is widespread among women and girls in Tajikistan. Chakan embroidery is used to decorate clothing and household items such as women\u2019s shirts, headscarves, curtains, pillows, bedspreads and coverlets for cradles. The embroidery features symbolic depictions and mythological images relating to the surrounding nature and cosmos, which express people\u2019s wishes and hopes. The practice involves selecting the textile and threads, drawing ornaments, creating needlepoint images and sewing clothes. In the past, the threads were prepared from cotton and silk fibres and coloured with natural paints made with plants and minerals: nowadays, Chakan dressmakers use fabric threads for needlework. In the Khatlon region, the Chakan shirt is an important bridal dress. Grooms wear a \u2018t\u0101qi\u2019 (the national skullcap featuring Chakan embroidery), and Tajik women and girls wear the Chakan dress during traditional festivals and holidays. The embroidered products are an expression of beauty, elegance and the unity of humans and nature. The young generation learn the art from their mothers, grandmothers and older sisters, and transmission also occurs in groups through the so-called \u2018ustod-shogird\u2019 (master-student) method. Individual craftswomen sell their products in bazaars and through dress shops, providing an important way of earning.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chakan-embroidery-art-in-the-republic-of-tajikistan-01397", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11855-BIG.jpg", "copyright": "Dilshod Rahimov, 2017", "title": "Savronbi Hasanova learns to her daughter embroidering national" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=eDUx4DUsFh0", "copyright": "TV Safina, 2017", "title": "Chakan - Tajik embroidery art" } ], "sustainability": "" } }, "element_1398": { "type": "element", "label": "Reggae music of Jamaica", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11877-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11877-HUG.jpg" }, "description": "Having originated within a cultural space that was home to marginalized groups, mainly in Western Kingston, the Reggae music of Jamaica is an amalgam of numerous musical influences, including earlier Jamaican forms as well as Caribbean, North American and Latin strains. In time, Neo-African styles, soul and rhythm and blues from North America were incorporated into the element, gradually transforming Ska into Rock Steady and then into Reggae. While in its embryonic state Reggae music was the voice of the marginalized, the music is now played and embraced by a wide cross-section of society, including various genders, ethnic and religious groups. Its contribution to international discourse on issues of injustice, resistance, love and humanity underscores the dynamics of the element as being at once cerebral, socio-political, sensual and spiritual. The basic social functions of the music \u2013 as a vehicle for social commentary, a cathartic practice, and a means of praising God \u2013 have not changed, and the music continues to act as a voice for all. Students are taught how to play the music in schools from early childhood to the tertiary level, and Reggae festivals and concerts such as Reggae Sumfest and Reggae Salute provide annual outlets, as well as an opportunity for understudy and transmission for upcoming artists, musicians and other practitioners.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/reggae-music-of-jamaica-01398", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11875-BIG.jpg", "copyright": "Semiyah Photography, 2017", "title": "Adazeh, all female reggae band, performing at the 2017 staging of the Jamaica Reggae Industry Association Awards" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11876-BIG.jpg", "copyright": "Semiyah Photography, 2016", "title": "Fan at the Redemption Reggae concert captivated by the music of reggae" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11877-BIG.jpg", "copyright": "Semiyah Photography, 2016", "title": "Ky-Mani Marley in performance at the One Love Reggae concert celebrating legend and father Bob Marley" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11879-BIG.jpg", "copyright": "Semiyah Photography, 2016", "title": "Marcia Griffiths, legendary member of the Bob Marley's background singers the 'I-Threes', now with her own solo career performing with jazz rhythm guitarist Donald Kingsley, who played with Peter Tosh at the Peter Tosh Reggae concert" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11880-BIG.jpg", "copyright": "MCGES, Entertainment Division, 2016", "title": "Mature Kingstonian enjoying reggae music playing at the launch of the Kingston Creative City of Music at Downtown Kingston" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11881-BIG.jpg", "copyright": "MTE, Entertainment Division, 2013", "title": "Rootz underground reggae band performing at the Arts in the Park Concert held at the Hope Gardens in February 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11882-BIG.jpg", "copyright": "Alpha Institute, 2017", "title": "Students from Alpha Institute Band in practice session" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11883-BIG.jpg", "copyright": "Institute of Jamaica, 2017", "title": "Students from the Kingsway Preparatory School engaging the musical instruments of legendary reggae musicians exhibited at the Jamaica Music Museum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11884-BIG.jpg", "copyright": "Alwyn Kirik, 2016", "title": "Local and internationally acclaimed artiste Freddie McGregor and physically challenged fan at the reggae concert in Barbados" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11885-BIG.jpg", "copyright": "Alwyn Kirik, 2016", "title": "Local and internationally acclaimed artiste Freddie McGregor and physically challenged fan at the reggae concert in Barbados" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=olYYISLYLiU", "copyright": "Raging Fyah\/Kingsley Michael 'Ibo' Cooper\/Big Ship studios\/Creative Production & Training Centre Ltd.\/Magamedia\/Licenced courtesy of Islands Records, a Division of Universal Music Operations Limited", "title": "Reggae music of Jamaica" } ], "sustainability": "The Reggae music of Jamaica originated as an expression of marginalized groups who were seeking justice and freedom. It incorporates various musical influences and styles that evolved into Reggae. Today it is an important and powerful symbol and cultural manifestation of social justice, peace, and equality. Transcending beyond national borders, it speaks for love, hope and a better world for all of humanity. Reggae has become a vehicle for expressing identities and creativity, while opening up a dialogue about cultural diversity among various ethnic groups across the world. The living heritage also relates to SDG #5 Gender Equality and SDG #10 Reduced Inequalities." } }, "element_1399": { "type": "element", "label": "Heritage of Dede Qorqud\/Korkyt Ata\/Dede Korkut, epic culture, folk tales and music", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11934-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11934-HUG.jpg" }, "description": "The epic culture, folk tales and music of Dede Qorqud\/Korkyt Ata\/Dede Korkut are based on twelve heroic legends, stories and tales and thirteen traditional musical compositions shared and transmitted across the generations through oral expressions, performing arts, cultural codes and musical compositions. Dede Qorqud appears in each story as a legendary figure and wise individual, a sage of minstrels whose words, music and expressions of wisdom relate to traditions of birth, marriage and death. In the musical compositions, the main intonations are reproduced using a musical instrument called the Kobyz through the sounds of nature, and imitation soundscapes are characteristic of this medium (such as the imitation of a wolf\u2019s howl or a swan\u2019s note). The musical compositions are all interconnected by the epic stories that accompany them. The element encompasses social, cultural and moral values such as heroism, dialogue, physical and spiritual wellness and unity as well as respect for nature, and contains profound knowledge about the history and culture of Turkic-speaking communities. It is practised and sustained by the community concerned on a wide variety of occasions \u2013 from family events to national and international festivals \u2013 and is therefore well-rooted in society, serving as a connecting thread between generations.", "list": "RL", "year": 2018, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/heritage-of-dede-qorqud-korkyt-ata-dede-korkut-epic-culture-folk-tales-and-music-01399", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11929-BIG.jpg", "copyright": "Ramil Abbakirov, Azerbaijan, 2017", "title": "Teaching at the school on the epos of Dede Qorqud , Secondary school N 160, Baku, Azerbaijan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11930-BIG.jpg", "copyright": "Ramil Abbakirov, Azerbaijan, 2017", "title": "Teaching at the school on the epos of Dede Qorqud , Secondary school N 160, Baku, Azerbaijan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11931-BIG.jpg", "copyright": "Ramil Abbakirov, Azerbaijan, 2017", "title": "Book of Dede Qorqud, Secondary school N 160, Baku, Azerbaijan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11932-BIG.jpg", "copyright": "Alexey Kamensky, Kazakhstan, 2017", "title": "Musical performance kyu trough Bakyt Karibayeva with her teachings Tokhtar Agyraev\r\nKyzylorda, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11933-BIG.jpg", "copyright": "Alexey Kamensky, Kazakhstan, 2017", "title": "Kyu Korkyt Ata performed by Maksat Mukhamedzhan, kobyz performer, a senior professor at Kyzylorda State University named after Korkyt Ata, Kyzylorda, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11934-BIG.jpg", "copyright": "Alexey Kamensky, Kazakhstan, 2017", "title": "Teaching games on kobyz kyev Korkyt in the children's music school named after A. Zhubanov, Almaty, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11935-BIG.jpg", "copyright": "Alexey Kamensky, Kazakhstan, 2017", "title": "Master of the production of folk musical instruments Zholausi Turdykulov. Holds the future kobyz in his hand, Almaty, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11936-BIG.jpg", "copyright": "Evrim Olcer Ozunel, Turkey, 2017", "title": "Maddahs practice public performances on different events where legends from Dede Korkut\u2019s epos are being told" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11937-BIG.jpg", "copyright": "Evrim Olcer Ozunel, Turkey, 2017", "title": "Masal Anlary are the women who tell younger generations the stories from the epic legacy of Dede Korkyt" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11938-BIG.jpg", "copyright": "Alexey Kamensky, Kazakhstan, 2017", "title": "Informal learning games on kobyz in the family, Kyzylorda, Kazakhstan, 2017" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=bwf8DXUI0Xs", "copyright": "Alexey Kamensky, 2017", "title": "Heritage of Korkyt-Ata, Dede Korkut, Dede Qorguid" } ], "sustainability": "" } }, "element_1400": { "type": "element", "label": "La Romer\u00eda (the pilgrimage): ritual cycle of 'La llevada' (the carrying) of the Virgin of Zapopan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11893-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11893-HUG.jpg" }, "description": "The annual celebration of La Romer\u00eda on 12 October, honouring the image of the Virgin of Zapopan, is a tradition that dates back to 1734. The day marks the final phase of the annual ritual cycle popularly known as \u2018The Carrying of the Virgin\u2019, which begins in May and encompasses many community and liturgical activities. The cycle ends with the return journey to the Basilica, in Zapopan. More than two million people take part, and one of the main features of the festivity is the huge presence and participation of different native dancer groups. The carrying (\u201cLa Llevada\u201d) and the activities derived from the ritual cycle encompass a mass public demonstration in which the streets and public spaces become a ritual festival for the community, featuring different artistic expressions of collective collaboration. Throughout the year, the planning of the activities depends on the interaction of different communities, helping them to renew and reinforce their social ties. Thanks to the community\u2019s support for the practice year after year, La Romer\u00eda is considered as one of the most popular and strongly rooted traditions in west Mexico. Through organized civil and ecclesiastical groups, the community of bearers and practitioners has ensured the survival of this cultural manifestation.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/la-romeria-the-pilgrimage-ritual-cycle-of-la-llevada-the-carrying-of-the-virgin-of-zapopan-01400", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11886-BIG.jpg", "copyright": "Kaniw\u00e1 Comunicaci\u00f3n y Patrimonio Cultural, 2013", "title": "The Virgin of Zapopan's attire is notable for its golden tones; it has a triangular shape with a long cape and embroidered over fine fabrics. The image was a gift to Zapopan on the day of its foundation in 1541" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11887-BIG.jpg", "copyright": "Kaniw\u00e1 Comunicaci\u00f3n y Patrimonio Cultural, 2013", "title": "The Virgin is received by the bearer and practitioner communities with great jubilation in the different visits she makes, as part of the significant features of the tradition of 'The Carryiyng' ('La Llevada') dated since 1734" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11888-BIG.jpg", "copyright": "Kaniw\u00e1 Comunicaci\u00f3n y Patrimonio Cultural, 2013", "title": "An escort of children accompanies and guards the Image in its ritual tour, demonstrating the great validity of the tradition and the warranty of continuity and transmission to the next generations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11889-BIG.jpg", "copyright": "Kaniw\u00e1 Comunicaci\u00f3n y Patrimonio Cultural, 2013", "title": "On the most important and impressive visits of the ritual cycle 'The Carrying' is to the Chapala Lake" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11890-BIG.jpg", "copyright": "Kaniw\u00e1 Comunicaci\u00f3n y Patrimonio Cultural, 2013", "title": "Massive participation in the Renewal of Sponsorship Mass on the Esplanade of the Hospicio Caba\u00f1as, a fact that marks the last point in the itinerary of the Traveling Virgin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11891-BIG.jpg", "copyright": "Kaniw\u00e1 Comunicaci\u00f3n y Patrimonio Cultural, 2013", "title": "From the early hours of October 12th, thousands of dancers dressed in brightly colored attires fill the streets of Guadalajara. These groups accompany the Virgin of Zapopan from almost 280 years ago" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11892-BIG.jpg", "copyright": "Zapopan Municipal Governemnt", "title": "More than two million people participate in the procession of October 12th, day in which the Virgin of Zapopan returns to her shrine and culminating day of the ritual cycle of 'La Llevada'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11893-BIG.jpg", "copyright": "Kaniw\u00e1 Comunicaci\u00f3n y Patrimonio Cultural, 2013", "title": "The deep sound of the snail shells, of pre-Hispanic inheritance, played by the dancers, welcomes the Virgin of Zapopan in her shrine, is one of the main features that distinguish this cultural expression" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11894-BIG.jpg", "copyright": "Kaniw\u00e1 Comunicaci\u00f3n y Patrimonio Cultural, 2013", "title": "The dance groups' attires consist of multiple variations of pre-Hispanic inspiration, profusely decorated with feather art, beads, sequins, etc., with designs in permanent recreation. Even when they are all war dances, each has its own identity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11895-BIG.jpg", "copyright": "Zapopan Municipal Governemnt", "title": "A woman carries his young son during the preparations for October 13th, the Day of the Dancer. The continuity of this cultural expression is ensured through its transmission to the next generations" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=2IelZSpkxLM", "copyright": "Kaniw\u00e1 Comunicaci\u00f3n y Patrimonio Cultural, 2013", "title": "La Romer\u00eda (the Pilgrimage): ritual cycle of 'La llevada' (the Carrying) of the Virgin of Zapopan" } ], "sustainability": "" } }, "element_1402": { "type": "element", "label": "Traditional spring festive rites of the Kazakh horse breeders", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11785-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11785-HUG.jpg" }, "description": "Traditional spring festive rites of the Kazakh horse breeders \u2013 taking place in Terisakkan Village in the Ulytau District of Karaganda Oblast \u2013 mark the end of the old and the beginning of the new yearly horse-breeding cycle. Rooted in traditional knowledge about nature and the age-old relations between man and horse, the rites involve skills inherited from nomadic ancestors, adapted to present-day reality. Preceded by year-long preparations, the main constituents of the practice are: \u2018Biye baylau\u2019 (literally, \u2018tethering mares\u2019), the ancient \u2018first milking\u2019 rite encompassing the separation of mares and foals from the herds, milking the mares, and celebrating with songs, dances and games; \u2018Ayghyr kosu\u2019 (figuratively, the \u2018stallion\u2019s marriage\u2019), a recent rite for adjoining stallions in herds; and \u2018Kymyz muryndyk\u2019 (metaphorically, the \u2018initiation of koumiss\u2019), the \u2018first koumiss sharing\u2019 rite, opening the season of its production and sharing. The rites take around three weeks in total, until the koumiss sharing ceremonies, which take place in every household, are over. The rites open a new yearly cycle of reproduction and manifest traditional Kazakh hospitality. Faced with the forced transition in the twentieth century from a nomadic way of life to a settled one, bearers have adapted the traditional form of horse breeding to meet present-day conditions to ensure its continued viability.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-spring-festive-rites-of-the-kazakh-horse-breeders-01402", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11781-BIG.jpg", "copyright": "National Historic, Cultural and Natural Reserve-Museum 'Ulytau' (Kazakhstan), 2012", "title": "Preparations for biye baylau, a spring festive rite of the first milking of mares, always ending with zheli maylau (greasing with butter a rope for tethering mares and foals, as well as the pegs to which it is tied)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11782-BIG.jpg", "copyright": "National Historic, Cultural and Natural Reserve-Museum 'Ulytau' (Kazakhstan), 2011", "title": "All preparations for milking are over. The villagers worship near their horses, and the elder man gives his blessing to them." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11783-BIG.jpg", "copyright": "National Historic, Cultural and Natural Reserve-Museum 'Ulytau' (Kazakhstan), 2013", "title": "From the early morning, on round tables or just on the earth near tethered horses, the families serve a ritual food for regaling villagers and visitors. Presenting the images of ancestors, famous horse breeders, is a new tradition." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11784-BIG.jpg", "copyright": "National Historic, Cultural and Natural Reserve-Museum 'Ulytau' (Kazakhstan), 2017", "title": "On the day of biye baylau, the first milking is always performed by women. Men assist them, bringing foals, one by one, to mares for suckling and then taking them back to allow for milking." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11785-BIG.jpg", "copyright": "National Historic, Cultural and Natural Reserve-Museum 'Ulytau' (Kazakhstan), 2013", "title": "Ayghyr kosu is a rite succeeding the milking. Young men lead stallions (ayghyr\u2019s) out and keep them in check until women take milk away with them. Then, the bridles are taken off and the stallions join their herds." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11786-BIG.jpg", "copyright": "National Historic, Cultural and Natural Reserve-Museum 'Ulytau' (Kazakhstan), 2013", "title": "Horse breeders of Terisakkan Village celebrate 'biye baylau' playing dombra and singing traditional songs." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11787-BIG.jpg", "copyright": "National Historic, Cultural and Natural Reserve-Museum 'Ulytau' (Kazakhstan), 2011", "title": "Children participate in the festive events, enjoying them together with adults and playing various games with assyks - talus bones of sheeps." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11788-BIG.jpg", "copyright": "National Historic, Cultural and Natural Reserve-Museum 'Ulytau' (Kazakhstan), 2011", "title": "Qubi smoking rite. A man kindles fresh tobylghy (a kind of juniper) in samovar. A woman treats a qubi (a wooden barrel for preparing kymyz (koumiss), greased inside with fresh May butter prior to smoking." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11789-BIG.jpg", "copyright": "National Historic, Cultural and Natural Reserve-Museum 'Ulytau' (Kazakhstan), 2016", "title": "Kymyz muryndyk is a festive rite of sharing and tasting the first kymyz. One after another, all families invite the others to taste their kymyz. The elderly women are invited first and occupy most honorable places." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11790-BIG.jpg", "copyright": "National Historic, Cultural and Natural Reserve-Museum 'Ulytau' (Kazakhstan), 2016", "title": "Kymyz muryndyk is a favourite and long-awaited festive event, lasting for many days and bringing together not only the whole community of the village, but also many visitors from far away." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Kx_-XBQELIs", "copyright": "Alexey Kamenskiy (Kazakhstan), 2017", "title": "Traditional spring festive rites of the Kazakh horse breeders" } ], "sustainability": "" } }, "element_1405": { "type": "element", "label": "Festivity of Las Parrandas in the centre of Cuba", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11902-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11902-HUG.jpg" }, "description": "Held for the first time in 1820 in the town of Remedios, the Festivity of Las Parrandas is now celebrated by eighteen communities in the centre of Cuba, mostly taking place towards the final months of the year. The Parrandas is a cultural competition between the two neighbourhoods or parties into which each town is divided, with \u2018spies\u2019 attempting to spoil the surprise of the opposing neighbourhood on the night of the festivity. The two parties work all year long to prepare for the competition, which takes place on the night of the Festivity of Las Parrandas. The festivities involve a wide range of expressions, including: the design and construction of replicas and monuments, floats and costumes; songs and dances; fireworks; and decorations such as lamps, lanterns, banners and emblems allegoric to each neighbourhood. Everyone in the eighteen communities, regardless of their social class, gender, age, religion, profession or background, is involved in the festivities, and the monuments, replicas of monuments and floats constitute a spectacular display of the imagination and creativity of the groups, who recreate and re-enact stories using lights, colours and shapes. Traditional knowledge and skills related to the element are constantly combined with new elements, meaning that Las Parrandas are always traditional and contemporary at the same time.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/festivity-of-las-parrandas-in-the-centre-of-cuba-01405", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11896-BIG.jpg", "copyright": "National Council for Cultural Heritage, Cuba, 2014", "title": "Julia P\u00e9rez. 74 years old. Prop Designer in San Salvador neighborhood, Remedios" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11897-BIG.jpg", "copyright": "National Council for Cultural Heritage, Cuba, 2014", "title": "Flag-bearer, fire and Plaza site Work" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11898-BIG.jpg", "copyright": "National Council for Cultural Heritage, Cuba, 2014", "title": "Parranderos prepare firecrackers boards" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11899-BIG.jpg", "copyright": "National Council for Cultural Heritage, Cuba, 2014", "title": "To assemble float" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11900-BIG.jpg", "copyright": "National Council for Cultural Heritage, Cuba, 2014", "title": "Jorge Luis (Pimp\u00f3n), hairdresser" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11901-BIG.jpg", "copyright": "National Council for Cultural Heritage, Cuba, 2014", "title": "Designers work in a housework" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11902-BIG.jpg", "copyright": "National Council for Cultural Heritage, Cuba, 2014", "title": "Musicians play Reja" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11903-BIG.jpg", "copyright": "National Council for Cultural Heritage, Cuba, 2014", "title": "Plaza site Work" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11904-BIG.jpg", "copyright": "National Council for Cultural Heritage, Cuba, 2014", "title": "Character in the float" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11905-BIG.jpg", "copyright": "National Council for Cultural Heritage, Cuba, 2014", "title": "Departure from San Salvador neighborhood. Remedies" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TJSLHPycLUI", "copyright": "National Council for Cultural Heritage, Cuba, 2017", "title": "Las Parrandas in the central region of Cuba" } ], "sustainability": "" } }, "element_1406": { "type": "element", "label": "Pottery skills of the women of Sejnane", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11556-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11556-HUG.jpg" }, "description": "The pottery skills of the women of Sejnane relate to the practice of using a specific technique to produce terracotta artefacts for the home, including cooking utensils, dolls and animal figurines inspired by the environment. All stages of the pottery-making process are performed by women, who also sell the pots in the village and by the side of neighbouring roads; women therefore occupy a prominent place in the community. The clay is usually extracted from wadi beds, and is then cut into blocks, crushed, purified and soaked in water, before being kneaded and shaped. Once fired, the pots are then decorated with two-tone geometrical patterns reminiscent of traditional tattoos and Berber weaving. Men are involved in the sales process, making this a family-based craft that promotes family cohesion. Faced with socioeconomic changes, the women of Sejnane have adapted their craft to modern-day needs and fluctuations in demand, showing their capacity for innovation. The knowledge and skills relating to the craft of handmade pottery in Sejnane are passed down through traditional and informal education, in communities where daughters are encouraged to learn this art of firing alongside going to school. The National Office for Crafts also delivers training courses for young women in the community who want to dedicate themselves to this activity.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pottery-skills-of-the-women-of-sejnane-01406", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11553-BIG.jpg", "copyright": "Aymen Maalaoui (Tunisia), 2016", "title": "P\u00e9trissage de l\u2019argile" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11554-BIG.jpg", "copyright": "Aymen Maalaoui (Tunisia), 2016", "title": "Modelage: pose du 1er colombin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11555-BIG.jpg", "copyright": "Aymen Maalaoui (Tunisia), 2017", "title": "Modelage des parois" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11556-BIG.jpg", "copyright": "Aymen Maalaoui (Tunisia), 2016", "title": "Lissage \u00e0 l\u2019aide d\u2019une raclette" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11557-BIG.jpg", "copyright": "Aymen Maalaoui (Tunisia), 2016", "title": "Polissage \u00e0 l\u2019aide d\u2019une coquille" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11558-BIG.jpg", "copyright": "Aymen Maalaoui (Tunisia), 2017", "title": "S\u00e9chage en plein air" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11559-BIG.jpg", "copyright": "Aymen Maalaoui (Tunisia), 2016", "title": "Engobage au kaolin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11560-BIG.jpg", "copyright": "Aymen Maalaoui (Tunisia), 2017", "title": "D\u00e9coration \u00e0 l\u2019ocre rouge" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11561-BIG.jpg", "copyright": "Aymen Maalaoui (Tunisia), 2016", "title": "Sortie de cuisson" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11562-BIG.jpg", "copyright": "Aymen Maalaoui (Tunisia), 2017", "title": "Poti\u00e8res et poteries" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=a8YKG50WR3M", "copyright": "Association de sauvegarde de l'environnement \u00e0 Sejnane, 2017", "title": "Et de la terre naquit la vie - Savoir-faire li\u00e9s \u00e0 la poterie des femmes de Sejnane" } ], "sustainability": "The pottery made by the women of Sejnane is a manifestation of the integral role of females in this community. All stages of the process of making the elaborate handmade pots decorated with delicate traditional patterns are performed by women and supported by men. Knowledge and skills are transmitted through the mother-daughter lineage as well as through informal education. Income generated from selling the pottery products promotes sustainable livelihoods, with the women as the main contributors to the local economy. This element also links to SDG # 1: No Poverty." } }, "element_1409": { "type": "element", "label": "Success story of promoting traditional foods and safeguarding traditional foodways in Kenya", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12414-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12414-HUG.jpg" }, "description": "In Kenya, traditional foodways were under threat due to historical factors and the pressure of modern lifestyles. Local foods were looked down upon and were associated with poverty and backwardness. Understanding that a decline in food diversity and knowledge would have serious ramifications on health and on food and nutrition insecurity, in 2007 Kenya committed to safeguarding related practices and expressions. Two main initiatives were launched, in collaboration with scientists and community groups. The first involved inventorying traditional foods, with a focus on traditional vegetables. About 850 indigenous plants with local names were recorded. This was followed by the detailed documentation of use and related indigenous knowledge (including recipes) and practices (such as ceremonies). Finally came rigorous promotion of the foods. For the second initiative, UNESCO in partnership with the Department of Culture and the International and National Museums of Kenya, and in consultation with community leaders, initiated a pilot project to identify and inventory traditional foodways in partnership with primary school children to raise awareness about the threat to traditional foodways. Both initiatives have since led to other related activities carried out independently by local institutions, and several similar initiatives have been launched among other communities in Kenya, Ethiopia and Burkina Faso.", "list": "GSP", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/success-story-of-promoting-traditional-foods-and-safeguarding-traditional-foodways-in-kenya-01409", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12409-BIG.jpg", "copyright": "Patrick Maundu, Kenya, 2017", "title": "A sacred site in Kamaembe where traditional food is offered before planting." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12410-BIG.jpg", "copyright": "Patrick Maundu, Kenya, 2012", "title": "A Pokot elder, Kepet, 'reading' the intestines of a slaughtered goat to predict the state of the weather." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12411-BIG.jpg", "copyright": "Patrick Maundu, Kenya, 2016", "title": "Girls in Kamaembe, Kitui pounding grain using the traditional way. Only certain varieties can be pounded this way without splitting." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12412-BIG.jpg", "copyright": "Y. Morimoto, Kenya, 2016", "title": "Mrs Mulee Kimonyi of Kyanika Adult Women Group using a tape recorder to document indigenous knowledge from an elderly lady, Ukulu." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12413-BIG.jpg", "copyright": "Patrick Maundu, Kenya, 2017", "title": "Ms Mukui Munzaa demonstrating the value of creeping forms of cow-peas in soil erosion control, Kamaembe, Kitui." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12414-BIG.jpg", "copyright": "Patrick Maundu, Kenya, 2012", "title": "Girls from Muraka Primary School, Kakamega County, reciting a poem on traditional foods during a foodways fair." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12415-BIG.jpg", "copyright": "Patrick Maundu, Kenya, 2012", "title": "Pokot boys performing during a traditional foods fair in Chemolingot, Baringo." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12416-BIG.jpg", "copyright": "Patrick Maundu, Kenya, 2012", "title": "Members of the Isukha community and pupils of Muraka and Shihuli primary schools, Kakamega country, marching to create awareness on traditional foodways." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12417-BIG.jpg", "copyright": "Patrick Maundu, Kenya, 2012", "title": "A young boy admiring artwork on Pokot foodways during traditional foodways celebrations in Chemolingot, 2012." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12418-BIG.jpg", "copyright": "Patrick Maundu, Kenya, 2011", "title": "Ms Adanje holding traditional vegetables in Kakamega market." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=kTZRLiBbmjc", "copyright": "Patrick M. Maundu, Kenya, 2017", "title": "Duruma food growing seasons" } ], "sustainability": "" } }, "element_1410": { "type": "element", "label": "Dondang Sayang", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11944-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11944-HUG.jpg" }, "description": "Dondang Sayang is a traditional Malay art still practised in Melaka by four communities: the Malay, Baba Nyonya, Chitty and Portuguese communities. The practice combines elements of music (violins, gongs and tambourines or the tambour), songs and chants, and features beautiful melodious strains of poetry. Also known as love ballads, the songs are used by communities to convey feelings of love and give advice on special topics such as love and kindness. During the Melaka Sultanate era in the fifteenth century, Dondang Sayang was performed at Royal Palace ceremonies and events; subsequently, the performance became widespread among the communities concerned. Based on tradition, Dondang Sayang performances are accompanied by music and sung by two singers of the opposite sex, who sing in quatrains. Typically, Dondang Sayang singers are individuals who are highly competent and skilled in poetry recitation. Dongdang Sayang performances are open to all, irrespective of age, occupation, status or religion, and the art is considered as a means of conveying positive messages and sharing feelings of love, joy and sorrow that strengthen community bonding. Performances are held on a regular basis, especially during gatherings, festivals and parties, and nowadays many cultural programmes, activities and training activities are organized for those interested in participating and improving their singing and performance skills.", "list": "RL", "year": 2018, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/dondang-sayang-01410", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11939-BIG.jpg", "copyright": "Departmant of National Heritage, Malaysia, 2016", "title": "Combination of new and old generation of the Dondang Sayang singer during the official opening ceremony of ICH capacity building workshop in Melaka in 2016" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11940-BIG.jpg", "copyright": "Sekolah Kebangsaan Kemendor, Jasin Melaka, Malaysia, 2015", "title": "Younger generation of the Dondang Sayang singer during the Dondang Sayang primary school competition in Melaka, 2015" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11941-BIG.jpg", "copyright": "Daniel Ang Yam Sent, Malaysia", "title": "The Dondang Sayang performance by Baba Nyonya community (multi-racial involvement)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11942-BIG.jpg", "copyright": "Daniel Ang Yam Sent, Malaysia, 1969", "title": "Old photo of the Dondang Sayang consisting of multi ethnic participation in a performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11943-BIG.jpg", "copyright": "Departmant of National Heritage, Malaysia, 2012", "title": "Recognition for Madam Nyonya Tan under the National Heritage Act (Act 645) as a National Living Person during the ceremony of the National Heritage Declaration in Kuala Lumpur in 2012" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11944-BIG.jpg", "copyright": "Perbadanan Muzium Negeri Melaka (PERZIM), Malaysia, 2015", "title": "The Dondang Sayang performance during the opening ceremony of Bengkel Dondang Sayan in 2015" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11945-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2007", "title": "The Dondang Sayang performance by Madam Nyonya Tan Abdullah (National Living Person) with Mr Abas Katan in 2007" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11946-BIG.jpg", "copyright": "Institut Seni Lakatsua Lekaja (ISMMA), 2014", "title": "The Dondang Sayang performance during a local community event" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11947-BIG.jpg", "copyright": "Departmant of National Heritage, Malaysia, 2016", "title": "Promotion of the Dondang Sayan performance during the UNESCO Day programme in 2016, organized by the Department of National Heritage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/11948-BIG.jpg", "copyright": "Departmant of National Culture and Arts, Ministry of Tourism and Culture, Malaysia, 2014", "title": "The Dondang Sayan Apprenticeship Programme, organized by the Department of National Culture and Arts, Ministry of Tourism and Culture, Malaysia" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=NalYYxQQMkU", "copyright": "", "title": "Dondang Sayang" } ], "sustainability": "" } }, "element_1432": { "type": "element", "label": "Practice of traditional music and dance in Setesdal, playing, dancing and singing (stev\/stevjing)", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12142-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12142-HUG.jpg" }, "description": "In the practice of traditional music and dance in Setesdal, playing, dancing and singing (stev\/stevjing), traditional dance and music belong together, interwoven in the social context. The melodies are named after the \u2018gangar\u2019 dance and are mostly dance tunes; the melodies of the \u2018stev\u2019 songs can be played on instruments, and the lyrics often describe the dancing or playing of the practitioners. The \u2018stev\u2019 are often performed in the intervals between the dancing and playing, and are sung solo or by two or more singers in a dialogue with each other called \u2018stevjing\u2019. The lyrics are four-line verses telling a story. The dance is practised either by solo couples or by multiple couples in a clockwise circle with a change of dance partners and can be performed in either a modest way or wildly and vigorously. The music is performed on the \u2018Hardanger\u2019 fiddle, Norway\u2019s national instrument, and the jaw harp. Setesdal can be traced back to the 18th century, and has enjoyed continuous transmission. It is constantly evolving, with new song texts being made for traditional \u2018stev\u2019 tunes, and new tunes composed. The traditional form of transmission \u2013 through social gatherings or from adult experts to younger generations \u2013 remains the main method of learning the element.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/practice-of-traditional-music-and-dance-in-setesdal-playing-dancing-and-singing-stev-stevjing-01432", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12139-BIG.jpg", "copyright": "Knut Utler, 2012", "title": "Local traditional dancers performing the Gangar dance of Setesdal in a group. The practitioners wear traditional folk costumes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12140-BIG.jpg", "copyright": "Knut Utler, 2012", "title": "Local traditional dancers performing the Gangar dance of Setesdal danced solo. The practitioners wear traditional folk costumes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12141-BIG.jpg", "copyright": "Agder Folk Music Archive, 2007", "title": "Local traditional fiddler playing the Hardanger fiddle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12142-BIG.jpg", "copyright": "Knut Utler, 2012", "title": "Local traditional Jews Harp musician. The practitioner wears traditional folk costume" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12143-BIG.jpg", "copyright": "Agder Folk Music Archive, 2012", "title": "Local traditional singers singing Stev from Setesdal" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12144-BIG.jpg", "copyright": "Knut Utler, 2012", "title": "Dance workshop. Teachers are local traditional dancers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12145-BIG.jpg", "copyright": "Knut Utler, 2014", "title": "Workshop for Hardanger fiddle musicians. Teacher is local traditional fiddler" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12146-BIG.jpg", "copyright": "Knut Utler, 2014", "title": "Workshop for singers in Setesdal tradition. Teacher is local traditional singer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12147-BIG.jpg", "copyright": "Agder Folk Music Archive, 2012", "title": "Local traditional singer teaching Stev to young people in Setesdal" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12148-BIG.jpg", "copyright": "Knut Utler, 2014", "title": "Workshop for Jew's harp musician in Setesdal tradition. Teacher is local traditional musician" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=w1nJ_1CRDyI", "copyright": "Setesdal spelemannslag\/Agder Folk Music Archive, 2017", "title": "Practice of traditional music and dance in Setesdal. Playing, dancing and singing (stev\/stevjing)" } ], "sustainability": "" } }, "element_1456": { "type": "element", "label": "Tradition of Kosiv painted ceramics", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12520-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12520-HUG.jpg" }, "description": "The tradition of Kosiv painted ceramics \u2013 which include dishes, ceremonial items, toys and tiles \u2013 arose in the 18th century, reaching its golden age in the mid-19th century. The products are made using local grey clay, watered with a white clay of creamy texture; when dried, they are painted using a metal stick scratching technique to form a graphical contour drawing. They are then fired and painted with metal oxides to produce the traditional green and yellow colors, an indispensable feature of the ceramics. Sometimes, masters add a little cobalt, but not so much as to lose the traditional colouring. During the firing, the green dye spreads to create the watercolour effect, usually called \u2018tears\u2019. The main feature of Kosiv ceramics is the figurative design of the ornament. The plot motif expresses the history, life, folklore, beliefs and customs of the Hutsuls, and surrounding flora and fauna. The ceramics are used in everyday life and have a practical and artistic value. Masters work in family workshops and small craft workshops and the practice constitutes an identity marker and sign of affiliation with the community. The Department of Art Ceramics of Kosiv College ensures the continuity of generations of masters and bearers and has a special responsibility for sustaining the tradition, preserving the traditional technological cycle (potter\u2019s wheels, clay, tools and pottery kilns).", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/tradition-of-kosiv-painted-ceramics-01456", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12518-BIG.jpg", "copyright": "Svitlana Pakhlova", "title": "Creation of pottery, master Mykola Chorny" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12519-BIG.jpg", "copyright": "Svitlana Pakhlova", "title": "Painting on the pottery in the technique 'rytuvannia', master-class for children" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12520-BIG.jpg", "copyright": "Svitlana Pakhlova", "title": "Painting on the pottery in the technique 'rytuvannia', youngest bearer Anastasiya Slava, born in 2009" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12521-BIG.jpg", "copyright": "Svitlana Pakhlova", "title": "Pottery works painted by the technique 'rytuvannia'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12522-BIG.jpg", "copyright": "Svitlana Pakhlova", "title": "Master Oksana Beysyuk is painting pottery work by the technique 'rizhkvannya'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12523-BIG.jpg", "copyright": "Svitlana Pakhlova", "title": "Painted pottery works before the final firing, Valentyna Dzhuranyuk's works" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12524-BIG.jpg", "copyright": "Svitlana Pakhlova", "title": "Master Orest Chorny is taking out painted pottery works from the muffle furnace after final firing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12525-BIG.jpg", "copyright": "Svitlana Pakhlova", "title": "Traditional forms of pottery workers, products of the Trots family" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12526-BIG.jpg", "copyright": "Svitlana Pakhlova", "title": "Workshop of the master Ivanna Dileta-Kozack" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12527-BIG.jpg", "copyright": "Svitlana Pakhlova", "title": "Tiled stove decorated by traditional Kosiv painted ceramics, Trots family" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=USG3oaW0Dm4", "copyright": "Ruslan Henkaliuk, 2017", "title": "Tradition of Kosiv painted ceramics" } ], "sustainability": "" } }, "element_1458": { "type": "element", "label": "Spring rite of Jura\u016dski Karahod", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12687-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12687-HUG.jpg" }, "description": "The spring rite of Jura\u01d4ski Karahod is performed by residents of the village of Pahost on St. George\u2019s Day. For Belarusians, St. George safeguards livestock and agriculture. In Pahost, the holiday is observed through a specific ceremonial rite that encompasses various ceremonial activities, songs, games, omens and beliefs. Traditionally, the ritual involves two cycles. The first cycle takes place in the courtyard, where the animals are led out of the barn for the first time after winter, with a series of ritual acts to protect the livestock. The second cycle is associated with the agricultural tradition; it begins on the eve of the holiday with baking the ceremonial bread (Karahod) and \u2018black\u2019 (sacrificial) bread. The next morning, the villagers go to the field, carrying a ceremonial towel, the bread and an eight-pointed star. Women singing ceremonial songs and men carrying the Karhod form a circle and sing and a piece of the black loaf is buried in the ground while pronouncing the plea to God for a good harvest. Participants then hand out pieces of ritual bread throughout the village and the festivities continue until evening. Despite the community\u2019s concerted efforts to safeguard the element, it is currently threatened by numerous factors such as Pahost\u2019s gradually ageing population, a shortage of jobs in the village, globalization, folklorization of the element, and the general socio-economic situation in the region.", "list": "USL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/spring-rite-of-juraski-karahod-01458", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12687-BIG.jpg", "copyright": "Mikus, 2017", "title": "Katsiaryna Panchenya, an active ICH bearer from Pahost village bakes the ritual bread 'Karahod' in the oven" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12688-BIG.jpg", "copyright": "Belausau, 2009", "title": "In the hands of the local resident from Pahost village Julia Panchenya is three branches of a fruit tree, wrapped in pastry and baked in the fire, for the decoration of the ritual bread 'Karahod'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12689-BIG.jpg", "copyright": "Belausau, 2009", "title": "Performing the ritual songs around the bread 'Karahod'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12690-BIG.jpg", "copyright": "Mikus, 2017", "title": "The ceremonial taking of ritual bread from home" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12691-BIG.jpg", "copyright": "Belausau, 2012", "title": "Passaging the ritual procession around the village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12692-BIG.jpg", "copyright": "Belausau, 2012", "title": "The way to the field with the ritual bread 'Karahod'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12693-BIG.jpg", "copyright": "Belausau, 2012", "title": "The ritual dance in the field" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12694-BIG.jpg", "copyright": "Mikus, 2017", "title": "The ritual dance in the field" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12695-BIG.jpg", "copyright": "Mikus, 2017", "title": "Performing ritual dance in the center of the village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12696-BIG.jpg", "copyright": "Belausau, 2009", "title": "Establishment of the sign of the intangible cultural heritage in Pahost village" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Lq7QSIKIx6E", "copyright": "CH&M Foundation", "title": "Spring rite of Yurauski Karahod" }, { "url": "https:\/\/www.youtube.com\/watch?v=vYO8Je4qvOw", "copyright": "CH&M Foundation", "title": "Spring rite of Yurauski Karahod" } ], "sustainability": "" } }, "element_1460": { "type": "element", "label": "Holy Week processions in Mendrisio", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12535-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12535-HUG.jpg" }, "description": "The Holy Week processions take place in the historic town of Mendrisio on the evenings of Maundy Thursday and Good Friday, attracting over 10,000 spectators. On these occasions, the city\u2019s lights are turned off and the streets are lit by the glow of \u2018transparencies\u2019: translucent paintings mounted on wooden frames and illuminated from within, made using a specific painting technique developed since the late 18th century. Nowadays, the 260 transparencies depict biblical scenes and symbols. The Thursday procession is devoted to staging the Passion and the Stations of the Cross and involves around 270 extras. The sounds of trumpets and drums set the pace and fill the streets with a contemplative atmosphere. The Good Friday procession is more austere: hundreds of children and adults march along carrying over 500 ceremonial objects, including 320 lanterns representing symbols of the Passion of Christ. The choreography and scenography of the processions foster a contemplative atmosphere, and the transparencies promote local craftsmanship. Hundreds of men and women volunteer to organize the practice, and a significant portion of the population supports it by attending the processions. The Fondazione Processioni Storiche di Mendrisio is committed to preparing and organizing the Processions with wide community participation and ensures the transmission of related knowledge by its members and beyond.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/holy-week-processions-in-mendrisio-01460", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12528-BIG.jpg", "copyright": "Jacques Perler, 2009", "title": "La Procession du jeudi est consacr\u00e9e \u00e0 une mise en sc\u00e8ne de la Passion du Christ et Chemin de croix. Elle mobilise environ 270 figurants qui d\u00e9filent en jouant chacun un personnage diff\u00e9rent" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12529-BIG.jpg", "copyright": "Fondazione Processione Storiche di Mendrisio, 2008", "title": "Deux gar\u00e7ons portent une \u00e9chelle lors de la procession du Jeudi saint. Ils font allusion au r\u00e9cit biblique et se d\u00e9placent rapidement tout au long du d\u00e9fil\u00e9. Leurs r\u00f4les ont \u00e9t\u00e9 attribu\u00e9s lors des inscriptions, un mois avant les Processions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12530-BIG.jpg", "copyright": "Nadia Fontana Lupi, 2007", "title": "Des femmes et des enfants d\u00e9filent costum\u00e9s lors de la procession du Jeudi saint. L\u2019initiation \u00e0 la participation et la transmission des connaissances se r\u00e9alisent fr\u00e9quemment au sein des familles, plusieurs g\u00e9n\u00e9rations se retrouvant ensemble dans les Processions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12531-BIG.jpg", "copyright": "Gianni Schuler, 2011", "title": "Un jeune gar\u00e7on se pr\u00e9pare pour la procession du Jeudi saint, il ajuste son casque. Les costumes et le mat\u00e9riel, qui appartiennent \u00e0 la commune de Mendrisio, sont entretenus et renouvel\u00e9s par des artisans et des b\u00e9n\u00e9voles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12532-BIG.jpg", "copyright": "Nadia Fontana Lupi, 2017", "title": "Trois s\u0153urs s\u2019appr\u00eatent \u00e0 d\u00e9filer pour la procession du Vendredi saint. Elles ont rev\u00eatu un habit particulier et porteront les lampions les plus anciens" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12533-BIG.jpg", "copyright": "Nadia Fontana Lupi, 2017", "title": "Dans son atelier, un restaurateur d\u2019art s\u2019occupe de la restauration d\u2019un transparent, une peinture translucide mont\u00e9e sur un support en bois. Il utilise une technique particuli\u00e8re qui permet de maintenir la transparence et les caract\u00e9ristiques d\u2019origine de l\u2019\u0153uvre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12534-BIG.jpg", "copyright": "Jacques Perler, 2006", "title": "Plac\u00e9s tout au long du parcours des Processions, pr\u00e8s de 260 transparents illuminent la vieille ville de Mendrisio. Ils illustrent des \u00e9pisodes bibliques et cr\u00e9ent une ambiance chaleureuse et recueillie lors de la semaine pascale" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12535-BIG.jpg", "copyright": "Jacques Perler, 2017", "title": "Les lampions portatifs et les transparents sont illumin\u00e9s de l\u2019int\u00e9rieur et r\u00e9alis\u00e9s selon la m\u00eame technique artistique. Si les anciennes \u0153uvres sont r\u00e9guli\u00e8rement restaur\u00e9es, de nouvelles sont aussi cr\u00e9\u00e9es permettant ainsi \u00e0 la cr\u00e9ativit\u00e9 des artistes de s\u2019exprimer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12536-BIG.jpg", "copyright": "Jacques Perler, 2017", "title": "Lors de la procession du Vendredi Saint, pr\u00e8s de 700 participants, dont de nombreux groupes d\u2019enfants portent des objets c\u00e9r\u00e9moniels, en particulier des lampions qui illustrent des symboles et des \u00e9l\u00e9ments de la Passion" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12537-BIG.jpg", "copyright": "Jacques Perler, 2017", "title": "La fanfare de Mendrisio accompagne la procession du Vendredi saint en jouant un r\u00e9pertoire musical sp\u00e9cialement d\u00e9di\u00e9 \u00e0 cette occasion. Ce d\u00e9fil\u00e9 est marqu\u00e9 par une atmosph\u00e8re aust\u00e8re et solennelle" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=v9kknLxWhFc", "copyright": "Fondazione Processioni Storiche di Mendrisio, 2018", "title": "Les processions de la Semaine Saintes \u00e0 Mendrisio" }, { "url": "https:\/\/www.youtube.com\/watch?v=-r4Aocvu7bU", "copyright": "Fondazione Processioni Storiche di Mendrisio, 2018", "title": "Les processions de la Semaine Saintes \u00e0 Mendrisio" } ], "sustainability": "" } }, "element_1461": { "type": "element", "label": "Irish harping", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12564-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12564-HUG.jpg" }, "description": "Irish harping is at the heart of the identity of the people of the island of Ireland. The harp is Ireland\u2019s national symbol and has been played for more than 1,000 years; its bell-like sounds and music captivate all those who hear it and are celebrated in Irish mythology, folklore and literature. Nowadays, instead of a harp hewn from a single piece of willow, strung with wire strings and played with the nails, most contemporary harps are made with various types of hardwood, strung with gut or nylon, and played with the finger tips. While some men and boys play the harp, women, girls and children are the primary practitioners. Related skills are transmitted both aurally and\/or by notation in the art music style, and contemporary exponents of the early wire-strung harp are bearers of a precious legacy of music. Contemporary gut-strung harpers have safeguarded the old repertoire and ensured its continuity while responding to evolving harp styles. There has been a major resurgence of interest in harp playing over the past sixty years thanks to a growing appreciation of the harp\u2019s role in Irish identity, language and culture and bearers and practitioners now number around 1,500, a number that is growing steadily. Harp playing has also helped people to embrace diversity and bridge divides.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/irish-harping-01461", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12560-BIG.jpg", "copyright": "Tom Honan Photography, 2017", "title": "All together now: National Harp Day with Clodagh, Ois\u00edn and Alva at y=the Lexicon Cultural Centre, D\u00fan Laoghaire. Co Dublin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12561-BIG.jpg", "copyright": "Kieran Cummins, 2017", "title": "International Festival for Irish Harp - Open the door for three: a family of whistle player\/piper and harpers at Beaulieu House, Drogheda Co Luth. Each of them has learned 'by ear'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12562-BIG.jpg", "copyright": "Kieran Cummins, 2017", "title": "International Festival for Irish Harp - Sibiling revelry with the Casey sisters. Thair music and songs were passed to them by their parents" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12563-BIG.jpg", "copyright": "Kieran Cummins, 2017", "title": "International Festival for Irish Harp - Family Fun, \u00c9amon and Cormac de Bara (harp). Two brothers who have been steeped in the tradition from a young age" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12564-BIG.jpg", "copyright": "Siobh\u00e1n Armstrong & Simon Chadwick, 2013", "title": "Historical Harp Society of Ireland, Festival of Early Irish Harp - discovering the magic of the early harp, playing with nails ans using the ancient Irish metod" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12565-BIG.jpg", "copyright": "Tom Honan Photography, 2017", "title": "National Harp Day - a young girl, Jessica Berwick performing at the Lexicon Cultural Centre, D\u00fan Laoghaire, Co Dublin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12566-BIG.jpg", "copyright": "Rosa Flannery, 2017", "title": "Music Generation Loais Harp ensemble playing for their local community" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12567-BIG.jpg", "copyright": "Siobh\u00e1n Armstrong & Simon Chadwick, 2013", "title": "Early harp group session - exploring the wire strung harp tradition playing with the nails and learning from the master harper" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12568-BIG.jpg", "copyright": "Tom Honan Photography, 2017", "title": "National Harp Day - Maebh McKenna and Luke Webb performing for audiences at Powerscourt, Dublin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12569-BIG.jpg", "copyright": "Kieran Cummins, 2017", "title": "International Festival for Irish Harp - young harpers in session with their tutors watching" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=CiHdlpJ_980", "copyright": "Cruit \u00c9ireann Harp Irland, 2018", "title": "Irish harping" } ], "sustainability": "" } }, "element_1462": { "type": "element", "label": "Artisanal talavera of Puebla and Tlaxcala (Mexico) and ceramics of Talavera de la Reina and El Puente del Arzobispo (Spain) making process", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12583-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12583-HUG.jpg" }, "description": "The processes of making the artisanal talavera of Puebla and Tlaxcala (Mexico) and ceramics of Talavera de la Reina and El Puente del Arzobispo (Spain) are identified with two communities in both Mexico and Spain. The ceramics have domestic, decorative and architectural uses. Despite changes over time and the developments ceramics have undergone in both countries \u2013 including due to the use of electric potter\u2019s wheels nowadays \u2013 the artisanal making processes, including making techniques, enameling and decoration, retain the same pattern as in the sixteenth century. Related knowledge and skills include preparing the clay, making the earthenware using a potter\u2019s wheel or cast, decorating, preparing enamels and pigments and managing the kiln, which requires great expertise. Some ceramists carry out the whole process, while others specialize in specific tasks. Related knowledge \u2013 including raw material extraction, material processing, decoration and firing techniques \u2013 is mostly borne by master earthenware artisans and ceramists, who have developed their skills over time and transmit them to the next generations through oral transmission in their artisanal workshops or in the family setting. Every workshop has its own identity, as reflected in the detail of the shapes, decorations, colours and enamels of the pieces, and the production of ceramics remains a key identity symbol in both countries.", "list": "RL", "year": 2019, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/artisanal-talavera-of-puebla-and-tlaxcala-mexico-and-ceramics-of-talavera-de-la-reina-and-el-puente-del-arzobispo-spain-making-process-01462", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12583-BIG.jpg", "copyright": "Bravo, 2018", "title": "Traditional process of 'pisado del barro' (puddling sand-clay technique) to knead clay and to remove air bubbles from clay. Christian Hern\u00e1ndez, artisan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12584-BIG.jpg", "copyright": "Bravo, 2018", "title": "Exhibition of the history of Talavera during a guided visit in the Popular Arts Regional Museum of Cholula. Erika Castillo, guide" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12585-BIG.jpg", "copyright": "Bravo, 2018", "title": "Master earthenware artisan transmitting the main characteristics of clay modeling in potter\u2019s wheel to his apprentice. Gumersindo Mendoza y Uriel Mendoza, artisans" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12586-BIG.jpg", "copyright": "Bravo, 2018", "title": "Artisan embellishing a ceramic ware with traditional motifs of Puebla in cobalt blue.Nancy Tlaxco, painter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12587-BIG.jpg", "copyright": "Bravo, 2018", "title": "Child participating in a ceramics painting and decoration workshop. Roberto Conde at Workshop, Talavera de la Reina" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12588-BIG.jpg", "copyright": "Centro Cer\u00e1mico Talavera S.L.", "title": "Ceramic artisan retouching a piece of work" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12589-BIG.jpg", "copyright": "Centro Cer\u00e1mico Talavera S.L.", "title": "Painting technique on a ceramic workpiece from Talavera de la Reina" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12590-BIG.jpg", "copyright": "Centro Cer\u00e1mico Talavera S.L.", "title": "Traditional pharmacy ceramic albarello from Talavera de la Reina, decorated with Renaissance patterns and arabic writing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12591-BIG.jpg", "copyright": "Rico, 2014", "title": "Clay Baptism as part of Festival Santas Alfareras (Saint female potters) of El Puente del Arzobispo and Talavera de la Reina" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12592-BIG.jpg", "copyright": "Evaristo Pav\u00f3n", "title": "Ceramic painter working on tiles in his workshop in Talavera de la Reina" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=sqcHlqYxs0E", "copyright": "Altamira Entertainment, 2018", "title": "Artisanal Talavera of Puebla (Mexico) and ceramics of Talavera de la Reina and El Puente del Arzobispo (Spain) making processes" } ], "sustainability": "The artisanal talavera of Puebla and Tlaxcala in Mexico and ceramics of Talavera de la Reina and El Puente del Arzobispo in Spain are a significant part of the cultural identity of communities in both countries. The traditional craftsmanship reflects a long history and development of the intricate making processes, techniques, uses and meanings of the ceramics in each community\u2019s context. The shared heritage is jointly inscribed on the 2003 Convention\u2019s List, strengthening the bond between the two countries. Ceramicists and other stakeholders gather at national and international levels to exchange their artistry and technical knowledge. Through these platforms, practitioners learn more about one another\u2019s cultural identity and values. The heritage and the multinational inscription promote mutual respect and a stronger collaboration for safeguarding. This heritage also links with SDG #1 No Poverty, SDG #4 Quality Education, SDG #8 Decent Work and Economic Growth, and SDG #9 Industries, Innovation and Infrastructure." } }, "element_1463": { "type": "element", "label": "Winter festivities, Carnival of Podence", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12597-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12597-HUG.jpg" }, "description": "Winter festivities, Carnival of Podence is a social practice which initially functioned as a rite of passage for men. Now extended to women and children, it has been readjusted to its contemporary context. The festivity is associated with the celebration of the end of winter and the arrival of spring and takes place over three days in the streets of the village and in the houses of neighbours who visit each other. During the performance, the Caretos \u2013 modelled on the traditional masked character \u2013 dance around women with their cowbells, rhythmically moving their hips. Possibly connected symbolically to old fertility rites, this action is performed by those behind the mask as a way of interacting with others anonymously. The Caretos wear tinplate or leather masks, costumes covered with colourful wool fringes and small bells. On the Monday night, there is a theatrical play, when a group of men announce a fictional list of engaged couples, satirizing them and eliciting collective laughter. On Shrove Tuesday, some people mask themselves as \u2018matrafonas\u2019, a masked character from rural carnivals. On Tuesday afternoon, the ritual of the burning of a Shrovetide figure takes place, and the group of Caretos then goes around the homes of friends and relatives. Participation in the Carnival begins during childhood, and the activities of the Group of Caretos Association have considerably boosted opportunities for transmission.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/winter-festivities-carnival-of-podence-01463", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12595-BIG.jpg", "copyright": "Patr\u00edcia Cordeiro, 2015", "title": "Making a Careto of Podence costume" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12596-BIG.jpg", "copyright": "Patr\u00edcia Cordeiro, 2015", "title": "Making a tinplate mask painted in red for a Careto of Podence" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12597-BIG.jpg", "copyright": "Paulo Sousa, 2018", "title": "Dressing up Caretos costumes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12598-BIG.jpg", "copyright": "Patr\u00edcia Cordeiro, 2015", "title": "A group of young girls in Caretos costumes in the Carnival of Podence" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12599-BIG.jpg", "copyright": "Paulo Sousa, 2018", "title": "Caretos are invited to taste the homemade wine of those who still produce it in the village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12600-BIG.jpg", "copyright": "Paulo Sousa, 2018", "title": "Some people also dress as 'Matrafonas' in the Carnival of Podence" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12601-BIG.jpg", "copyright": "Patr\u00edcia Cordeiro, 2015", "title": "During Carnival a theatrical play also takes place, in which fictional engagments between the single men and women of Podence are announced" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12602-BIG.jpg", "copyright": "Patr\u00edcia Cordeiro, 2017", "title": "A Careto embraces and dances around a young woman, the most characterisc performative behaviour of this masquerade costum of the Carnival of Podence" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12603-BIG.jpg", "copyright": "Manuel Correia, 2018", "title": "The caretos take to the streets on Fat Sunday and Shrove Tuesday, they jingle, shout and frighten, jumping and running frantically around the village streets" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12605-BIG.jpg", "copyright": "Paulo Sousa, 2018", "title": "Conviviality amongst neighbours and families plays a big part in Carnival of Podence. The Caretos are welcome to enter every house of the village on Shrove Tuesday evening" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=HDpQEfbmNzc ", "copyright": "Village Boy & Blaster Image Works, 2018", "title": "Winter festivities, Carnival of Podence" }, { "url": "https:\/\/www.youtube.com\/watch?v=OlSJdYUO7eI", "copyright": "Village Boy & Blaster Image Works, 2018", "title": "Winter festivities, Carnival of Podence" } ], "sustainability": "" } }, "element_1464": { "type": "element", "label": "Biocultural programme for the safeguarding of the tradition of the Blessed Palm in Venezuela", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12698-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12698-HUG.jpg" }, "description": "The activities associated with the biocultural programme for the safeguarding of the tradition of the Blessed Palm in Venezuela involve gathering several palm species in a specific group of mountains. After receiving a blessing during the religious ceremony, the \u2018palmeros\u2019 go up to the mountain, where they spend several nights, undertaking different activities: they tell stories, stop at specific points as if going through the Stations of the Cross, take care of the trails and plant and prune palm trees. These palm leaves \u2013 blessed as part of Holy Week \u2013 are then distributed within several communities. The tradition was close to disappearing three decades ago as the palmeros did not have reforestation plans in place, and national park authorities saw them as a threat to the environment. Aware of the need to change how the palm was collected, the palmeros started pruning the plant rather than cutting it completely. Several innovative measures were designed as part of the biocultural programme, including educational projects for young people and cultural activities for the wider community. The biocultural programme has encouraged hundreds of children and young people to get involved, and its educational component could be seen as a model for other communities engaged in gathering the Blessed Palm during Holy Week, or indeed any living heritage practices where culture and nature are closely connected.", "list": "GSP", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/biocultural-programme-for-the-safeguarding-of-the-tradition-of-the-blessed-palm-in-venezuela-01464", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12697-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Palmeros de Chacao" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12698-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Peoneros: guardians of the mountain and the Blessed Palm" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12699-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Peonero and Palmeros de Chacao: 'walkers, descendants of a tradition'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12700-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Pruning of the palm tree: 'one team, one palmero'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12701-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Palmeros de Chacao: happiness, inclusion and equal opportunities" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12702-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Palmeros de Chacao being received by the community after coming downhill, aka 'la bajada'\u2002" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12703-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Children from the educational project: The palmero goes to school" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12704-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Children participating in activities to safeguard the tradition of the Blessed Palm and protect the mountain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12705-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Blessing of the palm fronds at the lesser basilica 'Nuestra Se\u00f1ora de El Valle'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12706-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Environmental course: Palmeritos from El Valle del Esp\u00edritu Santo being trained by firefighters and members of civil defense to go hiking on the mountain" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1kzfUkWwxdk", "copyright": "Centro de la Diversidad Cultural, 2018", "title": "Biocultural programme for the safeguarding of the tradition of the Blessed Palm in Venezuela" } ], "sustainability": "The tradition of the Blessed Palm in Venezuela involves the journey into the mountains and gathering of several species of palms by \u201cpalmeros,\u201d who then bring the palm plants to be blessed as part of the Holy Week and then distributed among the community. Due to unsustainable palm harvesting practices, the tradition came to be seen as a threat to the environment. In response, palmeros adapted their harvesting practices\u2014pruning rather than cutting the palm. As part of the biocultural programme, numerous educational activities were organized to involve children and youth in reforestation and awareness raising efforts. The element also links to SDG #4: Quality Education." } }, "element_1466": { "type": "element", "label": "Zlakusa pottery making, hand-wheel pottery making in the village of Zlakusa", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13765-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13765-HUG.jpg" }, "description": "Zlakusa pottery making, hand-wheel pottery making in the village of Zlakusa relates to the knowledge and skills involved in making unglazed vessels for thermic food processing. Used in households and restaurants across Serbia, Zlakusa pottery is made of clay and calcite and the wheel is run exclusively by hand. The process takes seven to ten days, and includes the preparation of clay paste, shaping, decoration, finishing, drying and baking. The finished vessels are decorated with geometrical ornaments made with wooden or metal tools, and handles are added to some vessels. Nowadays, traditional shapes, pots, bread-making and meat-frying pans and small pans for the kitchen oven have been adjusted to the modern way of preparing and serving food. The related knowledge and skills are mainly transmitted through direct participation and work alongside experienced craftspeople within the community. Demonstrations at the Zlakusa Festival and classes held at the Arts School in U\u017eice provide another key mode of transmission. Zlakusa pottery is often presented at fairs and festivals throughout Serbia and the vessels are widely used during important family and community events. It is claimed that some dishes prepared in Zlakusa earthenware on an open fire have a unique taste. Moreover, the pottery is closely associated with the village of Zlakusa and its environs due to its close link with the natural environment, which provides the raw material.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/zlakusa-pottery-making-hand-wheel-pottery-making-in-the-village-of-zlakusa-01466", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13762-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2018", "title": "The potter starts shaping the pot from of clay" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13763-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2018", "title": "Process of making a ceramic pot by using a hand-wheel - 'building' a pot by adding coils" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13764-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2018", "title": "Process of making a ceramic pot by using a hand-wheel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13765-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2018", "title": "The final phase of pottery making - using tools to add geometric ornaments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13766-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2018", "title": "Baking the pots in bonfire" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13767-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2018", "title": "Practical representation of pottery craft in the pottery workshop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13768-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2018", "title": "Practical work by students of pottery major at the Art High School in U\u017eice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13769-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2018", "title": "Training of the youngest members of the community in a pottery workshop" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13770-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2018", "title": "Preparing meals in Zlakusa pottery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13771-BIG.jpg", "copyright": "Ethnographic Museum in Belgrade, 2018", "title": "Presentation of pottery craft at an exhibition" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4C6KQntCflI", "copyright": "Open Air Museum 'Staro Selo', 2018", "title": "Zlakusa pottery making" } ], "sustainability": "" } }, "element_1468": { "type": "element", "label": "Strategy for safeguarding traditional crafts: The Bearers of Folk Craft Tradition programme", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12912-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12912-HUG.jpg" }, "description": "In 1997, the National Institute of Folk Culture (NIFC) began to implement the project \u2018Folk Trades and Handicrafts in the Czech Republic\u2019. The project focused on the film documentation of traditional crafts. The fieldwork to identify producers revealed that most workshops were struggling financially and had difficulty selling and creating their products. The situation called for immediate action; the renewal of contacts between producers and customers and awareness-raising on traditional crafts and their technologies. In response to this situation, the Ministry of Culture and the NIFC set up the Bearers of Folk Craft Tradition programme in 2000, which aims to support, protect and safeguard traditional crafts. In addition to accessing public awards, grants and donations, artisans and their products are protected by an exclusive trademark. Further to documenting and researching traditional crafts, the NIFC collects and assesses the collections of products by award-winning producers. Traditional crafts are assessed by artists and designers, and award-winning producers receive a set of printed promotional materials, including leaflets, business cards, tags and a \u2018Bearers of Tradition\u2019 brochure. The public is kept informed through dedicated websites, publications, a DVD and a permanent exhibition in Chanovice.", "list": "GSP", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/strategy-for-safeguarding-traditional-crafts-the-bearers-of-folk-craft-tradition-programme-01468", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12912-BIG.jpg", "copyright": "M. \u0160im\u0161a, National Institute of Folk Culture, 2011", "title": "Presentation of the Bearers of Folk Craft Tradition at the Craft Days in Chanovice in 2011" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12913-BIG.jpg", "copyright": "M. \u0160im\u0161a, National Institute of Folk Culture, 2012", "title": "Traditional bagpipe-making \u2013 Miroslav Stecher, recipient of the award in 2012" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12914-BIG.jpg", "copyright": "M. \u0160im\u0161a, National Institute of Folk Culture, 2015", "title": "Traditional reverse glass painting \u2013 Ji\u0159\u00ed Honiss, recipient of the award in 2015" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12915-BIG.jpg", "copyright": "M. \u0160im\u0161a, National Institute of Folk Culture, 2017", "title": "Production of male folk costumes \u2013 Mark\u00e9ta Mal\u00e1n\u00edkov\u00e1, recipient of the award in 2017" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12916-BIG.jpg", "copyright": "M. \u0160im\u0161a, National Institute of Folk Culture, 2004", "title": "Presentation of the Bearers of Folk Craft Tradition title at the National Launch of European Heritage Days in T\u00e1bor in 2004" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12917-BIG.jpg", "copyright": "M. \u0160im\u0161a, National Institute of Folk Culture, 2006", "title": "Bearers of Folk Craft Tradition exhibition held to mark the National Launch of European Heritage Days in Ji\u010d\u00edn in 2006" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12918-BIG.jpg", "copyright": "M. \u0160im\u0161a, National Institute of Folk Culture, 2006", "title": "Production of maize husk figurines \u2013 Ludmila Ko\u010di\u0161ov\u00e1, recipient of the award in 2006" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12919-BIG.jpg", "copyright": "M. \u0160im\u0161a, National Institute of Folk Culture, 2007", "title": "Meetings of the Bearers of Folk Craft Tradition in Ro\u017enov in 2007 \u2013 \u0160tefan Kanalo\u0161, recipient of the award in 2004 for wood carving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12920-BIG.jpg", "copyright": "M. \u0160im\u0161a, National Institute of Folk Culture, 2018", "title": "Bearer of Folk Craft Tradition trademark, used on tags and stamps" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12921-BIG.jpg", "copyright": "M. \u0160im\u0161a, National Institute of Folk Culture, 2018", "title": "Presentation printed materials for the Bearers of Folk Craft Tradition programme" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=hDYg3VC3pjU", "copyright": "National Institute of Folk Culture, 2018", "title": "Bearers of traditions" } ], "sustainability": "" } }, "element_1469": { "type": "element", "label": "Morna, musical practice of Cabo Verde", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12853-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12853-HUG.jpg" }, "description": "Morna, musical practice of Cabo Verde is a traditional Cape Verdean musical and choreographic practice with instrumental accompaniment that incorporates voice, music, poetry, and dance. Morna can be either sung or played only with instruments, mainly chordophones, including the guitar, violin, ten-string guitar, replaced with a cavaquinho in the twentieth century, and the ukulele. Several other instruments have now been introduced \u2013 such as the piano, percussion and bass \u2013 but the guitar remains the preferred instrument. The lyric poetry can be improvised, with topics including love, departure, separation, reunion, longing, the ocean and the motherland. While in the past the lyrics were also composed in Portuguese, nowadays it is mainly composed in Cape Verdean Creole. Bearers and practitioners of the element include instrument players, singers, poets, and composers, who perform, disseminate and transmit the practice to the younger generations. Currently, some bearers are also opening teaching centres, and as a genre Morna is also practised by formal groups. Morna is a fundamental aspect of Cape Verdean social and cultural life, as it performed at key life events, such as weddings, christenings, and family reunions. Transmission has been carried out by the community, through workshops, radio programmes, performances, festivals, and the musical contest entitled \u2018Todo Mundo Canta\u2019, which takes place on every island.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/morna-musical-practice-of-cabo-verde-01469", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12851-BIG.jpg", "copyright": "Augusto Br\u00e1zio and Ministry of Cultue and Creative Industries, Cabo Verde, 2018", "title": "Sr. Ol\u00edmpio, violin player, and Manel Caloti, ten strings guitar, performing ancient mornas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12852-BIG.jpg", "copyright": "Augusto Br\u00e1zio and Ministry of Cultue and Creative Industries, Cabo Verde, 2018", "title": "Eug\u00e9nio Tavares (1867-1930) statue" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12853-BIG.jpg", "copyright": "Augusto Br\u00e1zio and Ministry of Cultue and Creative Industries, Cabo Verde, 2018", "title": "Ricardo, guitar player and Tej performer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12854-BIG.jpg", "copyright": "Augusto Br\u00e1zio and Ministry of Cultue and Creative Industries, Cabo Verde, 2018", "title": "Tocatina" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12855-BIG.jpg", "copyright": "Augusto Br\u00e1zio and Ministry of Cultue and Creative Industries, Cabo Verde, 2018", "title": "Funeral, followed by morna players" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12856-BIG.jpg", "copyright": "Augusto Br\u00e1zio and Ministry of Cultue and Creative Industries, Cabo Verde, 2018", "title": "Maria Sameiro, morna singer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12857-BIG.jpg", "copyright": "Augusto Br\u00e1zio and Ministry of Cultue and Creative Industries, Cabo Verde, 2018", "title": "Ivanilda Delgado with Kaku Alves band, cape-verdean live music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12858-BIG.jpg", "copyright": "Augusto Br\u00e1zio and Ministry of Cultue and Creative Industries, Cabo Verde, 2018", "title": "Tito Paris, international singer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12860-BIG.jpg", "copyright": "Augusto Br\u00e1zio and Ministry of Cultue and Creative Industries, Cabo Verde, 2018", "title": "Brasa de Fogo Band, group of cape-verdean migrants playing morna" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12861-BIG.jpg", "copyright": "Augusto Br\u00e1zio and Ministry of Cultue and Creative Industries, Cabo Verde, 2018", "title": "Aniceto Gomes, instrument maker" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=2e0wCkWeoVs", "copyright": "Ministry of Culture and Creative Industries, Cabo Verde, 2018", "title": "Morna, musical pratice of Cabo Verde" } ], "sustainability": "" } }, "element_1471": { "type": "element", "label": "Alpinism", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12629-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12629-HUG.jpg" }, "description": "Alpinism is the art of climbing up summits and walls in high mountains, in all seasons, in rocky or icy terrain. It involves physical, technical and intellectual abilities, using appropriate techniques, equipment and highly specific tools such as axes and crampons. Alpinism is a traditional, physical practice characterized by a shared culture made up of knowledge of the high-mountain environment, the history of the practice and associated values, and specific skills. Knowledge about the natural environment, changing weather conditions, and natural hazards is also essential. Alpinism is also based on aesthetic aspects: alpinists strive for elegant climbing motions, contemplation of the landscape, and harmony with the natural environment. The practice mobilizes ethical principles based on each individual\u2019s commitment, such as leaving no lasting traces behind, and assuming the duty to provide assistance among practitioners. Another essential part of the alpinist mindset is the sense of team spirit, as represented by the rope connecting the alpinists. Most community members belong to alpine clubs, which spread alpine practices worldwide. The clubs organize group outings, disseminate practical information and contribute to various publications, acting as a driving force for alpinist culture. Since the 20th century, alpine clubs in all three countries have cultivated relationships through frequent bilateral or trilateral meetings at various levels.", "list": "RL", "year": 2019, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/alpinism-01471", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12629-BIG.jpg", "copyright": "Pascal Tournaire, 2018", "title": "Cord\u00e9e d'alpinistes en direction du sommet du mont Blanc" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12630-BIG.jpg", "copyright": "Claude Gardien", "title": "Cord\u00e9e d'alpinistes : un guide assure ses deux clients '\u00e0 la main' Un geste qui s'apprend, h\u00e9ritage des guides du XIXe si\u00e8cle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12631-BIG.jpg", "copyright": "Claude Gardien", "title": "Le Grand Paradis (4061) : les alpinistes se pressent sur l'\u00e9troit sommet de cette montagne tr\u00e8s populaire" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12632-BIG.jpg", "copyright": "Pascal Tournaire, 2018", "title": "Escalade hivernale - bassin d'Argenti\u00e8re" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12633-BIG.jpg", "copyright": "Pascal Tournaire, 2018", "title": "Escalade rocheuse - aiguille de Bavella" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12634-BIG.jpg", "copyright": "Pascal Tournaire, 2018", "title": "Escalade rocheuse - massif du Mont-Blanc" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12635-BIG.jpg", "copyright": "David Ravanel, 2018", "title": "\u00c9cole d'alpinisme enfants : falaise des Gaillands - Chamonix" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12636-BIG.jpg", "copyright": "Eric Courcier, 2018", "title": "Formation s\u00e9curit\u00e9 sur glacier organiser par la 'Chamoniarde' Soci\u00e9t\u00e9 de pr\u00e9vention et de Secours an montagne : aiguille de la Petite Verte - massif du Mont-Blanc" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12637-BIG.jpg", "copyright": "Eric Courcier, 2018", "title": "Formation s\u00e9curit\u00e9 avalanche et orientation organis\u00e9e par la 'Chamoniarde' : briefing avant d\u00e9part pour exercice sur le terrain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12638-BIG.jpg", "copyright": "Pascal Tournaire, 2018", "title": "Bivouac dans le massif des aiguilles Rouges" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=dNvTZ8ULIUM", "copyright": "Bertrand Delapierre, 2018", "title": "Alpinisme" } ], "sustainability": "" } }, "element_1474": { "type": "element", "label": "Provision of services and hospitality during the Arba'in visitation", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13021-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13021-HUG.jpg" }, "description": "Provision of services and hospitality during the Arba\u2019in visitation is a social practice performed across the central and southern regions of Iraq, from where processions of visitors and pilgrims converge towards the Holy City of Karbala. The tradition \u2013 a social practice with deep roots in the Iraqi and Arab tradition of hospitality \u2013 is an immense display of charity through volunteering and social mobilization and considered to be a defining element of Iraq\u2019s cultural identity. Every year, around the 20th of the Islamic month of Safar, the Iraqi province of Karbala receives millions of visitors in one of the world\u2019s most populous religious pilgrimages. Hailing from different regions in Iraq and abroad, visitors walk to the Holy Shrine of Imam Hussein. A vast number of people contribute their time and resources to providing the pilgrims with free services along the route. Starting at least two weeks before the date of Arba\u2019in, associations set up temporary facilities or reopen more permanent ones along the pilgrimage routes, including prayer halls, guest houses and stands offering various services. Many people also open their houses for free overnight accommodation. Bearers and practitioners include cooks, families offering hospitality, the administration of the two Holy Shrines in Karbala, volunteer guides, volunteer medical teams, and benefactors contributing generous donations.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/provision-of-services-and-hospitality-during-the-arba-in-visitation-01474", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12729-BIG.jpg", "copyright": " Mohammad Jabar Mshaweh, Cultural Relations Directorate, Ministry of Culture, Tourism and Antiquities, Iraq, 2017", "title": "Participation of Iraqi families in the preparation of meals to be provided to the visitors in all areas and regions leading to the Holy City of Karbala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12731-BIG.jpg", "copyright": "Montadher Rasoul Al Hemyari, the Holy Shrine of Imam Hussein, Iraq, 2016", "title": "A young girl joined her family in providing drinks to the visitors in a region leading to Karbala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12732-BIG.jpg", "copyright": " Adel Jalal, Ministry of Culture, Tourism and Antiquities, Iraq, 2016", "title": "One of the hospitality pavillon related to the Holy Shrine of Imam Hussein with its accommodation for visitors with their children and offering them all kinds of food and drinks" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12735-BIG.jpg", "copyright": " Adel Jalal, Ministry of Culture, Tourism and Antiquities, Iraq, 2016", "title": "A group of volunteers from the local governments and non-governmental organizations, school pupils and university students, etc. while they are doing massage in one of the rest processions to those visitors who come to Karbala from far-off provinces walking on foot" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12737-BIG.jpg", "copyright": "Ammar Al Khalidi, Karbala Center for Studies and Research, Iraq, 2016", "title": "The guest house related to the Holy Shrine of Imam Hussein distributes three meals of food and drinks every day and throughout the period of the Visitation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13018-BIG.jpg", "copyright": "Montadher Rasoul Al Hemyari, Karbala Center for Studies and Research, Iraq, 2016", "title": "Participation of Iraqi people and families in providing services and hospitality during the visitation to the pilgrims and visitors along the regions leading to the Holy City of Karbala, especially those visitors who used to walk long distances hoping to reach the Holy Shrine of Imam Hussein" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13019-BIG.jpg", "copyright": "Ammar Al Khalidi, Karbala Center for Studies and Research, Iraq, 2017", "title": "An aspect of the participation of foreign countries in setting up the services and hospitality processions during the Araba'in visitation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13020-BIG.jpg", "copyright": " Mohammad Jabar Mshaweh, Cultural Relations Directorate, Ministry of Culture, Tourism and Antiquities, Iraq, 2017", "title": "Participation of the restaurants owners through their voluntary campaigns in providing all visitors with different kinds of grilled food for free of charge" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13021-BIG.jpg", "copyright": " Montadher Rasoul Al Hemyari, the Holy Shrine of Imam Hussein, Iraq, 2016", "title": "A group of chefs and wealthy donors of money while cooking many kinds of food that are provided to the visitors of Imam Hussein throughout the period of the visitation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13022-BIG.jpg", "copyright": "Adel Jalal, Ministry of Culture, Tourism and Antiquities, Iraq, 2017", "title": "One of the mobile medical centers which is specialized in treating the states of emergencies and providing medical supplies for the female visitors throughout the period of the visitation" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=F4nvexgaxDs", "copyright": "Ministry of Culture, Tourism and Antiquities (Iraq), 2018", "title": "The provision of services and hospitality during the Arba\u2019in visitation" } ], "sustainability": "This tradition is an example of voluntarism and collective efforts to provide all kinds of support to pilgrims and visitors during the Arba\u2019in visitation. Every year, people along the religious routes to the Holy City of Karbala contribute their time and resources to provide free services to millions of visitors. Accommodation, food and drinks, medical care, and other services are arranged and offered to the visitors regardless of their background. The tradition highlights Iraq\u2019s cultural value of charity and wealth redistribution. This element also links to SDG #16: Peace, Justice and Strong Institutions." } }, "element_1477": { "type": "element", "label": "Grand Festival of Tarija", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13007-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13007-HUG.jpg" }, "description": "The Grand Festival of Tarija takes place in the city of Tarija, in the southeast of Bolivia. Celebrated every year in August and September, it involves devotional processions, music festivals, competitions and fireworks dedicated to Saint Roch. The festival has its origins in the colonial period, when the inhabitants of the city entreated the saint to cure epidemics and diseases and to protect their loved ones. It is founded on religiosity and faith, preserved and transmitted within families and in the Catholic community. During the festival, processions cross the main streets of Tarija, visiting the cathedral and temples and churches, with believers showing their devotion through dances, music and prayers. Pilgrims in colourful costumes and masks perform music and dances, and neighbours decorate the temples and streets through which the procession is to pass and organize sport and cultural activities. The Grand Festival of Tarija is characterized by regional crafts, traditional dishes and the absence of alcoholic drinks. ", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/grand-festival-of-tarija-01477", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13007-BIG.jpg", "copyright": "Omar Flores, 2017", "title": "Enfants tambourineurs pendant la procession de Saint Roque" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13008-BIG.jpg", "copyright": "Omar Flores, 2017", "title": "Quenillero" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13009-BIG.jpg", "copyright": "Omar Flores, 2017", "title": "Procession de San Roque. On observe les deux rang\u00e9es de chunchos formant dans une rue un 'toit' de cannes. En arri\u00e8re-plan l'\u00e9glise de San Roque" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13010-BIG.jpg", "copyright": "Omar Flores, 2017", "title": "Procession de San Roque. Vue depuis la tour de l'\u00e9glise San Roque vers la rue G\u00e9n\u00e9ral Trigo qui descends de la colline San Roque en direction de la place centrale Luis de Fuentes y Vargas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13011-BIG.jpg", "copyright": "Omar Flores, 2017", "title": "Nuit de l'Encierro de San Roque. Tous les 'chunchos' sont r\u00e9unis dans l'atrium de l'\u00e9glise en face de l'image de San Roque. Ils chantent les louanges et font leurs adieux \u00e0 San Roque jusqu'\u00e0 l\u2019ann\u00e9e prochaine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13012-BIG.jpg", "copyright": "Omar Flores, 2016", "title": "V\u00e9n\u00e9ration de San Roque. Les 'chunchos' saluent le Saint plusieurs fois durant les processions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13013-BIG.jpg", "copyright": "Omar Flores, 2016", "title": "La statue de San Roque pendant la procession. On distingue un 'quenillero, un 'alf\u00e9rez', plusieurs roseaux et en arri\u00e8re-plan les \u00e9tendards de la fanfare de l'\u00e9cole Julio Sucre de San Lorenzo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13014-BIG.jpg", "copyright": "Jaime Cusicanqui, 2017", "title": "V\u00eapres de San Roque, les feux d'artifices dans l'atrium de l'\u00e9glise. On distingue un canon \u00e0 'camaretas', 'castillo' et les cercles pour la danse rituelle de l'\u00c9toile." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13015-BIG.jpg", "copyright": "Jaime Cusicanqui, 2017", "title": "Les 'Labores' des 'chunchos'. La Estrella. Les 'Labores' sont des chor\u00e9ographies ex\u00e9cut\u00e9es par les 'chunchos' apr\u00e8s la procession. Ici pendant les V\u00eapres de l'Encierro" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13016-BIG.jpg", "copyright": "Jaime Cusicanqui, 2017", "title": "Les femmes Alfer\u00e9ces pendant la procession de San Roque" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=h5c5aZf0hgk", "copyright": "Jaime Cusicanqi, 2017", "title": "La Grande F\u00eate de Tarija" } ], "sustainability": "" } }, "element_1478": { "type": "element", "label": "Drot\u00e1rstvo, wire craft and art", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12933-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12933-HUG.jpg" }, "description": "Drot\u00e1rstvo, wire craft and art refers to the technique of manufacturing using wire. In the 18th century, wire craftsmen discovered the interesting properties of wire and developed a simple technique based on manual bending, binding and interlacing metal fibers without welding or soldering, a technique still used to this day. Initially, wire art and craft was a complementary task performed by labourers to repair ceramics and cookware and produce and sell simple wire tools. In the 19th century, the practice became an autonomous craft, and since the 20th century, wire craftspeople have used wire to produce tools for daily use and art objects. As in the past, they react flexibly to the demands of the local market and enrich the traditional collection with new goods or art objects. The current range of materials also includes new types of wire used in unusual combinations with other previously unknown materials. Currently, the bearers and practitioners work mainly at the artistic level, selling their art products at various fairs, festivals, etc. Some practitioners come from families with a multi-generational tradition of transmitting these related skills, and there are also voluntary craft associations and clubs. The current practice develops old traditions and techniques to create new, beautiful forms, demonstrating its continued viability and respect for the old wire craftsmen.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/drotarstvo-wire-craft-and-art-01478", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12932-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2018", "title": "Wire craftsman Jozef Zoller from Leopoldov making the base for wire bowl" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12933-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2018", "title": "Juraj \u0160er\u00edk from \u010cadca, who is fourth generation of wire craftsman in his family making a bowl" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12934-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2018", "title": "Wire craftsman working tools" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12935-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2018", "title": "Wire craftsman Miroslav Kalman from Petrovice making a wire bowl" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12936-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2018", "title": "Wire craftsman Jozef Hoz\u00e1k with his son Robert from \u010cadca. Robert is fourth generation of wire craftsman in his family" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12938-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2018", "title": "Members of the wire craft club 'D\u017earek' during their regular meeting in the Centre for Folk Art Production in Bratislava" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12939-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2018", "title": "Wire craftsman \u0160tefan Smr\u017e\u00edk from N\u00e1mestovo teaching his grandson Matej how to work with wire" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12940-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2018", "title": "Wire craftsman Ladislav Fap\u0161o from Ve\u013ek\u00e9 Rovn\u00e9 making a moustrap" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12941-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Centre, 2018", "title": "Wire craftsmen from wire craft club 'D\u017earek' during their regular meeting in the Centre for Folk Art Production in Bratislava" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=jVHatzmb6j0", "copyright": "Slovak Intangible Cultural Heritage Centre, 2018", "title": "Drot\u00e1rstvo, wire craft and art" } ], "sustainability": "" } }, "element_1480": { "type": "element", "label": "Safeguarding strategy of traditional crafts for peace building", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12721-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12721-HUG.jpg" }, "description": "The safeguarding strategy of traditional crafts for peace building addresses the weakening of traditional crafts through a system of intergenerational transmission of knowledge between master and apprentice based on the non-formal \u2018learning by doing\u2019 method. The safeguarding strategy aims to train different sectors of the population, create labour connections and foster cultural entrepreneurship. It establishes a link between bearers of traditional crafts and skills who are recognized by their communities for their empirical knowledge of the peculiarities of their region and apprentices aged between fourteen and thirty-five who become builders of peace by learning a skill or craft, seeking to transform their situation of vulnerability. The safeguarding strategy is therefore geared at: allowing for the qualification of traditional crafts, thereby improving employment opportunities; implementing a Traditional Crafts Policy to guide and ensure continuity in the transmission and practice of these crafts; and enhancing the Workshop Schools Programme. Priority is accorded to young people who are exposed to the effects of armed conflict, a lack of opportunities, school desertion and unemployment. Training is also combined with work, guaranteeing apprentices\u2019 future employability. The strategy thus aims to foster the safeguarding of traditional crafts as a tool for social inclusion, employment and cultural entrepreneurship. In turn, the community can recognize the cultural and societal value of safeguarding different traditional skills and crafts.", "list": "GSP", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/safeguarding-strategy-of-traditional-crafts-for-peace-building-01480", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12717-BIG.jpg", "copyright": "Gerson Fonseca\/Ministry of Culture of Colombia, 2018", "title": "Young musical instrument-building apprentice from the Pacific region of Colombia, a marginal area deeply affected by the armed conflict" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12718-BIG.jpg", "copyright": "Gerson Fonseca\/Ministry of Culture of Colombia, 2018", "title": "Learning gardening, implles not only embellishing the city of Cali's public spaces, it strengthens the knowledge of traditional land use, care of nature and the use of medicinal plants" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12719-BIG.jpg", "copyright": "Gerson Fonseca\/Ministry of Culture of Colombia, 2018", "title": "Delicate filigree jewelry like this grasshopper, from Mompox, represents a tradition of more than 400 years of goldsmithing and also an intimate relation with the surrounding environment" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12720-BIG.jpg", "copyright": "Gerson Fonseca\/Ministry of Culture of Colombia, 2018", "title": "Traditional crafts such as ironsmithing, in workshop like that of master Ernesto Pupo, contribute to the preservation of cultural heritage in the historic centers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12721-BIG.jpg", "copyright": "Gerson Fonseca\/Ministry of Culture of Colombia, 2018", "title": "Master potter Herberto Ram\u00edrez, the last potter of Mompox, has dedicated himself to the transmission of his knowledge among the new generations, so this traditional craft does not disappear with him" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12722-BIG.jpg", "copyright": "Gerson Fonseca\/Ministry of Culture of Colombia, 2018", "title": "The apprenticeship of traditional crafts is aimed at young people, as a means of social inclusion and opportunities, particularly of those exposed to armed conflict and lack of access to education and employement" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12724-BIG.jpg", "copyright": "Gerson Fonseca\/Ministry of Culture of Colombia, 2018", "title": "Under the model of 'learning-by-doing', knowledge is combined with work, which allows to enhance and make visible the skills of apprentices, and provide tools to enter the labor market" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12725-BIG.jpg", "copyright": "Gerson Fonseca\/Ministry of Culture of Colombia, 2018", "title": "In the traditional crafts programme, gender equality id promoted, by including women in areas considered exclusive for men, as in the case of woodwork and traditional building techniques" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12726-BIG.jpg", "copyright": "Gerson Fonseca\/Ministry of Culture of Colombia, 2018", "title": "The programme favours intergenerational transmission, as demonstrated by Oswaldo Torres (in the middle), a riparian woodwork master who has inherited his jnowledge to his son Arnulfo Torres and his grandson Ronel Pacheco, maintaining the craft as part of their tradition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12727-BIG.jpg", "copyright": "Gerson Fonseca\/Ministry of Culture of Colombia, 2018", "title": "In learning traditional cuisines, young people not only attain skills and labour opportunities, but they also recognize their territory, their land produce, and contribute to food security and well-being of their communities" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ySROGhxwH0Q", "copyright": "Ministry of Culture of Colombia", "title": "Safeguarding strategy of traditional crafts for peace building" } ], "sustainability": "The safeguarding strategy of traditional crafts for peacebuilding in Colombia exemplifies the multifaceted relationship between intangible cultural heritage and sustainable development. It employs a system of intergenerational transmission of knowledge with traditional crafts masters directly training their apprentices. The system emphasizes providing capacity-building support to vulnerable groups who have deserted school or been affected by armed conflicts and poverty. Through practical training and employment support, members\u2019 quality of life is enhanced through their sustainable livelihoods and social inclusion while traditional craftsmanship is also promoted. The strategy contributes to peace in vulnerable areas as well as the viability of many traditional forms of craftsmanship. Other SDGS that link to this heritage include SDG #1 No Poverty, SDG #4 Quality Education, SDG #8 Decent Work and Economic Growth, SDG #10 Reduced Inequalities and SDG #11 Sustainable Cities and Communities." } }, "element_1483": { "type": "element", "label": "Tbourida", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14491-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14491-HUG.jpg" }, "description": "Tbourida is a Moroccan equestrian performance dating back to the sixteenth century. It simulates a succession of military parades, reconstructed according to ancestral Arab-Amazigh conventions and rituals. Each tbourida is performed by a troupe made up of an odd number of riders and horses (between 15 and 25). The riders line up side by side, with the leader of the troupe in the middle. They often give spiritual significance to the event, performing ablutions and praying collectively beforehand. Under the direction of the leader, the riders and horses perform a parade composed of two principal parts. The first is the hadda, or salute, in which the riders enter the course at a trot and perform an acrobatic arms drill, then reposition themselves at the starting point. This is followed by the talqa, in which the troupes set off again at a gallop and fire a round of blanks from their rifles, simulating a collective departure for war. The riders wear period costumes and accessories, including a turban, draped clothing and oriental slippers. They also carry a small copy of the Koran and an ancient Arab sword. The horses are bridled and saddled with material sewn and decorated in the traditional manner. The riders\u2019 customs and costumes represent their tribe or region, and transmission takes place from generation to generation within families, through oral traditions and by observation.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/tbourida-01483", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14490-BIG.jpg", "copyright": "Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), Maroc, 2015", "title": "Cheval Barbe avec harnachement traditionnel de la Tbourida" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14491-BIG.jpg", "copyright": "Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), Maroc, 2016", "title": "Course align\u00e9e au galop, maniement d'armes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14492-BIG.jpg", "copyright": "Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), Maroc, 2016", "title": "Jeune cavalier en habillement traditionnel de Tbourida : Djellaba, Turban, Pochette artisanale" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14493-BIG.jpg", "copyright": "Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), Maroc, 2015", "title": "Premier mouvement de Tbourida" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14494-BIG.jpg", "copyright": "Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), Maroc, 2016", "title": "Spiritualit\u00e9 et recueillement avant la repr\u00e9sentation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14495-BIG.jpg", "copyright": "Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), Maroc, 2015", "title": "Selle artisanale, travail d'artisan \"Maallem\", et couture Squalli" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14496-BIG.jpg", "copyright": "Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), Maroc, 2016", "title": "Deuxi\u00e8me mouvement de Tbourida : course au galop et tir synchronis\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14497-BIG.jpg", "copyright": "Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), Maroc, 2015", "title": "Deuxi\u00e8me mouvement de Tbourida : course au galop, pr\u00e9c\u00e9dant le tir synchronis\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14498-BIG.jpg", "copyright": "Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), Maroc, 2016", "title": "Une troupe de Tbourida est constitu\u00e9e de 11 cavaliers au minimum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14499-BIG.jpg", "copyright": "Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), Maroc, 2015", "title": "Une troupe en habillement traditionnel du Grand Sud marocain" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=GPdUgdgIAv4", "copyright": "Soci\u00e9t\u00e9 nationale de Radiodiffusion et de T\u00e9l\u00e9vision (SNRT); T\u00e9l\u00e9Maroc; Soci\u00e9t\u00e9 Royale d'Encouragement du Cheval (SOREC), 2017", "title": "La Tbourida" } ], "sustainability": "" } }, "element_1484": { "type": "element", "label": "Traditional knowledge and skills of production of the atlas and adras fabrics", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12923-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12923-HUG.jpg" }, "description": "Atlas and adras are two kinds of traditional woven fabrics produced in Tajikistan. Atlas is made from silk threads, and adras is woven with silk and cotton threads, but the technique of creating both cloths is similar. There are many steps in the process, from gathering cocoons and collecting cotton, to spinning, wrapping, dyeing and weaving the threads by hand. Dresses prepared from atlas and adras cloths are widely used by women and girls during celebrations, in the workplace, in schools and at home. Traditionally, the knowledge and skills related to the production of the atlas and adras are transmitted within families or in production centres. It takes three to five months to acquire the weaving skills. During this period, students practise the weaving of simple fabrics with elementary ornaments. The practice can also be transmitted formally in schools and colleges, and through participation in atlas and adras festivals. The fabrics are popular cloths among Tajik women, who consider them as part of their cultural identity. Women usually wear clothes made from atlas and adras in official ceremonies, festivals, traditional holidays, social gatherings and events. The transmission of the element to younger generations promotes unity and collaboration among people from different regions.", "list": "RL", "year": 2023, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-knowledge-and-skills-of-production-of-the-atlas-and-adras-fabrics-01484", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12922-BIG.jpg", "copyright": "Dilshod Rahimov, 2018", "title": "The process of weaving adras in the wooden tool" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12923-BIG.jpg", "copyright": "Abdufattoh Aminov, 2018", "title": "Master Ibrohimjon Mamadjonov prepares threads for painting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12924-BIG.jpg", "copyright": "Dilshod Rahimov, 2018", "title": "Abrbandi -- preparation of the treads for painting by Alijon Yusupov" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12925-BIG.jpg", "copyright": "Abdufattoh Aminov, 2018", "title": "Monad Osimova with painted threads" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12926-BIG.jpg", "copyright": "Dilshod Rahimov, 2018", "title": "Process of openning threads" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12927-BIG.jpg", "copyright": "Dilshod Rahimov, 2018", "title": "Teaching and Producing Center 'Dugonaho' in the B. Ghafurov's district" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12928-BIG.jpg", "copyright": "Dilshod Rahimov, 2018", "title": "Teaching special cources in the B. Ghafurov's district" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12929-BIG.jpg", "copyright": "Dilshod Rahimov, 2018", "title": "Prepared atlas and adras fabrics" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12930-BIG.jpg", "copyright": "Dilshod Rahimov, 2018", "title": "Tajik bride dressed with atlas wedding costume" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12931-BIG.jpg", "copyright": "Dilshod Rahimov, 2018", "title": "Tajik girls with atlas in the festival 'Idi Atlas' in Khujand city" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=CIQIANGiEOY", "copyright": "TV Safina, 2019", "title": "Traditional knowledge and skills of production of the atlas and adras fabrics" } ], "sustainability": "" } }, "element_1486": { "type": "element", "label": "Traditional turkmen carpet making art in Turkmenistan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12863-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12863-HUG.jpg" }, "description": "Traditional turkmen carpet making art in Turkmenistan relates to the production of traditional Turkmen carpets and carpet products: hand-woven woolen textile products decorated with ornamental art. The carpets feature a dense texture ornamented with characteristic coloured patterns pertaining to one of the five main Turkmen tribes. They are characterized by patterns forming clear linear geometric arrangements. The context in which the carpet weaver lives \u2013 including local flora, fauna and the environment \u2013 is reflected in the combination of threads, pictures and colours creating the carpet designs. Turkmen carpets are created on horizontal or vertical looms, mainly using different coloured wool threads. The carpets serve both as floor coverings and wall decorations, and special carpets are also woven for the birth of a child, wedding ceremonies, and prayer and mourning rituals. The carpet-making art is broadly integrated into the social and cultural life of Turkmen people and is considered as a sign of cultural identity and unity. Related skills and knowledge are transmitted within the family, and the viability of the tradition has been continuously ensured by community members. The annual celebration of Carpet Day plays a key role in the transmission of the element by gathering various communities, strengthening social ties and cooperation.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-turkmen-carpet-making-art-in-turkmenistan-01486", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12862-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "Saryja sheeps herd on the pasture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12863-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "Traditional wool sorting, combing and spinning" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12864-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "Horizontal looms and other necessary tools and materials for carpet making" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12865-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "Training the daughter is a main stage in the transmission of the carpet making art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12866-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "An elder bearer is explaining to young girls the learning peculiarities of carpet making" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12867-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "Playing and learning" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12868-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "Test for young girls" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12869-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "Decoration of camels during a wedding ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12870-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "Turkmen carpets and carpet articles" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12871-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "Traditional design of the external part of the yurta with carpets and articles" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=5_mDnO9cMYY", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2018", "title": "Traditional turkmen carpet making art in Turkmenistan" } ], "sustainability": "" } }, "element_1489": { "type": "element", "label": "Rituals and practices associated with Kit Mikayi shrine", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12782-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12782-HUG.jpg" }, "description": "The Rituals and practices associated with Kit Mikayi shrine concern the Luos of western Kenya. Legend has it that Kit Mikayi Shrine is associated with the good fortunes of the Seme people and other Luo ethnic communities who live around the shrine enclave. People access the shrine for many different reasons, including praying, taking oaths, undertaking rituals and associated practices, and enjoying its natural beauty. During times of catastrophe like hunger and famine, Luo elders would conduct rituals at the shrine and rain and bounty harvests would follow. Elderly men and women of excellent social standing would guide the rituals; while men would partake in activities such as slaughtering the animals, women did the singing, dancing and cooking of the foods accompanying the rituals. For generations, the community has relied on the shrine as a sacred site, where they could visit and commune with the Deity. However, the element is now threatened by various factors, including the decreased frequency of its enactment, ageing bearers and practitioners, and encroachment upon the surrounding cultural spaces. The fact that the last major rituals and practices at the shrine date back to 1987 illustrates the risk of their disappearance, with a lack of knowledge triggering a movement towards the devaluation and defilement of the shrine as a sacred space for the community.", "list": "USL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/rituals-and-practices-associated-with-kit-mikayi-shrine-01489", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12782-BIG.jpg", "copyright": "Josphat Githua, Kenya, 2015", "title": "Seme community elder, Benjamin Outa, saying a traditional prayer at Kit Mikayi shrine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12783-BIG.jpg", "copyright": "Josphat Githua, Kenya, 2015", "title": "Elders with sacrificial goat in readiness for a ritual performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12784-BIG.jpg", "copyright": "Danson Siminyu, Kenya, 2016", "title": "Seme community elders converge at Kit Mikayi shrine for consultations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12785-BIG.jpg", "copyright": "Josphat Githua, Kenya, 2014", "title": "Visiting primary school publils dancing at Kit Mikayi shrine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12786-BIG.jpg", "copyright": "Josphat Githua, Kenya, 2015", "title": "Seme community elder, John Ngeso, inducting secondary school students at the shrine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12787-BIG.jpg", "copyright": "Josphat Githua, Kenya, 2015", "title": "Elder, John Ngeso, iwith visitors in one of the caves of the shrine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12788-BIG.jpg", "copyright": "Josphat Githua, Kenya, 2015", "title": "Kangeso women group performing a dance during an open air forum at Kit Mikayi shrine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12789-BIG.jpg", "copyright": "Josphat Githua, Kenya, 2015", "title": "Seme community elders giving consent for nomination of the element" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12790-BIG.jpg", "copyright": "Josphat Githua, Kenya, 2015", "title": "Members of varied sects gather at Kit Mikayi shrine for fasting and intercessory prayers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12791-BIG.jpg", "copyright": "Danson Siminyu, Kenya, 2016", "title": "Mother Everlyne Achient Sako of Legio Maria sect entering one of the caves at the shrine" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=QuBc3G86nGI", "copyright": "Department of Culture, Kenya, 2018", "title": "Rituals and practices associated with Kit Mikayi Shrine of the Luo community in Kenya" } ], "sustainability": "" } }, "element_1490": { "type": "element", "label": "Sega tambour Chagos", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12775-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12775-HUG.jpg" }, "description": "Sega tambour Chagos is one of the types of Sega music of Mauritius, with origins in the Chagos Archipelago. Like other Sega music, it is born from slavery and sung in Chagossian Creole particular to the islands. Sega tambour Chagos is a gentle, vibrant and rhythmic performance of music, song and dance based on the \u2018tambour\u2019 \u2013 a large, circular instrument that is heated and then played to produce throbbing beats \u2013 which provides the basic rhythm. The lyrics consist of everyday experiences, often composed spontaneously, including narrations of sadness, happiness and rebellion. Sega tambour Chagos is also accompanied by traditional food and drink. Nowadays, new lyrics have been created associated with the nostalgic past and motherland, rooted in an experience of dislocation to ensure young people do not lose their roots and pride. However, despite efforts to safeguard the element, there are numerous threats to its viability. For example, while elder generations continue to perform the element in its traditional form, young people are moving towards other forms of music. One major threat is the passing away of elders familiar with the landscape associated with the practice. Equally, with their displacement to a new land, people have faced challenges such as poverty and a lack of community cohesiveness, leading to some loss of memory and interest in the practice.", "list": "USL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/sega-tambour-chagos-01490", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12767-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2017", "title": "Community participating in Sega Chagos discussions for the preparation of the nomination file" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12768-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2017", "title": "Group Sega Tambour Chagos with lead singer Mimose Furcy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12769-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2017", "title": "Group Tambour Chagos with the male singer Alain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12770-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2017", "title": "A performer playing the triang and whistle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12771-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2017", "title": "Dancing the Sega Tambour Chagos with the man getting in to dance, movement called 'salie'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12772-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2017", "title": "Women swinging while dancing 'Karousel'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12773-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2017", "title": "The swinging movement" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12774-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2017", "title": "A vibrant performance of the Sega Tambour Chagos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12775-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2017", "title": "Youth joining in the performance - transmission" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12776-BIG.jpg", "copyright": "National Heritage Fund, Mauritius, 2017", "title": "Three generations of Sega Tambour Chagos under the tutelage of Rita Modliar" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=vDJl1vYqMMk", "copyright": "National Heritage Fund, Mauritius, 2018", "title": "Sega Tambour Chagos" } ], "sustainability": "" } }, "element_1491": { "type": "element", "label": "Ethiopian epiphany", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12575-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12575-HUG.jpg" }, "description": "Ethiopian epiphany is a colourful festival celebrated all over Ethiopia to commemorate the baptism of Jesus Christ by John the Baptist in the River Jordan. The commemoration starts on the eve of the main festival on 18 January. The eve is known as Ketera, which means blocking the flow of water for the blessing of the celebrants. On the eve of Ketera, people escort their parish church tabot (replicas of the Ark of the Covenant) to Timkete-Bahir (a pool, river or artificial reservoir), transported by a priest of the parish and accompanied by a great ceremony. The people spend the night attending night-long prayers and hymn services, including the Eucharistic Liturgy. Hundreds of thousands participate in the actual festival on the following day \u2013 19 January. The celebration starts early in the morning with pre-sunrise rituals. These are followed by the sprinkling of the blessed water on the congregation, as well as other ceremonies. At around 10 a.m., each tabot begins its procession back to its respective church, involving an even more colourful ceremony with various traditional and religious songs. The viability of the element is ensured through its continued practice, with Orthodox clergies playing a pivotal role: they sing the praises dedicated to the rituals and hymns, carry the Ark, and preach relevant texts.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ethiopian-epiphany-01491", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12573-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), EThiopia, 2018", "title": "During Ehtiopian Epiphany, priests wearing ecclesial vestment and holding prayer stick, rum and sistrums perform the rhythm 'Worede World Emsemayat Wuste Mitmakat' (God the Son goes to the place of paptism) in Axum, world heritage site of Ethiopia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12574-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2018", "title": "In the afternoon of the 18th January, people escorting tabots from their respective churches to the festival site Janmeda. The your are cleaning the road where the procession is to pass by, giving their immense service for successful celebration of Timket." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12575-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2018", "title": "In the island found in lake Zeway, the tabot (replicas of the Ark of the Covenant) of the parish chruch is accompanied with boats." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12576-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2018", "title": "Youth singers from the churches' Sunday school praising God with Begena (Ethipian ten string harp) and those who accompany them with traditional songs and dances are at the front line of the procession during Ethiopian Epiphany." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12577-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2018", "title": "As the tabots (Arks) arrive at Janmeda, priests carrying the tabot stand to the side of the huge tent reserved for their stay overnight. In from of them, priests wearing cloak and holding prayer stick (mekuamiya), drum and sistrums (tsenatsil)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12578-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2018", "title": "His Holiness, Abune Matthis I, Patriarch of the Ethiopian Orthodox Tewahedo Church, seen in the picture with the archbishops immersing the cross into water of the pool 'Timkete-Bahir' and blesses it for sprinkling upon the M'emenan -believers)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12579-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2018", "title": "Ethiopian Epiphany can be performed by immersing a body in water where a larger pool is available to swim like that of the celebration place of Fasiledes in Gondar as Christ himself was baptized in the river Jordan." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12580-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2018", "title": "Sunday School youth present their songs during the celebration of Ethiopian Epiphany. The performances and hymns are St. Yared's composition, the founder of the Ethiopian Orthodox Tewahedo Church hymn known as zema." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12581-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2018", "title": "Youth blewing Meleket, Ethiopian trumpet, in front of the Arks during the celebration of Ethiopian Epiphany in the procession towards Janmeda." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=4exlfoi24rc", "copyright": "2018, Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia", "title": "Ethiopian Epiphany (Ye'Timket Kibre Be'al)" } ], "sustainability": "" } }, "element_1492": { "type": "element", "label": "Traditional skills of crafting and playing Dot\u0101r", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12508-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12508-HUG.jpg" }, "description": "The traditional skills of crafting and playing the Dot\u0101r are one of the most prominent social and cultural components of the folkloric music among the ethnic groups and communities of the Dot\u0101r regions. Bearers and practitioners are mostly farmers, including male crafters and players and female players. The Dot\u0101r is a folkloric plucked musical instrument with a pear-shaped bow crafted with dried wood or mulberry tree, a neck made of apricot or walnut wood, and two strings. Some believe one string is male and functions as the accord, while the other is female, playing the main melody. Performers play the Dot\u0101r on important social and cultural occasions such as weddings, parties, celebrations and ritual ceremonies. In recent decades, it has also been played in local, regional, national and international festivals. While playing, the players recount epic, historical, lyric, moral and gnostic narrations that are central to their ethnic history, pride and identity. Traditional knowledge relating to crafting and playing the Dot\u0101r is passed on informally through the master-student method, and the element is also present in local oral and written literature, which reflects the history and background of the bearers. The element fosters peaceful co-existence, mutual respect and understanding both among different communities and with neighbouring countries.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-skills-of-crafting-and-playing-dotr-01492", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12508-BIG.jpg", "copyright": "Farhad Nazari, Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "Master Hossein Ali Ghamkhar Ahmadi in his Dot\u0101r crafting workshop, Torbat-e Jam, Razavi Khorasan Province, Islamic Republic of Iran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12509-BIG.jpg", "copyright": "Farhad Nazari, Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "Master Mohammad Divangahi in his Dot\u0101r crafting workshop, Mashhad, Razavi Khorasan Province, Islamic Republic of Iran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12510-BIG.jpg", "copyright": "Farhad Nazari, Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "Types of Dot\u0101r (large, medium and small sizes) in different places of Dot\u0101r-Domain region, Islamic Republic of Iran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12511-BIG.jpg", "copyright": "Farhad Nazari, Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "Traditional transmission of Dot\u0101r (master-student method) by Master Mohsen Asgari, Mashhad, Razavi Khorasan Province, Islamic Republic of Iran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12512-BIG.jpg", "copyright": "Farhad Nazari, Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "An urban class at Razavi Khorasan Music Association; Master Mojtaba Gheytaghi is teaching Dot\u0101r to a young girl, Mashhad, Razavi Khorasan Province, Islamic Republic of Iran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12513-BIG.jpg", "copyright": "Farhad Nazari, Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "Three young girls with local Kurmanji kurdish costumes trained by Master Mojtaba Gheytaghi, Mashhad, Razavi Khorasan Province, Islamic Republic of Iran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12514-BIG.jpg", "copyright": "Farhad Nazari, Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "Master (Bakhsh\u012b) Mr. Gol-Nab\u0101t \u2018Attaie, Kurmanji Kurdish Dot\u0101r Player, Bojnurd, North Khorasan Province, Islamic Republic of Iran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12515-BIG.jpg", "copyright": "Farhad Nazari, Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "Master (Bakhsh\u012b) Ana Mor\u0101d Rastegari, Turkmen Dot\u0101r playe, Jargal\u0101n, Bojnurd, North Khorasan Province, Islamic Republic of Iran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12516-BIG.jpg", "copyright": "Farhad Nazari, Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "Friendly meeting of two prominent Dot\u0101r player - right one: Master Othman Khwafi (Sunni, from Razavi Khorasan Province) and leftoOne: Master Ramazan Bardari (Shiite from Bardar Village, Razavi Khorasan Province), Islamic Republic of Iran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12517-BIG.jpg", "copyright": "Farhad Nazari, Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO)", "title": "A symbol of Dot\u0101r installed in M\u0101dar Sq. in Bojnurd, North Khorasan Province, Islamic Republic of Iran" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=AGllE6UVu-8", "copyright": "", "title": "Traditional skills of crafting and playing Dot\u0101r" } ], "sustainability": "" } }, "element_1495": { "type": "element", "label": "Buklog, thanksgiving ritual system of the Subanen", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12797-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12797-HUG.jpg" }, "description": "Buklog is an elaborate thanksgiving ritual system of the Subanen, an indigenous people in the southern Philippines. The head of a host family, usually a village chief called \u2018timuay\u2019, plans the ritual system to express gratitude to the spirits. The rituals ensure harmony among family, clan and community members, as well as among the human, natural and spiritual worlds. They include asking the spirits for permission to gather materials from the forest, presenting coin offerings, inviting the spirits of the departed to feast, invoking spirits of water and land, and music and dance. Afterwards, participants dance on an elevated wooden structure called the \u2018Buklog\u2019 \u2013 a sacred and social space \u2013 which resonates with a sound believed to please the spirits. This is followed by a community dance marking the renewal of spiritual and social relationships within the community. Though the ritual system remains the community\u2019s strongest unifying force, there are several social, political and economic threats that compromise its viability, notably the influx of other cultures into the Subanen\u2019s traditional homeland, changes in family dynamics and economic constraints. Therefore, although the Subanen have developed highly adaptive mechanisms to ensure their culture survives, the Buklog is now regarded as highly vulnerable, facing several severe interrelated threats and constraints.", "list": "USL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/buklog-thanksgiving-ritual-system-of-the-subanen-01495", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12793-BIG.jpg", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "Community members prepare the special offering altars while gandingan musicians continuously play gongs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12794-BIG.jpg", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "Voluntary labor by community members is expressed in the construction of the buklog" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12795-BIG.jpg", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "Collective efforts by the community in gathering bamboo and other materials for the buklog structure" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12796-BIG.jpg", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "Two ritual specialists with their assistant prepare special offering altars for the river ritual" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12797-BIG.jpg", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "A group of ritual specialists gather at the special offering altar while a member of the community places an offering in the 'sangat'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12798-BIG.jpg", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "At the center of the structure, a long pole called 'petaw' is installed to hit the dulugan, a hollowed log suspended on a trench" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12799-BIG.jpg", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "Women leaders actively participate in setting the community rules for everyone to observe as symbolically codified in the knotting of the rattan strips" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12800-BIG.jpg", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "A sacred pact is performed for unity and harmony among the members of the community and representatives of assisting organizations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12801-BIG.jpg", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "Attached to the house of the host family who will hold the buklog is a stairbridge through which participants enter, creating a representation of man\u2019s journey from the mundane to the sacred" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12802-BIG.jpg", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "Community members dance hand-in-hand on the flexible platform during the community dancing called \u2018gbat\u2019" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=e-T2Suod5RE", "copyright": "National Commission for Culture and the Arts of the Philippines, 2018", "title": "Philippines - Bucklog thanksgiving ritual of the Subanen" } ], "sustainability": "" } }, "element_1496": { "type": "element", "label": "Ak-kalpak craftsmanship, traditional knowledge and skills in making and wearing Kyrgyz men\u2019s headwear", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12819-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12819-HUG.jpg" }, "description": "Ak-kalpak craftsmanship is a traditional Kyrgyz handicraft. The Ak-kalpak is a traditional male hat made with white felt, which bears deep sacral meanings. Ak-kalpak craftsmanship is a cumulative, ever-evolving body of knowledge and skills passed down by craftswomen in the communities concerned comprising felting, cutting and sewing and pattern embroidery. Related knowledge and skills are transmitted via oral coaching, hands-on training and joint making in workshops. More than eighty kinds of Ak-kalpak can be distinguished, decorated with various patterns bearing a sacred meaning and history. Environmentally friendly and comfortable, the Ak-kalpak resembles a snow peak, with four sides representing the four elements: air, water, fire and earth. The four edging lines symbolize life, with the tassels on the top symbolizing ancestors\u2019 posterity and memory, and the pattern symbolizing the family tree. Ak-kalpak unites different Kyrgyz tribes and communities and makes Kyrgyz people recognizable to other ethnic groups. It also fosters inclusivity when representatives of other ethnic groups wear it on holidays or days of mourning to express unity and sympathy. There are workshops all over the country where related knowledge and skills are passed down, and in 2013 a project entitled \u2018From generation to generation\u2019 was conducted on traditional Ak-kalpak-making techniques nationwide, resulting in an exhibition and published book.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ak-kalpak-craftsmanship-traditional-knowledge-and-skills-in-making-and-wearing-kyrgyz-men-s-headwear-01496", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12819-BIG.jpg", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "Old men in Kyrgyz traditional headwear Ak-kalpak giving a bless at the holiday; Ak-kalpak symbolizes patriotic unity, especially in days of celebrations and ritual events" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12820-BIG.jpg", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "The process of felt making; to manufacture Ak-kalpak, there is a need of fine-fleeced sheep wool" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12821-BIG.jpg", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "Prepared felt cut depending of the specific kind of Ak-kalpak" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12822-BIG.jpg", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "The secrets of crafting transmitted from older generation to younger people. They learn the variety of Ak-kalpak's cut and sewing." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12823-BIG.jpg", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "Embroidery of Ak-kalpak patterns; Ak-kalpak is often decorated with various ornaments, each of which has its own special meaning and can be interpreted." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12824-BIG.jpg", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "The knowledge and skills of Ak-kalpak craftsmanship are transmitted from the older generation to the younger one through practical training in-person sessions. The training happens in craftswomen's workshops, from masters to trainees." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12825-BIG.jpg", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "A groom and a bride in Kyrgyz traditional headwears, Ak-kalpak and Shokulo; the modern Kygyze wedding clothes organized in different ways; however, wearing Ak-kalpak is still safeguarded." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12826-BIG.jpg", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "The craftswoman demonstrating different types and colors of Ak-kalpak for all ages" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12827-BIG.jpg", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "Children in Kyrgyz traditional headwear Ak-kalpak in everyday life regardless of age, weather as well as of fashion" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12828-BIG.jpg", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "The Kyrgyz traditional clothes and headwears Ak-kalpak and Elechek; the distinct features of Kyrgyz traditional clothes are typical to the nomad clothing. For many centuries, the traditional clothes are still safeguarded; and they have never changed its form." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=rhMw3tgf7_s", "copyright": "Public Foundation 'Min Kiyal', Kyrgyzstan, 2018", "title": "Ak-kalpak craftsmanship, traditional knowledge and skills in making Kyrgyz man's hat" } ], "sustainability": "" } }, "element_1499": { "type": "element", "label": "'Ie Samoa, fine mat and its cultural value", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12845-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12845-HUG.jpg" }, "description": "The \u2018Ie Samoa is a special finely hand-woven mat fastened at the hem with two rows of green and red feathers, and a loose fringe on one end. Traditionally woven with fine strippings of the pandanus plant, the final product is silk-like. Its shiny coppery colour adds to its value as it is a testament to its age and the natural bleaching process it undergoes. The production process involves a high level of intricacy as each woven strand is as little as one millimeter wide. Producing a single \u2018Ie Samoa can therefore take up to several months and even years. Nevertheless, the \u2018Ie Samoa is more than a cultural product involving exceptional skill; its true value lies in its use as an object of exchange in traditional ceremonies and rituals that reaffirm kinship ties and strengthen community wellbeing. The \u2018Ie Samoa is displayed and exchanged at festive celebrations or on important gatherings such as weddings and funerals, and its exchange contributes profoundly to the maintenance of the social structure. Today, an increasing number of young female weavers are involved, and even male weavers. Women and master weavers have established fine mat committees within their villages, allowing them to exchange ideas about best practice for weaving, and to boost opportunities for strengthening the transmission of the art form.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ie-samoa-fine-mat-and-its-cultural-value-01499", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12841-BIG.jpg", "copyright": "Women in Business Developmnet Inc., Samoa, 2004", "title": "Master weaver Vilelava Vaipae from Lepuia'i Manono was instrumental in the revitalization of 'ie Samoa. As one of the last known weavers of the traditional 'ie Samoa, she accompanied the Women in Business Development Inc. (WIBDI) trainers to introduce the art to women around the nation." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12842-BIG.jpg", "copyright": "Ministry of Women, Community, and Social Development, Samoa, 2018", "title": "A representative from the Ministry of Women, Community, and Social Development (MWCSD) and master weaver is measuring the 'ie Samoa using her handspan or aga during a monitoring visit to a village women's committee." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12843-BIG.jpg", "copyright": "Ministry of Women, Community, and Social Development, Samoa, 2018", "title": "Two women from a women's committee displaying a finished weave of 'ie Samoa before it is decorated." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12844-BIG.jpg", "copyright": "Ministry of Women, Community, and Social Development, Samoa, 2018", "title": "Young daughters often accompany their mothers in the weaving house. These early years of observation of the art of weaving is one of the key ways the practice is transmitted to the young generation." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12845-BIG.jpg", "copyright": "Ministry of Women, Community, and Social Development, Samoa, 2018", "title": "Men are strong supporters of the women's committee. This has inspired some men to join the women in the weaving process." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12846-BIG.jpg", "copyright": "T. Po'e, Samoa, 2017", "title": "Displaying the 'ie Samoa for exchange during a saofa'i or bestowal of chiefly titles ceremony." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12847-BIG.jpg", "copyright": "T. Po'e, Samoa, 2017", "title": "Family gathering of members who will be bestowed a chief title, with the 'ie Samoa to the left of the girl." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12848-BIG.jpg", "copyright": "Ministry of Education, Sports and Culture, Samoa, 2016", "title": "A young Samoan girl wearing the 'ie Samoa during a traditional dance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12849-BIG.jpg", "copyright": "Ministry of Education, Sports and Culture, Samoa, 2018", "title": "The women of Sagone women's committee in Savaii weaving together one very large fine mat." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12850-BIG.jpg", "copyright": "Ministry of Education, Sports and Culture, Samoa, 2018", "title": "The pandanus leaves are cut from the plant and prepared for the weaving of 'ie Samoa." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=YIQ8rsxokd8", "copyright": "Ministry of Women, Community, and Social Development, Samoa, 2015", "title": "The production of the 'ie Samoa (O le gaosiga o le 'ie Sae)" } ], "sustainability": "The \u2018le Samoa mat is a finely woven mat made from small strips of the pandanus plant. Given the level of intricacy and detail involved in the production of \u2018le Samoa, a single mat can take up to a year to complete. The \u2018le Samoa mats are highly valued as objects of exchange in ceremonies and rituals which strengthen community well-being and maintain the social structure. While most master weavers are women, there are also some male weavers involved in the craft. Weavers have established committees at the village level to support the ongoing safeguarding of the craft. This element also links to SDG #15: Life on Land, and SDG #16: Peace, Justice and Strong Institutions." } }, "element_1502": { "type": "element", "label": "Seperu folkdance and associated practices", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12741-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12741-HUG.jpg" }, "description": "The Seperu folkdance and associated practices involve singing, dancing and sacred rituals that are highly significant in the lives of Veekuhane community members. Seperu is a celebratory practice performed during ceremonies that mark important milestones in the community members\u2019 lives. In the dance the women form a horseshoe, while male dancers face the women at the end of this horseshoe. The lead dancer uses a flywhisk to direct and choose the female dancer, while other members of the group imitate the sounds of a male dove. The selected female dancer then shows her dancing skills by reflecting the image of a peacock tail with her multi-layered dress (\u2018mushishi\u2019). Although the Seperu folkdance is a key symbol of identity and pride for the Veehukane, its knowledge bearers and active practitioners have diminished in number, affecting its visibility and transmission to the younger generations. Currently, there are only 194 active practitioners, with twelve master practitioners, all of whom are over seventy years old. Traditional methods of transmission have been undermined by the distortion of the significance of the \u2018mushishi\u2019 garment, modern wedding ceremonies, current curricula in schools, and modernization, which has led community members to move to other districts of the country.", "list": "USL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/seperu-folkdance-and-associated-practices-01502", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12741-BIG.jpg", "copyright": "Ishmael Ogaufi Otlaadisa and Veekuhane, Botswana, 2018", "title": "At the end of initiation (ku fulumana), Mushishi is used to signify the girl's graduation." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12742-BIG.jpg", "copyright": "Ishmael Ogaufi Otlaadisa and Veekuhane, Botswana, 2018", "title": "Celebrating initiation graduation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12743-BIG.jpg", "copyright": "Ishmael Ogaufi Otlaadisa and Veekuhane, Botswana, 2018", "title": "John Mainga (Ingongi) discovered the element in 2011 during research" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12744-BIG.jpg", "copyright": "Ishmael Ogaufi Otlaadisa and Veekuhane, Botswana, 2018", "title": "Ku fulumana was implemented by selected family members with extensive knowledge and eager to transmit it to newly initiated young women." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12745-BIG.jpg", "copyright": "Ishmael Ogaufi Otlaadisa and Veekuhane, Botswana, 2018", "title": "Mushishi, the peacock tail signifies the pride of being Veekuhane and the artistry of dance." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12746-BIG.jpg", "copyright": "Ishmael Ogaufi Otlaadisa and Veekuhane, Botswana, 2018", "title": "Seperu dance groups are dominated by female practitioners" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12747-BIG.jpg", "copyright": "Ishmael Ogaufi Otlaadisa and Veekuhane, Botswana, 2018", "title": "The coronation took place in 1969 and very few remember the rituals involved." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12748-BIG.jpg", "copyright": "Ishmael Ogaufi Otlaadisa and Veekuhane, Botswana, 2018", "title": "The lead dancer uses a flywhisk to control, direct and choose (ku noma) female dancers." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12749-BIG.jpg", "copyright": "Ishmael Ogaufi Otlaadisa and Veekuhane, Botswana, 2018", "title": "The paramount Chief of Veehukane community signing the consent form" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12750-BIG.jpg", "copyright": "Ishmael Ogaufi Otlaadisa and Veekuhane, Botswana, 2018", "title": "Wedding" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=rs1Zt9i6wJY", "copyright": "Cowhorn Production and Veekuhane, 2018", "title": "Sepuru folk dance and associated practices" } ], "sustainability": "" } }, "element_1504": { "type": "element", "label": "Silat", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12875-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12875-HUG.jpg" }, "description": "Silat is a combative art of self-defence and survival rooted in the Malay Archipelago. Traced back to the early days of the Langkasuka Kingdom, Silat has evolved into a fine practice of physical and spiritual training also encompassing traditional Malay attire, Silat musical instruments and customs. There are many styles of Silat, inspired by the movements of human anatomy, nature and animals. For example, Silat Harimau involves an aesthetic rhythmic motion imitating the art of self-defence and attack of the tiger. In Malaysia alone, there are more than 150 known Silat styles whose names derive from natural elements such as animals and plants. Originally, Malay Silat was practised by warriors \u2013 as noble enforcers of justice \u2013 but nowadays practitioners consist of masters, gurus, teachers and students, who are responsible for maintaining the practice. Training sessions usually take place in the evening or at night in an open space such as a courtyard, led by the Master and \u2018Jurukaka\u2019. A large number of practitioners have been trained and nurtured, and an increasing number of training centres have been established in various regions. With this accelerated dissemination, the practice has increasingly transcended its status as a martial art to become a performing art; consequently, it is now a popular sport for health and leisure.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/silat-01504", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12872-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2018", "title": "Consent for Silat \u2013 Malay martial art for the nomination as Intangible Cultural Heritage UNESCO" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12873-BIG.jpg", "copyright": "Persekutuan Sila Kebangsaan Malaysia (PESAKA), 2017", "title": "Silat performance during the Opening Ceremony of SEA Games, Kuala Lumpur 2017" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12874-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2018", "title": "Movement of Silat by practitioners" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12875-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2018", "title": "1,000 female practitioners (Srikandi) performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12876-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2018", "title": "The various styles of Silat practitioners 'Silat Harimau Gayong' Malaysia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12877-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2018", "title": "Silat performance by youngster practitioners" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12879-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2018", "title": "Performance in \u201cPendekar Muda\u201d TV reality Programme" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12880-BIG.jpg", "copyright": "Persekutuan Sila Kebangsaan Malaysia (PESAKA), 2015", "title": "Various types of Silat practitioners participate in 'Malam Pendekar' events at Kuala Lumpur, Malaysia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12881-BIG.jpg", "copyright": "Persekutuan Sila Kebangsaan Malaysia (PESAKA), 2016", "title": "Silat performance Sports Carnival Telekom (KASTEL 2016) on 13th May 2016 at Shah Alam, Selangor" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3PNL3PrGXfQ", "copyright": "The Department of National Heritage, Malaysia, 2018", "title": "Seni Persilatan Melayu" } ], "sustainability": "" } }, "element_1505": { "type": "element", "label": "Songket", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13697-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13697-HUG.jpg" }, "description": "Songket is a traditional Malaysian handwoven fabric created by women in the Malay Peninsula and Sarawak. The term songket refers to the decorative weaving technique used to make the fabric, which entails inserting gold or silver thread in between the base threads. As a result, the extra threads seem to float over a colourful woven background to create an ornamental effect. Songket is woven using a kek, a traditional, two-pedal floor loom. The final product is a delicate fabric resulting from months of skilled handloom weaving by expert artisans. The weaving technique, which dates back to the sixteenth century, is passed on from generation to generation, and the songket style can be identified by the design patterns that use geometric shapes and organic elements, such as flowers, birds and insects. The songket material was traditionally worn only by royalty and their families. However, today it is used by Malay people all over the country in traditional ceremonial clothing, for royal installations, weddings, births, festive occasions and formal state functions. Although the weaving of songket has always been firmly in the hands of women, men also partake in the practice by making the weaving equipment.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/songket-01505", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13697-BIG.jpg", "copyright": "The Department of National Heritage, Malaysia, 2018", "title": "Unwinding the hanks and winding the threads on to the bobbins or spools" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13698-BIG.jpg", "copyright": "The Department of National Heritage, Malaysia, 2018", "title": "A tradition persist until the present time where housewife weaves at home" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13699-BIG.jpg", "copyright": "The Department of National Heritage, Malaysia, 2018", "title": "Songket motifs are derived from the nature and the surrounding" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13700-BIG.jpg", "copyright": "The Department of National Heritage, Malaysia, 2008", "title": "Songket being used as tengkolok (head-gear), a symbol of Malay power and sovereignity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13701-BIG.jpg", "copyright": "The Department of National Heritage, Malaysia, 2008", "title": "National Rulers in Songket attire during official ceremonies" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13702-BIG.jpg", "copyright": "Grace Inpam Selvanayagam, Malaysia, 1990", "title": "In the past, Malay ladies often used richly embroidered Songket sarongs when they go out" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13704-BIG.jpg", "copyright": "Yayasan Tuanku Nur Zahira, 2018", "title": "Songket used as modern fashion design" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13705-BIG.jpg", "copyright": "National Craft Institute, Malaysia, 2009", "title": "Songket handbag: Creativity and innovation in the songket industry through diversifying its product" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13706-BIG.jpg", "copyright": "The Department of National Heritage, Malaysia, 2008", "title": "Songket produced by various communities" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13707-BIG.jpg", "copyright": "The Department of Museums, Malaysia, 2016", "title": "Songket in the fashion industry" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=5Qni1z7bky0", "copyright": "The Department of National Heritage, Malaysia, 2019", "title": "Songket" } ], "sustainability": "" } }, "element_1508": { "type": "element", "label": "Byzantine chant", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12655-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12655-HUG.jpg" }, "description": "As a living art that has existed for more than 2000 years, the Byzantine chant is a significant cultural tradition and comprehensive music system forming part of the common musical traditions that developed in the Byzantine Empire. Highlighting and musically enhancing the liturgical texts of the Greek Orthodox Church, it is inextricably linked with spiritual life and religious worship. This vocal art is mainly focused on rendering the ecclesiastical text; arguably, the chant exists because of the word (\u2018logos\u2019), since every aspect of the tradition serves to spread the sacred message. Passed on aurally across the generations, its main characteristics have remained over the centuries: it is exclusively vocal music; it is essentially monophonic; the chants are codified into an eight-mode or eight-tone system; and the chant employs different styles of rhythm to accentuate the desired syllables of specific words. Though the Psaltic Art has always been linked to the male voice, women chanters are common in nunneries and participate in parishes to some extent. In addition to its transmission in church, the Byzantine chant is flourishing due to the dedication of experts and non-experts alike \u2013 including musicians, choir members, composers, musicologists and scholars \u2013 who contribute to its study, performance and dissemination.", "list": "RL", "year": 2019, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/byzantine-chant-01508", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12653-BIG.jpg", "copyright": "Cyprus National Commission for UNESCO, 2018", "title": "Father Nikolaos Lympouridis with his students, during their weekly Byzantine chant lesson at the School of Byzantine and Traditional Music of the Holy Metropolis of Lemesos, in Limassol, Cyprus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12654-BIG.jpg", "copyright": "Cyprus National Commission for UNESCO, 2018", "title": "Nuns chanting at the Monastery of Saint Heraklidios in Politiko village, in the province of Nicosia, Cyprus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12655-BIG.jpg", "copyright": "Cyprus National Commission for UNESCO, 2018", "title": "Cantors lead the procession around the church of Saint John\u2019s Cathedral in Nicosia, celebrating The Sunday of Orthodoxy (first Sunday of Great Lent). The Service commemorates the restoration of icons and their veneration by the decision of the Seventh Ecumenical Council in AD 787" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12656-BIG.jpg", "copyright": "Cyprus National Commission for UNESCO, 2018", "title": "The Right Choir of cantors (Chor\u014ds) during the Divine Liturgy celebrating The Sunday of Orthodoxy at Saint John Cathedral in Nicosia, Cyprus. The chanting is directed by the leader of the Right Choir, First Cantor Kyriakos Psaltis" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12657-BIG.jpg", "copyright": "Cyprus National Commission for UNESCO, 2018", "title": "Detail of wall painting in Saint John Cathedral in Nicosia, Cyprus. Although Byzantine chant is exclusively vocal music, musical instruments and singing with instrumental accompaniment are depicted in wall paintings inside churches as well as in manuscript miniatures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12658-BIG.jpg", "copyright": "Cyprus National Commission for UNESCO, 2018", "title": "Byzantine music teacher and choir director Evangelos Georgiou leads Byzantine Choir \u2018Cypriot Melodists\u2019, at the Hall of the Cultural Centre of the Archbishop Makarios III Foundation. The performance took place in March 2018 during the celebratory event for the inscription of new elements on the National Inventory of Cyprus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12659-BIG.jpg", "copyright": "Cyprus National Commission for UNESCO, 2018", "title": "An old handwritten manuscript (c. 1825-1840) from the personal collection of Byzantine music teacher and choir director Evangelos Georgiou. \u201cParasimantik\u012b\u201d is the neumatic notation employed to transcribe the Byzantine chants into written form" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12660-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Sports 2018", "title": "Studying Byzantine Music at the Music Secondary School of Ilion, Athens" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12661-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Sports 2018", "title": "The Right Choir of chanters during the Divine Liturgy at the Transfiguration of Christ's Cathedral, Kallithea, Athens. The chanting is directed by the leader of Right Choir, Fotis Ketsetzis, Archon Protopsaltes of the Holy Archdiocese of America and Emeritus Professor of Holy Cross, Boston" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12662-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Sports 2018", "title": "The Left Choir of students from Music School of Ilion during the Liturgy at Saint Eleftherios' church, Patissia, Athens. The choir is directed by Konstantinos Politis, Protopsaltes and Teacher of Byzantine Chant" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=lXEdhGahhAk", "copyright": "Hellenic Ministry of Culture and Sport, 2018", "title": "Byzantine chant" } ], "sustainability": "" } }, "element_1510": { "type": "element", "label": "Cultural Complex of Bumba-meu-boi from Maranh\u00e3o", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12669-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12669-HUG.jpg" }, "description": "The Cultural Complex of Bumba-meu-boi from Maranh\u00e3o is a ritualistic practice involving forms of musical, choreographic, performing and ludic expression, in which the practitioners\u2019 relationship with the sacred is mediated by the figure of the ox. The practice features certain key distinguishing elements: the cycle of life; the mystical-religious universe; and the ox itself. The practice is heavily charged with symbolism: by reproducing the cycle of birth, life and death, it offers a metaphor for human existence itself. There are similar forms of expression in other Brazilian states, but in Maranh\u00e3o Bumba-meu-boi is distinguished by the various styles and groups it includes, as well as by the intrinsic relationship between faith, festivities and art. Each year, the Bumba groups from Maranh\u00e3o reinvent this celebration, creating the songs, comedies, the embroideries on the ox leather and the performers\u2019 costumes. Divided into five main \u2018accents\u2019 with particular features, the groups, albeit diverse, share a yearly calendar of performances and festivities. The festival cycle \u2013 which reaches its peak at the end of June \u2013 may last for four to eight months, involving the following stages: rehearsals; the pre-season; baptisms; public performances or \u2018brincadas\u2019; and rituals around the ox\u2019s death. The practice is a period of renovation during which energies are reinvigorated, and is transmitted through children\u2019s groups, dance workshops, and spontaneously within the group.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-complex-of-bumba-meu-boi-from-maranhao-01510", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12667-BIG.jpg", "copyright": "M\u00e1rcio Vasconcelos, 2013", "title": "Ox in front of the altar on its baptism day, at the headquarters of the Maracan\u00e3 group" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12668-BIG.jpg", "copyright": "M\u00e1rcio Vasconcelos, 2013", "title": "Ox leather depicting the Last Supper, based on Da Vinci's painting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12669-BIG.jpg", "copyright": "M\u00e1rcio Vasconcelos, 2013", "title": "Caboclo da pena, character of the Maracan\u00e3 group" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12670-BIG.jpg", "copyright": "M\u00e1rcio Vasconcelos, 2013", "title": "Cazumba, character of the Baixada 'accent' (style)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12671-BIG.jpg", "copyright": "M\u00e1rcio Vasconcelos, 2013", "title": "Ox and cowboy at Saint Marsal Celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12672-BIG.jpg", "copyright": "M\u00e1rcio Vasconcelos, 2013", "title": "Indigenous women, characters of Baixada 'accent' (style)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12673-BIG.jpg", "copyright": "M\u00e1rcio Vasconcelos, 2013", "title": "Miolo, person that gives life to the ox's frame" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12674-BIG.jpg", "copyright": "M\u00e1rcio Vasconcelos, 2013", "title": "Folk singer Jo\u00e3o S\u00e1 Viana, master of the 'Boi da Floresta' (forest), from Baixada 'accent' (style)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12675-BIG.jpg", "copyright": "M\u00e1rcio Vasconcelos, 2013", "title": "Ox tied to the pillar for the ritual sacrifice. On the floor, lit candles in honour of Saint John Baptist" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12676-BIG.jpg", "copyright": "M\u00e1rcio Vasconcelos, 2013", "title": "Cowboys with an iron pointed goad, characters of the Zabumba 'accent' (style)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=tjvHiGA0Sqo", "copyright": "Bruno Saphira Ferreira Andrade", "title": "Cultural Complex of Bumba-meu-boi from Maranh\u00e3o" } ], "sustainability": "" } }, "element_1511": { "type": "element", "label": "Nar Bayrami, traditional pomegranate festivity and culture", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13974-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13974-HUG.jpg" }, "description": "Nar Bayrami is an annual festival in October\/November in Azerbaijan\u2019s Goychay region that celebrates the pomegranate and its traditional uses and symbolic meaning. Pomegranate culture is a set of practices, knowledge, traditions and skills related to the cultivation of the fruit, which is used not only in a range of culinary contexts, but is also referred to in crafts, decorative arts, myths, storytelling and other creative outlets. The element is linked to local agriculture and to the farmers and individuals in rural communities that grow and collect the fruit. These participants have an understanding of environmental characteristics and harvesting techniques. The fruit enjoys great visibility in society as both the pomegranate and Nar Bayrami perform a range of cultural and social functions \u2013 everything from its use in traditional meals to being cited in poetry. Symbolically, the pomegranate is associated with long-term productivity, abundance and is considered as a carrier of energy. Azerbaijani Local legends viewed it as a symbol of love and passion, while religious people saw it as symbolizing eternity. The annual celebration displays pride for centuries-old traditionsthis festivity and culture related to the fruit and encourages active exchange and communication among communities and visitors to the festivity, a time to highlight local nature and culture.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nar-bayrami-traditional-pomegranate-festivity-and-culture-01511", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13962-BIG.jpg", "copyright": "Mammad Rahimov\/Ministry of Culture of Azerbaijan, 2018", "title": "Nar Bayrami traditional pomegranate festivity and culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13963-BIG.jpg", "copyright": "Mammad Rahimov\/Ministry of Culture of Azerbaijan, 2018", "title": "Nar Bayrami traditional pomegranate festivity and culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13967-BIG.jpg", "copyright": "Mammad Rahimov\/Ministry of Culture of Azerbaijan, 2018", "title": "Nar Bayrami traditional pomegranate festivity and culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13968-BIG.jpg", "copyright": "Mammad Rahimov\/Ministry of Culture of Azerbaijan, 2018", "title": "Nar Bayrami traditional pomegranate festivity and culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13969-BIG.jpg", "copyright": "Mammad Rahimov\/Ministry of Culture of Azerbaijan, 2018", "title": "Nar Bayrami traditional pomegranate festivity and culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13970-BIG.jpg", "copyright": "Mammad Rahimov\/Ministry of Culture of Azerbaijan, 2018", "title": "Nar Bayrami traditional pomegranate festivity and culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13972-BIG.jpg", "copyright": "Mammad Rahimov\/Ministry of Culture of Azerbaijan, 2018", "title": "Nar Bayrami traditional pomegranate festivity and culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13973-BIG.jpg", "copyright": "Mammad Rahimov\/Ministry of Culture of Azerbaijan, 2018", "title": "Nar Bayrami traditional pomegranate festivity and culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13974-BIG.jpg", "copyright": "Mammad Rahimov\/Ministry of Culture of Azerbaijan, 2018", "title": "Nar Bayrami traditional pomegranate festivity and culture" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=jPJ7gs3CCWk", "copyright": "Ministry of Culture of Azerbaijan, 2019", "title": "Nar Bayrami traditional pomegranate festivity and culture" } ], "sustainability": "" } }, "element_1512": { "type": "element", "label": "Grass mowing competition custom in Kupres", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12962-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12962-HUG.jpg" }, "description": "The most important social event in the Kupres municipality is the annual mowing competition that takes place in July at a specific meadow called Strljanica, which is also the local name for the custom. The contest involves the manual mowing of grass using a scythe and is judged by the time, effort and amount mown as cutting grass at that altitude requires strength and a special technique. The top three mowers are recognized, with the chief mower treated as a leader who ensures the successful mowing of all the fields to gather hay for the cattle; agriculture and cattle breeding are essential parts of the area\u2019s economy. Men, starting from the age of eighteen, are traditionally the competitors, with the element being transmitted within families from father to son. Women rake the grass and prepare food for guests. Other elements linked to the competition include national costumes, the forging of scythes and the preparation of cattle for competition. All ethnic and religious groups and individuals in Kupres are free to participate, with the custom being considered as a foundation of the area\u2019s cultural identity, regardless of people\u2019s background. The bearers themselves and the Kupres Mowers Association are most responsible for safeguarding the element.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/grass-mowing-competition-custom-in-kupres-01512", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12962-BIG.jpg", "copyright": "Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "Veteran mower Vinko \u010ci\u010dak, a multiple winner : Chief Mover - in his characteristic mower's posture during the competition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12963-BIG.jpg", "copyright": "Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "The honored winner : Chief Mover - Ivo Ivkovi\u0107 from Kupres, after the winner's announcement ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12964-BIG.jpg", "copyright": "Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "Young mower Arnes Ram\u010di\u0107 and his accompanying raker at the competition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12965-BIG.jpg", "copyright": "Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "A veteran mower, a young mower and a raker at Strljanica" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12966-BIG.jpg", "copyright": "Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "Members of 'Kupre\u0161ke' Women's Association at Strljanica stand with home-made products and souvenirs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12967-BIG.jpg", "copyright": "Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "A young mower learning how to mow the grass in the traditional way based on the instructions from a senior mower" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12968-BIG.jpg", "copyright": "Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "Mowers, before the beginning of the competition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12969-BIG.jpg", "copyright": "Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "The mowing terrain during the mowers' competition, Strljanica 2016" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12970-BIG.jpg", "copyright": "Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "The International Festival Mowing Days 2010. The opening ceremony of the event and traditional children's dances, City Sqaure in Kupres" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12971-BIG.jpg", "copyright": "Federal Ministry of Culture and Sport of Bosnia and Herzegovina", "title": "Old crafts: makers of scythes, mowing accessoires and other traditional handicraft products related to agriculture at Strljanica" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=2Oa_Zobk7PU", "copyright": "Federal Ministry of Culture and Sport, 2018", "title": "Kovanica polegla po travi \/ Forged scythe lying on the grass" } ], "sustainability": "" } }, "element_1513": { "type": "element", "label": "Armenian letter art and its cultural expressions", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12678-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12678-HUG.jpg" }, "description": "Armenian letter art and its cultural expressions constitutes the centuries-old art of Armenian letters, Armenian scripts, the rich culture of decorating letters and its various uses. The element is based on the Armenian alphabet created in 405 AD by Mesrop Mashtots, following the \u2018one-letter-for-one-sound\u2019 principle. The element is also distinguished by its wide range of ornamental scripts, generally classified by their shapes; knots, birds, animals, people, and mythical or imaginary creatures. Since their invention, Armenian letters have not only served their primary function to create written heritage, but also as numbers, cryptographs, riddles etc. Today, the letters are also used in handicrafts. Armenian letter art has penetrated almost all layers of society, particularly folk art. The element is practised across the Armenian territory and is integral to the cultural identity of Armenian people. Its bearers and practitioners include artists, carpet weavers, embroiderers, sculptors, linguists, calligraphists, jewellers and others. Educational institutions at all levels are involved in transmitting the related knowledge and skills to future generations, and several youth centres accord great importance to teaching Armenian letter art. Since 2008, continuous support has been shown for the annual \u2018Granshan\u2019 international design competition, and the Armenian Apostolic Church is central to acquainting children and youngsters with the element.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/armenian-letter-art-and-its-cultural-expressions-01513", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12677-BIG.jpg", "copyright": "Ashot Mkrtchyan\/Ministry of Culture RA, 2018", "title": "Letters in miniature" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12678-BIG.jpg", "copyright": "Ashot Mkrtchyan\/Ministry of Culture RA, 2018", "title": "Young girls bearers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12679-BIG.jpg", "copyright": "Ashot Mkrtchyan\/Ministry of Culture RA, 2018", "title": "Maral Sheohmelean, Syrian refugee embroiderer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12680-BIG.jpg", "copyright": "Ashot Mkrtchyan\/Ministry of Culture RA, 2018", "title": "ICH transmission in Arshaluys community" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12681-BIG.jpg", "copyright": "Ashot Mkrtchyan\/Ministry of Culture RA, 2018", "title": "Letters in embroidery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12682-BIG.jpg", "copyright": "Ashot Mkrtchyan\/Ministry of Culture RA, 2018", "title": "Young woodworkers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12683-BIG.jpg", "copyright": "Ashot Mkrtchyan\/Ministry of Culture RA, 2018", "title": "Letters in carpet weaving" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12684-BIG.jpg", "copyright": "Ashot Mkrtchyan\/Ministry of Culture RA, 2018", "title": "Typeface design" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12685-BIG.jpg", "copyright": "Ashot Mkrtchyan\/Ministry of Culture RA, 2018", "title": "Letters park in Artashavan community" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/12686-BIG.jpg", "copyright": "Ashot Mkrtchyan\/Ministry of Culture RA, 2018", "title": "Gates of King Trdat ornamented with Armenianan letters in Etchmiadzin community" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=c-saqVCmxDo", "copyright": "Ministry of Culture RA, 2018", "title": "Armenian letter art and its cultural expressions" } ], "sustainability": "" } }, "element_1514": { "type": "element", "label": "Music and dance of Dominican Bachata", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13125-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13125-HUG.jpg" }, "description": "The music and dance of Dominican Bachata is a danceable musical expression, deriving from a fusion of rhythmic bolero with other Afro-Antillean genres such as Son, the Cha-cha-cha, Merengue, etc. The Dominican people consider the music and dance of Bachata as a vernacular cultural manifestation, omnipresent in community celebrations and social gatherings. In general, the lyrics of Bachata express deep, visceral feelings of love, passion and nostalgia. Etymologically, the term \u2018bachata\u2019, presumed to be of African origin, originally referred to a lively gathering or party, rather than a musical genre specifically. For its performance, Bachata traditionally requires a small group of musicians, who use one or two guitars as lead instruments (electric guitars are widely used nowadays), and a percussion composed of bongos, maracas and a guiro accompanied by a bass. The music has four tempos per beat and usually one of the musicians is the lead singer. The dance of Bachata is equally passionate, consisting of a couple\u2019s dance characterized by a sensual hip movement and simple eight-step structure. Since the element is an integral part of all traditional celebrations in the Dominican Republic, the dance is learnt spontaneously from a young age, but there are also over a hundred academies, studios and schools dedicated to its transmission.", "list": "RL", "year": 2019, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/music-and-dance-of-dominican-bachata-01514", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13064-BIG.jpg", "copyright": "Centro L\u00e9on, 2018", "title": "Bachata dancers in a club" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13069-BIG.jpg", "copyright": "Centro L\u00e9on, 2018", "title": "Bachata dancers in a dance room" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13070-BIG.jpg", "copyright": "Centro L\u00e9on, 2018", "title": "Couple dancing bachata in a pool hall" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13071-BIG.jpg", "copyright": "Centro L\u00e9on, 2018", "title": "Bachata class" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13072-BIG.jpg", "copyright": "RW Photography Barcelona\/DR", "title": "Juan Luis Guerra interacting with audience" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13073-BIG.jpg", "copyright": "RW Photography Barcelona\/DR", "title": "Juan Luis Guerra y 440 on stage" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13124-BIG.jpg", "copyright": "iASO Records, 2013", "title": "Nelly Soriano, bachatera" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13125-BIG.jpg", "copyright": "iASO Records, 2015", "title": "Manuel Reynoso, 'Riki', teaching at The Bachata Academy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13126-BIG.jpg", "copyright": "iASO Records, 2016", "title": "Maestro Martires de Leon, teaching at The Bachata Academy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13127-BIG.jpg", "copyright": "iASO Records, 2011", "title": "Joan Soriano, roots bachatero" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=C_UkJ3meWII", "copyright": "Centro L\u00e9on, 2018", "title": "La bachata en la Rep\u00fablica Dominicana" } ], "sustainability": "" } }, "element_1533": { "type": "element", "label": "Traditional Korean wrestling (Ssirum\/Ssireum)", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13128-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13128-HUG.jpg" }, "description": "Democratic People\u2019s Republic of Korea<\/strong>
Ssirum (wrestling) is a physical game practised popularly in all regions of the Democratic People\u2019s Republic of Korea, where two opponents try to push each other to the ground using a satpa (a fabric strap connecting the waist and leg), their torso, hands and legs. Ssirum is distinguished by the use of the satpa and the awarding of a bull to the winner. Since ancient times, Koreans have practised Ssirum for physical training purposes during breaks from work and, especially, during big contests on folk holidays. On folk days, when Ssirum takes place, lots of people (old and young) gather around the ring: wrestlers compete using diverse techniques; spectators enthusiastically cheer on their favorites; and the winner rides a bull in celebration. As an exercise of the whole body, Ssirum fosters the cultivation of the body and mind. It also encourages mutual respect and cooperation, contributing to the harmony and cohesion of communities and groups. Pyongyang, the capital city, plays a central role in enacting, protecting and transmitting Ssirum, comprising a number of communities, organizations and institutions concerned with the practice, including the Korean Ssirum Association. Koreans start learning Ssirum from family members and neighbours from childhood, and it is taught by educational institutions at all levels.
Republic of Korea<\/strong>
Ssireum, or traditional wrestling, is a popular form of entertainment widely enjoyed across the Republic of Korea. Ssireum is a type of wrestling in which two players wearing long fabric belts around their waists and one thigh grip their opponents\u2019 belt and deploy various techniques to send them to the ground. The winner of the final game for adults is awarded an ox, symbolizing agricultural abundance, and the title of \u2018Jangsa\u2019. When the games are over, the Jangsa parades around the neighbourhood riding the ox in celebration. Ssireum games take place on sand in any available space in a neighbourhood, and are open to community members of all ages, from children to seniors. They are played on various occasions, including traditional holidays, market days and festivals. Different regions have developed variants of ssireum based on their specific backgrounds, but they all share the common social function of ssireum \u2013 enhancing community solidarity and collaboration. As an approachable sport involving little risk of injury, ssireum also offers a means of improving mental and physical health. Koreans are broadly exposed to ssireum traditions within their families and local communities: children learn the wrestling skills from family members; local communities hold annual open wrestling tournaments; and instruction on the element is also provided in schools.", "list": "RL", "year": 2018, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-korean-wrestling-ssirum-ssireum-01533", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13128-BIG.jpg", "copyright": "JANG Myong Hui, journalist of Physical Education Publishing House, DPR of Korea, 2009", "title": "Korean Ssirum is a competition in strength and wisdom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13129-BIG.jpg", "copyright": "KANG Sang Ho, journalist of Korean National Heritage Preservation Agency, DPR of Korea, 2017", "title": "Father teaching his son Ssirum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13130-BIG.jpg", "copyright": "KANG Sang Ho, journalist of Korean National Heritage Preservation Agency, DPR of Korea, 2017", "title": "'Grandpa, I\u2019ll try Ssirum'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13131-BIG.jpg", "copyright": "HAN Jin U, journalist of Physical Education Publishing House, DPR of Korea, 2011", "title": "Juvenile Ssirum players" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13132-BIG.jpg", "copyright": "PAK Kwang Chol, journalist of Physical Education Publishing House, DPR of Korea, 2014", "title": "Elderly Ssirum winners" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13133-BIG.jpg", "copyright": "KANG Sang Ho, journalist of Korean National Heritage Preservation Agency, DPR of Korea, 2017", "title": "Ssirum wrestlers training various techniques" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13134-BIG.jpg", "copyright": "KANG Sang Ho, journalist of Korean National Heritage Preservation Agency, DPR of Korea, 2017", "title": "Regular discussion of the Korean Ssirum Association" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13135-BIG.jpg", "copyright": "KANG Sang Ho, journalist of Korean National Heritage Preservation Agency, DPR of Korea, 2013", "title": "'Win, win, my old dear!'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13136-BIG.jpg", "copyright": "CHA Yong Jin, journalist of Central Photograph Publicity Agency, DPR of Korea, 2012", "title": "Golden cowbell" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13137-BIG.jpg", "copyright": "RO Myong Bo, journalist of Central Photograph Publicity Agency, DPR of Korea, 2013", "title": "Ssirum champion" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=QNxU9UoqqMw", "copyright": "Ms CHOE Jin Hyang, National Heritage Information & Technology Exchange Company, Democratic People's Republic of Korea, 2017", "title": "Democratic People's Republic of Korea" }, { "url": "https:\/\/www.youtube.com\/watch?v=Vy1PFvDCE0Q", "copyright": "The Cultural Heritage Administration, 2016", "title": "Republic of Korea" }, { "url": "https:\/\/www.youtube.com\/watch?v=l88988Y6lX0", "copyright": "Ms CHOE Jin Hyang, National Heritage Information & Technology Exchange Company, Democratic People's Republic of Korea, 2017", "title": "Democratic People's Republic of Korea" } ], "sustainability": "Ssirum is traditional Korean wrestling in the Democratic People\u2019s Republic of Korea, and Ssireum is practiced in the Republic of Korea. Both variations are symbolic of the countries\u2019 traditional sports that require physical and mental stamina and discipline. They are enjoyed and practiced by children and adults and are transmitted both formally in schools and informally as a traditional game. The Korean wrestling is also a main sport and social event, bringing people together. The heritage contributes to social cohesion and harmony. It also relates to SDG #3 Health and Well-Being and SDG #4 Education." } }, "element_1540": { "type": "element", "label": "Aboxan Musik \u01c0\u014cb \u01c2\u00c2ns ts\u00ee \u01c1Khasigu, ancestral musical sound knowledge and skills", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13942-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13942-HUG.jpg" }, "description": "Aboxan Musik \u01c0\u014cb \u01c2\u00c2ns ts\u00ee \u01c1Khasigu, ancestral musical sound knowledge and skills relates to the specific traditional music of the Nama people, one of Namibia\u2019s tribal minority groups. It involves the use of traditional musical instruments: the khab (musical bow) and !guitsib (traditional guitar), usually played by men or women, and the vlies (harmonica), usually played by women, accompanied by singing, humming and ululating. Nama ancestral music has a specific sound, texture and rhythm, consisting of a leading melody and rhythm by either a musical bow, accordion or guitar, accompanied by a systematic harmony produced by other instruments. As well as the skill of playing the instruments, the musicians also require the knowledge to tune, maintain and fix the instruments. The music is also complemented by dances commonly referred to as \u2018Nama\u2260N\u0101b\u2019, meaning the dancing steps of the Nama people. The music provides entertainment during key social occasions but, more importantly, it is also used to educate and instruct members of the community, for instance concerning environmental awareness. In the past, the music connected whole communities and villages, but the art currently faces many threats and in recent years only a few elders have practised the tradition and possessed the related knowledge and skills.

On 8 December 2023, the eighteenth session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage has approved the modification of name proposed by Namibia, and decides to modify the name of the element to \u2018Aboxan Musik \u01c0\u014cb \u01c2\u00c2ns ts\u00ee \u01c1Khasigu, ancestral musical sound knowledge and skills\u2019. It also approved to modify any reference in the text of the element stating \u2018Nama-stap\u2019 to be changed to \u2018Nama\u2260N\u0101b\u2019 ([[Decision 18.COM 21|https:\/\/ich.unesco.org\/en\/decisions\/18.COM\/21]]).<\/strong>", "list": "USL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/aboxan-musik-b-ans-tsi-khasigu-ancestral-musical-sound-knowledge-and-skills-01540", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13940-BIG.jpg", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2016", "title": "Culture group dancing to the Aboxan Musik \u01c0\u014cb \u01c2\u00c2ns ts\u00ee \u01c1Khasigu (ancestral musical sound, knowledge and skills) during the National Culture Festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13941-BIG.jpg", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2016", "title": "Culture group from Hardap region in their traditional dresses, dancing to the Aboxan Musik \u01c0\u014cb \u01c2\u00c2ns ts\u00ee \u01c1Khasigu (ancestral musical sound, knowledge and skills) during the Regional Culture Festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13942-BIG.jpg", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2018", "title": "Culture group from Hardap region in their traditional dresses, dancing to the Aboxan Musik \u01c0\u014cb \u01c2\u00c2ns ts\u00ee \u01c1Khasigu (ancestral musical sound knowledge and skills) during the regional culture festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13943-BIG.jpg", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2014", "title": "A culture group from Keetmanshoop dancing to the music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13944-BIG.jpg", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2018", "title": "Amabruxa cultural group from Maltahohe demonstrating an occasion where the music is performed" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13945-BIG.jpg", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2018", "title": "Ms Goiemann, a guitalist that performs the Aboxan Musik \u01c0\u014cb \u01c2\u00c2ns ts\u00ee \u01c1Khasigu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13946-BIG.jpg", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2018", "title": "Koos Africaner, Johannes Draghoender and Willem Windstaan musicians of the Aboxan Musik \u01c0\u014cb \u01c2\u00c2ns ts\u00ee \u01c1Khasigu musical band from Karasburg" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13947-BIG.jpg", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2018", "title": "Chief Seth Kooitjie of the Topnaar Community at Utuseb Valley signing the consent letter" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13948-BIG.jpg", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2016", "title": "Magdalena Lambert playing the traditional music instrument" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13950-BIG.jpg", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2016", "title": "Margrieta Rooinasie and Magdalena Lambert playing the Aboxan Musik \u01c0\u014cb \u01c2\u00c2ns ts\u00ee \u01c1Khasigu music" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Pq0LiMrr53c", "copyright": "Ministry of Education, Arts and Culture, Namibia, 2019", "title": "Aixan\/Gana\/Ob#ANS TSI \/\/Khasigu, ancestral musical sound knowledge and skills" } ], "sustainability": "" } }, "element_1541": { "type": "element", "label": "Art of crafting and playing Mbira\/Sansi, the finger-plucking traditional musical instrument in Malawi and Zimbabwe", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13672-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13672-HUG.jpg" }, "description": "The art of crafting and playing Mbira\/Sansi, the finger-plucking traditional musical instrument in Malawi and Zimbabwe, plays a key role in the communities concerned. The basic Mbira\/Sansi instrument consists of a wooden board with metal keys attached on top, and the instrument is sometimes mounted on a calabash\/wooden resonator. The metal keys are made from spoon handles, bicycle spokes or spring wire, and the keys are plucked using the thumbs or a combination of thumbs and fingers. The Mbira\/Sansi produces a fluid percussive sound considered to be mystic, tranquil and enchanting. An important feature of the music is its cyclical nature, where each new repetition of a theme varies slightly from the last and incorporates numerous interwoven melodies. The instrument can be played on its own or with multiple instruments in a group. Traditionally, transmission has occurred through apprenticeship within the family circle. Today, however, transmission also takes place through formal coaching, and Mbira\/Sansi making and playing is taught in some schools. The songs contain important messages, with some guarding children against bad behaviour while others condemn negative behaviour in the community for example. The music is also used to communicate information about events that happened in the past. Wherever and whenever it is played, the Mbira\/Sansi instrument acts as a \u2018weapon\u2019 for condemning violence and other societal ills.", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/art-of-crafting-and-playing-mbira-sansi-the-finger-plucking-traditional-musical-instrument-in-malawi-and-zimbabwe-01541", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13668-BIG.jpg", "copyright": "Ministry of Rural Development and Preservation of National Culture and Heritage, Zimbabwe, 2017", "title": "Awareness-raising workshop in Zimbabwe that led to Mbira (Sansi) nomination" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13669-BIG.jpg", "copyright": "Ministry of Rural Development and Preservation of National Culture and Heritage, Zimbabwe, 2017", "title": "Mbira custodian and player Tafanei David Gweshe, addressing Mbira playing groups on Mbira (Sansi) nomination" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13670-BIG.jpg", "copyright": "Ministry of Rural Development and Preservation of National Culture and Heritage, Zimbabwe, 2017", "title": "Group leader, Sekuru Chiko Chazunguza of Dzimbanhete Arts Interactions, signing a consent form for Mbira (Sansi) nomination" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13671-BIG.jpg", "copyright": "Museums of Malawi, 2017", "title": "Malawi version of Mbira (Sansi) musical instrument without a resonator" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13672-BIG.jpg", "copyright": "Ministry of Rural Development and Preservation of National Culture and Heritage, Zimbabwe, 2017", "title": "A Zimbabwean Mbira practitioner, Salani Machoba, showing Mbira (Sansi) instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13673-BIG.jpg", "copyright": "Museums of Malawi, 2017", "title": "Mbira (Sansi) instrument complete with resonator" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13674-BIG.jpg", "copyright": "Ministry of Rural Development and Preservation of National Culture and Heritage, Zimbabwe, 2017", "title": "Hope Masike, Zimbabwe's leading female Mbira (Sansi) player" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13675-BIG.jpg", "copyright": "Museums of Malawi, 2017", "title": "Charles Mkanthama, a Mbira (Sansi) practitioner from Malawi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13676-BIG.jpg", "copyright": "Ministry of Rural Development and Preservation of National Culture and Heritage, Zimbabwe, 2017", "title": "A group of Mbira (Sansi) players performing in a session" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13677-BIG.jpg", "copyright": "Ministry of Rural Development and Preservation of National Culture and Heritage, Zimbabwe, 2017", "title": "Participants dance to Mbira (Sansi) music" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=jfYqq1RatuY", "copyright": "Itwale Photographics and Communication, Malawi and Ministry of Rural Development, Promotion and Preservation of National Culture and Heritage, Zimbabwe, 2017", "title": "Mbira\/Sansi nomination for Malawi and Zimbabwe" } ], "sustainability": "" } }, "element_1557": { "type": "element", "label": "Pottery-related values, knowledge, lore and practices of the Awaj\u00fan people", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13987-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13987-HUG.jpg" }, "description": "The Awaj\u00fan people of northern Peru view pottery as an example of their harmonious relationship with nature. The pottery preparation process comprises five stages: the collection of materials, modelling, firing, decorating and finishing. Each stage of the process has a meaning and associated values that are told in the people\u2019s oral traditions. The process also entails the necessary skills and knowledge to create and decorate the pots. Artisans use specific tools, including grinding and polishing stones, a wooden board, a modelling tool and a paint brush made of human hair. The pots are decorated with geometrical patterns inspired by elements of nature such as plants, animals, mountains and stars. They are used for cooking, drinking, eating and serving food, as well as for rituals and ceremonies. But they also play an important social role. Seen as a means of expressing one\u2019s personality, generosity and intimate life, the thousand-year-old practice has permitted the empowerment of Awaj\u00fan women, who look after and sow the plants they use to make and decorate their pots. The main bearers of the Awaj\u00fan pottery knowledge, lore and traditions are the Duk\u00fag wisewomen, female elders who pass the practice on to other women in their families.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pottery-related-values-knowledge-lore-and-practices-of-the-awajun-people-01557", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13985-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2014", "title": "The clay is collected by awaj\u00fan women in special places located in the amazon forest. This is a collective activity as every stage of the pottery process thus is made with joy and respect" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13987-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2018", "title": "The Dukug, awajun wisewomen, are the main bearers of the pottery making tradition. In the picture Ms. Taijin shows the rolling and knead technique" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13988-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2018", "title": "Awajun women make pottery without using moulds that results that every pot is a unique piece. The pinig is a small pot use to contain and drink liquids" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13989-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2018", "title": "The firing of the pieces is a fundamental part of the process because it determines the hardness of the piece and therefore its usefulness. In the photo the dukug Zoila Shimip shows the process of firing an ichinak" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13990-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2014", "title": "In the decoration of the vessels, women express their creativity, drawing with special tools the traditional figures of the Awajun culture. Even in small vessels such as pinig it can appreciate this delicate art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13991-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2018", "title": "The production of pottery is a feminine activity that usually has a collective character, it is through a group elaboration that the wise women transmit their knowledge, main values and practices and sharing the oral traditions around the pottery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13992-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2014", "title": "Once the process of painting and final finishing of the pieces is completed, the women potters express their satisfaction and pride for the work they have done" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13993-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2014", "title": "The pinik are small pots that are used in daily activities and rituals. The Awajun people use it to drink water and the traditional drink called masato that is made from cassava and that is essential for awajun ceremonies." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13994-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2018", "title": "The flat base pots or ichinak are fundamental pieces in the daily life of the Awajun people, because that is where the food is prepared. These pots must be very resistant to support their constant use" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13995-BIG.jpg", "copyright": "Ministry of Culture of Peru, 2014", "title": "Awajun pottery is of very high quality and is intimately related to the healthy characteristics of traditional foods such as cassava and fish" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KgQKWkuH5ig", "copyright": "", "title": "The pottery-related values, knowledge, lore and practices of the Awajun people" } ], "sustainability": "" } }, "element_1558": { "type": "element", "label": "Craft techniques and customary practices of cathedral workshops, or Bauh\u00fctten, in Europe, know-how, transmission, development of knowledge and innovation", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13256-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13256-HUG.jpg" }, "description": "The workshop organization, or Bauh\u00fcttenwesen, appeared in the Middle Ages on the construction sites of European cathedrals. Now, as then, these workshops are home to various trades working in close collaboration. The term Bauh\u00fcttenwesen in German refers both to the organization of a workshop network dealing with the construction or restoration of a building and to the workshop itself, as a place of work. Since the end of the Middle Ages, these workshops have formed a supra-regional network extending beyond national borders. The workshops safeguard the traditional customs and rituals of their professions, as well as a wealth of knowledge transmitted across the generations, both orally and in writing. Faced with the progressive shortage of technical skills and in an age of increasing mechanization and cost optimization, the workshops created or re-established in the nineteenth and twentieth centuries have become institutions that preserve, transmit and develop traditional techniques and know-how. Their commitment to safeguarding and promoting living heritage, through targeted awareness raising, information and communication measures and close cooperation with shareholders in the field of politics, the church, monument conservation, business and research, can be considered as an example to be adapted and implemented in other contexts worldwide. Through their organization and training system for on-site practice, the workshops could be considered as a model for all types of buildings that need to be built and maintained.", "list": "GSP", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/BSP\/craft-techniques-and-customary-practices-of-cathedral-workshops-or-bauhutten-in-europe-know-how-transmission-development-of-knowledge-and-innovation-01558", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13254-BIG.jpg", "copyright": "M\u00fcnsterbauamt Ulm", "title": "Personnel de l\u2019atelier de l\u2019\u00e9glise d\u2019Ulm (Allemagne), vers 1900" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13255-BIG.jpg", "copyright": "David Skidelsky \/ Dombauh\u00fctte St. Stephan, 2016", "title": "Tailleur de pierre, Vienne (Autriche), 2016" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13256-BIG.jpg", "copyright": "Jennifer Rumbach \/ Hohe Domkirche K\u00f6ln, Dombauh\u00fctte, 2018", "title": "Forgeron de l\u2019atelier de Cologne (Allemagne), 2018" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13257-BIG.jpg", "copyright": "Jennifer Rumbach \/ Hohe Domkirche K\u00f6ln, Dombauh\u00fctte, 2018", "title": "Artisan couvreur de l\u2019atelier de Cologne (Allemagne), 2018" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13258-BIG.jpg", "copyright": "Jennifer Rumbach \/ Hohe Domkirche K\u00f6ln, Dombauh\u00fctte, 2018", "title": "Vitrailliste de l\u2019atelier de la cath\u00e9drale de Cologne (Allemagne), 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13259-BIG.jpg", "copyright": "Mira Unkelbach \/ Hohe Domkirche K\u00f6ln, Dombauh\u00fctte, 2013", "title": "\u00c9chafaudeurs de l\u2019atelier de Cologne (Allemagne), 2013" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13260-BIG.jpg", "copyright": "Dombauamt Erfurt, 2017", "title": "Colloque annuel du Dombaumeister e.V., Erfurt (Allemagne), 2017" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13261-BIG.jpg", "copyright": "M\u00fcnsterbauh\u00fctte Basel, 2006", "title": "Compagnons en habit traditionnel, B\u00e2le (Suisse), 2006" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13262-BIG.jpg", "copyright": "Stephan Woelfel, Simon Woolf \/ Fondation de l\u2019\u0152uvre Notre-Dame, Strasbourg, 2017", "title": "Apprenti tailleur de pierre, Strasbourg (France), 2017" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13263-BIG.jpg", "copyright": "Staatlicher Bauamt Bamberg, 2015", "title": "Sensibilisation du public aux savoir-faire des ateliers, Bamberg (Allemagne), 2015" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Qn874i77-zE", "copyright": "protel\/Hohe Domkirche K\u00f6ln, Dombauh\u00fctte\/Inventive Studio\/M.Laufenberg\/T.Schwartz, Ville et Eurom\u00e9tropole de Strasbourg\/embfilm e.U.", "title": "Les techniques artisanales et les pratiques coutumi\u00e8res des ateliers de cath\u00e9drales, ou \"Bauh\u00fctten\", en Europe: savoire faire, transmission, d\u00e9v\u00e9loppement des savoirs, innovation" } ], "sustainability": "" } }, "element_1559": { "type": "element", "label": "Handmade production of Christmas tree decorations from blown glass beads", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13754-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13754-HUG.jpg" }, "description": "Handmade production of Christmas tree decorations from blown glass beads refers to handmade Christmas tree decorations that are produced by blowing a heated glass tube inserted in a brass mould shaped into a string of beads called klaustschata and silvered, coloured and hand decorated. The string of beads is then cut into shorter or individual beads, which are threaded onto wires, thus forming ornaments of many forms. Considered as a key cultural element of the Giant and Jizera Mountain regions in North Bohemia, where blown glass beads have been produced since the late eighteenth century, the traditional craft is specialized and technically demanding. The element has been passed down through families for generations. Small production workshops were also bearers of the element, but only one survived the era when the socialist economy was undergoing transformation. The Kulhav\u00fd family workshop managed to rescue the knowledge and continues to work with domestic bead makers to safeguard the tradition. Cultural educational institutions, particularly museums, also help transmit the associated knowledge by organizing workshops. The creation of Christmas ornaments such as these appear in folk tales about Krakono\u0161, the legendary ruler of the mountains.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/handmade-production-of-christmas-tree-decorations-from-blown-glass-beads-01559", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13752-BIG.jpg", "copyright": "Tom\u00e1\u0161 Brabec, 2018", "title": "Use of ornaments for a decoration of the Chistmas tree" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13753-BIG.jpg", "copyright": "Tom\u00e1\u0161 Brabec, 2018", "title": "Patterns of ornaments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13754-BIG.jpg", "copyright": "Tom\u00e1\u0161 Brabec, 2018", "title": "Heating of the hollow glass tube over a burner" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13755-BIG.jpg", "copyright": "Tom\u00e1\u0161 Brabec, 2018", "title": "Moulds for beads" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13756-BIG.jpg", "copyright": "Tom\u00e1\u0161 Brabec, 2018", "title": "Silvering" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13757-BIG.jpg", "copyright": "Tom\u00e1\u0161 Brabec, 2018", "title": "Colouring" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13758-BIG.jpg", "copyright": "Tom\u00e1\u0161 Brabec, 2018", "title": "Painting of semi-finished products" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13759-BIG.jpg", "copyright": "Tom\u00e1\u0161 Brabec, 2018", "title": "Cutting of performs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13760-BIG.jpg", "copyright": "Tom\u00e1\u0161 Brabec, 2018", "title": "Assembly of ornaments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13761-BIG.jpg", "copyright": "Tom\u00e1\u0161 Brabec, 2018", "title": "Workshop - assembly of ornaments" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=dGbxDEdA1KE", "copyright": "Mat\u011bj Kub\u00edk, 2016", "title": "Hand made production of Christmas tree decorations from blown glass beads" } ], "sustainability": "" } }, "element_1560": { "type": "element", "label": "Craftsmanship of mechanical watchmaking and art mechanics", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13821-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13821-HUG.jpg" }, "description": "At the crossroads of science, art and technology, the skills related to the craftsmanship of mechanical watchmaking and art mechanics are used to create watchmaking objects designed to measure and indicate time (watches, pendulum clocks, clocks and chronometers), art automata and mechanical androids, sculptures and animated paintings, music boxes and songbirds. These technical and artistic objects feature a mechanical device that generates movements or emits sounds. Though generally hidden, the mechanisms can also be visible, which contributes to the aesthetics and poetic dimension of the objects. The Jura Arc is an area in which craftsmanship remains particularly dynamic thanks to the presence of highly qualified craftspeople and companies that promote the skills and a full range of training options. Historically, entire families were involved in the practice, developing apprenticeship practices and professional and family alliances. Skills were initially learned in training schools. Nowadays, practitioners also share their know-how via online blogs, forums and tutorials and collaborative open source projects. As well as serving an economic function, the skills have also shaped the architecture, urban landscape and everyday social reality of the regions concerned. The practice conveys many values such as good workmanship, punctuality, perseverance, creativity, dexterity and patience, and the infinite quest for precision and the intangible aspect of time measurement give the practice a strong philosophical dimension.", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/craftsmanship-of-mechanical-watchmaking-and-art-mechanics-01560", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13820-BIG.jpg", "copyright": "Ville de La Chaux-de-Fonds, 2015", "title": "Une horlog\u00e8re termine la restauration d'une montre d'observatoire des ann\u00e9es 1920. \u00c9quip\u00e9e d\u2019une loupe monoculaire et de brucelles, elle ajuste de tr\u00e8s petites pi\u00e8ces de mani\u00e8re minutieuse pour que le m\u00e9canisme fonctionne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13821-BIG.jpg", "copyright": "L\u2019H\u00f4ta, 2008", "title": "Un jeune praticien \u00ab brunit \u00bb des pivots manuellement sur un tour \u00e0 archet pour polir l\u2019acier. Les savoir-faire en m\u00e9canique horlog\u00e8re et m\u00e9canique d'art requi\u00e8rent une ma\u00eetrise gestuelle, une excellente vue et une grande concentration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13822-BIG.jpg", "copyright": "Jean-Charles Sexe, Ville de Besan\u00e7on, 2011", "title": "Le travail des horlogers se d\u00e9roule dans des ateliers pourvus de larges fen\u00eatres et de meubles \u00e0 nombreux tiroirs (layettes). Les \u00e9tablis, tables de travail, \u00e9quip\u00e9s d\u2019accoudoirs permettent aux praticiens de se positionner id\u00e9alement pour accomplir des gestes pr\u00e9cis" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13823-BIG.jpg", "copyright": "Alain Margot, 2010", "title": "Un automatier effectue le r\u00e9glage du m\u00e9canisme sur un andro\u00efde, un automate reproduisant des gestes humains comme \u00e9crire et dessiner. Il s\u2019anime gr\u00e2ce \u00e0 un syst\u00e8me exclusivement m\u00e9canique compos\u00e9 notamment de cames, engrenages, leviers et ressorts" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13824-BIG.jpg", "copyright": "Alain Margot, 2019", "title": "Un artisan restaure des lames d\u2019un clavier de bo\u00eete \u00e0 musique. Chaque bo\u00eete \u00e0 musique ayant sa propre gamme, l\u2019artisan doit non seulement ma\u00eetriser un savoir-faire technique, mais \u00e9galement disposer de comp\u00e9tences musicales" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13825-BIG.jpg", "copyright": "Thierry Ducret, 2019", "title": "Dans une classe d\u2019apprentis en horlogerie au lyc\u00e9e Edgar Faure de Morteau, une enseignante montre le fonctionnement d\u2019un m\u00e9canisme horloger gr\u00e2ce \u00e0 une cam\u00e9ra. Les \u00e9coles d\u2019horlogerie sont essentielles pour la formation et la transmission des comp\u00e9tences techniques et pratiques" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13826-BIG.jpg", "copyright": "Urwerk SA, 2016", "title": "La formation des artisans en m\u00e9canique, se poursuit tout au long de leur pratique. La transmission de pair \u00e0 pair, par le conseil mutuel sur les gestes et tours de mains est un moyen essentiel de perfectionnement et d\u2019\u00e9mulation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13827-BIG.jpg", "copyright": "Mus\u00e9e international d\u2019horlogerie, 2019", "title": "Les biblioth\u00e8ques et centres d'archives conservent et mettent \u00e0 disposition du public une riche documentation historique et technique sur les savoir-faire m\u00e9caniques, source d\u2019information et d\u2019inspiration importante pour les praticiens" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13828-BIG.jpg", "copyright": "Ville de La Chaux-de-Fonds, 2015", "title": "Activit\u00e9 de m\u00e9diation sous la forme d'une chasse au tr\u00e9sor dans l'exposition de r\u00e9f\u00e9rence du Mus\u00e9e international d'horlogerie de La Chaux-de-Fonds. Les animations et les dossiers p\u00e9dagogiques pour le jeune public permettent la transmission de connaissances historiques, culturelles et techniques" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13829-BIG.jpg", "copyright": "Jean-Charles Sexe \/ Ville de Besan\u00e7on, 2016", "title": "L\u2019Association fran\u00e7aise des amateurs d\u2019horlogerie ancienne organise chaque ann\u00e9e, \u00e0 l\u2019occasion des 24h du temps \u00e0 Besan\u00e7on, une bourse horlog\u00e8re. Ce type de manifestation permet au public d\u2019\u00e9changer des pi\u00e8ces m\u00e9caniques, de l\u2019outillage mais aussi des connaissances sur les savoir-faire" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PYzNOHM-vp8", "copyright": "Mellina Films, Alain Margot, 2019 ", "title": "Craftsmanship of mechanical watchmaking and art mechanics" }, { "url": "https:\/\/www.youtube.com\/watch?v=i5wj_DNQ9dI", "copyright": "Mellina Films, Alain Margot, 2019 ", "title": "Les savoir-faire en m\u00e9canique horlog\u00e8re et m\u00e9canique d'art" } ], "sustainability": "" } }, "element_1564": { "type": "element", "label": "Aklan pi\u00f1a handloom weaving", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14069-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14069-HUG.jpg" }, "description": "Pi\u00f1a is a textile made from pineapple leaf fibres and woven using a handloom. Farmers harvest the leaves of the pinya Bisaya, a specific pineapple species, and extract the fibres by hand. The fibres are weighed using a local unit of measurement and method involving old coins of different denominations. The knowledge and skills of pi\u00f1a handloom weaving are primarily passed on within families. Children grow up observing older family members engaged in pinya Bisaya cultivation and pi\u00f1a weaving, and eventually learn the craft under their guidance. The practice is also transmitted through the Schools of Living Traditions, which were initiated by local communities in partnership with the government to help safeguard intangible cultural heritage in the Philippines. Certain institutes provide trainings on related agricultural practices and weaving. A source of pride and a strong identity marker, the pi\u00f1a is the most highly regarded of the traditional textiles of the Philippines. It is the preferred textile for making formal attire and is a vehicle for innovation and creativity, as practitioners constantly develop new designs and patterns even as they preserve the old ones. It is also a source of livelihood that contributes to sustainable development and to the social and economic empowerment of families and local communities.", "list": "RL", "year": 2023, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/aklan-pina-handloom-weaving-01564", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14068-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2018", "title": "The pinya Bisaya (ananas comosus) is the main source of fiber for the pi\u00f1a handloom weaving." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14069-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2018", "title": "A porcelain shard is used to scrape the outer layer of the leaves of the pinya Bisaya (ananas comosus) immediately after harvest to extract the coarse fiber." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14070-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2018", "title": "A coconut shell is used to scrape the finer fiber from the leaves of the pinya Bisaya (ananas comosus)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14071-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2018", "title": "Immediately after scraping, the fibers are washed in running water customarily, in rivers or creeks to remove pigment and dirt." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14072-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2018", "title": "Fibers that have gone through the process of washing and cleaning are then hung to dry." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14073-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2018", "title": "Bundles of fibers are weighed and priced using local measuring and pricing methods." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14074-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2018", "title": "Strands of the dried fiber are separated, then knotted together to form long and continuous yarn." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14075-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2018", "title": "The knotted fiber is spooled on a warping wheel. The warp count determines the length and width of the woven fabric." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14076-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2018", "title": "After warping, the fibers are placed in the loom for weaving. The weaving practice is usually passed on to the younger generations by their forebears." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14077-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2018", "title": "The woven pi\u00f1a fiber can be embroidered, hand-painted, or dyed." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=3tnyh9sN7bI", "copyright": "National Commission for Culture and the Arts, Philippines, 2019", "title": "Philippines Aklan Pi\u00f1a Handloom weaving" } ], "sustainability": "" } }, "element_1565": { "type": "element", "label": "Dutar making craftsmanship and traditional music performing art combined with singing", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14152-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14152-HUG.jpg" }, "description": "Dutar is a traditional instrument and musical genre from Turkmenistan. The dutar instrument is a long-necked, two-stringed lute with a pear-shaped body covered by a thin wooden sounding board. The resonating body and soundboard are made from a piece of mulberry wood, and the neck is made with the dried trunk of an apricot tree. To make the body of the dutar, the wood is rounded, hollowed out and polished. The wood for the cover is baked for up to twenty-four hours to remove humidity, then glued over the hollow of the dutar using bone glue. Finally, the neck, frets and strings are added, and the instrument is tuned. The dutar is an inseparable part of Turkmen culture and is used in all of the main genres of Turkmen music and singing. The music is divided into two types: dutarchy, which refers to music played alone, and bagshy, which refers to music accompanied by singing. There are also several sub-types. For instance, a dessanchy bangshy is an epic performance incorporating narration, singing and vocal improvisation, thus alternating poetry and prose. In Turkmenistan, dutar music is an essential part of festivities, ceremonies, national celebrations, cultural festivals, social gatherings and entertainment programmes.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/dutar-making-craftsmanship-and-traditional-music-performing-art-combined-with-singing-01565", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14149-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2019", "title": "Suitable mulberry trees for dutar making" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14150-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2019", "title": "Polishing of craft skills" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14151-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2019", "title": "Keeping dutars at home" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14152-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2019", "title": "Training process of younger generation for dutar playing during public performances" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14153-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2019", "title": "Dutar playing combined with singing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14154-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2019", "title": "Traditional dresses of turkmen dutar performers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14155-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2019", "title": "Involvement of younger generation in the performances" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14156-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2019", "title": "Talented boy demonstrating his dutar playing mastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14157-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2019", "title": "Dutar music performances during a national holiday" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14158-BIG.jpg", "copyright": "Secretariat of the Turkmenistan National Commission for UNESCO, 2019", "title": "Participants of dutar music and singing performances" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LFSJ2n7zPeM", "copyright": "", "title": "Dutar making craftsmanship and traditional music performing art combined with singing" } ], "sustainability": "" } }, "element_1566": { "type": "element", "label": "Charfia fishing in the Kerkennah Islands", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13491-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13491-HUG.jpg" }, "description": "Charfia fishing in the Kerkennah Islands is a traditional, passive fishing technique that capitalises on the hydrographic conditions, seabed contours and natural resources both at sea and on land. The \u2018charfia\u2019 is a fixed fishery system consisting of palm fronds embedded in the seabed to create a triangular barrier, blocking the path of the fish pulled in by the ebb tide and channelling them into capture chambers and finally into a net or trap. Unlike bottom trawling systems that scrape the seabed, the traps keep the fish alive and fasting until raised. It is customary to install and operate the charfia only between the autumn equinox and June to ensure the marine wildlife have a biological rest period. The charfias are rebuilt each year, accompanied by social practices such as sharing a meal or rogatory prayers. The practice of charfia fishing requires extensive knowledge of underwater topography and marine currents. Many of the inhabitants of Kerkennah learn to fish from an early age and it is also common for a r\u00e2\u0457s to leave his fishery to his eldest son to perpetuate ownership. Vocational training centres also provide indirect training. Charfia fishing is the main fishing technique used in the Kerkennah Islands. The entire local community participates in the different phases of the process in varying degrees, from installing the charfia and the accompanying rituals to raising the traps, making this a unifying element for all Kerkennians.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/charfia-fishing-in-the-kerkennah-islands-01566", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13485-BIG.jpg", "copyright": "Institut National du Patrimoine, Tunisie, 2019", "title": "Charfiya p\u00eacherie fixe \u00e0 chemin axial de capture en palmes et chambre de capture en filets" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13486-BIG.jpg", "copyright": "Institut National du Patrimoine, Tunisie, 2019", "title": "Pri\u00e8res rogatoires pr\u00e9c\u00e9dant l'installation de la charfiya" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13487-BIG.jpg", "copyright": "Institut National du Patrimoine, Tunisie, 2019", "title": "Tra\u00e7age du chemin de capture avec des palmes plant\u00e9es dans le fond marin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13488-BIG.jpg", "copyright": "Institut National du Patrimoine, Tunisie, 2019", "title": "Chambre de capture en filets" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13489-BIG.jpg", "copyright": "Institut National du Patrimoine, Tunisie, 2019", "title": "Apprenti p\u00eacheur manipulant une palme servant au tra\u00e7age du chemin de capture axial de la p\u00eacherie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13490-BIG.jpg", "copyright": "Institut National du Patrimoine, Tunisie, 2019", "title": "Partage d'un couscous propitiatoire couronnant l'installation de la p\u00eacherie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13491-BIG.jpg", "copyright": "Institut National du Patrimoine, Tunisie, 2019", "title": "Lev\u00e9e de nasse \u00e0 l'aide d'une gaffe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13492-BIG.jpg", "copyright": "Institut National du Patrimoine, Tunisie, 2019", "title": "Prise de la nasse" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13493-BIG.jpg", "copyright": "Institut National du Patrimoine, Tunisie, 2019", "title": "Initiation aux secrets de la charfiya \u00e0 l'\u00e9cole" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13494-BIG.jpg", "copyright": "Institut National du Patrimoine, Tunisie, 2019", "title": "Journ\u00e9e de sensibilisation \u00e0 la pr\u00e9paration du dossier de candidature" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=UgNjEU_4NjU", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2019", "title": "La p\u00eache \u00e0 la charfiya aux \u00eeles Kerkennah" } ], "sustainability": "" } }, "element_1567": { "type": "element", "label": "Budima dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13570-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13570-HUG.jpg" }, "description": "The Budima Dance is a warrior dance performed all year round by the Wee people on a number of sombre and spiritual occasions, especially during traditional ceremonies, funeral processions, weddings, initiation ceremonies, the installation of chiefs, thanksgiving, harvest celebrations and ritual activities. The dance is performed with spears, whistles, walking sticks, knobkerries, flutes, ceremonial axes, shields, horns\/trumpets, drums and rattles. The performance includes men, women and children: the men represent skilled soldiers or fighters with long spears jumping up and down while running in and out of the inner circle of dangers, flourishing their spears in mimic of war, while others blow the sets of one-note antelope horn flutes\/trumpets and shout chants. Others play big and small drums. The women \u2013 adorned in beaded necklaces and bangles, with rattles on their feet \u2013 sing along and dance energetically. The related knowledge and skills are transmitted to young people through observation and their participation in the dance. Young people are also taught about the importance of the dance, how to perform it, and how to make some of the instruments during initiation ceremonies. The Budima dance serves as a unifying factor for the communities concerned, who take great pride in the dance and can join in with the dancers at any point during the performance.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/budima-dance-01567", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13568-BIG.jpg", "copyright": "Thomas Mambo Mubita, Zambia, 2019", "title": "Chief Mweemba giving consent for the nomination of Budima dance in Chiefdom Mweemba, Sinazongwe District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13569-BIG.jpg", "copyright": "Thomas Mambo Mubita, Zambia, 2019", "title": "Children observing the Budima formance in Chiefdom Mweemba, Sinazongwe District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13570-BIG.jpg", "copyright": "Mutelo Yuyi, Zambia, 2019", "title": "Female Budima dancers playing the shakers in Chipepo Chiefdom, Chirundu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13571-BIG.jpg", "copyright": "Mutelo Yuyi, Zambia, 2019", "title": "Getting consent from the practitioners in Chiefdom Cooma, Choma District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13572-BIG.jpg", "copyright": "Thomas Mambo Mubita, Zambia, 2019", "title": "Interviews during inventorying of Budima dance in Chiefdom Mweemba, Sinazongwe District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13573-BIG.jpg", "copyright": "Mutelo Yuyi, Zambia, 2019", "title": "Senior Chief Cooma giving consent for the nomination of Budima dance in Chiefdom Cooma, Choma District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13574-BIG.jpg", "copyright": "Mutelo Yuyi, Zambia, 2019", "title": "The art of playing the main drum called Dubuka drum in Chipepo Chiefdom, Chirundu District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13575-BIG.jpg", "copyright": "Mutelo Yuyi, Zambia, 2019", "title": "The Budima dance in procession, both women and men performing Budima dance with axes, spears,flute, knobkerrie anddDrums in Cooma Chiefdom, Choma District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13576-BIG.jpg", "copyright": "Thomas Mambo Mubita, Zambia, 2019", "title": "The Wee community during the nomination of Budima dance in Chiefdom Mweemba, Sinazongwe District" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13577-BIG.jpg", "copyright": "Mutelo Yuyi, Zambia, 2019", "title": "Victor Makashi counter-signing the consent form on behalf of the Republic of Zambia in Cooma Chiefdom, Choma District" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=uLgBYwpOFCw", "copyright": "Ministry of Tourism and Arts, Zambia, 2019", "title": "Budima dance" } ], "sustainability": "" } }, "element_1568": { "type": "element", "label": "Hawker culture in Singapore, community dining and culinary practices in a multicultural urban context", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13773-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13773-HUG.jpg" }, "description": "Hawker culture in Singapore: community dining and culinary practices in a multicultural urban context is present throughout Singapore. Hawkers prepare a variety of food (\u2018hawker food\u2019) for people who dine and mingle at hawker centres. These centres serve as \u2018community dining rooms\u2019 where people from diverse backgrounds gather and share the experience of dining over breakfast, lunch and dinner. Activities such as chess-playing, busking and art-jamming also take place. Evolved from street food culture, hawker centres have become markers of Singapore as a multicultural city-state, comprising Chinese, Malay, Indian and other cultures. Hawkers take inspiration from the confluence of these cultures, adapting dishes to local tastes and contexts. Today, hawker centres across Singapore continue serving the needs of diverse communities in residential, recreational and work districts. Some of the oldest hawkers started their practice in the 1960s. Many specialize in a particular dish, refined over many years, and transmit their recipes, knowledge and skills to younger family members or apprentices. Community organizations, non-governmental organizations and educational institutions play a significant role in promoting and sustaining hawker culture through training programmes, events and documentation projects. As a social space that embraces people from diverse socioeconomic backgrounds, hawker centres play a crucial role in enhancing community interactions and strengthening the social fabric.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/hawker-culture-in-singapore-community-dining-and-culinary-practices-in-a-multicultural-urban-context-01568", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13773-BIG.jpg", "copyright": "Mohamad Hafiz, contestant of #OurHawkerCulture photography contest 2019, Singapore, 2019", "title": "A Malay hawker prepares satay (seasoned and skewered meat grilled over hot charcoal)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13774-BIG.jpg", "copyright": "National Heritage Board, Singapore, 2019", "title": "An Indian Muslim hawker cooking briyani (rice dish)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13775-BIG.jpg", "copyright": "National Envrionment Agency, Singapore, 2019", "title": "Hawker centres are naturally-ventilated premises with stalls selling food from various cultures. This hawker centre is located in a residential district." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13776-BIG.jpg", "copyright": "Terence Tan Peng Hor, contestant of #OurHawkerCulture photography contest 2019, Singapore, 2019", "title": "People from diverse age groups, genders, ethnicities and religions dine in and socialise at a hawker centre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13777-BIG.jpg", "copyright": "Nurin Syaza Sarbini, contestant of #OurHawkerCulture photography contest 2019, Singapore, 2019", "title": "A group of friends enjoying local Chinese, Malay and Indian delights at a hawker centre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13778-BIG.jpg", "copyright": "National Heritage Board, Singapore, 2018", "title": "Playing chess at a howker centre. Beyond a place for food, hawker centres are also a place for social interactions and community bonding." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13779-BIG.jpg", "copyright": "David Sim, contestant of #OurHawkerCulture photography contest 2019, Singapore, 2019", "title": "A father enjoying cendol, a local dessert, with his children at a hawker centre" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13780-BIG.jpg", "copyright": "National Heritage Board, Singapore, 2019", "title": "A mother sharing the skill of making jiaozi (Chinese dumplings) with her son at her hawker stall" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13781-BIG.jpg", "copyright": "National Envrionment Agency, Singapore, 2017", "title": "A master hawker demonstrates techniques for making chicken rice. This is part of the 'Hawker Fare Series', where experienced hawkers share their culinary skills and knowledge with aspiring hawkers." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13782-BIG.jpg", "copyright": "National Heritage Board, Singapore, 2018", "title": "Students from St. Gabriel's Primary School involved in an art project at the travelling exhibition on hawker culture. Youth helped to raise public awareness of hawker culture as an intangible cultural heritage and the nomination efforts." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KOJLVclAY_4", "copyright": "National Heritage Board (NHB), National Environment Agency and the Federation of Merchants' Associations, Singapore (FMAS), 2019", "title": "Hawker culture in Singapore: community dining and culinary practices in a multicultural urban context" } ], "sustainability": "" } }, "element_1571": { "type": "element", "label": "Pilgrimage to the St. Thaddeus Apostle Monastery", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13357-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13357-HUG.jpg" }, "description": "The annual three-day pilgrimage to St. Thaddeus Apostle Monastery in northwestern Iran is held each July. The pilgrimage venerates two prominent saints: St. Thaddeus, one of the first apostles preaching Christianity, and St. Santukhd, the first female Christian martyr. The bearers of the element are the Armenian population in Iran, Iranian-Armenians residing in Armenia, and followers of the Armenian Apostolic Church. Pilgrims gather in Tabriz before departing for the monastery. They cover 700 kilometers from Yerevan to the monastery annually. The commemoration ceremony includes special liturgies, processions, prayers and fasting. It culminates in a Holy Mass with Holy Communion. Special times are set aside for traditional Armenian folk performances and Armenian dishes are served. The pilgrimage is the primary social and cultural event of the year. Because attendees reside in tents in close proximity to one another, the sense of community is enhanced. The monastery has been a pilgrimage site for over nineteen centuries. However, during the years of Soviet power in Armenia, participating in the pilgrimage was prohibited. Bearers of the element preserved cultural memories of the pilgrimage and transmitted it to families and communities. Only after independence in the 1990s was the pilgrimage from Armenia resumed.", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/pilgrimage-to-the-st-thaddeus-apostle-monastery-01571", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13352-BIG.jpg", "copyright": "Iranian Cultural Heritage, Handicrafts and Tourism Organisation (ICHHTO), 2019", "title": "The camping of pilgrimes around the St. Thaddeus Monastry" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13353-BIG.jpg", "copyright": "Iranian Cultural Heritage, Handicrafts and Tourism Organisation (ICHHTO), 2019", "title": "Pilgrims welcomes the Armenian Prelate" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13354-BIG.jpg", "copyright": "Iranian Cultural Heritage, Handicrafts and Tourism Organisation (ICHHTO), 2019", "title": "The start of Holy Mass" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13355-BIG.jpg", "copyright": "Iranian Cultural Heritage, Handicrafts and Tourism Organisation (ICHHTO), 2019", "title": "The water blessing eremony by the Relic of ST. Thaddeus right hand" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13356-BIG.jpg", "copyright": "Iranian Cultural Heritage, Handicrafts and Tourism Organisation (ICHHTO), 2019", "title": "The Holy Communion is distributed by the Bishop to the pilgrims" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13357-BIG.jpg", "copyright": "Ministry of Culture, Republic of Armena, 1991", "title": "The ceremony of St. Thaddeus Monastery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13358-BIG.jpg", "copyright": "Ministry of Culture, Republic of Armena, 2018", "title": "Pilgrims participation in Holy Mass" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13359-BIG.jpg", "copyright": "Ministry of Culture, Republic of Armena, 2018", "title": "The water blessing ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13360-BIG.jpg", "copyright": "Ministry of Culture, Republic of Armena, 2001", "title": "The water blessing ceremony in the presence of Catholicos of Cilicia Aram 1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13361-BIG.jpg", "copyright": "Ministry of Culture, Republic of Armena, 2007", "title": "The Lord's prayer at the end of the pilgrimage and Holy Mass" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=DrHgbJBJflE", "copyright": "Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO)\/Ministry of Culture, Armenia, 2019", "title": "Pilgrimage to the St. Thaddeus Apostle Monastry" } ], "sustainability": "" } }, "element_1573": { "type": "element", "label": "Tree beekeeping culture", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13382-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13382-HUG.jpg" }, "description": "Tree beekeeping culture includes knowledge, skills, practices, traditions, rituals and beliefs connected to wild bees breeding in tree hives or log hives located in forest areas. Tree beekeepers take care of bees in a special way by trying to recreate the primeval living conditions in tree hives without interfering with the natural life cycle of the bees. Tree beekeepers have no goal of intensifying honey production, which is one of the features that differentiates them from beekeepers. Tree beekeeping therefore requires advanced skills and knowledge of traditional methods and tools. Tree beekeepers are lifelong learners: through direct contact with swarms and the natural environment, they constantly acquire new knowledge about the life of the bees and the ecosystem. There are also numerous social practices resulting from the practice as well as culinary and traditional medicine traditions. As in the past, the transmission of the element takes place mainly in tree beekeepers\u2019 families and through the act of brotherhoods. Nowadays, however, workshops offer another mode of transmission during which participants learn from each other through group activities. Tree beekeeping fosters a sense of community belonging and a shared awareness of our responsibility towards the environment. ", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/tree-beekeeping-culture-01573", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13378-BIG.jpg", "copyright": "Krzysztof Heyke, Poland, 2013", "title": "S?awomir Niemcewicz, Budwied?, Augustowska forest. He inherited 19 log hives from his grandfather. Nowadays, he keeps bees just in one log live, Poland" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13379-BIG.jpg", "copyright": "Krzysztof Heyke, Poland, 2015", "title": "Piotr Pi?asiewicz, August\u00f3w. The founder of Bractwo Bartne while leziwo climbing the pine tree hive in Bia?owie?a forest, Poland" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13380-BIG.jpg", "copyright": "Krzysztof Heyke, Poland, 2015", "title": "Stanis?awa and Tadeusz Konopka from Kadizid?o in Kurpie. Tadeusz is the grandson of Konstanty. When tree beekeepers had to leave the forest on administrative demand in the XIX century, he moved 180 log hives o Tatary. Tadeusz and Stanis?awa are making wax candles in a traditional way using parts of amber to obtain a special aroma, Poland" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13381-BIG.jpg", "copyright": "Krzysztof Heyke, Poland, 2015", "title": "Teofil Py?k from Czarnia on Kurpie, owner of 8 hive logs. Son of Ryszard, tree beekeeper who had 30 log hives, Poland" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13382-BIG.jpg", "copyright": "Krzysztof Heyke, Poland, 2015", "title": "Marek Kowalski from Zielonka. He takes care of one of 9 historical log hives of Krzysztof Heyke in Koby?ka, Poland" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13383-BIG.jpg", "copyright": "Alfred Mikus, Belarus, 2017", "title": "Getting the wax from honeycomb melted in hot water; squeezing through the fabric with special wooden pincers, Belarus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13384-BIG.jpg", "copyright": "Alfred Mikus, Belarus, 2017", "title": "Tree-beekeeper stands near his tools and equipment for forest tree-beekeeper. There are a leather rope for climbing, a box made from bark of linden, a wooden wheel for lifting the log-hive, wooden pincers for wax pressing, a chisel on long handle for hollowing out cavities in a log-hive, a knife for cutting wax with honey, Belarus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13385-BIG.jpg", "copyright": "Alfred Mikus, Belarus, 2017", "title": "A tree-beekeeper with his family is near his log-hives, where he should make cavities for bees, Belarus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13386-BIG.jpg", "copyright": "Alfred Mikus, Belarus, 2017", "title": "A tree-beekeeper in his costume with a box make from pine-wood. He is collecting honey from a log-hive on the tree. He has opened the wooden desk to have access to collect the honey wax, Belarus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13387-BIG.jpg", "copyright": "Ivan Osipau, Belarus, 2014", "title": "Getting the wax from honeycomb melted in hot water: squeezing through the fabric with special wooden pincers, Belarus" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XXaaLi67sus", "copyright": "", "title": "Tree beekeeping culture" } ], "sustainability": "" } }, "element_1574": { "type": "element", "label": "Art of pottery-making of Ch\u0103m people", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14222-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14222-HUG.jpg" }, "description": "Ch\u0103m pottery products are mainly household utensils, religious objects and fine art works, including jars, pots, trays and vases. They are made by women and viewed as an expression of individual creativity based on the knowledge transmitted within the community. Instead of using a turntable, the women revolve around the piece to shape it. The pottery is not glazed but fired outdoors with firewood and straw for seven to eight hours, at a temperature of about 800 degrees Celsius. Raw materials (clay, sand, water, firewood and straw) are collected locally, and the knowledge and skills are passed on to younger generations within families through hands-on practice. The practice gives women the opportunity to exchange and interact with each other in productive labour and social activities as well as in vocational education for their children, further enhancing their role in society. It can also help bolster family income and safeguard the habits, customs and cultural identities of Ch\u0103m people in Viet Nam. However, despite many safeguarding efforts, the viability of the craft is still at risk for several reasons, including the impact of urbanization on access to raw materials, insufficient adaptation to the market economy and lack of interest among younger generations.", "list": "USL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/art-of-pottery-making-of-chm-people-01574", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14216-BIG.jpg", "copyright": "Vietnam National Institute of Culture and Arts Studies in Ho Chi Minh city, 2018", "title": "Rituals for worshipping the pottery craft ancestor in B\u00e0u Tr\u00fac village, Ninh Thu\u1eadn province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14217-BIG.jpg", "copyright": "Center for Research of Ch\u0103m Culture in Ninh Thu\u1eadn province, 2018", "title": "Taking the clay from Hamu Nulan field, B\u00e0u Tr\u00fac village, Ninh Thu\u1eadn province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14218-BIG.jpg", "copyright": "Vietnam National Institute of Culture and Arts Studies in Ho Chi Minh city, 2018", "title": "Taking the clay by potters of B\u00ecnh \u0110\u1ee9c village in Xu\u00e2n Quang, B\u00ecnh Thu\u1eadn province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14219-BIG.jpg", "copyright": "Vietnam National Institute of Culture and Arts Studies in Ho Chi Minh city, 2018", "title": "Kneading the clay using the foot by pottery artisans in B\u00e0u Tr\u00fac village, Ninh Thu\u1eadn province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14220-BIG.jpg", "copyright": "Vietnam National Institute of Culture and Arts Studies in Ho Chi Minh city, 2018", "title": "Kneading the clay using the hands by pottery artisans in B\u00e0u Tr\u00fac village, Ninh Thu\u1eadn province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14221-BIG.jpg", "copyright": "Vietnam National Institute of Culture and Arts Studies in Ho Chi Minh city, 2018", "title": "Making traditional pottery without potters' wheel by pottery artisan \u0110\u00e0ng Th\u1ecb Phan in B\u00e0u Tr\u00fac village, Ninh Thu\u1eadn province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14222-BIG.jpg", "copyright": "Vietnam National Institute of Culture and Arts Studies in Ho Chi Minh city, 2018", "title": "Accomplishing plain pottery item without using the potters' wheel by pottery artisans in B\u00ecnh \u0110\u1ee9c pottery village, B\u00ecnh Thu\u1eadn province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14223-BIG.jpg", "copyright": "Vietnam National Institute of Culture and Arts Studies in Ho Chi Minh city, 2018", "title": "Arranging plain pottery items to prepare for firing by Ch\u0103m pottery practitioners in B\u00ecnh \u0110\u1ee9c pottery village, B\u00ecnh Thu\u1eadn province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14224-BIG.jpg", "copyright": "Vietnam National Institute of Culture and Arts Studies in Ho Chi Minh city, 2018", "title": "Creating patterms by using color water from plants right after firing, B\u00e0u Tr\u00fac village, Ninh Thu\u1eadn province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14225-BIG.jpg", "copyright": "Vietnam National Institute of Culture and Arts Studies in Ho Chi Minh city, 2018", "title": "Transmitting the craft from the mother to the Ch\u0103m daughter to make the pottery, B\u00e0u Tr\u00fac village, Ninh Thu\u1eadn province" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KMkqMxA6sHg", "copyright": "Vietnam National Sub-Institute of Culture and Arts Studies in Ho Chi Minh City, 2018", "title": "The art of pottery-making of the Cham people" } ], "sustainability": "" } }, "element_1575": { "type": "element", "label": "Art of X\u00f2e dance of the Tai people in Viet Nam", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13647-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13647-HUG.jpg" }, "description": "X\u00f2e is a form of Vietnamese dancing with movements that symbolize human activities in ritual, culture, life and work. It is performed at rituals, weddings, village festivals and community events. There are three main types of x\u00f2e: ritual, circle and presentational. The ritual and presentational x\u00f2e dances are named after props used during certain performances. For instance, there is scarf x\u00f2e, conical hat x\u00f2e, fan x\u00f2e, bamboo pole x\u00f2e, music x\u00f2e, stick x\u00f2e and flower x\u00f2e. But the most popular form is circle x\u00f2e, wherein dancers form a circle and perform in harmony. The basic movements include raising and opening the hands, then lowering them and clasping the hands of the adjacent person. The dancers follow rhythmic footsteps, slightly arching the chest and leaning backwards. Although simple, the dance movements symbolize wishes for community health and harmony. The dance is accompanied by various musical instruments, including gourd lutes, mouth organs, drums, gongs, cymbals and reed flutes. The instrumental music blends with the vocals and the jingling of the silver jewellery hanging around the waists of the women. Transmitted from generation to generation within families, dance troupes and schools, the x\u00f2e dance has become a symbol of hospitality and an important identity marker for the Tai people in north-western Viet Nam.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/art-of-xoe-dance-of-the-tai-people-in-viet-nam-01575", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13645-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "Ritual X\u00f2e at X\u00ean L\u1ea9u N\u00f3 Festival, N\u00e0 V\u00e0 2 Village, Y\u00ean Ch\u00e2u District, S\u01a1n La Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13646-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "The performing troupe performs X\u00f2e at the Culture House, Ngh\u0129a An Commune, Ngh\u0129a L\u1ed9 Town, Y\u00ean B\u00e1i Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13647-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "Musical instrument X\u00f2e at the festive days, V\u00e0ng Pheo Village, M\u01b0\u1eddng So Commune, Phong Th\u1ed5 District, Lai Ch\u00e2u Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13648-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "Scarf X\u00f2e at the festival in M\u01b0\u1eddng Lay, \u0110i\u1ec7n Bi\u00ean Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13649-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "Circle X\u00f2e at Bauhinia Flower Festival, \u0110i\u1ec7n Bi\u00ean Ph\u1ee7 City, \u0110i\u1ec7n Bi\u00ean Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13650-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "X\u00f2e dance at the Ritual for Rain, B\u00f3 1 Village, M\u01b0\u1eddng Sang Commune, \r\nM\u1ed9c Ch\u00e2u District, S\u01a1n La Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13651-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "Ceremony master instructs his disciples how to make the Pang tree at Kin Pang Then ritual, N\u1eadm H\u00e0ng Commune, N\u1eadm Nh\u00f9n District, Lai Ch\u00e2u Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13652-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "The main practitioner transmits X\u00f2e to the young generation, Ngh\u0129a An Commune, Ngh\u0129a L\u1ed9 Town, Y\u00ean B\u00e1i Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13653-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "The main practitioner transmits X\u00f2e dance to the school students, B\u00f3 1 Village, M\u01b0\u1eddng Sang Commune, M\u1ed9c Ch\u00e2u District, S\u01a1n La Province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13654-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "Circle X\u00f2e at Cultural Week in M\u01b0\u1eddng L\u00f2, Y\u00ean B\u00e1i Province" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KxJAkGGoAig", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2019", "title": "The art of X\u00f3e dance of the Tai people in Viet Nam" } ], "sustainability": "" } }, "element_1576": { "type": "element", "label": "Camel racing, a social practice and a festive heritage associated with camels", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13338-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13338-HUG.jpg" }, "description": "Camel racing, a social practice and festive heritage associated with camels, is a popular social practice in the communities concerned. Preparing the racing camels involves several stages. Camels are selected based on type, origin and age and are given a special diet. They practise on the racetrack in groups and are trained to take part in the races. Camel racing is conducted on specially designed fields under the supervision of specialised community committees. Usually, there are between fifteen and twenty racing camels in each round, and the racing distance is determined based on the camel\u2019s age. There are recognized community traditions, customs and principles governing the races and community practices and a preparation committee verifies the camel\u2019s origin. The related knowledge and skills are transmitted thanks to the combined efforts of community representatives, government institutions, specialized centres and the federation of racing and clubs. Children and young people gradually acquire knowledge and skills related to the practice through observation, simulation and oral expressions. Camel racing is a fundamental part of their nomadic lifestyle and a source of inspiration in poetry and singing. Its importance and continuity in Bedouin society is connected to the prominent role camels play in the desert environment.", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/camel-racing-a-social-practice-and-a-festive-heritage-associated-with-camels-01576", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13335-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Sultanate of Oman, 2019", "title": "Support camel racing practitioners by allocating the necessary space for camel breeding" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13336-BIG.jpg", "copyright": "Department of Culture and Tourism, United Arab Emirates, 2019", "title": "A workshop, held on 11-12 March 2019 in Al-Ain city, for the participation of communities, groups and individuals in the elaboration of the Camel racing nomination file" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13337-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Sultanate of Oman, 2019", "title": "The team in charge of the Camel race submission file visiting the concerned practitioners to collect data associated with the nominated element" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13338-BIG.jpg", "copyright": "Department of Culture and Tourism, United Arab Emirates, 2019", "title": "Women's significant role in the camel breeding process as well as in the preparation process for races" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13339-BIG.jpg", "copyright": "Department of Culture and Tourism, United Arab Emirates, 2019", "title": "Women's contributions to the camel racing equipment industry" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13340-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Sultanate of Oman, 2019", "title": "The increasing demand of local youths to participate in camel racing events" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13341-BIG.jpg", "copyright": "Department of Culture and Tourism, United Arab Emirates, 2019", "title": "A vibrant atmosphere of dialogue and social discussion that accompanies camel racing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13342-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Sultanate of Oman, 2019", "title": "The team in charge of the nomination process talking about the importance of nominating the camel race ICH element for a possible inscription on the Representative List" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13343-BIG.jpg", "copyright": "Department of Culture and Tourism, United Arab Emirates, 2019", "title": "Participants waiting for camels to arrive for the field race" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13344-BIG.jpg", "copyright": "Ministry of Heritage and Culture, Sultanate of Oman, 2019", "title": "Camel assembly point before starting the race" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=t1vxUfjeULg", "copyright": "Ministry of Heritage & Culture, Sultanate of Oman-Department of Culture and Tourism, United Arab Emirates, 2019", "title": "Camel racing, a social practice and a festive heritage associated with camels" } ], "sustainability": "" } }, "element_1577": { "type": "element", "label": "Al Aflaj, traditional irrigation network system in the UAE, oral traditions, knowledge and skills of construction, maintenance and equitable water distribution", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13583-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13583-HUG.jpg" }, "description": "Al Aflaj and the related oral traditions, knowledge and skills of construction, maintenance and equitable water distribution are a source of pride for the associated communities. Al Aflaj is a traditional irrigation system which uses an underground tunnel to conduct water over long distances from an underground source to a basin, where the community can access it. The water flows by gradual gradient from highlands to flatlands, while the underground tunnels reduce evaporation. Al Aflaj also includes a network of surface channels, which distributes water to local farms. The Al Aflaj system is based on inherited knowledge and practices related to nature and the universe. It also relies on traditional skills in finding water sources based on types of vegetation and other indications, as well as drilling skills for maintaining the irrigation system and ensuring the equitable distribution of water. Community members contribute to maintaining Al Aflaj and clearing the tunnels of mud; this knowledge and experience has been passed down for 3,000 years. Related knowledge is transmitted through instruction and shared experience as well as by other means such as field trips for school students. Throughout the centuries, the Al Aflaj have served to provide drinkable water for humans and animals and to irrigate farms in an arid environment, demonstrating the community\u2019s creativity in the face of water scarcity and the desert environment.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-aflaj-traditional-irrigation-network-system-in-the-uae-oral-traditions-knowledge-and-skills-of-construction-maintenance-and-equitable-water-distribution-01577", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13578-BIG.jpg", "copyright": "Department of Culture and Tourisme, United Arab Emirates, 2016", "title": "A historical Falaj (3000 years old) was discovered accidently in one of the houses by the disappearane of a palm tree that entered in one of the Falaj hotels in Al Ain city." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13579-BIG.jpg", "copyright": "Department of Culture and Tourisme, United Arab Emirates, 2016", "title": "The original way of building the surface tunnels on the Falaj using flat slcies of rocks" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13580-BIG.jpg", "copyright": "Department of Culture and Tourisme, United Arab Emirates, 2016", "title": "'Al Qattara' Falaj is one of the many famous Falajs of Al Ain city. It stemps from Al Buraimi in Oman and reaches Al Ain within the underground channels with a length of 8 kilometres. Modern channels are covered with cement to reduce evaporation, avaid friction and enhance water flowing." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13581-BIG.jpg", "copyright": "Department of Culture and Tourisme, United Arab Emirates, 2016", "title": "Researchers of the Intangible Heritage Department, Department of Culture and Tourism, Abu Dhabi, interviewing the members of the Al Aflaj Committee at the Shareea's (basin) in Al Qattara Falaj" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13582-BIG.jpg", "copyright": "Department of Culture and Tourisme, United Arab Emirates, 2016", "title": "Sultan Al Neyadi (more than 90 years old), member of the Aflaj Committee, narrates the legend of King Sulaiman ordering the fairies to dig Al Dawoodi Falaj" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13583-BIG.jpg", "copyright": "Department of Culture and Tourisme, United Arab Emirates, 2016", "title": "Transfer of cognitive experience to the current generation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13584-BIG.jpg", "copyright": "Department of Culture and Tourisme, United Arab Emirates, 2018", "title": "Irrigation of palm farms with water outsourcing from the Aflaj" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13586-BIG.jpg", "copyright": "Department of Culture and Tourisme, United Arab Emirates, 2018", "title": "Aflaj Channels, a space for entertainment and leisure" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13587-BIG.jpg", "copyright": "Department of Culture and Tourisme, United Arab Emirates, 2018", "title": "Raising public awareness about the Aflaj" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13588-BIG.jpg", "copyright": "Department of Culture and Tourisme, United Arab Emirates, 2018", "title": "A well reinforced channel to distribute water and prevent its waste" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Q76F7WtiRN0", "copyright": "Department of Culture and Tourism, Abu Dhabi, United Arab Emirates", "title": "Al Aflaj: the traditional irrigation network system in the UAE, oral tradition, knowledge and skills of construction, maintenance and equitable water distribution" } ], "sustainability": "" } }, "element_1578": { "type": "element", "label": "Al-Qudoud al-Halabiya", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14116-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14116-HUG.jpg" }, "description": "Al-Qudoud al-Halabiya is a form of traditional music from Aleppo with a fixed melody. Sung for religious and entertainment purposes, the lyrics vary according to the type of event. Well-versed singers can improvise lyrics according to what is happening around them. They are known to use deep vocals and to reach a peak while holding a long note or repeating a phrase, sending their audiences into what is referred to as tarab, or exultation. Communities describe the emotional state they experience when performers reach this peak as \u2018being drunk without drinking\u2019. The audience plays a key role in inspiring the performer\u2019s creativity. They traditionally dance to the music by holding their arms out and moving the upper body. Qudoud music is accompanied by a musical ensemble. Aleppans continue to perform the music in the alleyways and souks of the old city. Influenced by social changes while retaining its traditional elements, qudoud has also spread to other parts of the city. Lyrics of a non-religious nature have been added, telling stories of life, love, tradition and honour, sometimes taken from popular poetry. Qudoud is a vital part of Aleppan culture and is viewed as a source of resilience, particularly during war. Knowledge is transmitted informally between mentors and youth, and formally through school curricula, media broadcasts and programmes.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-qudoud-al-halabiya-01578", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14115-BIG.jpg", "copyright": "Syria Trust for Development, 2019", "title": "A gethering around Al-Qudoud al-Halabiya in the Mustafa Ali Gallery, Damascus, Syrian Arab Repubic" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14116-BIG.jpg", "copyright": "Syria Trust for Development, 2019", "title": "Nadia Manfoukh, Al-Qudoud al-Halabiya singer" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14117-BIG.jpg", "copyright": "Syria Trust for Development, 2019", "title": "The tradition of Al-Qudoud al-Halabiya is pased down from generation to generation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14118-BIG.jpg", "copyright": "Syria Trust for Development, 2019", "title": "Aleppans enjoy Al-Qudoud al-Halabiya at the annual Aleppo Citadel Music festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14119-BIG.jpg", "copyright": "Syria Trust for Development, 2019", "title": "The iconic singer from Aleppo Sabah Fakhri, pionneered the tradition of Al-Qudoud al-Halabiya and promoted it around the world." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14120-BIG.jpg", "copyright": "Syria Trust for Development, 2019", "title": "The social setting of Al-Qudoud al-Halabiya evenings in Aleppo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14121-BIG.jpg", "copyright": "Syria Trust for Development, 2019", "title": "A seminar on Al-Qudoud al-Halabiya at the Aleppo Directorate of culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14122-BIG.jpg", "copyright": "Syria Trust for Development, 2019", "title": "The Aleppo national choir practices Al-Qudoud al-Halabiya in front of the ancient Aleppo Citadel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14123-BIG.jpg", "copyright": "Syria Trust for Development, 2019", "title": "Sufi recitals in a place of worship reflecting the spiritual function of the element in Aleppo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14124-BIG.jpg", "copyright": "Syria Trust for Development, 2019", "title": "A group of men in Aleppo play simple instruments while reciting religious Qudoud in a mosque" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=a5UjbNtY3Nc", "copyright": "Syria Trust for Development, 2019", "title": "Al-Qudoud al-Halabiya" } ], "sustainability": "" } }, "element_1580": { "type": "element", "label": "Il-Ftira, culinary art and culture of flattened sourdough bread in Malta", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13269-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13269-HUG.jpg" }, "description": "Il-Ftira, culinary art and culture of flattened sourdough bread in Malta, is a key part of the cultural heritage of the inhabitants of the Maltese archipelago. Ftira has a thick crust and light internal texture, characterized by large, irregular holes (an open crumb). It is flatter than other Maltese breads and has a hotter baking temperature. The halved loaf is filled with Mediterranean-type ingredients such as olive oil and tomato, tuna, capers and olives. Seasonal variants and inventive twists can also be added. With a name derived from Arabic (fatir, meaning unleavened bread), ftira culture reflects the continuity of intercultural exchange in Malta\u2019s history. Although other kinds of Maltese bread can be made with a mechanized process, skilled bakers are still needed to shape ftira by hand. In the bakery, apprentices learn by watching and doing, and various training programmes also exist. The skills of choosing compatible ingredients and filling ftira are passed down informally in homes, as well as through other channels such as social media and cooking blogs. Eating ftira as a filled snack or appetiser fosters a shared identity in Malta, bringing people together. A wide variety of people, including marginalized groups, can enter the baking profession as apprentices, and Ftira Days in schools help inform students about healthy eating.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/il-ftira-culinary-art-and-culture-of-flattened-sourdough-bread-in-malta-01580", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13269-BIG.jpg", "copyright": "Kevin Sciberras, 2019", "title": "Baker adding wood to the wood-fired artisan oven. Wood used is to be in it\u2019s natural state as possible" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13270-BIG.jpg", "copyright": "Kevin Sciberras, 2019", "title": "A baker preparing the dough for the ftira. The dough must be flattened by hand" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13271-BIG.jpg", "copyright": "Kevin Sciberras, 2019", "title": "After about 20 minutes, the ftira is taken out of the oven. Wooden pallets are used" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13272-BIG.jpg", "copyright": "Kevin Sciberras, 2019", "title": "A Maltese family preparing ftira for school lunch" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13273-BIG.jpg", "copyright": "Kevin Sciberras, 2019", "title": "Although a variety of ingredients may be used, the most popular is what in Maltese is called \u201cFtira bi\u017c-\u017cejt\u201d. The typical ingredients are: olive oil, tomato paste, olives and onions" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13274-BIG.jpg", "copyright": "Kevin Sciberras, 2018", "title": "A classrom situation during a Hospitality lesson. During this lesson, the teacher is teaching 14-year olds how to prepare and present ftira for consumption. The classroom is at St. Nicholas College Secondary School, in Dingli" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13275-BIG.jpg", "copyright": "Kevin Sciberras, 2018", "title": "A classrom situation during a Hospitality lesson. During this lesson, the teacher is teaching 14-year olds how to prepare and present ftira for consumption. The classroom is at St. Nicholas College Secondary School, in Dingli" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13276-BIG.jpg", "copyright": "Kevin Sciberras, 2019", "title": "It is a typical scene that workers have a ftira during their lunch break. These are workers on a building site" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13277-BIG.jpg", "copyright": "Kevin Sciberras, 2019", "title": "Band Clubs in Malta and Gozo attract several members of the local community. Band clubs hold several social events which are also fund-raising activities. It is typical to offer ftira to those attending the event" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13278-BIG.jpg", "copyright": "Kevin Sciberras, 2019", "title": "People from all walks of life enjoy the ftira as part of lunch. This photo shows a snack bar in Valletta during lunch-time" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=NfTGYXMO5jo", "copyright": "Paul Parker, 2019", "title": "Il-Ftira, the culinary art and culture of flattened sourdough bread in Malta" } ], "sustainability": "" } }, "element_1581": { "type": "element", "label": "Musical art of horn players, an instrumental technique linked to singing, breath control, vibrato, resonance of place and conviviality", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13279-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13279-HUG.jpg" }, "description": "The musical art of horn players, an instrumental technique linked to singing, breath control, vibrato, resonance of place and conviviality, brings together the techniques and skills used to play the horn. The pitch, accuracy and quality of the notes produced are influenced by the musician\u2019s breath and the instrumental technique is based on the players\u2019 body control. The timbre of the instrument is clear and piercing, especially in high notes, and the instrument\u2019s sound range is based on natural resonance with rich harmonics. With twelve notes, its range enables compositions with a singing melody, accompanied by a second voice and harmonized with a bass score; as an integral part of the art of playing horns, singing enables players to develop cohesion and convivial solidarity. Playing the horn is a performative art open to musical creativity and practised on festive occasions. Drawn together by their shared fascination for this instrumental music, players come from all backgrounds. This great social mix is one of the hallmarks of current horn practice. Education in the practice is traditionally oral and imitative. Players rarely learn alone, however musical practice is often acquired in horn schools. Horn music maintains a vast, lively musical repertoire constantly enriched since the seventeenth century. A great sense of belonging and continuity stems from interpreting this common repertoire, encouraging intercultural and international dialogue.", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/musical-art-of-horn-players-an-instrumental-technique-linked-to-singing-breath-control-vibrato-resonance-of-place-and-conviviality-01581", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13279-BIG.jpg", "copyright": "Guillaume Gateau, 2018", "title": "Un jeune d\u00e9butant et son moniteur lors d\u2019un stage de trompes \u00e0 Saumejan (France), 2018. Lors des stages, la transmission interg\u00e9n\u00e9rationnelle s\u2019effectue selon le principe du compagnonnage, avec une \u00e9troite complicit\u00e9 entre le formateur et l\u2019\u00e9l\u00e8ve." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13280-BIG.jpg", "copyright": "Fran\u00e7ois Favre\/FITF-FTB, 2018", "title": "Duo f\u00e9minin au concours de trompes de Lamotte-Beuvron (France), 2018. Lors des concours, les sonneurs des \u00e9preuves libres (\u00ab open \u00bb) sont \u00e9valu\u00e9s sans autre consid\u00e9ration que celle de leur talent" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13281-BIG.jpg", "copyright": "Fran\u00e7ois Favre\/FITF-FTB, 2016", "title": "Groupe de sonneurs stagiaires \u00e0 Chartres (France), 2016. Les stages d\u2019apprentissage de la pratique musicale sont l\u2019occasion de constituer des ateliers spontan\u00e9s, qui rassemblent des sonneurs de tous \u00e2ges, de tous niveaux et de tous genres" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13282-BIG.jpg", "copyright": "Fran\u00e7ois de Radzitzky\/FTB, 2017", "title": "Transmission de la technique respiratoire lors d\u2019un stage au ch\u00e2teau de Chassart (Belgique), 2017. Ce type d\u2019exercice apprend \u00e0 bien ma\u00eetriser la respiration abdominale. L\u2019air contenu dans la cage thoracique, comprim\u00e9 sous l\u2019effet des muscles abdominaux, est souffl\u00e9, avec une vibration des l\u00e8vres, dans l\u2019embouchure de la trompe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13283-BIG.jpg", "copyright": "Paul Delatour, 2019", "title": "Les sonneurs des Trompes de Bonne chantent pr\u00e9alablement pour r\u00e9p\u00e9ter ensemble une pi\u00e8ce instrumentale (France), 2019. En r\u00e9p\u00e9tition, pr\u00e9alablement au travail instrumental, les sonneurs pratiquent volontiers le chant pour mettre au point ensemble le tempo et l'harmonisation d'un morceau" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13284-BIG.jpg", "copyright": "Henri Krier, 2018", "title": "Sonnerie de trompes pour la messe de la Saint-Hubert \u00e0 Schoenfels (Luxembourg), 4 novembre 2018. La f\u00eate de la Saint-Hubert, patron des veneurs, est c\u00e9l\u00e9br\u00e9e chaque ann\u00e9e en novembre, par tous les groupes de trompes dans le monde" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13285-BIG.jpg", "copyright": "Guy Wagner, 2019", "title": "Sonnerie de trompes dans les bois, aux grottes de Berdorf (Luxembourg), 2019. Le niveau sonore d\u2019un groupe de trompes \u00e9tant \u00e9lev\u00e9, l\u2019effet de r\u00e9sonance des prestations en for\u00eat est particuli\u00e8rement appr\u00e9ci\u00e9 du public, comme lors de ce concert de la Saint-Hubert, en pr\u00e9sence de plus de 500 personnes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13286-BIG.jpg", "copyright": "Giorgio Marinello, 2015", "title": "Moment de convivialit\u00e9 entre sonneurs lors d\u2019un concours \u00e0 Pollenzo, pr\u00e8s de Cuneo (Italie), 2015" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13287-BIG.jpg", "copyright": "Fran\u00e7ois Favre\/FITF-FTB, 2017", "title": "D\u00e9monstration publique de la cr\u00e9ation du pavillon d\u2019une trompe par un facteur d\u2019instrument, La Motte-Beuvron (France), 2017. La pratique musicale de la trompe permet de maintenir les savoir-faire de la facture instrumentale, dont la r\u00e9alisation d\u00e9licate du pavillon, par repoussage ou martelage, pr\u00e9sent\u00e9e au public des concours" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13288-BIG.jpg", "copyright": "Paul Delatour, 2015", "title": "Ex\u00e9cution d\u2019une pi\u00e8ce pour piano et deux trompes, concert \u00e0 l\u2019\u00e9glise Notre-Dame-la-Riche \u00e0 Tours (France), 2015. Lors de concerts poly-instrumentaux, la trompe est associ\u00e9e \u00e0 d\u2019autres instruments, en particulier le piano, la harpe, l\u2019orgue, les trompettes, les violons ou les cors" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1f9DcEM-nC4", "copyright": "Maurice Davoine, 2019", "title": "L'art musical des sonneurs de trompe" } ], "sustainability": "" } }, "element_1582": { "type": "element", "label": "The Martinique yole, from construction to sailing practices, a model for heritage safeguarding", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13978-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13978-HUG.jpg" }, "description": "Created several centuries ago, the Martinique yole reflects the importance of traditional boats in the history of the region. A yole is a light, fast, shallow-draught boat with a tapered shape, which can sail with one or two sails. Crew members must perch off the hull on long movable poles to balance the boat, requiring great agility, physical engagement and perfect coordination. Yoles are built in different shapes depending on their uses and the geographical areas concerned; the Martinique yole used by fishers is ideal for the specific conditions along the island\u2019s coasts. During the 1950s and 1960s, other types of boats made of composites and equipped with motors gradually supplanted the traditional yole. Faced with the threat of disappearance of these boats, which reflected the history and society of the island, a spontaneous movement to safeguard them developed. The safeguarding initiatives originated with races organized by the fishers themselves. Over the years, the safeguarding programme has gradually expanded, and is now supported by a broad range of longstanding associations and partnerships. This has resulted in a number of good practices. The main objectives of the safeguarding programme are to: preserve the know-how of local boat builders; transmit know-how on sailing; strengthen the ties between yole practitioners and the local community; and create a federation capable of organizing major events.", "list": "GSP", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/the-martinique-yole-from-construction-to-sailing-practices-a-model-for-heritage-safeguarding-01582", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13975-BIG.jpg", "copyright": "Gwennaelle M\u00e9rine, 2014", "title": "Course de b\u00e9b\u00e9 yole, Le Robert" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13976-BIG.jpg", "copyright": "Joseph Arvigne, 2010", "title": "Fabrication de l'ossature d'une yole sans plan, Le Fran\u00e7ois" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13977-BIG.jpg", "copyright": "Pascal Joachim, 2017", "title": "Transmission de la pratique de la yole martiniquaise \u00e0 la nouvelle g\u00e9n\u00e9ration, Le Fran\u00e7ois" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13978-BIG.jpg", "copyright": "Patrick Joseph-Auguste, 2017", "title": "Pr\u00e9paration de la yole avant le d\u00e9part" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13979-BIG.jpg", "copyright": "Patrick Joseph-Auguste, 2017", "title": "Engagement de la public pour la course, Les Anses-d'Arlet" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13980-BIG.jpg", "copyright": "Patrick Joseph-Auguste, 2015", "title": "D\u00e9part d'une course \u00e0 la voile, Le Diamant" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13981-BIG.jpg", "copyright": "Martin Fichez, 2019", "title": "Femmes \u00e0 la barre, Fort-de-France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13982-BIG.jpg", "copyright": "Martin Fichez, 2018", "title": "Entra\u00eenement de la yole martiniquaise, Le Robert" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13983-BIG.jpg", "copyright": "Patrick Joseph-Auguste, 2014", "title": "Courses \u00e0 deux voiles, Le Robert" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13984-BIG.jpg", "copyright": "Patrick Joseph-Auguste, 2018", "title": "Voiles en vent arri\u00e8re, course des Mapipi, Le Fran\u00e7ois" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XKWrE9DHMks", "copyright": "Boris Fl\u00e9rin, 2018", "title": "La yole de Martinique" } ], "sustainability": "" } }, "element_1587": { "type": "element", "label": "Nora, dance drama in southern Thailand", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14188-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14188-HUG.jpg" }, "description": "Nora is a lively and acrobatic form of dance theatre and improvisational singing from southern Thailand. Performances normally include a long oral invocation, followed by a presentation by a lead character who dances with vigorous and elaborate movements of the legs, arms and fingers. The performances are usually based on stories about the former lives of Buddha or about legendary heroes. An ensemble plays highly rhythmic and fast-paced music, with a traditional southern oboe providing the melody and strong rhythms produced by drums, gongs, cymbals and wooden clappers. The main Nora performers \u2013 whether male or female \u2013 wear colourful costumes with crowns or headdresses, beads, bird-like wings tied around the waist, ornate scarves, and swan tails that give them a bird-like appearance. Performers also wear long, metallic fingernails that curl out from the fingertips. Nora is a community-based practice with deep cultural and social significance for the people of southern Thailand. Performances use regional dialects, music and literature to reinforce cultural life and social bonds among local people. Over five hundred years old, Nora is performed in local community centres and at temple fairs and cultural events, and is passed on through training by masters in homes, community organizations and educational institutions.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/nora-dance-drama-in-southern-thailand-01587", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14180-BIG.jpg", "copyright": "Department of Cultural Promotion, Thailand, 2017", "title": "Nora performers from fourteen southern provinces perform \u201cRam Nora Bot Prathom\u201d with the movement \u201cPra Chan Song Klot\u201d at Nora Southern Festival, in Nakhon Si Thammarat. This performance shows the robust and flexibility of bodies reflecting from their hard practices." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14181-BIG.jpg", "copyright": "Department of Cultural Promotion, Thailand, 2017", "title": "\u201cRam Tham Bot\u201d is an advanced level of Nora art. Senior Nora performer, Khaem Praditsin, demonstrates the movement of \u201cBot Phan Na\u201d at Amphoe Nuea Khlong, Krabi Province." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14182-BIG.jpg", "copyright": "The Faculty of Fine Arts, Thaksin University, Songkhla, Thailand, 2010", "title": "\u201cPhuk Pha Khrop Serd\u201d or the crowning initiation ceremony during the \u201cNora Rong Khru Ceremony\u201d at Thaksin University in Khao Rup Chang Sub-district, Songkhla Province, is performed to acknowledge individuals as complete Nora artists." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14183-BIG.jpg", "copyright": "Institute of Southern Thai Studies,Thaksin University, 2015", "title": "Nora master invocates sacred verse while sharpens the 7 spears before killing the crocodile called \u201cChalawan\u201d. It is Nora ritual derived from a scene in a folk tale \u201cKri Thong\u201d, performed by Nora Term at Khok Samankhun Temple, Songkhla Province." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14184-BIG.jpg", "copyright": "Ruendorkrak Songkhla, Thailand, 2017", "title": "Full Nora costume, known as \u201cKhrueang Ton\u201d demonstrated by Nora Master Thummanit Nikomrat." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14185-BIG.jpg", "copyright": "Department of Cultural Promotion, Thailand, 2016", "title": "Craftsperson concentrates on making Nora costume by stringing colorful beads in the famous three-to-three pattern which produces strong and splendid beaded costumes with distinct patterns." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14186-BIG.jpg", "copyright": "The Faculty of Fine Arts, Thaksin University, Songkhla,Thailand, 2018", "title": "Five musicians play Nora instruments; from left to right; \u201cpi\u201d (Southern Thai oboe), \u201cmong\u201d (gongs) and \u201cching\u201d (small cymbals) which played by one person, \u201cklong\u201d (drum), \u201cthap\u201d (twin drums), and \u201ctrae\u201d (wooden clapper). They are vital components to the tradition." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14187-BIG.jpg", "copyright": "Department of Cultural Promotion, Thailand, 2011", "title": "Four musicians play 5 pieces of Nora instruments; from left to right; \u201cthap\u201d (twin drums), \u201cklong\u201d (drum), \u201cmong\u201d (gongs) and \u201cching\u201d (small cymbals) which played by one person and \u201cpi\u201d (Southern Thai oboe)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14188-BIG.jpg", "copyright": "The Faculty of Fine Arts, Thaksin University, Songkhla, Thailand, 2009", "title": "Nora Master Thummanit Nikomrat teaches dance movement \u201cYok Sung Samoe Na\u201d to students from Maha Wachirawut at the Institute for Southern Thai Studies, Thaksin University." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14189-BIG.jpg", "copyright": "Tanot Duan Sub-district Administrative Organization, Khuan Khanun, Phatthalung Province, Thailand, 2013", "title": "Nora Master Thummanit Nikomrat teaches Nora dance movement called \u201cPhleng Kho\u201d to twenty youths from Tanot Duan Subdistrict Administrative Organization, Khuan Khanun, Phatthalung Province." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=YOZVmLS9N0o", "copyright": "Department of Culture Promotion, Thailand, 2019", "title": "Nora, dance drama in southern Thailand" } ], "sustainability": "" } }, "element_1589": { "type": "element", "label": "Rickshaws and rickshaw painting in Dhaka", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17084-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17084-HUG.jpg" }, "description": "The rickshaw is a small, three-wheeled passenger vehicle that is pulled by one person. It is a recognized feature of Dhaka and Bangladesh as a whole. Traditionally made by hand by a small group of craftsmen, almost every part of a rickshaw is painted with colourful floral patterns, natural imagery, birds and animals, creative depictions of historical events, fables, national heroes, movie stars and text. Rickshaws are also decorated extensively with tassels, plastic flowers and tinsel. As they are slow-moving vehicles, the paintings and decorations are easily visible to onlookers, thus becoming a roving exhibition. Decorated rickshaws are emblematic of urban life in Dhaka, resulting in exhibitions and festive events and often featuring in films and other artworks. The traditional process of fashioning rickshaws is transmitted by craftsmen in rickshaw workshops, orally and through hands-on training. Rickshaw painting artists work on commission and usually pass on their knowledge and skills to their children and close relatives. While all rickshaw craftsmen are men, painters include men and women. Rickshaws and rickshaw painting are viewed as a key part of the city\u2019s cultural tradition and a dynamic form of urban folk art, providing inhabitants with a sense of shared identity and continuity.", "list": "RL", "year": 2023, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/rickshaws-and-rickshaw-painting-in-dhaka-01589", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17075-BIG.jpg", "copyright": "Shahabul Alam Sajib, Bangladesh, 2022", "title": "Rickshaw artist Sayed Ahmed Hossain" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17076-BIG.jpg", "copyright": "Shahabul Alam Sajib, Bangladesh, 2022", "title": "Imaginary animal Rickshaw shop where various animals are involved in making Rickshaws" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17077-BIG.jpg", "copyright": "Shahabul Alam Sajib, Bangladesh, 2022", "title": "Imaginary animals are playing cards" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17078-BIG.jpg", "copyright": "Shahabul Alam Sajib, Bangladesh, 2022", "title": "Dhirendra Chandra is painting in Rickshaw's back board" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17079-BIG.jpg", "copyright": "Shahabul Alam Sajib, Bangladesh, 2022", "title": "The image of a child in a mother's arm during war context" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17080-BIG.jpg", "copyright": "Shahabul Alam Sajib, Bangladesh, 2022", "title": "Rickshaw artist Rafiqul Islam is painting Rickshaw's board" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17081-BIG.jpg", "copyright": "Shahabul Alam Sajib, Bangladesh, 2022", "title": "Fully decorated Rickshaw" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17082-BIG.jpg", "copyright": "Shahabul Alam Sajib, Bangladesh, 2022", "title": "The foreground of Rickshaw with colourful Rickshaw art" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17083-BIG.jpg", "copyright": "Shahabul Alam Sajib, Bangladesh, 2022", "title": "Passengers first choice: colourful artistic Rickshaw" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/17084-BIG.jpg", "copyright": "Shahabul Alam Sajib, Bangladesh, 2022", "title": "Rickshaw artist Rafiqul Islam with his daugther Tisha. She has taken this profession with the inspiration of her father." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=c02eKSw1gSg", "copyright": "Bangla Academy, Bangladesh, 2022", "title": "Rickshaws and Rickshaw painting in Dhaka" } ], "sustainability": "" } }, "element_1590": { "type": "element", "label": "Namur stilt jousting", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14048-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14048-HUG.jpg" }, "description": "Namur stilt jousting is a tradition dating back to the early fifteenth century. During a stilt joust, participants attempt to knock all the members of the opposing team to the ground. Stilt jousters are grouped into two teams: the M\u00e9lans, with yellow and black stilts, representing the old town, and the Avresses, with red and white stilts, representing the new town and neighbouring villages. However, today applicants join a team based on affinity rather than on location. Each stilt joust starts with a procession made up of the two teams, preceded by their flags, drums and fife-player. The drums herald the procession, set the rhythm of the march and energize the joust. Stilt jousts usually take place during festivals in the streets and squares of Namur. Entry is free, and spectators gather around the jousting zone and cheer on their favourite team and jousters. Jousters range from 7 to 70 years old, and although historically all-male, in 2018 the stilt jousting association (called Les \u00c9chasseurs Namurois) opened up training to women and girls. Stilt jousting is a strong marker of Namur\u2019s identity and is seen as a factor of cohesion and integration for the inhabitants of the city.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/namur-stilt-jousting-01590", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14048-BIG.jpg", "copyright": "Laure Pille, 2016", "title": "Au c\u0153ur de la joute : M\u00e9lans (\u00e9chasses jaunes et noires) contre Avresses (\u00e9chasses rouges et blanches)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14049-BIG.jpg", "copyright": "Simon Fusillier, 2018", "title": "Femmes et hommes, jeunes et vieux, le public namurois se rassemble pour soutenir les jouteurs. Ici en 2018 lors d\u2019une joute r\u00e9serv\u00e9e aux jeunes jouteurs entre 12 et 16 ans" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14050-BIG.jpg", "copyright": "Simon Fusillier, 2016", "title": "Les joueurs de tambour accompagnent les jouteurs et rythment les joutes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14051-BIG.jpg", "copyright": "Bertrand Patris, 2018", "title": "Jeunes filles et jeunes gar\u00e7ons s\u2019entrainent ensemble le samedi matin lors des sessions d\u2019initiation et de perfectionnement organis\u00e9es par l\u2019association des jouteurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14052-BIG.jpg", "copyright": "Bertrand Patris, 2011", "title": "Les \u00e9chasses, vecteur de fraternit\u00e9 entre les peuples. Un \u00e9chassier de Malaisie s\u2019essaie aux \u00e9chasses namuroises lors d\u2019une rencontre internationale de praticiens de l\u2019\u00e9chasse \u00e0 Namur en 2011" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14053-BIG.jpg", "copyright": "Bertrand Patris, 2019", "title": "Un menuisier de la r\u00e9gion namuroise fabrique les \u00e9chasses des jouteurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14054-BIG.jpg", "copyright": "Christophe Modave, 2017", "title": "Dans certaines \u00e9coles, des \u00e9chasses d\u2019initiation sont mises \u00e0 disposition des \u00e9l\u00e8ves durant les r\u00e9cr\u00e9ations. Ici \u00e0 l\u2019\u00e9cole Sainte-Marie de Suarl\u00e9e" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14055-BIG.jpg", "copyright": "Jean-Christophe Guillaume, 2012", "title": "Deux jeunes partisanes particuli\u00e8rement z\u00e9l\u00e9es des Melans (jouteurs aux \u00e9chasses jaunes et noires) encouragent leurs favoris" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14056-BIG.jpg", "copyright": "Dominique Pire, 2016", "title": "La brigade des juniors accueille les jeunes jouteurs de 6 \u00e0 11 ans et pr\u00e9c\u00e8de les grands dans les rues de Namur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14057-BIG.jpg", "copyright": "Andr\u00e9 Dubuisson, 2016", "title": "Des milliers de Namurois et de Namuroises se rassemblent chaque ann\u00e9e le dimanche des F\u00eates de Wallonie pour encourager les jouteurs lors de la joute la plus attendue de l\u2019ann\u00e9e, l\u2019Echasse d\u2019Or'" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=YsRIjX6T6qw", "copyright": "Les Echasseurs Namurois, 2019", "title": "Les joutes sur \u00e9chasses de Namur" } ], "sustainability": "" } }, "element_1591": { "type": "element", "label": "The art of glass beads", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13712-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13712-HUG.jpg" }, "description": "The art of glass beads is closely linked to the wealth of knowledge and mastery of a material (glass) and element (fire). The art covers specific knowledge and shared skills, reflects the use of specific traditional tools and processes, and includes various stages. In Italy, technical knowledge related to the production takes two forms: 1) a lume beads (with a blowtorch) and 2) da canna beads, made by sectioning, softening and polishing a hollow cane. In France, solid beads are made with a torch and the hot glass is rounded through rotation and gravity, or hollow beads are made either on a mandrel or by blowing into a hollow cane. The more complex production of murrines, common in both States, consists of assembling multicoloured glass canes around a core. The beads are then decorated and used in a wide variety of ways. In both States Parties, the practice is mainly transmitted informally in workshops, where apprentices acquire knowledge through observation, experimentation and practice under the supervision of expert craftspeople. Transmission can also occur through formal education in technical establishments. Gifts made with glass beads are used to mark certain events and social occasions, and the practice promotes social cohesion and dexterity in manual and craft work. Bearers and practitioners recognize themselves in a collective identity made up of shared memories and spaces.", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/the-art-of-glass-beads-01591", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13710-BIG.jpg", "copyright": "Claudia Cottica\/CPVV, 2018", "title": "'Impiraressa', enfileuse v\u00e9nitienne apprenant l'enfilage \u00e0 une enfant (Italie)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13711-BIG.jpg", "copyright": "Claudia Cottica\/CPVV, 2018", "title": "R\u00e9alisation d'une perle au chalumeau, technique dite fior\u00e0 (Italie)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13712-BIG.jpg", "copyright": "Claudia Cottica\/CPVV, 2018", "title": "R\u00e9alisation d'une perle 'de canna' d'une section de canne creuse, technique dite taillage-polissage (Italie)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13713-BIG.jpg", "copyright": "Andrea Rizzo\/CPVV, 2019", "title": "Stage \u00e0 l'\u00e9cole du verre Abate Zanetti, Murano (Italie)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13714-BIG.jpg", "copyright": "Federico Dolcetta\/CPVV, 2017", "title": "R\u00e9alisation de perles au chalumeau par le perlier Alessandro Moretti, Place Saint Marc, Venise (Italie)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13715-BIG.jpg", "copyright": "Patrice Niset\/APAF, 2012", "title": "Cr\u00e9ation d'un disque de verre au chalumeau (France)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13716-BIG.jpg", "copyright": "Igor Juget\/APAF, 2013", "title": "Travail de d\u00e9coration par points au chalumeau (France)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13717-BIG.jpg", "copyright": "Anush Bayens\/APAF, 2019", "title": "Travail de montage de bijoux en perles (France)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13718-BIG.jpg", "copyright": "Christine Amourette\/APAF, 2015", "title": "Transmission adulte - enfant (France)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13719-BIG.jpg", "copyright": "Anush Bayens\/APAF, 2011", "title": "D\u00e9monstration lors des Journ\u00e9es de la perle \u00e0 Sars-Poteries (France)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=6BwcUVYAPsg", "copyright": "Andrea Rizzo, 2019", "title": "L'art de la perle de verre" } ], "sustainability": "" } }, "element_1592": { "type": "element", "label": "Malhun, a popular poetic and musical art", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14039-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14039-HUG.jpg" }, "description": "Malhun is a popular form of poetic expression in Morocco. The verses are sung in dialectical Arabic and sometimes Hebrew. They are accompanied by music played on traditional instruments, notably the lute, the violin, the rebab and small drums. Popular topics include love, the joys of life, the beauty of people, nature, religious prayer and pleas, pleasure and merrymaking, gastronomy, imaginary journeys, political events and social issues. The poems also convey moral messages and encourage constructive discourse. By combining song, theatrics, metaphor and symbolism in accessible language and a festive atmosphere, malhun unites all Moroccans, regardless of religion. In the past, the practice was transmitted informally, through apprenticeships with vocalists, musicians, transcribers, lyricists and the craftspeople who make the traditional instruments and costumes. Today, it is also transmitted through organizations and music conservatories, as well as through publications containing traditional texts. Enjoyed and performed by people of all genders, malhun has had a considerable impact on Moroccan culture and collective memory for centuries. It is performed in many spaces, from family gatherings to large performance halls and malhun festivals. As a collective art form, it promotes social cohesion and creativity while serving as a historical record of social issues throughout the centuries.", "list": "RL", "year": 2023, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/malhun-a-popular-poetic-and-musical-art-01592", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14038-BIG.jpg", "copyright": "Acad\u00e9mie du Royaume du Maroc, 2018", "title": "Orchestre du Malhoun performant des chansons du Malhoun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14039-BIG.jpg", "copyright": "Acad\u00e9mie du Royaume du Maroc, 2018", "title": "Quelques instruments de musiques utilis\u00e9s dans les performances du Malhoun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14040-BIG.jpg", "copyright": "Acad\u00e9mie du Royaume du Maroc, 2018", "title": "Tambourin, instrument du rythme largement utilis\u00e9 au Malhoun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14041-BIG.jpg", "copyright": "Acad\u00e9mie du Royaume du Maroc, 2018", "title": "Chanteuse du Malhoun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14042-BIG.jpg", "copyright": "Acad\u00e9mie du Royaume du Maroc, 2018", "title": "S\u00e9ance festive agr\u00e9ment\u00e9e par la po\u00e9sie chant\u00e9e du Malhoun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14043-BIG.jpg", "copyright": "Acad\u00e9mie du Royaume du Maroc, 2018", "title": "Un grand ma\u00eetre du Malhoun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14044-BIG.jpg", "copyright": "Acad\u00e9mie du Royaume du Maroc, 2018", "title": "Grand ma\u00eetre du Malhoun au festival de Taroudant" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14045-BIG.jpg", "copyright": "Acad\u00e9mie du Royaume du Maroc, 2018", "title": "S\u00e9ance d\u2019entrainement \u00e0 une performance du Malhoun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14046-BIG.jpg", "copyright": "Acad\u00e9mie du Royaume du Maroc, 2018", "title": "Lamrini, une grande figure f\u00e9minine du Malhoun" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14047-BIG.jpg", "copyright": "Acad\u00e9mie du Royaume du Maroc, 2018", "title": "Performance commune de plusieurs troupes du Malhoun" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TcP0SXTzmdw", "copyright": "Acad\u00e9mie, Maroc, 2019", "title": "Le Malhoun: un patrimoine po\u00e9ico-musical populaire" } ], "sustainability": "" } }, "element_1596": { "type": "element", "label": "Sauna culture in Finland", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13509-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13509-HUG.jpg" }, "description": "Sauna culture in Finland is an integral part of the lives of the majority of the Finnish population. Sauna culture, which can take place in homes or public places, involves much more than simply washing oneself. In a sauna, people cleanse their bodies and minds and embrace a sense of inner peace. Traditionally, the sauna has been considered as a sacred space \u2013 a \u2018church of nature\u2019. At the heart of the experience lies l\u00f6yly, the spirit or steam released by casting water onto a stack of heated stones. Saunas come in many forms \u2013 electric, wood-heated, smoke and infra-red. Approaches vary too, with no hierarchy among them. Sauna traditions are commonly passed down in families and though universities and sauna clubs also help share knowledge. With 3.3 million saunas in a country of 5.5 million inhabitants, the element is readily accessible to all. Traditional public saunas in the cities almost disappeared after the 1950s. In recent years, new public saunas have been constructed thanks to private initiatives. ", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/sauna-culture-in-finland-01596", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13505-BIG.jpg", "copyright": "Alexander Lembke, 2016", "title": "Kaupinoja sauna, Tampere, Avanto, winter, winterswimming, snow" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13506-BIG.jpg", "copyright": "Rina Ohmeroluona, 2018", "title": "Sauna by lake Saimaa in autumn" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13507-BIG.jpg", "copyright": "Visit Finland", "title": "Join the Finns in the sauna" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13508-BIG.jpg", "copyright": "Suomen Saunaseura ry, 2018", "title": "A drawing of two children (Reino 7 years and Hilja 4 years) called 'Enjoying the sauna at summer cottage'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13509-BIG.jpg", "copyright": "Emmi Minkkinen, 2017", "title": "A child enyoying a sauna bath with his father" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13510-BIG.jpg", "copyright": "Emmi Minkkinen, 2019", "title": "A man carrying wood to his wood-heated sauna to heat it up" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13511-BIG.jpg", "copyright": "Hannu Pakarinen \/ Suomen Saunaseura ry, 2017", "title": "A man warming a smoke sauna in city Forssa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13512-BIG.jpg", "copyright": "Hannu Pakarinen \/ Suomen Saunaseura ry, 2018", "title": "A woman enyoying the sauna experience with a whisk in Kukkarom\u00e4ki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13513-BIG.jpg", "copyright": "Suomen Saunaseura ry, 2019", "title": "Women cooling down after a sauna bath in front of the Koitharjun Sauna in Helsinki" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13514-BIG.jpg", "copyright": "Hannu Pakarinen \/ Suomen Saunaseura ry, 2018", "title": "Three generations (a grandfather, son and the grandson) and a friend cooling down in the lake after staying in the hot smoke sauna in Kajaani" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=qY__OOcv--M", "copyright": "Annamaria Peltokangas, 2019", "title": "Sauna culture in Finland" } ], "sustainability": "" } }, "element_1597": { "type": "element", "label": "Traditional intelligence and strategy game: Togyzqumalaq, Toguz Korgool, Mangala\/G\u00f6\u00e7\u00fcrme", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13741-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13741-HUG.jpg" }, "description": "Traditional intelligence and strategy game: Togyzqumalaq, Toguz Korgool, Mangala\/G\u00f6\u00e7\u00fcrme is a traditional game which can be played on special boards or improvised ones such as pits on the ground. The game can be played with pellets made of stone, wood, metal and bone, nuts, or seeds, which are distributed across the pits; the player who gathers the most pellets wins the game. There are several variations of the game. For example, the board can have two, three, four, six or nine pits arranged in order according to the number of players, and the duration varies according to the number of players. In the submitting States, the element is linked to other traditional crafts such as wood and stone carving and jewellery making. Wood and stone carving masters and jewellers make elaborately decorated boards and pellets as well as practical ones, reflecting traditional worldviews and their artistic creativity. The game improves players\u2019 cognitive, motor and social skills and strategic and creative thinking, and teaches them to be patient and considerate. It is transmitted both informally and through formal education. Recently, the communities concerned have also developed mobile device applications for learning and\/or playing the game, which provide a new way of transmitting related skills and increasing the visibility of the practice among younger generations.", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-intelligence-and-strategy-game-togyzqumalaq-toguz-korgool-mangala-gocurme-01597", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13741-BIG.jpg", "copyright": "Togyzqumalaq Federation, 2018", "title": "School children playing Togyzqumalaq during open air masterclasses in the center of Almaty (Kazakhstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13742-BIG.jpg", "copyright": "Togyzqumalaq Federation, 2018", "title": "Master Erkebulan Halelov makes wooden board togyzqumalaq (Kazakhstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13743-BIG.jpg", "copyright": "Togyzqumalaq Federation, 2017", "title": "International Togyzqumalaq tournament (Kazakhstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13744-BIG.jpg", "copyright": "Togyzqumalaq Federation, 2017", "title": "Children playing Togyzqumalaq in national clothes (Kazakhstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13745-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2017", "title": "Informal transmission, grandfather teaching his grandson to play Toguz Korgool (Kyrgyzstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13746-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2016", "title": "Players from Kyrgyzstan and Uzbekistan playing Toguz Korgool during the World Nomad Games (Kyrgyzstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13747-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2014", "title": "Participants from Kyrgyzstan at the opening ceremony of the 1st World Nomad Games (Kyrgyzstan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13748-BIG.jpg", "copyright": "World Ethnosport Confederation\/MoCT, 2019", "title": "Children playing Mangala\/G\u00f6\u00e7\u00fcrme (Turkey)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13749-BIG.jpg", "copyright": "World Ethnosport Confederation\/MoCT, 2019", "title": "Photo from Mangala Tournament of Visual Handicapped People (Turkey)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13751-BIG.jpg", "copyright": "Ergun Zorlu\/MoCT, 2019", "title": "Mangala Courses in Ba\u011fc\u0131lar Municipality Bilgi Evi (Turkey)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1ij2lyyBMME", "copyright": "Togyzqumala q Federation\/National Commission of the Kyrgyz Republic to UNESCO\/Ministry of Culture and Tourism of Turkey, 2019", "title": "Traditional intelligence and strategy game: Togyzqumalaq, Toguz Korgool, Mangala\/G\u00f6\u00e7\u00fcr" } ], "sustainability": "" } }, "element_1598": { "type": "element", "label": "Art of miniature", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13688-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13688-HUG.jpg" }, "description": "The miniature is a type of two-dimensional artwork that involves the design and creation of small paintings on books, papier-m\u00e2ch\u00e9, rugs, textiles, walls, ceramics and other items using raw materials such as gold, silver and various organic substances. Historically, the miniature was exemplified by book painting in which the text was supported visually, but the element has evolved and can also be observed in architecture and as an adornment in public spaces. The patterns of the miniature represent beliefs, worldviews and lifestyles in a pictorial fashion and also gained a new character through the Islamic influence. While there are stylistic differences between them, the art of miniature as practised by the submitting States Parties shares crucial features. In all cases, it is a traditional craft typically transmitted through mentor-apprentice relationships (non-formal education) and considered as an integral part of each society\u2019s social and cultural identity. The miniature displays a specific type of perspective in which the size of the figures changes according to their importance - a key difference from realistic and naturalistic styles. Though it has existed for centuries, it continues to develop and thus strengthens the bonds between past and present. Traditional painting principles and techniques are preserved, but artists also bring individual creativity into the process.", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/art-of-miniature-01598", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13682-BIG.jpg", "copyright": "J.Imamverdiyev\/Ministry of Culture of Azerbaijan, 2018", "title": "Wall miniature performed in Sheki Khan Saray (Azerbaijan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13684-BIG.jpg", "copyright": "J.Imamverdiyev\/Ministry of Culture of Azerbaijan, 2018", "title": "Miniature artist Parinisa Asgarova painting (Azerbaijan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13685-BIG.jpg", "copyright": "J.Imamverdiyev\/Ministry of Culture of Azerbaijan, 2018", "title": "Miniature artist Arif Huseynov with students (Azerbaijan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13686-BIG.jpg", "copyright": "ICHHTO, 2019", "title": "The Noon of the Day \u0100sh\u016br\u0101 when Imam Hussein was martyred by master Mahmoud Farshchian (The Islamic Republic of Iran)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13687-BIG.jpg", "copyright": "ICHHTO, 2019", "title": "Sheik San'\u0101n & the Christian Girl by master (Mrs) Mahin Afshanpour (The Islamic Republic of Iran)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13688-BIG.jpg", "copyright": "ICHHTO, 2019", "title": "Transmission of the element: master Ardeshir M. Takestani is training his students (The Islamic Republic of Iran)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13691-BIG.jpg", "copyright": "National Commission of Uzbekistan for UNESCO, 2019", "title": "Master Anvar Ismoilov (Uzbekistan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13692-BIG.jpg", "copyright": "National Commission of Uzbekistan for UNESCO, 2019", "title": "Master Kamoliddin Abdullaev (Uzbekistan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13693-BIG.jpg", "copyright": "National Commission of Uzbekistan for UNESCO, 2019", "title": "Master Mirkhamid Sabirov (Uzbekistan)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13694-BIG.jpg", "copyright": "MoCT, 2018", "title": "Cahide Keskiner, 1931-2018, Living Human Treasure (Turkey)" } ], "video": [], "sustainability": "" } }, "element_1599": { "type": "element", "label": "Traditional knowledge and techniques associated with Pasto Varnish mopa-mopa of Putumayo and Nari\u00f1o", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13655-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13655-HUG.jpg" }, "description": "The traditional knowledge and techniques associated with Pasto Varnish mopa-mopa of Putumayo and Nari\u00f1o encompass three traditional trades: harvesting, woodwork and decorative varnishing. The practice involves harvesting the buds of the mopa-mopa tree in the jungles of Putumayo, the wood processing carried out by carpenters, lathe operators and carvers in the Department of Nari\u00f1o, and decorating objects with varnish made from the resin obtained from the mopa-mopa. Harvesting the mopa-mopa requires knowledge of the forest trails, climbing trees, the timing and exact size of the buds to be harvested, delicately harvesting without damaging the plants, finding water and preserving food, and so on. Practitioners and bearers transmit the related knowledge through orality, observation and experimentation, mainly within the family circle. The techniques associated with mopa-mopa harvesting, wood processing and varnish decoration are a source of identity for the communities concerned and Pasto Varnish has allowed practitioners to be self-employed, linked by guilds and family-owned trade structures. Currently, however, there are only ten harvesters, nine wood masters and thirty-six varnish masters. The practice is threatened by various factors, notably development and globalization processes creating more profitable alternatives for youngsters, the scarcity of mopa-mopa and woods due to deforestation and climate change, the difficulty of accessing the harvesting sites, and the conditions of the home workshops in which practitioners work.", "list": "USL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/traditional-knowledge-and-techniques-associated-with-pasto-varnish-mopa-mopa-of-putumayo-and-narino-01599", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13655-BIG.jpg", "copyright": "Carlos Ren\u00e9 Quintero\/Ministry of Culture of Colombia, 2019", "title": "Forest of Mocoa (Putumayo), using logs and sticks, two gatherers climb to the top of the Mopa-Mopa tree to harvest their fruits or buds" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13656-BIG.jpg", "copyright": "Carlos Ren\u00e9 Quintero\/Ministry of Culture of Colombia, 2019", "title": "Delicate harvesting method, in which the fruits of the mopa-mopa shrub are taken with the tips of the fingers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13657-BIG.jpg", "copyright": "Carlos Ren\u00e9 Quintero\/Ministry of Culture of Colombia, 2019", "title": "Block of mopa-mopa, a raw material used to produce thin sheets or \"fabrics\u201d employed to decorate woodenware" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13658-BIG.jpg", "copyright": "Carlos Ren\u00e9 Quintero\/Ministry of Culture of Colombia, 2019", "title": "Craftsman from Pasto, carver of woodenware" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13659-BIG.jpg", "copyright": "Carlos Ren\u00e9 Quintero\/Ministry of Culture of Colombia, 2019", "title": "Finished wooden pieces" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13660-BIG.jpg", "copyright": "Carlos Ren\u00e9 Quintero\/Ministry of Culture of Colombia, 2019", "title": "Mopa Mopa resin transformation: stretching a thin sheet or \"fabric\" of varnish" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13661-BIG.jpg", "copyright": "Carlos Ren\u00e9 Quintero\/Ministry of Culture of Colombia, 2019", "title": "Varnish master from Pasto stretching a thin sheet or 'fabric' of varnish" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13662-BIG.jpg", "copyright": "Carlos Ren\u00e9 Quintero\/Ministry of Culture of Colombia, 2019", "title": "Varnish apprentice from Pasto" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13663-BIG.jpg", "copyright": "Carlos Ren\u00e9 Quintero\/Ministry of Culture of Colombia, 2019", "title": "Family-decorating workshop of Pasto Varnish, where the technique is transmitted by family ties and from generation to generation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13664-BIG.jpg", "copyright": "Carlos Ren\u00e9 Quintero\/Ministry of Culture of Colombia, 2019", "title": "Dialogue between practitioners and bearers" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=lrWkkSkQVR0", "copyright": "Pablo Trejo\/Ministry of Culture of Columbia, 2019", "title": "Traditional knowledge and techniques associated with the Pasto varnish Mopa-Mopa" } ], "sustainability": "" } }, "element_1600": { "type": "element", "label": "Chamam\u00e9", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13413-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13413-HUG.jpg" }, "description": "Chamam\u00e9 is a form of popular cultural expression that is mainly practised in the Corrientes province. Its key components include a style of \u2018close embrace\u2019 dancing where participants hold each other chest to chest and follow the music without set choreography. Other elements include musiqueada, a celebratory act that includes a party, prayer and sapukay, a typical phonation or cry accompanied by gestures and movements to convey emotions such as joy, sadness, pain, and bravery. The violin and vihuela were the original instruments used in Chamam\u00e9 music, but the guitar, harmonica, two-row diatonic button accordion, bandoneon and double bass were later incorporated. The singing is rooted in worship songs. Historically, lyrics and poetry were in Guarani, the regional native language, but today, oral traditions are transmitted in the yopar\u00e1 dialect, a combination of Spanish and Guarani. Chamam\u00e9 music and dancing are an important part of the regional identity and play major social roles as they are common features of community and family gatherings, religious celebrations, and other festive events. Chamam\u00e9 highlights values such as love for one\u2019s land, local fauna and flora, religious devotion and a \u2018way of being,\u2019 a Guarani expression pointing to the harmony between the human, natural and spiritual realms.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/chamame-01600", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13410-BIG.jpg", "copyright": "Zulma Ruiz Cuevas-Aron R. Fisman, 2019", "title": "Open and free Chamam\u00e9 classes to the community, in the context of the Puente Pexoa\u00b4s dancing place located in the village of Riachuelo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13411-BIG.jpg", "copyright": "Zulma Ruiz Cuevas-Aron R. Fisman, 2019", "title": "Young Chamam\u00e9 girl playing Chamam\u00e9 to the old aged people, in the Geriatric Hospital 'Juana Francisca Cabral' located in the city of Corrientes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13412-BIG.jpg", "copyright": "Zulma Ruiz Cuevas-Aron R. Fisman, 2019", "title": "Chamam\u00e9 serenade on the shores of the Paran\u00e1 River, allows the people who walk across the riverfront drive to enjoy the Chamam\u00e9 not only by listening, also by dancing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13413-BIG.jpg", "copyright": "Zulma Ruiz Cuevas-Aron R. Fisman, 2019", "title": "Two people dancing Chamam\u00e9 with typical folk clothing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13414-BIG.jpg", "copyright": "Zulma Ruiz Cuevas-Aron R. Fisman, 2019", "title": "Chamam\u00e9 in community, at the Ongay\u00b4s neighborhood, located in Corrientes. It can be seen the children playing along with other instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13415-BIG.jpg", "copyright": "Zulma Ruiz Cuevas-Aron R. Fisman, 2019", "title": "Grandfather wearing folk clothing dances Chamam\u00e9 with his grandson" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13416-BIG.jpg", "copyright": "Zulma Ruiz Cuevas-Aron R. Fisman, 2019", "title": "Chamam\u00e9 band members with typical folk clothing, playing Chamam\u00e9 for the people who walk around the riverfront drive, in the city of Corrientes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13417-BIG.jpg", "copyright": "Zulma Ruiz Cuevas-Aron R. Fisman, 2019", "title": "A person with typical festivity clothing: wide blue colored bombacho pants, white clean shirt, leather belt, three little chains of silver with buttons of the same material. Wide silk tissue, dressed in triangular manner. Black colored hat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13418-BIG.jpg", "copyright": "Zulma Ruiz Cuevas-Aron R. Fisman, 2019", "title": "Dressing component that characterize the paisano: long tall and hard boots black colored, softly corrugated over the ankles, with spurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13419-BIG.jpg", "copyright": "Zulma Ruiz Cuevas-Aron R. Fisman, 2019", "title": "Ballet group which integrate disabled people" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=VX5hqykNEhQ", "copyright": "Instituto de Cultura de la Provincia de Corrientes", "title": "Chamame" } ], "sustainability": "" } }, "element_1601": { "type": "element", "label": "Ornek, a Crimean Tatar ornament and knowledge about it", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14664-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14664-HUG.jpg" }, "description": "\u00d6rnek is a Ukrainian system of symbols and their meanings, currently used in embroidery, weaving, pottery, engraving, jewellery, wood carving, and glass and wall painting. The symbols are arranged to create a narrative composition. The Crimean Tatar communities understand the meaning of the symbols and often commission artisans to create certain compositions with specific meanings. Geometric ornaments are primarily used in weaving, whereas floral ornaments are used in all other folk crafts, including those not traditionally practised by Crimean Tatars, such as glass painting, wall painting or canvas wall art. Common symbols include plants and trees, symbolizing people of different genders and ages. There are around thirty-five symbols in total, each with its unique meaning and connotations. For instance, a rose symbolizes a married woman, a poplar or cypress symbolizes an adult man, a tulip symbolizes a young man, and an almond symbolizes an unmarried woman or girl. A carnation symbolizes an older person, wisdom and life experience. The symbolism of the floral ornaments is always emphasized by the unique colour palette and symbol combinations. For instance, a tulip within a rose symbolizes the love or union of a man and a woman. Many symbols are used as protective charms. The associated knowledge and skills are transmitted by skilled artisans within families and communities, in informal contexts such as embroidery classes, and in formal contexts such as universities.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ornek-a-crimean-tatar-ornament-and-knowledge-about-it-01601", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14662-BIG.jpg", "copyright": "Chorna Kateryna, 2019", "title": "Mamut Churlu, the leader of 'Chatyr Dag' informal cultural association, in his artist's studio presenting embroidered panels based on Ornek ornaments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14663-BIG.jpg", "copyright": "Chorna Kateryna, 2019", "title": "Elvira Osmanova, a craftswoman, embroiders Ornek-based symmetric double-sided composition using Crimean Tatar technique, 'Tatar ishleme'." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14664-BIG.jpg", "copyright": "Chorna Kateryna, 2019", "title": "Ayder Abibulayev, a ceramist, uses the scripts with Ornek to express family love and harmony blessings. The tiny repeating elements rhythmically depicted as berries, flowers, and leaves symbolize diligence, well-being, financial security and spiritual welfare" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14665-BIG.jpg", "copyright": "Chorna Kateryna, 2019", "title": "The glass-painting artwork of Afize Yusuf Kizi with the traditional Crimean Tatar ornament Ornek is a bright example of combination of both free creative search and traditional senses" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14666-BIG.jpg", "copyright": "Chorna Kateryna, 2019", "title": "Ceramic panel made by Edem Ganiyev depicting 'Family tree' composed of male and female symbols of Ornek" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14667-BIG.jpg", "copyright": "Chorna Kateryna, 2019", "title": "Embroidered panel by Elvira Osmanova basing on Ornek symbols was made to order for the interior design. The customers are not only understand the meaning of the ornaments, but also ask artists to develop the composition bearing the predefined sense" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14668-BIG.jpg", "copyright": "Esma Adzhiieva, 2019", "title": "Crimean Tatar filigree by Osman Osmanov basing on Ornek symbols" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14669-BIG.jpg", "copyright": "Esma Adzhiieva, 2019", "title": "Ali Umerov, an engraver, in his artist's studio. He composes designer's Ornek ornament for every art piece" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14670-BIG.jpg", "copyright": "Esma Adzhiieva, 2019", "title": "Traditional Crimean Tatar dress for the Nikah wedding ceremony made by Mayre Lyumanova. The bride hopes for a happy married life, girdling her Ornek-decorated wedding gown with the ornamented belt and jewelry" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14671-BIG.jpg", "copyright": "Esma Adzhiieva, 2018", "title": "A filigreed belt for the married woman made by the jeweler Ayder Asanov. A buckle has Ornek element representing a vine leaf, which is a female symbol and symbolizing fertility. Moreover, the belt is decorated with the protecting signs" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XY5W0yo_y68", "copyright": "Esma Adzhiieva, 2019", "title": "Ornek, a Crimean Tatar ornament and knowledge about it" } ], "sustainability": "" } }, "element_1602": { "type": "element", "label": "Knowledge, know-how and practices pertaining to the production and consumption of couscous", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13388-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13388-HUG.jpg" }, "description": "The knowledge, know-how and practices pertaining to the production and consumption of couscous encompass the methods of preparation, manufacturing conditions and tools, associated artefacts and circumstances of consumption of couscous in the communities concerned. Preparing couscous is a ceremonial process involving several different operations. These begin with growing the cereal, after which the seeds are ground to obtain a semolina that is rolled by hand, steamed and then cooked. These practices are associated with a set of exclusive tools, instruments and utensils. The dish is accompanied by a variety of vegetables and meats, depending on the region, season and occasion. Nowadays, as in the past, the methods involved in preparing couscous constitute a sum of knowledge and know-how that is transmitted informally through observation and imitation. For the manufacture of the utensils: clay utensils are made by potters while wooden utensils are produced by cooperatives or artisanal factories, which are often family-owned. In recent decades, however, more formal transmission has also developed outside the family circle or home. The non-culinary aspects of the element \u2013 namely rituals, oral expressions and certain social practices \u2013 are also transmitted by the bearers. Couscous is a dish replete with symbols, meanings and social and cultural dimensions all linked to solidarity, conviviality, sharing meals and togetherness.", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/knowledge-know-how-and-practices-pertaining-to-the-production-and-consumption-of-couscous-01602", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13388-BIG.jpg", "copyright": "Centre national de recherches pr\u00e9historiques, anthropologiques et historiques (CNRPAH), Alg\u00e9rie, 2018", "title": "Groupes de femmes roulant le couscous d'un mariage \u00e0 (Alg\u00e9rie)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13389-BIG.jpg", "copyright": "Centre national de recherches pr\u00e9historiques, anthropologiques et historiques (CNRPAH), Alg\u00e9rie, 2018", "title": "Tamis (\u00e0 gauche) et couscoussiers (\u00e0 droite) traditionnels (Alg\u00e9rie)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13390-BIG.jpg", "copyright": "Centre national de recherches pr\u00e9historiques, anthropologiques et historiques (CNRPAH), Alg\u00e9rie, 2018", "title": "Vari\u00e9t\u00e9 de plats de couscous (Alg\u00e9rie)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13391-BIG.jpg", "copyright": "Direction du patrimoine culturel, Minist\u00e8re de la culture, Maroc, 2018", "title": "Femmes marocaines roulant le couscous" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13392-BIG.jpg", "copyright": "Direction du patrimoine culturel, Minist\u00e8re de la culture, Maroc, 2018", "title": "Couscoussiers sur feu de bois (Maroc)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13393-BIG.jpg", "copyright": "Direction du patrimoine culturel, Minist\u00e8re de la culture, Maroc, 2018", "title": "Courcous de mariage (Maroc)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13394-BIG.jpg", "copyright": "Conservation nationale du patrimoine, Minist\u00e8re de la culture, Mauritanie, 2018", "title": "Femme mauritarienne qui s\u00e9pare la semoule de l'avoine, \u00e0 partir de graines pil\u00e9es" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13395-BIG.jpg", "copyright": "Conservation nationale du patrimoine, Minist\u00e8re de la culture, Mauritanie, 2018", "title": "Femme mauritanienne qui apprend \u00e0 sa fille \u00e0 rouler le couscous" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13396-BIG.jpg", "copyright": "Conservation nationale du patrimoine, Minist\u00e8re de la culture, Mauritanie, 2018", "title": "Consommation de couscous en famille \u00e0 Nouakchott (Maritanie)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13397-BIG.jpg", "copyright": "Institut national du patrimoine, Tunis, 2018", "title": "Meule et tamis de Sfax (Tunisie)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=8q3DFyrljSo", "copyright": "Centre national de Recherches Pr\u00e9historiques, Anthropologiques et Historiques (CNRPAH), Alg\u00e9rie, 2019", "title": "Les savoirs, savoir-faire et pratiques li\u00e9s \u00e0 la production et \u00e0 la consommation du couscous" } ], "sustainability": "" } }, "element_1603": { "type": "element", "label": "Practices and traditional knowledge of Terere in the culture of Poh\u00e3 \u00d1ana, Guaran\u00ed ancestral drink in Paraguay", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13627-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13627-HUG.jpg" }, "description": "The practices and traditional knowledge of Terere in the culture of Poh\u00e3 \u00d1ana, Guaran\u00ed ancestral drink in Paraguay, are widespread in the Paraguayan territory and involve a variety of bearers. Terere is a traditional drink prepared in a jug or thermos, in which cold water is mixed with Poh\u00e3 \u00d1ana crushed in a mortar. It is served in a glass pre-filled with yerba mate and sucked with a bombilla (metal or cane straw). Preparing the Terere is an intimate ritual involving a series of pre-established codes and each Poh\u00e3 \u00d1ana herb has health benefits linked to popular wisdom passed down through the generations. Terere practices in the culture of Poh\u00e3 \u00d1ana have been transmitted in Paraguayan families since approximately the sixteenth century. Traditional knowledge about the healing attributes of the medicinal herbs that make up the Poh\u00e3 \u00d1ana and their correct use are also transmitted spontaneously within the family. In recent years, the figure of apprentices has risen, but family transmission remains the main mode of transmission. The practice of the Terere in the culture of Poh\u00e3 \u00d1ana fosters social cohesion as the time and space dedicated to preparing and consuming the Terere promote inclusion, friendship, dialogue, respect and solidarity. The practice also strengthens new generations\u2019 appreciation of the rich cultural and botanical heritage of Guaran\u00ed origin.", "list": "RL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/practices-and-traditional-knowledge-of-terere-in-the-culture-of-poha-nana-guarani-ancestral-drink-in-paraguay-01603", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13625-BIG.jpg", "copyright": "Py, 2019", "title": "The Poh\u00e3 \u00d1ana, medicinal herbs of Paraguay" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13626-BIG.jpg", "copyright": "Py, 2019", "title": "Variety of medicinal herbs: menta\u00b4i and alo\u00e9. Background: jug and tipical fan of Paraguay" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13627-BIG.jpg", "copyright": "Py, 2019", "title": "Glass (guampa) pre-filled whith the yerba mate (ilex paraguariensis)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13628-BIG.jpg", "copyright": "Py, 2019", "title": "Glass (guampa) pre-filled whith the yerba mate (ilex paraguariensis)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13629-BIG.jpg", "copyright": "Py, 2019", "title": "The mortar (angu\u00b4a)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13630-BIG.jpg", "copyright": "Py, 2019", "title": "Terere pantano" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13631-BIG.jpg", "copyright": "Py, 2019", "title": "Ilex Paraguariensis" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13632-BIG.jpg", "copyright": "Py, 2019", "title": "Guampas (glass)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13633-BIG.jpg", "copyright": "Py, 2019", "title": "Thermos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13634-BIG.jpg", "copyright": "Py, 2019", "title": "Bombillas" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=HkEsmAc_3Rk", "copyright": "Paraguay, 2019", "title": "Practices and traditional knowledge of Terere in the culture of Poh\u00e3 \u00d1ana, Guarani ancestral drink in Paraguay" } ], "sustainability": "" } }, "element_1604": { "type": "element", "label": "Community festivities in Campo Maior", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13996-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13996-HUG.jpg" }, "description": "The Community Festivities of Campo Maior is a popular event during which the streets of Campo Maior in Portugal are decorated with millions of paper flowers in various shapes, colours and patterns. The community, which is organized in street commissions, decides the date and develops the concept of the decorative elements and the colour theme. Members then work on the decorations over a period of nine months. Preparations typically take place at night, in homes or in storage areas. The practice strengthens creativity and community belonging, and there is a sense of a friendly competition between street commissions to see which street will have the most original and colourful design. The decorations are thus kept secret until the eve of the festivities, when the town is completely transformed overnight. The result is the creation of a colourful, festive town, with open doors and no social distinctions. On the day of the festival, the community fills the streets. The Community Festivities started as a religious celebration called \u2018Festivities in Honour of St. John the Baptist\u2019. Although they haven\u2019t had that title since 1921, the saint\u2019s presence still endures, with his image carried through the streets in a small procession. The practice is transmitted within families and in schools.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/community-festivities-in-campo-maior-01604", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13996-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2015", "title": "Church St John the Baptist, decorated with paper flowers during Festas do Povo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13997-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2015", "title": "Women making paper flowers for the street decoration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13998-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2015", "title": "Detail of a person making paper flowers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13999-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2015", "title": "Woman shows one of the flowers made in the house of flowers during the process of preparation of the Festas do Povo de Campo Maior" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14000-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2015", "title": "Group of people singing the traditional music on one of the streets during the Festas do Povo de Campo Maior" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14001-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2015", "title": "One of the streets decorated for the festival, with visitors passing by and the locals seated at the doors of their houses" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14002-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2015", "title": "Residents of one of the participating streets dine in the street and sing traditional music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14003-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2015", "title": "Detail of decoration works with paper flowers from one of the streets participating in the festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14004-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2015", "title": "Residents prepare the street decoration works during the night of the 'enrama\u00e7\u00e3o'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14005-BIG.jpg", "copyright": "Augusto Br\u00e1zio, 2015", "title": "Procession in Honor of Santa Beatriz da Silva passing through one of the streets decorated with paper flowers" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=cLgL_dQbBLY", "copyright": "David Mira, 2015", "title": "Community festivities in Campo Maior" } ], "sustainability": "" } }, "element_1605": { "type": "element", "label": "Handmade weaving in Upper Egypt (Sa'eed)", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13589-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13589-HUG.jpg" }, "description": "The craft tradition \u2018Handmade weaving in Upper Egypt (Sa\u2019eed)\u2019 is a complex process that requires time, effort, patience and practice. Many steps and techniques are involved in the loom preparation, threading and weaving to achieve the final product; it is a work of precision and intricate workmanship. For centuries, men and women have used their inherited knowledge and artistic talent to create embroidered textiles both as a family legacy and as a profession. The basic principles have remained the same as those used in the past, whether for linen, cotton, wool or silk. However, factories that used to weave with expensive silk yarn have gradually shifted to cotton as it is more financially rewarding, and the small narrow looms have been replaced with wider ones. Handloom weaving is considered as a source of identity and pride for the communities concerned and the persistence of handloom terminology attests to its deep-rooted significance for them. The practice currently faces many threats, however. Weaving is no longer lucrative, weaving at home requires unused space to accommodate the loom, and the working materials are expensive. The craft is therefore neglected and not transmitted as it was in the past. It is believed that training a new generation of young people in this trade would provide a solution to the escalating problem of unemployment in the communities concerned.", "list": "USL", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/handmade-weaving-in-upper-egypt-sa-eed-01605", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13589-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2013", "title": "The \"Neer\" is the thread table that controls the spaces of the warp" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13590-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2009", "title": "The ball weft to expand the thread whenever needed" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13591-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2009", "title": "One hand holding the comb and the other pushing the shuttle to show the width of the loomneeded" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13592-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2009", "title": "Traditional pit loom weaving silk" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13593-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2009", "title": "This loom is the newest handloom which is used for weaving cotton which replaced silk" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13594-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2009", "title": "Woman helping her husband in the workshop with changes of design in a simple Jaquard loom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13595-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2009", "title": "Traditional wooden huttle of the loom it used to come from the city of Quos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13596-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2014", "title": "A training session by an elderly male trainer other trainees waiting for their turn to use the loom" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13597-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2014", "title": "Embroidery on plan textile" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13598-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2009", "title": "Elderly woman weaver, bearer of traditional silk weaving, Living human treasure" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=bIbsgLSJvmM", "copyright": "Egyptian Society for Folk Traditions (ESFT), 2019", "title": "Handmade weaving in Upper Egypt (Sa'eed)" } ], "sustainability": "" } }, "element_1607": { "type": "element", "label": "Gamelan", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14272-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14272-HUG.jpg" }, "description": "Gamelan refers to the traditional Indonesian percussion orchestra and to the set of musical instruments used. Consisting primarily of ornate, percussive instruments made of hand-forged metal, the ensemble typically includes xylophones, gongs, gong-chimes, drums, cymbals, string instruments and bamboo flutes. Gamelan music follows precise rules and techniques regarding tuning, layout, rhythmic and metric patterns and performance. For instance, the melody is played simultaneously by a group of instruments and multiple instruments may play interlocking parts to form a single rhythm. The music is played by men, women and children of all ages, and is typically performed in religious rituals, ceremonies, traditional theatre, festivals and concerts. It is also used for music therapy and is viewed as a means of expression and as a way of establishing a connection between humans and the universe. Gamelan is an integral part of Indonesian identity dating back centuries; archaeological evidence of the practice has been found in the relief sculptures of the eighth-century Borobudur temple. Practitioners include vocalists and instrumentalists, as well as instrument-makers and tuners. An important source of national pride, Gamelan continues to be passed down from generation to generation through informal and formal education, including in school and after-school activities.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/gamelan-01607", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14271-BIG.jpg", "copyright": "The Center for Policy Research of Education and Culture, Indonesia, 2018", "title": "Students are playing gamelan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14272-BIG.jpg", "copyright": "Garasi Seni Benawa, Indonesia, 2017", "title": "Rahayu Supanggah, master of lndonesian Gamelan, is playing\r\nrebab" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14273-BIG.jpg", "copyright": "The Center for Policy Research of Education and Culture, Indonesia, 2018", "title": "A children gamelan ensemble is rehearsing for performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14274-BIG.jpg", "copyright": "The Center for Policy Research of Education and Culture, Indonesia, 2018", "title": "Tourists are learning to play with the community" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14275-BIG.jpg", "copyright": "The Directorate of Heritage and Cultural Diplomacy, Indonesia, 2018", "title": "Community members, young and old, men and women, are\r\npracticing gamelan together" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14276-BIG.jpg", "copyright": "The Directorate of Heritage and Cultural Diplomacy, Indonesia, 2018", "title": "Community members, young and old, men and women, are\r\npracticing gamelan together" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14277-BIG.jpg", "copyright": "Garasi Seni Benawa, Indonesia, 2017", "title": "Community members are practicing the gamelan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14278-BIG.jpg", "copyright": "Garasi Seni Benawa, Indonesia, 2013", "title": "The gong-smiths (pande) are making gamelan in a gamelan workshop (besalen)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14279-BIG.jpg", "copyright": "Gereja Kristen Jawa Manahan, Indonesia, 2019", "title": "The gamelan community is singing hymns in the church" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14280-BIG.jpg", "copyright": "Indonesian lnstitute of the Arts of Surakarta, Indonesia, 2019", "title": "Academia teaches gamelan to students" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=xVHhCIQO57w", "copyright": "Directorate of Heritage and Cultural Diplomacy, Indonesia, 2019", "title": "Indonesian Gamelan" } ], "sustainability": "" } }, "element_1608": { "type": "element", "label": "Ong Chun\/Wangchuan\/Wangkang ceremony, rituals and related practices for maintaining the sustainable connection between man and the ocean", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13517-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13517-HUG.jpg" }, "description": "The Ong Chun ceremony and related practices are rooted in folk customs of worshipping Ong Yah, a deity believed to protect people and their lands from disasters. Developed in China\u2019s Minnan region between the fifteenth and seventeenth centuries, the element is now centered in the coastal areas of Xiamen Bay and Quanzhou Bay, as well as in the Chinese communities in Melaka, Malaysia. Those who died at sea are considered as \u2018good brothers\u2019 who become lonely, wandering souls. The ceremony begins by people gathering at the seaside to welcome Ong Yah to temples or clan halls, while lamp poles are erected to summon \u2018good brothers\u2019 and deliver them from torment. In this way, the element has been celebrated as \u2018doing good deeds\u2019. Performances head the procession and clear a path for Ong Yah\u2019s barge (wooden or paper-made models). These performances include gaojia and gezai opera, different dances, comprising dragon and lion dances, and puppet shows, among many others. The element evokes the historical memory of ancestors\u2019 ocean-going, reshapes social connections when confronted with emergencies such as shipwrecks, and honours the harmony between man and the ocean. It also bears witness to the intercultural dialogue among communities.", "list": "RL", "year": 2020, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/ong-chun-wangchuan-wangkang-ceremony-rituals-and-related-practices-for-maintaining-the-sustainable-connection-between-man-and-the-ocean-01608", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13516-BIG.jpg", "copyright": "Ministry of Culture and Tourism of the People's Republic of China, 2019", "title": "On 2 November, 2016, people of Lyucuo Community (Tong\u2019an District, Xiamen, China), conducted the ritual for welcoming Ong Yah at the Yingwang Square near the northeast coast." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13517-BIG.jpg", "copyright": "Ministry of Culture and Tourism of the People's Republic of China, 2019", "title": "On 13 June, 2017, Chen Shuilang, a bearer of decor-painting was making oil- colour decoration on the wooden body of Ong Yah barge at the dockyard of Longzhudian Temple, located in Shapowei Community (Siming District, Xiamen, China). near the northeast coast." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13518-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2019", "title": "At far back, clearly visible a very high pole with lanterns on it (Ko-Teng) indicating an invitation to all good brothers\/wandering souls that a Ong Chun ceremony is going on and they are invited to go on board." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13519-BIG.jpg", "copyright": "Ministry of Culture and Tourism of the People's Republic of China, 2019", "title": "On 26 November, 2016, Lyu Duqing, Chairperson of Huazang\u2019an Temple Council, and Gan Suan Hong (right), Vice Chairman of Yong Chuan Tian Temple Committee (Melaka) acted as Chief Directors of Ong Chun Ceremony around Huazang\u2019an Temple, Lyucuo Community (Tong'an Distircit, Xiamen, China)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13520-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2019", "title": "Devotees of various age groups and gender can be seen praying, presided by a Taoist ritualist, to invoke blessing for participating in this meritorious act." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13521-BIG.jpg", "copyright": "Ministry of Culture and Tourism of the People's Republic of China, 2019", "title": "On 26 November, 2016, the ritual for presenting offerings to Ong Yah and arraying performance, as components of Ong Chun ceremony, were carried out in Lyucuo community (Tong\u2019an District, Xiamen, China)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13522-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2019", "title": "A group of Taoist ritualist performing ritual at the cross road, inviting the wondering souls\/good brothers to board the Ong Yah Barge witness by Medium Assistant (Fuluan Handler)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13523-BIG.jpg", "copyright": "Ministry of Culture and Tourism of the People's Republic of China, 2019", "title": "On 14 December, 2013, members from Zhongshan Community (Haicang District, Xiamen, China) along with other participants scrambled to carry the Ong Chun, escorting Ong Yah to head for his inspection tour." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13524-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2019", "title": "The Ong Yah Statuette is paraded on a sedan chair, carried by people of different ethnic, in this case, the Chinese and the Indian community." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13525-BIG.jpg", "copyright": "Department of National Heritage, Malaysia, 2019", "title": "The Ong Yah Barge or Ong Chun passing through Melaka City Centre and being watched by the public and tourist." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=sx3FtYB0bYI", "copyright": "Ministry of Culture and Tourism of the People's Republic of China and Ministry of Tourism, Arts and Culture of Malaysia, 2019", "title": "Ong Chun\/Wangchuan\/Wangkang ceremony, rituals and related practices for maintaining the sustainable connection between man and the ocean" }, { "url": "https:\/\/www.youtube.com\/watch?v=ZnvH1OpF8-M", "copyright": "Ministry of Culture and Tourism of the People's Republic of China and Ministry of Tourism, Arts and Culture of Malaysia, 2019", "title": "Ong Chun\/Wangchuan\/Wangkang ceremony, rituals and related practices for maintaining the sustainable connection between man and the ocean" } ], "sustainability": "" } }, "element_1610": { "type": "element", "label": "Mek Mulung", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14142-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14142-HUG.jpg" }, "description": "Mek Mulung is a traditional Malaysian performance involving acting, dialogue, singing and dancing. Originating in the village of Wang Tepus, it is performed by a group of fifteen to twenty people, accompanied by a music ensemble consisting of traditional percussion and wind instruments such as drums, clappers and a gong. Mek Mulung follows a set structure and is performed in an open barn, with the spectators surrounding the performers. The main characters in a Mek Mulung performance are the king and princess, both of whom wear traditional dress, as well as the shaman, maids and antagonists. Originally, the actors were all men, some of whom wore women\u2019s clothes for the female roles; nowadays it is practised by men and women. Initially performed as a celebration and expression of gratitude following a good harvest, Mek Mulung begins with a communal feast on the day before the performance for the artists and their neighbours, friends and guests. Traditionally, the knowledge and skills related to Mek Mulung are passed down orally by practitioners to their children. Today, the practice is also transmitted in schools and universities, and through seminars, workshops, forums and cultural festivals and festivities. The celebration is viewed by practising communities as a means of promoting lively social interaction and dialogue.", "list": "USL", "year": 2023, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/mek-mulung-01610", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14139-BIG.jpg", "copyright": "Mek Mulung Wang Tepus Group, Malaysia, 2010", "title": "A Malaysian traditional theatre for the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in performance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14140-BIG.jpg", "copyright": "Mek Mulung Wang Tepus Group, Malaysia, 2010", "title": "Mek Mulung performance breaks the silence of the night at Kampung Wang Tepus. The villagers are excited every time the Mek Mulung is presented and does not release the opportunity to watch it again." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14141-BIG.jpg", "copyright": "The National Department for Culture and Arts, Malaysia, 2018", "title": "The olders of Mek Mulung Wang Tepus Group were invited to perform at MATIC, Ampang, Kuala Lumpur" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14142-BIG.jpg", "copyright": "Ahmad bin Shahadan, Malaysia, 2019", "title": "Members of the Mek Mulung Wang Tepus Group show the condition of the Mek Mulung performance barn that has been damaged and needs to be repaired completely" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14143-BIG.jpg", "copyright": "The National Department for Culture and Arts, Malaysia, 2018", "title": "Despite being sick and using wheelchairs, a National Heritage Living Person 2015 (Saad bin Taib) is still eager to help the generation of young people to play Mek Mulung." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14144-BIG.jpg", "copyright": "The National Department for Culture and Arts, Malaysia, 2018", "title": "The young generation as the heirs of the tradition diligently listened to and received the tutoring given to them to present the traditional theater Mek Mulung." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14145-BIG.jpg", "copyright": "The National Department for Culture and Arts, Malaysia, 2018", "title": "Mek Mulung is also performed on a modern stage with a pay-per-view watch" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14146-BIG.jpg", "copyright": "The National Department for Culture and Arts, Malaysia, 2018", "title": "Mek Mulung performed on a modern stage as well" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14147-BIG.jpg", "copyright": "The National Department for Culture and Arts, Malaysia, 2018", "title": "The Mek Mulung performance style was given a new injection with the aim of attracting the younger generation to play Mek Mulung" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14148-BIG.jpg", "copyright": "The National Department for Culture and Arts, Malaysia, 2015", "title": "Pak Saad Taib representing traditional theatre Mek Mulung received the National Heritage Living Person from the YB Minister of Tourism, Arts and Culture of Malaysia" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=feuU9uD94HQ", "copyright": "Department of National Heritage, Malaysia, 2019", "title": "Mek Mulung" } ], "sustainability": "" } }, "element_1611": { "type": "element", "label": "Polyphonic Caravan, researching, safeguarding and promoting the Epirus polyphonic song", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13563-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13563-HUG.jpg" }, "description": "The Polyphonic Caravan is a longstanding project aimed at researching, safeguarding and promoting the Epirus polyphonic song. Performed for centuries, the Epirus polyphonic song is performed by a group of singers with two to four distinctive roles among them, and touches on almost every aspect of life, such as childhood, marriage, death, historical events and pastoral life. In the aftermath of WWII and the ensuing Greek Civil War, the element gradually became sporadic after the inhabitants of Epirus started migrating to large urban centers in Greece and abroad. Eventually, very few experienced performers remained in the villages. In the mid-1990s, a group of young people, internal migrants from Epirus, formed the first polyphonic group, \u2018Chaonia\u2019, in Athens. Realizing the threats the element was facing and the need to cultivate fertile ground for it in the new urban environment, they decided to undertake initiatives to safeguard and promote the element. After Chaonia\u2019s first concert in 1997, they founded the non governmental organization \u2018Apiros (Polyphonic Caravan)\u2019. Their primary objectives were to raise awareness about the practice, document it through extensive field research, create bridges across generations and geographical boundaries and bring everyone that sings the polyphonic song of Epirus together. These goals remain at the core of the project\u2019s philosophy to this day. Through its twenty-year-long activity, the Polyphonic Caravan has critically contributed to strengthening the viability of the practice and enhancing it in an ever-changing social environment.", "list": "GSP", "year": 2020, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/polyphonic-caravan-researching-safeguarding-and-promoting-the-epirus-polyphonic-song-01611", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13558-BIG.jpg", "copyright": "Alexandros Lampridis, 2002", "title": "Polyphonic Caravan disperses its events in natural places setting outdoor folk festivals, giving life to the villages in its passage. It parallelly encourages the older interpreters to sing again. Ktismata ensemble singing during Caravan\u2019s event in Xirovaltos village, Epirus, Greece" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13559-BIG.jpg", "copyright": "Alexandros Lampridis, 2007", "title": "In every village, the members of the Polyphonic Caravan\u2019s Polyphony Workshop apprentice songs directly by the local interpreters. The procedure is recorded enriching the Polyphonic Song Archive. Young fellow travelers learning next to women of Kefalochori (Loupsiko) village, Epirus, Greece" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13560-BIG.jpg", "copyright": "Alexandros Lampridis, 2008", "title": "The seasonal Polyphonic Caravans are devoted mainly to the collective field-based recordings. Recording with two emblematic interpreters inside their house in Parakalamos village, Epirus, Greece. The hostess decorated her room with a Caravan\u2019s older poster picturing herself" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13561-BIG.jpg", "copyright": "Alexandros Lampridis, 2008", "title": "One of the most wonderful moments at the peak of every polyphony fest is when the younger accompany with their song the dance of those by whom they have learned. Young Polyphonic Caravan\u2019s ensemble singing in Paramythia, Epirus, Greece" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13562-BIG.jpg", "copyright": "Alexandros Lampridis, 2012", "title": "Polyphonic Caravan\u2019s events peak with big circular dances. Everyone stands next to each other, as in the polyphonic song itself, like links of the same chain. Event at the threshing floor of a deserted village. Palia Sagiada, Epirus, Greece" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13563-BIG.jpg", "copyright": "Alexandros Lampridis, 2016", "title": "Polyphonic Caravan 'uses' ways which draw upon the character of the polyphonic song, turning every meeting into a celebration, deepening the links between its fellow travellers and the experiential interpreters. Celebration during a Caravan\u2019s visit in Polytsani village, Albania" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13564-BIG.jpg", "copyright": "Alexandros Lampridis, 2017", "title": "The Polyphonic Caravan took the initiative for the establishment of the 'World Day of Polyphonic Song', with collectively self-organized celebrations in various cities and countries. The second celebration of the 'Day' in front of the Acropolis in Athens, Greece" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13565-BIG.jpg", "copyright": "Alexandros Lampridis, 2018", "title": "The field-based recordings constantly enrich the Polyphonic Song Archive which in its turn supports the Polyphony Workshops function, thus completing a 'circuit' of Polyphonic Caravan\u2019s action. Audiovisual archival material is being used in Polyphony Workshop\u2019s seminar in Chios island, Greece" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13566-BIG.jpg", "copyright": "Alexandros Lampridis, 2018", "title": "At the peak of the Great Polyphonic Song Festivals, the different polyphonic groups join each other by communally singing, feeling members of the same Polyphony Community, which thanks to Polyphonic Caravan constantly develops. Singing all together, Petra Theatre, Athens, Greece" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/13567-BIG.jpg", "copyright": "Alexandros Lampridis, 2019", "title": "The function of more and more Polyphony Workshops is a main priority for the Polyphonic Caravan. The pioneer among them, the Workshop of 'Fivos Anogianakis' Center of Greek Music, constitutes a permanent point of departure and return for the Caravan" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Oo37r_uUyiQ", "copyright": "Apiros (Polyphonic Caravan), 2019", "title": "Polyphonic Caravan" } ], "sustainability": "" } }, "element_1612": { "type": "element", "label": "Dances and expressions associated with the Corpus Christi Festivity", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14019-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14019-HUG.jpg" }, "description": "The Corpus Christi festival is a religious festival in Panama that celebrates the body and blood of Christ. The festival combines Catholic tradition with popular practices and festivities and is characterized by theatre, music, burlesque dances and colourful costumes and masks. A day before the festival, a theatrical and musical performance depicts the battle between good (St. Michael the Archangel) and evil (the great devil and his legion) in the fight over the human soul. Participants then dance in a procession that follows a priest carrying the monstrance, a metal receptacle in which the Host is exposed. (In Catholic tradition, the Host is the consecrated bread of the Eucharist, representing the sacrifice of the Body of Christ.) In some communities, the dancing is performed on a carpet made of flowers. After the procession, participants dance freely and gather on the streets and in family homes, where food and drinks are shared. The knowledge and skills related to the festival are passed on through participation in the festival and the involvement of youth in dance groups, mask-making teams and sawdust carpet teams.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/dances-and-expressions-associated-with-the-corpus-christi-festivity-01612", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14006-BIG.jpg", "copyright": "MICI, 2015", "title": "Dar\u00edo L\u00f3pez, a mud mask artisan, works together with his granddaughter. Parita, Herrera" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14007-BIG.jpg", "copyright": "MICI, 2015", "title": "Corpus Christi Eve. 'Cuarteo del Sol'. The parite\u00f1o Diablico entertains the diablita so that it does not participate in the distribution of the world" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14008-BIG.jpg", "copyright": "MICI, 2016", "title": "The Diablos espejos with their Captain go in search of the Diablo Mayor to enter the church. Garachin\u00e9, Dari\u00e9n" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14009-BIG.jpg", "copyright": "MICI, 2016", "title": "The Diablos take off their masks and kneel in front of the Blessed Sacrament. Garachin\u00e9, Dari\u00e9n" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14012-BIG.jpg", "copyright": "MICI, 2015", "title": "The dancers dance in procession behind custody on the flower carpets. The Villa, Los Santos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14013-BIG.jpg", "copyright": "MICI, 2017", "title": "The Diablos sucios dance in the streets and in the houses during the celebration of Corpus Christi. The Villa, Los Santos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14014-BIG.jpg", "copyright": "MICI, 2013", "title": "The Gran Diablo and his legion Diablos espejos dance and parade in group before the confrontation with the Archangel. The Villa, Los Santos" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14015-BIG.jpg", "copyright": "MICI, 2018", "title": "Dance practice. Fight between the Gran Diablo and the Angel for the Soul. La Chorrera, West Panama" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14017-BIG.jpg", "copyright": "MICI, 2018", "title": "Diabla dance to the center of the Diablos espejos of Anton. Anton, Cocl\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14019-BIG.jpg", "copyright": "MICI, 2017", "title": "Diablitos sucios of Santa Rosa represent the movements of animals. Santa Rosa, Columbus" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=AmKqBGRC9rc", "copyright": "MICI, 2019", "title": "Dances and expressions associated with the 'Fiesta' of Corpus Christi" } ], "sustainability": "" } }, "element_1680": { "type": "element", "label": "Building and use of expanded dugout boats in the Soomaa region", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14741-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14741-HUG.jpg" }, "description": "The Estonian expanded dugout boat from the Soomaa region is a canoe-like boat, hollowed out from a single tree (usually aspen), with expanded sides and a shallow base. The building of a dugout boat is a complex process, beginning with the identification of a suitable tree and culminating with the boat\u2019s launch. Dugout boatbuilding is a communal activity involving masters, apprentices and other community members. The practice is transmitted through apprenticeships and formal studies, and it is accompanied by storytelling about legendary masters and their boats. Dugout boats form an essential part of everyday culture for Soomaa residents. Until the mid-nineteenth century, they were used for daily transport and fishing. With the advent of modern and cheaper boat types and extensive road networks, dugout boats are no longer indispensable for everyday life. Despite their continued cultural significance and recreational uses (including for nature trips and hobby fishing) the element is also threatened by factors such as a lack of knowledge-transfer between masters and apprentices, weak demand for boatbuilding and use, the limited availability of raw materials, and declining populations in the Soomaa region. Consequently, only five master practitioners remain, and for the past two decades, only one or two dugout boats have been built each year.", "list": "USL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/building-and-use-of-expanded-dugout-boats-in-the-soomaa-region-01680", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14734-BIG.jpg", "copyright": "Toomas Tuul, 1999", "title": "Legendary masters J\u00fcri L\u00fckk and Jaan Rahumaa instructing an apprentice and future master (Jaan Keerdo) during a boatbuilding course at Saarisoo farm in Soomaa (P\u00e4rnu County, Estonia) in 1999" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14735-BIG.jpg", "copyright": "Alexander Kamelhair, 2018 ", "title": "Priit-Kalev Parts is expanding dugout boat on the fire at Liivakingu farm (V\u00f5ru county, Estonia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14736-BIG.jpg", "copyright": "\u00dclo Soomets, 2012", "title": "Haabjas is the Estonian traditional boat type made from a single log, hollowed out and expanded by fire. Here, men are expanding a dugout boat at Karuskose farm in Soomaa (Viljandi County, Estonia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14737-BIG.jpg", "copyright": "Mati Kose, 2015", "title": "Sticks, water and fire are used to open up the log so that the sides are expanded to obtain the maximum width. Here, a boat is being expanded at Saarisoo farm in Soomaa (P\u00e4rnu County, Estonia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14738-BIG.jpg", "copyright": "Sandra Urvak, 2019", "title": "Young boat builders working with axes on the log that will become an expanded dugout boat. This photo was taken at a boatbuilding camp in Poldi farm of Sandra village in Soomaa (Viljandi County, Estonia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14739-BIG.jpg", "copyright": "Sandra Urvak, 2018", "title": "Dugout boats on Raudna River during a traditional gathering at Riisa village in Soomaa (P\u00e4rnu County, Estonia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14740-BIG.jpg", "copyright": "Sandra Urvak, 2018", "title": "Expanded dugout boats have served for centuries as essential vehicles for navigating the waterways of Soomaa. Here, local resident Algis Martsoo steers a dugout boat in traditional standing position on Raudna River in Soomaa (Viljandi County, Estonia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14741-BIG.jpg", "copyright": "Mati Kose, 2008", "title": "Regular flooding is the natural reason for the survival of flat bottomed expanded dugout boats in Soomaa. Here, master Aivar Ruukel arrives on a dugout boat to the traditional smoke sauna during Soomaa's 'fifth season' in Karuskose (Viljandi County, Estonia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14742-BIG.jpg", "copyright": "Gerry Sulp, 2014", "title": "Estonian expanded dugout boat (haabjas) used as a non-traditional wedding vessel by Liana and Imre Arro at Taagepera lake (Valga county, Estonia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14743-BIG.jpg", "copyright": "Annika Haas, 2000", "title": "Dugout ride at a traditional gathering of one-log-boat enthusiasts on P\u00e4rnu River at Urumarja village (P\u00e4rnu County, Estonia)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=VpgmOZCY-EI", "copyright": "Estonian National Museum, 2019", "title": "The story of building and using dugout boats in Soomaa" } ], "sustainability": "" } }, "element_1681": { "type": "element", "label": "L-G\u0127ana, a Maltese folksong tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14785-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14785-HUG.jpg" }, "description": "Ghana (pronounced \u2018ana\u2019) is used to describe three related types of rhymed folksong in Malta. The most popular form of ghana is the \u2018quick-wit\u2019 ghana, an improvised duel between one or two pairs of singers, focusing on rhymes, convincing argumentation and witty repartee. \u2018Factual\u2019 ghana is a long, narrative poem sung by a soloist, usually from memory, to record important local events in collective memory. \u2018Bormla\u2019 ghana has simple lyrics sung using a large vocal range and a particular vocal style where a single syllable is sung while moving between several notes in succession. This third style was historically sung by women but has declined in popularity today compared to the more male-dominated \u2018quick-wit\u2019 style. Ghana sessions are held year-round in public and private venues, as well as during open-air festivals and celebrations. A strong camaraderie develops between the performers and the audience through friendly exchanges, as the practice of sharing jokes and recalling common experiences fosters a sense of shared history, identity and community. An integral part of Maltese culture, ghana is also considered vital to the transmission and development of the unique Semitic Maltese language that reflects the Arabic, Italian and English influence on the island.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/l-gana-a-maltese-folksong-tradition-01681", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14785-BIG.jpg", "copyright": "Culture Directorate, 2018", "title": "Joseph Spagnol (Zeppi the dog) performing the narrative ballad form of G\u0127ana (tal-fatt) in his garage surrounded by his collection of memorabilia and recordings. The G\u0127ana tal-fatt mostly treats tragic and historical subjects" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14786-BIG.jpg", "copyright": "Francesca Vella, 2020", "title": "Joe Agius practicing G\u0127ana with an upcoming young performer Nordai Desira, as the younger children look on. G\u0127ana is mainly transmitted along family lines with younger children learning from older relatives" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14787-BIG.jpg", "copyright": "Culture Directorate, 2020", "title": "Indrin is-Sulinu focusing on his quatrain. G\u0127annejja often support their neck during their performance in order to better project their voices" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14788-BIG.jpg", "copyright": "Culture Directorate, 2020", "title": "Veteran g\u0127annej Michael Cutajar (Kelinu 'the superstar') opening a session of 'Spirtu Pront' in a public garden in G\u0127axaq" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14789-BIG.jpg", "copyright": "Culture Directorate, 2020", "title": "Audience following intently an G\u0127ana performance at Buskett Gardens during the national agricultural festival 'Imnarja'. G\u0127ana has a long tradition associated with agricultural and fishing population communities" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14790-BIG.jpg", "copyright": "Culture Directorate, 2019", "title": "G\u0127ana performance during the annual pilgrimage of the Saint Gregory Festival in Marsaxlokk, an important celebration for G\u0127ana" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14791-BIG.jpg", "copyright": "Culture Directorate, 2019", "title": "Locals gathering in front of the church of St. Mary of Graces in Rabat, on the sister island of Gozo, on the occasion of the local religious feast. G\u0127ana performances are an important part of local community celebrations bringing many people together in communal outdoor spaces during the hot summer months" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14792-BIG.jpg", "copyright": "Culture Directorate, 2019", "title": "G\u0127ana performers during a session of Spirtu Pront at the 'Tal-bagri' band club in b'kara under the watchful eyes of St. Helen, patron saint of the town. Local band clubs are the important venues hosting G\u0127ana performances" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14793-BIG.jpg", "copyright": "Francesca Vella, 2020", "title": "A regular weekly G\u0127ana session in a local bar with performers, enthusiasts and others enjoying the repartee" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14794-BIG.jpg", "copyright": "Culture Directorate, 2020", "title": "Renowned guitar soloist (prim), John Saliba (ta' Bir\u017cebbu\u0121ia). A returned Maltese migrant from Australia, is seen here playing the typical Maltese guitar" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Qx_vH7SmTro", "copyright": "Adrian Camilleri, 2020", "title": "L-G\u0127ana, a Maltese folksong tradition" } ], "sustainability": "" } }, "element_1682": { "type": "element", "label": "Festive cycle around the devotion and worship towards Saint John the Baptist ", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14683-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14683-HUG.jpg" }, "description": "The Venezuelan Saint John the Baptist celebrations feature practices and knowledge that originated in the eighteenth century in Afro-Venezuelan communities associated with former colonial estates. From the beginning, the festivities have been heavily influenced by Catholicism, but they are also rich in verbal, musical and physical expressions connected to sub-Saharan Africa. For followers, called Sanjuaneros, the celebration is a symbol of cultural resistance and freedom, and a means of remembering their enslaved ancestors. In many communities, the festivities start in early May. They are characterized by joyful drumming, dancing, storytelling and singing and by processions with a statue of Saint John the Baptist. Each community has its own form of dancing and singing. The exact dates of the festivities vary from one region to the next, but the most important dates are 23 and 24 June. On 23 June, the Sanjuaneros visit with friends and go to churches and casas (houses) of Saint John the Baptist. On 24 June, the image of the saint is baptized in the local river to commemorate the biblical event. Many devotees also go into the river to be blessed by the saint. Although the end of the cycle varies, in most places the celebrations end on 16 July. The practices and knowledge are transmitted within families and through community groups and schools.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/festive-cycle-around-the-devotion-and-worship-towards-saint-john-the-baptist-01682", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14683-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2020", "title": "The jewels were returned to Saint John the Baptist" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14684-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2020", "title": "Gathering of the brotherhoods (cofrad\u00edas) of San Juanes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14685-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2020", "title": "Parranda of Saint John of Las Gracias" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14686-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2020", "title": "Saint John of La Vega" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14687-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2020", "title": "Altar preparation for Saint John the Baptist" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14688-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2020", "title": "Saint John celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14689-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2020", "title": "Procession of Saint John" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14690-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2020", "title": "Saint John dance in Luisa Madriz's School" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14691-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2020", "title": "Cumaco drum blast" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14692-BIG.jpg", "copyright": "Centro de la Diversidad Cultural, 2020", "title": "Procession of Saint John the Baptist" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=_L1MNZYgteU", "copyright": "Centro de la Diversidad Cultural, 2020 ", "title": "Festive Cycle around the devotion and worship towards Saint John the Baptist" } ], "sustainability": "" } }, "element_1683": { "type": "element", "label": "Kaustinen fiddle playing and related practices and expressions ", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14751-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14751-HUG.jpg" }, "description": "Kaustinen folk music is a Finnish tradition where the fiddle (violin), although not the only instrument, is the main melodic instrument. It is in fact the violin (with or without other instruments) that cadences the dances or the songs. Based on playing by ear, it is characterized by syncopated and accented rhythms that are easy for people to dance to. The distinctive style and playing technique of Kaustinen folk music have existed for over 250 years, and there is a repertoire of several hundred tunes from the area. Kaustinen folk music is played in many contexts: in private, in organized groups, during public celebrations and ceremonies (including wedding parties), at concerts and public jam sessions, and at the annual Kaustinen Folk Music Festival. Performers often wear traditional costumes. Most inhabitants of Kaustinen and neighbouring communities consider this music an essential aspect of their personal and community identity, even if they are not practitioners themselves. It is felt to represent a sense of belonging and viewed as a means of strengthening cross-generational ties. The significance of the practice is evident in the names of public spaces and in symbols such as the presence of the fiddle in the Kaustinen coat of arms.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kaustinen-fiddle-playing-and-related-practices-and-expressions-01683", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14745-BIG.jpg", "copyright": "Finnish Folk Music Institute, 2015", "title": "The Kaustinen Folk Music Festival starts with local player's outdoor session which anybody knowing the tunes can join. It is an important occasion also for those who have moved elsewhere and come every year back to play with others" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14747-BIG.jpg", "copyright": "Finnish Folk Music Institute, 2015", "title": "The K\u00f6yh\u00e4joki village ensemble at their village house stage, surrounded by village theatre group's props. Almost every Kaustinen village has its own group, with distinct tunes and stylistical traits besides those shared by all players of the region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14749-BIG.jpg", "copyright": "Jesse Uusitalo, 2018", "title": "Purppuri dance at a wedding party. Traditional local dance and music is often present at community celebrations and rituals, like weddings, funerals and anniversaries ..." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14750-BIG.jpg", "copyright": "Finnish Folk Music Institute, 2020", "title": "Kaustinen Wedding Choirs' repertoire is local folk songs and fiddle tunes adapted to a choir. Their locally sewn costumes are designed adapting the model of old wedding costumes, with many symbolic details. Different colors symbolize different Kaustinen villages" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14751-BIG.jpg", "copyright": "Risto Savolainen, 2019", "title": "N\u00e4pp\u00e4ri is a Kaustinen-originating folk music pedagogy. The all-year Kaustinen N\u00e4pp\u00e4ri group is joined by several hundred players from all over Finland and sometimes abroad during N\u00e4pp\u00e4ri summer camp and Kaustinen festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14752-BIG.jpg", "copyright": "Finnish Folk Music Institute, 2017", "title": "Frigg is one of Kaustinen-originating folk music bands that create contemporary folk music with one foot on the tradition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14753-BIG.jpg", "copyright": "Finnish Folk Music Institute, 2020", "title": "Fiddle player and builder Kimmo Anttila in his workshop. Many local players' instruments are built by players themselves or a local amateur or professional builder" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14755-BIG.jpg", "copyright": "Finnish Folk Music Institute, 2015", "title": "Kaustinen Youth Association dancers. The dancers' costumes are often home-woven" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=UJ0VHiWfAFE", "copyright": "Finnish Folk Music Institute, 2020", "title": "Kaustinen Fiddle Playing and related practices and expressions" } ], "sustainability": "" } }, "element_1684": { "type": "element", "label": "H\u00fcsn-i Hat, traditional calligraphy in Islamic art in Turkey", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14705-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14705-HUG.jpg" }, "description": "The H\u00fcsn-i hat is the centuries-old practice of writing letters of Arabic origin in a measured and proportional manner while taking into consideration certain aesthetic values. Traditional tools include a specific type of paper glazed with organic substances, a reed pen, pen knives, a special slab for trimming the reed pen, an inkwell, soot ink and a pen case. Many calligraphers, or hattats, make their own tools, and they play an important role in the transmission of the H\u00fcsn-i hat tradition, passing on their knowledge, craft skills and values through apprenticeships. The H\u00fcsn-i hat can be written on paper or leather. It may also be applied on stone, marble, glass and wood, among others. There are many different styles of H\u00fcsn-i hat, and the practice was traditionally used to write the Koran, hadiths (statements of the Prophet Muhammad) and poetry, as well as for State correspondence, such as imperial edicts and warrants, and on religious and public buildings. In Islam, H\u00fcsn-i hat is seen as a means not only of writing ideas, but of depicting them visually. To this day, H\u00fcsn-i hat is still used in sacred and literary works and on mosques, Turkish baths and temples.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/husn-i-hat-traditional-calligraphy-in-islamic-art-in-turkey-01684", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14704-BIG.jpg", "copyright": "MoCT, 2020", "title": "Application of h\u00fcsn-i hat on wooden coffin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14705-BIG.jpg", "copyright": "MoCT, 2020", "title": "Practices of h\u00fcsn-i hat by Selim T\u00fcrko\u011flu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14706-BIG.jpg", "copyright": "MoCT, 2020", "title": "Process of glazing paper" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14707-BIG.jpg", "copyright": "MoCT, 2020", "title": "Tools used in h\u00fcsn-i hat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14708-BIG.jpg", "copyright": "MoCT, 2020", "title": "Trainers learning h\u00fcsn-i hat from their master (Ahmet Zeki Yava\u015f) during the workshop activity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14709-BIG.jpg", "copyright": "MoCT, 2020", "title": "Usage of h\u00fcsn-i hat in mosque" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14710-BIG.jpg", "copyright": "MoCT, 2020", "title": "Writing of h\u00fcsn-i hat in mosque by Living Human Treasure Hasan \u00c7elebi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14711-BIG.jpg", "copyright": "MoCT, 2020", "title": "H\u00fcsn-i hat example written by Mustafa Cemil Efe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14713-BIG.jpg", "copyright": "MoCT, 2020", "title": "H\u00fcsn-i hat example of Quran written by preeminent hattat Ahmed Karahis\u00e2r\u00ee (1469-1555)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14714-BIG.jpg", "copyright": "MoCT, 2020", "title": "H\u00fcsn-i hat example written by Faith \u00d6zkafa" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=AS_mSf9Nhpc", "copyright": "Ministry of Culture and Tourism, 2020", "title": "H\u00fcsn-i Hat, traditional calligraphy in Islamic art in Turkey" } ], "sustainability": "" } }, "element_1685": { "type": "element", "label": "Culture of \u00c7ay (tea), a symbol of identity, hospitality and social interaction", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16306-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16306-HUG.jpg" }, "description": "Tea culture in Azerbaijan and T\u00fcrkiye is an important social practice that shows hospitality, builds and maintains social ties, and is used to celebrate important moments in the lives of communities. Although there are several types of tea and brewing techniques, communities in both countries primarily harvest and consume black tea. Communities brew tea by using a wide variety of kettles, produced using traditional craftsmanship. The drink is served freshly-brewed and hot, in pear-shaped cups made from glass, porcelain, faience or silver. It is typically accompanied by sweets, sugar, lemon slices, jams and dried fruits. In certain regions of Azerbaijan, some communities also add local spices and herbs to the tea, such as cinnamon, ginger and thyme. Tea culture is an essential part of daily life for all layers of society, providing a strong sense of cultural identity. The bearers include tea farmers and harvesters, tearoom owners, tea makers, and the artisans who make the associated tools, utensils and sweets.", "list": "RL", "year": 2022, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/culture-of-cay-tea-a-symbol-of-identity-hospitality-and-social-interaction-01685", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16306-BIG.jpg", "copyright": "AZERTAC ", "title": "Tea farmers at plantations in Lankaran" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16307-BIG.jpg", "copyright": "Yaddash\/Ministry of Culture, Azerbaijan, 2013", "title": "Tea drinking during matchmaking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16308-BIG.jpg", "copyright": "M.Rahimov\/Ministry of Culture, Azerbaijan, 2013", "title": "Tea drinking in chaykhana" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16309-BIG.jpg", "copyright": "M.Rahimov\/Ministry of Culture, Azerbaijan, 2013", "title": "Tea as served traditionally by communities in Azerbaijan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16310-BIG.jpg", "copyright": "M.Rahimov\/Ministry of Culture, Azerbaijan, 2013", "title": "Tea as served traditionally by communities in Azerbaijan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16311-BIG.jpg", "copyright": "MoCT, 2020", "title": "Women carrying tea in woven baskets in Turkey" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16312-BIG.jpg", "copyright": "MoCT, 2020", "title": "Traditional tea glass and cooper teapot in Turkey" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16313-BIG.jpg", "copyright": "MoCT, 2020", "title": "Samovar making in traditional craftsmanship in Turkey" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16314-BIG.jpg", "copyright": "MoCT, 2020", "title": "Family members are drinking tea in Turkey" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16315-BIG.jpg", "copyright": "MoCT, 2020", "title": "Shearing k\u0131tlama sugar in Turkey" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=we17NAZ93J8", "copyright": "Ministry of Culture and Tourism of Turkey, 2020\/Ministry of Culture of Azerbaijan, 2013", "title": "Culture of \u00c7ay (tea), a symbol of identity, hospitality and social interaction" } ], "sustainability": "" } }, "element_1686": { "type": "element", "label": "Nordic clinker boat traditions", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14801-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14801-HUG.jpg" }, "description": "Nordic clinker boats are small, open, wooden boats between five and ten metres long. For almost two millennia, the people of the Nordic region (including the indigenous Sami peoples in Finland, Norway and Sweden and minority groups such as the Kvens in Norway, the Tornedalians in Sweden and the Swedish-speaking population in Finland) have been building clinker boats using the same basic techniques: thin planks are fastened to a backbone of the keel and stems, and the overlapping planks are fastened together with metal rivets, treenails or rope. The shell of the boat is strengthened with frames. Clinker boat builders emphasize the long time it takes to acquire the knowledge and skills for building traditional boats. In the past, it was common to start training with a master from a young age, and it would take up to ten years to learn the trade. A symbol of common Nordic coastal heritage, clinker boats were traditionally used for fishing and to transport materials and people. Today, they are primarily used in traditional festivities, regattas and sporting events, even though about a thousand persons make a full or partial living through the production, maintenance or use of clinker boats. Clinker boat traditions include social practices. For instance, once finished, boats may be ceremonially carried to the water where they are then given a name and wished good fortune; traditional songs may be sung during sailing and rowing.", "list": "RL", "year": 2021, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/nordic-clinker-boat-traditions-01686", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14801-BIG.jpg", "copyright": "The Viking Ship Museum, Werner Karrash, 2019", "title": "The Viking Ship Museum in Roskilde, Denmark organizes rowing training for schoolchildren" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14802-BIG.jpg", "copyright": "The Viking Ship Museum, Werner Karrash, 2019", "title": "Two Viking ship replicas sailing on Roskilde Fjord. A vibrant boatbuilding tradition is very important today to understand, restore and use these historic ships and boats" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14803-BIG.jpg", "copyright": "Han Herred Seaboats, Kirsten Monrad Hansen, 2018", "title": "Andreas, a Han Herred Seaboats apprentice tries a floor timber in new built fishing boat. The floor timber has to fit exactly to the planks so that shocks when the boat lands can be distributed to the whole bottom of the boat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14804-BIG.jpg", "copyright": "Leif Tipsmark, 2018", "title": "Every year the Sjaegt Guild organizes the 'Sjaegt World Cup' on the Limfjord in Denmark" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14805-BIG.jpg", "copyright": "Brandur Sandoy, 2018", "title": "Clinker boat rowing is the national sport of the Faroe Islands. The final race is organized in Torshavn as a part of the festival '\u00d3lavs\u00f8ka' which is held on 29 July, the National Day" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14806-BIG.jpg", "copyright": "Jan Herman Hansen, 2018", "title": "Celebration of the winner of a race in Torshavn, Faroe Islands" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14807-BIG.jpg", "copyright": "Jens Kristian Vang, 2019 ", "title": "Samal Hansen is building a traditional Faroese Clinker Boat" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14808-BIG.jpg", "copyright": "Dennis Holm, 2019", "title": "The Grindaboat Association on Suder\u00f8y, Faroe Islands, organizes boat excursions. The 150 members - men, women and children of all ages - participate with their own boats in summer festivals, celebrations and regattas" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14809-BIG.jpg", "copyright": "S\u00e1mi Museum Siida, Mika Alava, 2018", "title": "A boatbuilder is caulking a Skolt S\u00e1mi boat in Sevettij\u00e4rvi, Northern Finland. Long-fibred sphagnum moss blended with tar is used for caulking" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14810-BIG.jpg", "copyright": "Museivirasto and Markku Jussila, 2018", "title": "On the first weekend of August, a boat festival for traditional clinker boats is arranged in Naantali near Turku in Finland" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=PDF6GhV0OG4", "copyright": "Kristian J. Engelsen, Sveinung Ystad, 2020", "title": "Nordic clinker boat traditions" } ], "sustainability": "" } }, "element_1687": { "type": "element", "label": "Lipizzan horse breeding traditions", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15298-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15298-HUG.jpg" }, "description": "Lipizzan horse breeding traditions were initially used to breed horses for the Habsburg imperial court in Vienna, but today the Lipizzan horse plays a special role in the everyday cultural and social life of communities in rural areas. They are included in events, celebrations and festivities such as horse blessings, carnival processions and parades. The horses also play a key role in therapeutic riding and sustainable tourism. The people who work at the state stud farms represent the main bearers of the element, along with therapists, craftspeople, groups of equestrian sports, military traditionalists, local communities and farm visitors. The values, knowledge, skills and practices are transmitted through hands-on experience, seminars and training sessions, as well as during festive and sporting events. The practice is also part of the curricula of certain local primary schools and of all agricultural and vocational schools and agricultural and veterinary universities. Lipizzan horse breeding has united communities for over 450 years, generating a strong sense of shared identity, including through its specialized vocabulary and the close emotional connection between breeders and horses.", "list": "RL", "year": 2022, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/lipizzan-horse-breeding-traditions-01687", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15289-BIG.jpg", "copyright": "Bundesgest\u00fct Piber G\u00f6R, 2016", "title": "Carriage driving in various combinations and styles, represents a central practice at the stud farms. While this discipline is an important tool for selection and breeding work, carriage horses are also essential for representational purposes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15290-BIG.jpg", "copyright": "Bundesgest\u00fct Piber G\u00f6R, 2016", "title": "The element is based on a trustful bond in which the horse is treated as an equal partner. Knowledge and skills are transmitted during the practitioners'' daily interaction with colleagues and hoses" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15291-BIG.jpg", "copyright": "Spanische Horeitschule Wien, 2014", "title": "The Lipizzan horse is characterized i.a. by strong character and athletic capabilities. Practitioners have to understand the needs and character of each animal and to anticipate their qualities for representational and performing purposes, as e.g. in the Spanish Riding School Vienna" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15292-BIG.jpg", "copyright": "Horse Club Posavko, 2009", "title": "Carriage rides as well as horse racing are an integral part of the Gradi\u0161ka Jesen event. The local horse breeders put their Lipizzans in chariots and ride the guests of this event. There are two Lipizzan breed clubs registered in the city of Gradi\u0161ka" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15293-BIG.jpg", "copyright": "Horse Club Posavko, 2009", "title": "Carriage rides and music within various manifestations are an indispensable part of folklore in some parts of Bosnia and Herzegovina, where Lipi\u0107anac with its stature and appearance occupies a special place, and it is also sung in some folk songs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15294-BIG.jpg", "copyright": "Zelen gaj, 2016", "title": "A young owner of the horse in red dress keeps the horse on the rope untill the horse turns around him. Photted in Gradi\u0161ka" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15295-BIG.jpg", "copyright": "Dra\u017een Bpota, 2004", "title": "Adam Dori\u0107, event 'White Horses', Babina Greda, June 13, 20004, Croatia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15296-BIG.jpg", "copyright": "Dra\u017een Bpota, 2018", "title": "The folk custom of blessing of horses in Ko\u0161ka, Croatia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15297-BIG.jpg", "copyright": "Dra\u017een Bpota, 2018", "title": "Carnival Riding, \u0160titar, Croatia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15298-BIG.jpg", "copyright": "Hungarian Open Air Museum, 2020", "title": "Vilmos L\u00e1z\u00e1r's and Zolt\u00e1n L\u00e1z\u00e1r's achievements in carriage driving: Vilmos L\u00e1z\u00e1r is 12 time two-in-hand carriage driving world champion and he is the Chairman of the Association of Hungarian Equestrian Sport. Zolt\u00e1n L\u00e1z\u00e1r is 9 time World Champion in carriage driving" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=66tWE-_YVsE", "copyright": "Slovene Ethnographic Museum and Ethnocinema Production, 2020", "title": "Lipizzan horses breedings traditions" } ], "sustainability": "" } }, "element_1688": { "type": "element", "label": "Tais, traditional textile", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14283-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14283-HUG.jpg" }, "description": "Tais, the handwoven traditional textile in Timor-Leste, plays an important role in the life of Timorese people. The textile is used for decoration and to create traditional clothing with specific styles for men and women. People use Tais to welcome new-borns as well as for traditional ceremonies and festivals. Tais is also a means of expressing cultural identity and social class, as the colours and motifs used vary from one group to the next. Finally, the textile is used as an object of value, such as for dowries or to strengthen ties between families. Made from cotton dyed with natural plants, Tais is traditionally handwoven using simple equipment. The production process, however, is quite complex and time-consuming and entails preparing and dyeing the cotton and weaving the material. Although men may participate in the process by gathering plants to dye the cotton and making the equipment, the production of Tais is a role reserved for women, who are also responsible for passing the knowledge and skills on to the next generation. The practice is threatened by several factors, including a preference for modern clothing among younger generations, the replacement of local, handmade materials with industrial alternatives, inadequate income generation and an ever-decreasing number of weavers.", "list": "USL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/tais-traditional-textile-01688", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14281-BIG.jpg", "copyright": "Timor Aid, Timor-Leste, 2016", "title": "An elderly woman weaver spinning cotton that she has grown around her house. Once the cotton thread is enough to produce a textile, she will start weaving." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14282-BIG.jpg", "copyright": "Alola Foundation, Timor-Leste, 2017", "title": "A group of weavers is chopping various natural plants that will be used to dye cotton threads." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14283-BIG.jpg", "copyright": "Timor Aid, Timor-Leste, 2016", "title": "A woman weaving Tais outside her house. The textile is woven in a simple traditional loom called Atis." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14284-BIG.jpg", "copyright": "Alola Foundation, Timor-Leste, 2017", "title": "A group of weavers spending their afternoon weaving together. By working together in weaver groups, they motivate each other as well as share knowledge and skills." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14285-BIG.jpg", "copyright": "Timor Aid, Timor-Leste, 2016", "title": "The little girl is learning how to weave Tais from her aunt. Through this toy loom, she is learning how to differentiate the odd and even threads, as the first stage of learning the weaving skill." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14286-BIG.jpg", "copyright": "Timor-Leste National Commission for UNESCO, 2020", "title": "Various colors and motifs are used in Tais. The Tais in the photo has been collected from the weavers, being hung under the sun and winds before brought to markets." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14287-BIG.jpg", "copyright": "Timor Aid, Timor-Leste, 2014", "title": "Men wearing Tais after a ceremony. Various motifs are used in Tais, representing the person\u2019s social status." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14288-BIG.jpg", "copyright": "Timor Aid, Timor-Leste, 2014", "title": "A local community leader in traditional attire attending the cultural ceremony. Several young girls and boys standing behind him, are also in traditional attire for the ceremony." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14289-BIG.jpg", "copyright": "Secretariat of State for Equality and Inclusion of Timor-Leste, 2017", "title": "Various Tais sold in a local market. It is common for women weavers to sell Tais to gain additional income for the family." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14290-BIG.jpg", "copyright": "Secretariat of State for Equality and Inclusion of Timor-Leste, 2017", "title": "These days, various handicraft products are created from Tais, attracting international tourists." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=rXNmsXWpw4Q", "copyright": "Secretariat of State for Art and Culture of Timor-Leste, 2020", "title": "Tais, traditional textile" } ], "sustainability": "" } }, "element_1689": { "type": "element", "label": "Cultural practices and expressions linked to the 'M\u2019Bolon', a traditional musical percussion instrument", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14504-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14504-HUG.jpg" }, "description": "The M\u2019Bolon is a musical instrument with a large calabash sound box covered with cowhide and a bow-shaped wooden neck with strings. To amplify the sound vibrations, the player often wears a bell-like device made of metal plates with small oval-shaped lobes. This device is fitted with small iron rings and attached to the player\u2019s hand by means of a pad with cords or an elastic band. The number of strings of the M\u2019Bolon determines how it is used. Single-stringed and two-stringed M\u2019Bolon are used for popular events and celebrations, as well as for rituals and religious ceremonies. Three-stringed and four-stringed M\u2019Bolon are the most common. They are used to accompany the praising of traditional chiefs, celebrate the heroic deeds of kings, accompany farmers in the fields and rouse warriors. The M\u2019Bolon can be played on its own or with other instruments, including the xylophone, talking drum and lutes. It is played in southern Mali by people of all ethnicities, genders and religions, and is taught through apprenticeships and by local associations. However, there is a limited number of initiates, and the practice is threatened by factors such as urbanization, the introduction of religions that prohibit traditional initiatory rites and practices, and decreasing interest among youth.", "list": "USL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/cultural-practices-and-expressions-linked-to-the-m-bolon-a-traditional-musical-percussion-instrument-01689", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14501-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel (DNPC), Mali, 2019", "title": "M. Porp\u00e8 Ciss\u00e9, joueur de M'Bolon du village de Koumbia, accompagnant les travailleurs au champs pendant la r\u00e9colte de coton" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14502-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel (DNPC), Mali, 2019", "title": "Le M'Bolon \u00e0 quatre cordes est utilis\u00e9 dans l'orchestre moderne par l'artiste musicienne Naini Diabat\u00e9 et son groupe Kaladjoula Bande" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14503-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel (DNPC), Mali, 2019", "title": "M. Issa Diabat\u00e9, griot et joueur de M'bolon \u00e0 quatre corde \u00e0 Kela, village du Manden" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14504-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel (DNPC), Mali, 2019", "title": "M. Souleymane Togola dit rougeot, artiste musicien et son groupe de M'bolon \u00e0 Tabakoro, commune Rule de Koumantou" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14505-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel (DNPC), Mali, 2019", "title": "Groupe de M'bolon de Sirakel\u00e9, cercle de Koutiala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14506-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel (DNPC), Mali, 2019", "title": "M. Madou Coulibaly, joueur de M'bolon \u00e0 trois cordes, du village de Baramba, cercle de Koutiala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14507-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel (DNPC), Mali, 2019", "title": "Le M'bolon utilis\u00e9 dans les c\u00e9r\u00e9monies fun\u00e9raires \u00e0 Sirakel\u00e9, cercle de Koutiala" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14508-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel (DNPC), Mali, 2019", "title": "Troupe de M'Bolon du village de Loularma, commune de Fourou, cercle de Kadiolo, Sikasso" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14509-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel (DNPC), Mali, 2019", "title": "Troupe de M'Bolon du village de Loularma, commune de Fourou, cercle de Kadiolo, Sikasso" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14510-BIG.jpg", "copyright": "Direction nationale du patrimoine culturel (DNPC), Mali, 2019", "title": "M'bolon \u00e0 deux cordes conserv\u00e9 au Centre de recherche et de sauvegarde de la culture s\u00e9noufo \u00e0 Sikasso" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1JrJCUFyMSE", "copyright": "Direction Nationale du Patrimoine Culturel (DNPC), Mali, 2019", "title": "Les pratiques et expressions li\u00e9es au \"M'bolon\", instrument de musique traditionnel \u00e0 percussion" } ], "sustainability": "" } }, "element_1690": { "type": "element", "label": "Moutya", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14848-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14848-HUG.jpg" }, "description": "Moutya was brought to Seychelles by the enslaved Africans who arrived with the French settlers in the early eighteenth century. They used to practise this dance at night in the forest, at a distance from the plantation house where their masters lived. Historically, Moutya was a psychological comfort against hardship and poverty and a means of resisting servitude and social injustice. A sensual dance with simple choreography, it is traditionally performed around a bonfire. The musical instrument used is a large drum with a narrow rim made of goat hide which is played mostly by men. The dance begins with the heating of the drums over a bonfire. Once the drums have been warmed, the drummers set the beat and men in the crowd call out various themes, usually social commentaries, to which the female dancers respond in high-pitched tones. The men and women begin to dance to a moderate tempo involving hip-swaying and feet-shuffling. The dancers come close, but do not physically touch. Moutya continues to be a form of expression of cultural identity to this day, retaining its traditional dance form. It is usually performed spontaneously within the community, as well as at social gatherings and cultural events. Moutya is transmitted informally through performance, observation and imitation and formally through research, documentation and dissemination.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/moutya-01690", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14848-BIG.jpg", "copyright": "Mr Urny Mathiot, Seychelles, 2016", "title": "The making of the 'moutya' drum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14849-BIG.jpg", "copyright": "Mr Johnny Volcere, Seychelles, 2013", "title": "A boy learning how to heat the 'moutya' drum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14850-BIG.jpg", "copyright": "Mr Johnny Volcere, Seychelles, 2013", "title": "Group of men heating the 'moutya' drum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14851-BIG.jpg", "copyright": "Mr Michael Popouneau, Seychelles, 2020", "title": "Student learning how to dance the 'moutya' with Miss Margaret Vel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14852-BIG.jpg", "copyright": "Mrs Amanda Albert, Seychelles, 2020", "title": "Stakeholder's validation workshop on 'moutya'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14853-BIG.jpg", "copyright": "Mr Johnny Volcere, Seychelles, 2013", "title": "Men, women and children dancing and singing the 'moutya'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14854-BIG.jpg", "copyright": "Mr Johnny Volcere, Seychelles, 2013", "title": "Men and women singing a 'moutya' song" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14855-BIG.jpg", "copyright": "Mr Johnny Volcere, Seychelles, 2013", "title": "Heating the 'moutya' drum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14856-BIG.jpg", "copyright": "Mr Johnny Volcere, Seychelles, 2013", "title": "A group of people dancing the 'moutya'" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14857-BIG.jpg", "copyright": "Mrs Sharon Ernesta, Seychelles, 2018", "title": "Student learning how to heat the 'moutya' drum" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LV16igxE0t8", "copyright": "National Heritage Research and Protection Section, Seychelles, 2016", "title": "Moutya" } ], "sustainability": "" } }, "element_1692": { "type": "element", "label": "The Epic of Samba Gueladio", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15041-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15041-HUG.jpg" }, "description": "The Epic of Samba Gueladio is a legend in which the hero, Samba Gueladio, the legitimate heir to the throne, was cast aside by his uncle. To regain his throne, he forged alliances wherever he went. For instance, he killed a monster that had been preventing the Moors from fetching water from the river and recovered their cattle from a thieving king. As a reward, the Moors provided Samba Gueladio with the soldiers he needed to retake the throne. At the end of the battle, Samba Gueladio faced his uncle alone in a fight of equals. He overcame his uncle but refrained from killing him. Widely disseminated and accepted as part of the Fouta Toro region\u2019s history and mythology, the epic is passed on through storytelling and song, during community events such as weddings, births and other cultural gatherings. The epic is also declaimed by griots in a poetic style accompanied by music. This popular music enables young people to learn about the region\u2019s history and instils in them ideals such as generosity, perseverance and courage. A reminder of the region\u2019s ancestral values, the Epic of Samba Gueladio is also viewed as a celebration of inter-ethnic alliance founded upon mutual respect.", "list": "RL", "year": 2024, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/the-epic-of-samba-gueladio-01692", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15038-BIG.jpg", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la Culture et de l'Artisanat (MCA), Mauritanie, 2018", "title": "Pr\u00e9sentation du cheval de Samba Gueladio" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15039-BIG.jpg", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la Culture et de l'Artisanat (MCA), Mauritanie, 2017", "title": "Visite officielle de l'Arabe de Samba Gueladio dans l'\u00eele de Jeriyel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15040-BIG.jpg", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la Culture et de l'Artisanat (MCA), Mauritanie, 2020", "title": "Griot d\u00e9tenteur de l'\u00e9pop\u00e9e Samba Gueladio" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15041-BIG.jpg", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la Culture et de l'Artisanat (MCA), Mauritanie, 2018", "title": "Musiciennes lors de la f\u00eate annuelle de Samba Gueladio" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15042-BIG.jpg", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la Culture et de l'Artisanat (MCA), Mauritanie, 2018", "title": "F\u00eate de Samba Gueladio" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15043-BIG.jpg", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la Culture et de l'Artisanat (MCA), Mauritanie, 2020", "title": "Mise en musique de l'\u00e9pop\u00e9e Samba Gueladio" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15044-BIG.jpg", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la Culture et de l'Artisanat (MCA), Mauritanie, 2018", "title": "F\u00eate de Samba Gueladio dans l'\u00eele de Jeriyel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15045-BIG.jpg", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la Culture et de l'Artisanat (MCA), Mauritanie, 2018", "title": "F\u00eate de Samba Gueladio \u00e0 Jingui" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15046-BIG.jpg", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la Culture et de l'Artisanat (MCA), Mauritanie, 2018", "title": "Femmes c\u00e9l\u00e9brant Samba Gueladio \u00e0 Jingui" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15047-BIG.jpg", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la Culture et de l'Artisanat (MCA), Mauritanie, 2018", "title": "Cavaliers participant \u00e0 la f\u00eate d\u00e9di\u00e9e \u00e0 Samba Gueladio" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=MTwoEkxOdqY", "copyright": "Conservation du Patrimoine, Minist\u00e8re de la culture et de l'artisanat (MCA), Mauritanie, 2020", "title": "Epop\u00e9e Samba Gueladio" } ], "sustainability": "" } }, "element_1693": { "type": "element", "label": "Traditional craftsmanship of making Dumbara Rat\u0101 Kal\u0101la", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14345-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14345-HUG.jpg" }, "description": "Sri Lankan Dumbara Rata Kalala, or Dumbara mats, are traditional hand-made mats used as wall hangings, tapestries or cushion covers. The mats are made in two villages (Kalasirigama and Alokagama) by a community called kinnara that traditionally supplied ornamental mats to the royal palace as part of obligatory service to the crown and to ruling elites between the fifteenth and nineteenth centuries. Today, artisans weave the mats for local buyers and tourists. Dumbara mats are made with the fibres of the hana plant and decorated with symbolic motifs and designs. The plant fibres are separated by pressing the leaf against a log with a sharp-edged piece of wood to scrape away the fleshy parts. The fibres are then washed, sun-dried, combed and dyed using traditional herbal dyes made with natural materials from the Dumbara valley. The mat is created with a loom, and motifs and designs are added using a lath, a flat, narrow strip of wood with a hole at one end. The weaver inserts strands of fibre into the hole, then pulls the lath through the yarns on the loom to create the desired motif. Dumbara mats are a traditional item of great cultural significance for Sri Lankans, and the practice is transmitted from parents to children through observation and practice.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-craftsmanship-of-making-dumbara-rat-kalla-01693", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14343-BIG.jpg", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "Harvesting the Hana leaves" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14344-BIG.jpg", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "Hana leaves being bundled for transportation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14345-BIG.jpg", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "A craftswoman separating the fibre from the Hana leaf" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14346-BIG.jpg", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "Nuts of the bulu tree (Terminalia Beleria), used to make black and brown dyes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14347-BIG.jpg", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "Dyed bundles of fibre left for sun-drying" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14348-BIG.jpg", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "Spinning the fibre using a hand-made spindle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14349-BIG.jpg", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "A craftswoman on the loom, pulling fibre strands for the weft" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14350-BIG.jpg", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "A craftsman on the loom tightening the weft elements" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14351-BIG.jpg", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "An elder craftsman describing the symbolic meanings of animal motifs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14352-BIG.jpg", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "A senior craftswoman with her two wall-hangings at the stakeholder meeting" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LpbOz76YQTo", "copyright": "Ministry of Buddhasasana, Cultural and Religious Affairs, Sri Lanka, 2020", "title": "Traditional Dumbara Rat\u0101 Kal\u0101la Making" } ], "sustainability": "" } }, "element_1694": { "type": "element", "label": "Traditional craft skills and arts of Al-Naoor", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14365-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14365-HUG.jpg" }, "description": "Al-naoor is a wooden wheel that rotates on its axis. It is used on the streams of the Euphrates River in Iraq, where water levels are lower than the adjacent fields. In order to raise the river water to the fields, the communities devised the al-naoor wheel. The wheel is made of twenty-four columns of wooden sticks and twenty-four clay jugs attached to the outer circumference with palm leaf ropes. Ranging between eight and twelve metres in diameter, the wheel is installed vertically between two stone pedestals on the streams of the river. As the current causes the wheel to rotate, the jugs collect the water from the river, carry the water to the top of the wheel, and pour it into the waterways leading to the fields. The day of the al-naoor mounting is marked by celebrations, including traditional poetry performances, singing and dancing. More recently, the energy produced by the al-naoor wheel has also been used to generate electricity and to operate the water mills used to grind grain for flour. Al-naoor is a source of livelihood for many, including the artisan carpenters, pottery makers and builders involved in its construction.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/traditional-craft-skills-and-arts-of-al-naoor-01694", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14357-BIG.jpg", "copyright": "Ammar Shaker Ounuldeen, Iraq, 2017", "title": "A number of specialized carpenters while preparing the pieces of wood required to create and establish Al- Naoor and with the participation of some members of the relevant local communities" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14358-BIG.jpg", "copyright": "Ammar Shaker Ounuldeen, Iraq, 2017", "title": "The craftsmen's carpenters carry out the process of punching the sticks of mulberry trees wood with specific measurements to assemble and install the structure of Al- Naoor" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14359-BIG.jpg", "copyright": "Ammar Shaker Ounuldeen, Iraq, 2017", "title": "Carpenters and a number of representatives of the concerned communities as they distribute the wood sticks to the outer diameter of the wheel of Al- Naoor and fix them with wooden nails" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14360-BIG.jpg", "copyright": "Ammar Shaker Ounuldeen, Iraq, 2018", "title": "The final stage of the structure of Al- Naoor, which is ready to be installed in the place designated for it called the House of Al- Naoor" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14361-BIG.jpg", "copyright": "Ammar Shaker Ounuldeen, Iraq, 2019", "title": "The carpenters and builders carry out the installation of Al Naoor in its designated place and with the participation of the local communities who own the agricultural lands surrounding the construction of Al- Naoor" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14362-BIG.jpg", "copyright": "Bake Jumaah Awad, Iraq, 2019", "title": "Participation of all craftsmen and the concerned local communities in the process of installing Al-Naoor in its designated place on the edge of the Euphrates to be ready for operation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14363-BIG.jpg", "copyright": "Bake Jumaah Awad, Iraq, 2019", "title": "Collective participation of the local communities and craftsmen in raising Al- Naoor cords structure to be installed in its designated location and in the presence of a number of journalists present in the region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14364-BIG.jpg", "copyright": "Bake Jumaah Awad, Iraq, 2019", "title": "The process of installing the parts of Al- Naoor wheel in its designated place (House of Al- Naoor)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14365-BIG.jpg", "copyright": "Ammar Shaker Ounuldeen, Iraq, 2019", "title": "Part of the process of fixing Al- Naoor structure according to the signs drawn by the specialist carpenters" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14366-BIG.jpg", "copyright": "Bake Jumaah Awad, Iraq, 2019", "title": "Three completed structures of Al- Naoor, which are in the process of raising water from the Euphrates River" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TgPQzxaQyFk", "copyright": "Haditha and Heet Cultural Houses related to the Cultural Relations Directorate under the Ministry of Culture, Tourism & Antiquities, Iraq, 2020", "title": "Traditional craft skills and arts of Al-Naoor industry" } ], "sustainability": "" } }, "element_1695": { "type": "element", "label": "Pyongyang Raengmyon custom", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15415-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15415-HUG.jpg" }, "description": "Pyongyang Raengmyon (cold noodles made primarily from buckwheat) is a customary social and cultural dish in North Korea. It is served in a brass bowl and topped with trimmings of meat, Kimchi, vegetables, fruits and garnish. Cool meat stock or watery radish Kimchi juice is poured over the noodle strips to finish the preparation. A traditional folk dish deeply rooted in the lives of Pyongyangites, it is associated with long life, happiness, hospitality, conviviality and friendliness, and is believed to foster respect, intimacy and unity. A day before Jongwoldaeborum (a Korean folk winter holiday), family members and neighbours gather to enjoy the noodles, hoping their life will be as long as the noodle strips. At celebrations such as birthdays and weddings, Pyongyangites serve the dish with blessings for relatives, neighbours and friends. It is customary to have some liquor beforehand. Today, the dish has spread beyond special occasions with the establishment of Pyongyang Raengmyon restaurants. Within families, grandmothers and mothers take pride in the transmission of the skills and knowledge to their children, regarding it as their moral obligation. The practice is also transmitted through work-study programmes and trainings in restaurants, cooking contests, festivals and exhibitions, as well as by the media and in educational institutes.", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pyongyang-raengmyon-custom-01695", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15272-BIG.jpg", "copyright": "Ryu Tok In, Democratic People's Republic of Korea, 2020", "title": "Mouth-watering garnishing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15413-BIG.jpg", "copyright": "KANG Sang Ho, Democratic People's Republic of Korea, 2021", "title": "Pyongyang Raengmyon" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15414-BIG.jpg", "copyright": "RYU Tok In, Democratic People's Republic of Korea, 2020", "title": "Good noodle strips!" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15415-BIG.jpg", "copyright": "RYU Tok In, JO Il Gyong, Democratic People's Republic of Korea, 2020", "title": "Tradition goes on" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15416-BIG.jpg", "copyright": "RYU Tok In, Democratic People's Republic of Korea, 2020", "title": "Mouth-watering garnishing" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15417-BIG.jpg", "copyright": "JO Il Gyong, Democratic People's Republic of Korea, 2020", "title": "For genuine taste" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15418-BIG.jpg", "copyright": "RYU Tok In, Democratic People's Republic of Korea, 2020", "title": "Full with customers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15419-BIG.jpg", "copyright": "RYU Tok In, JO Il Gyong, Democratic People's Republic of Korea, 2020", "title": "Field practice" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15420-BIG.jpg", "copyright": "JO Il Gyong, Democratic People's Republic of Korea, 2020", "title": "Transmission in a family" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15421-BIG.jpg", "copyright": "RYU Tok In, Jo Il Gyong, Democratic People's Republic of Korea, 2020", "title": "The day before Jongwoldaeborum" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=rf-UqTB2TQQ", "copyright": "RYU Tok In, CHOE Un Hye, KANG Sang Ho, Democratic People's Republic of Korea, 2021", "title": "Pyongyang Raengmyon custom" } ], "sustainability": "" } }, "element_1696": { "type": "element", "label": "Inuit drum dancing and singing", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14593-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14593-HUG.jpg" }, "description": "Drum dancing and drum singing are indigenous forms of Inuit artistic expression and music in Greenland. Drum dances and songs are frequently performed during national holidays, festive celebrations and social events, by a single person or a group. A single drum dancer may also perform with a choir. During a drum dance, the performer lightly bends his or her knees, leaning slightly forward. The drum, or qilaat, is lifted and lowered in different directions and a stick made of bone or wood is struck rhythmically against the frame of the drum to produce a sharp, echoing, percussive beat. The drum song is a lyrical narration that provides a melodious accompaniment to the monotonous beat of the drum. Drum songs often touch on the experiences and activities of daily life in Greenland, and common topics include love, longing, humour and hunting. For Greenlandic Inuit, drum dancing and singing embodies a shared identity and a sense of community as well as a means of creating continuity between the past and the present. The practices are perceived as symbols of equity and equality in Greenland and are universally recognized as belonging to everyone, regardless of age, gender, social status or political views.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/inuit-drum-dancing-and-singing-01696", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14586-BIG.jpg", "copyright": "Nunatta Katersugaasivia Allagaateqarfialu, 2012", "title": "Children working together to make the drum frame" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14589-BIG.jpg", "copyright": "Nunatta Katersugaasivia Allagaateqarfialu, 2012", "title": "Preparing animal hide for the drumhead" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14590-BIG.jpg", "copyright": "Nunatta Katersugaasivia Allagaateqarfialu, 2012", "title": "Children practicing drum dancing and singing for each other" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14591-BIG.jpg", "copyright": "Nunatta Katersugaasivia Allagaateqarfialu, 2012", "title": "Youths performing drum dancing together" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14592-BIG.jpg", "copyright": "Nunatta Katersugaasivia Allagaateqarfialu, 2012", "title": "Nuumi Peqatigiiffik Inngertartut practicing drum dancing and singing with their selections of drums in the middle" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14593-BIG.jpg", "copyright": "Anda Poulsen, 2016", "title": "Drum dancers illustrating Iverneq - drum duelling" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14594-BIG.jpg", "copyright": "Ulannaq Ingemann, 2015", "title": "Varna Marianne Nielsen" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14595-BIG.jpg", "copyright": "Maja Lindenhann, 2016", "title": "Varna Marianne Nielsen drum dancing and singing by the Colonial Harbour" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14596-BIG.jpg", "copyright": "Mads Phil - Visit Greenland, 2015", "title": "David Manumina drum singing during the Greenlandic National Day" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14597-BIG.jpg", "copyright": "Nunatta Katersugaasivia Allagaateqearfialu, 2018", "title": "The drum comes in various shapes and sizes" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=xLvWXG7GWGs", "copyright": "Visit Greenland, 2018", "title": "Qilaatersorneq, Inuit drum dancing and singing" } ], "sustainability": "" } }, "element_1698": { "type": "element", "label": "Kalela dance", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15222-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15222-HUG.jpg" }, "description": "The Kalela dance originated during colonial times in the Luapula Province of Zambia. It was adopted by mine workers and used for entertainment at the Chief's Palace during traditional ceremonies, funerals, harvest celebrations and other important occasions. Kalela is a kind of dance drill formation in which the dancers form two or three lines, moving forwards and backwards as they sing along to the drumbeat. There is a lead singer, along with others who join in to support. Lead dancers also guide the formation and dance around the drums, which are placed at the centre. There are two big drums and one small drum, typically played by men. The knowledge and skills of the Kalela dance are primarily transmitted to the public and to younger generations through song and poetry and through observation and participation during public performances. However, some groups may organize formal lessons led by expert drummers to recruit new musicians, as drummers are sometimes scarce. Public performances are included in many events, such as traditional ceremonies, public and state functions, international and national celebrations, weddings and funerals.", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/kalela-dance-01698", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15217-BIG.jpg", "copyright": "Mr Thomas Mambo Mubita\/Mr Kanonka, Zambia, 2020", "title": "Chief Chitembo, Chitembo Chiefdom, Chifunabuli District, Luapula Province, signing consent form" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15218-BIG.jpg", "copyright": "Mr Thomas Mambo Mubita\/Mr Kanonka, Zambia, 2020", "title": "Chief Mibenge, Mibenge Chiefdom, Mansa District, Luapula Province, signing consent form" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15219-BIG.jpg", "copyright": "Mr Thomas Mambo Mubita\/Mr Kanonka, Zambia, 2020", "title": "Chief Mwansakombe, Mwansakombe Chiefdom, Chifunabuli District, Luapula Province, signing consent form" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15220-BIG.jpg", "copyright": "Mr Thomas Mambo Mubita\/Mr Kanonka, Zambia, 2020", "title": "Children in Musaila Village, Chifunabuli District, Luapula Province, watching Kalela dance being performed" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15221-BIG.jpg", "copyright": "Mr Thomas Mambo Mubita\/Mr Kanonka, Zambia, 2020", "title": "Group leader, Musaila Village, Chifunabuli District, Luapula Province, signing consent form" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15222-BIG.jpg", "copyright": "Mr Thomas Mambo Mubita\/Mr Kanonka, Zambia, 2020", "title": "Kalela dance group in Wusakile Compound, Kitwe District, Copperbelt Province, performing the Kalela dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15223-BIG.jpg", "copyright": "Mr Thomas Mambo Mubita\/Mr Kanonka, Zambia, 2020", "title": "Group leader in Wusakile Compound, Kitwe District, Copperbelt Province, signing consent form" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15224-BIG.jpg", "copyright": "Mr Thomas Mambo Mubita\/Mr Kanonka, Zambia, 2020", "title": "Sensitization of the Kalela dance group in Musaila Village, by officers from the Ministry of Tourism and Arts, Department of Arts and Culture" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15225-BIG.jpg", "copyright": "Mr Thomas Mambo Mubita\/Mr Kanonka, Zambia, 2020", "title": "Senior Chieftainess Chungu, Chungu Chiefdom, Lupososhi District, Northern Province, signing consent form" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15226-BIG.jpg", "copyright": "Mr Thomas Mambo Mubita\/Mr Kanonka, Zambia, 2020", "title": "Senior Chief Mwenwa, Mwewa Chiefdom, Chifunabuli District, Luapula Province, signing consent form" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=R7z_2EE43J0", "copyright": "Ministry of Tourism and Arts, Zambia, 2020", "title": "Kalela dance, video captioned in Copperbelt, Luapula and Northern Province of Zambia" } ], "sustainability": "" } }, "element_1700": { "type": "element", "label": "Festivals related to the Journey of the Holy family in Egypt", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14915-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14915-HUG.jpg" }, "description": "The festivals related to the Journey of the Holy Family in Egypt commemorate the Holy Family\u2019s voyage from Bethlehem to Egypt to escape King Herod\u2019s oppression. Every year, the event is memorialized by two festivals in which Egyptians, including Muslims and Coptic Christians of all ages and genders, participate in large numbers. The first festival, called \u2018The Festival of the Advent of the Holy Family to Egypt,\u2019 is a one-day event generally held in the beginning of June. The second event, called \u2018The Nativity of the Virgin\u2019, is a feast that takes place in several towns and cities, including Durunka and Cairo, between May and August. Activities include singing, traditional games, body-painting, re-enactments of the journey, religious processions, artistic performances and the sharing of traditional foods. The festivities are replete with social functions and cultural meanings, including the unified social and cultural fabric between Coptic Christians and Muslims evidenced during the preparations and festivities. The events are also associated with the provision of voluntary services to visitors by local residents and the exchange of gifts. The knowledge and skills are transmitted through churches and monasteries, within families, and through active participation in the rituals. ", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/festivals-related-to-the-journey-of-the-holy-family-in-egypt-01700", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14915-BIG.jpg", "copyright": "Ministry of Tourism ad Antiquities, the High Committee for specialist studies of festivals related to the journey of the Holy Family in Egypt, and to place the festivals on the UNESCO Intangible Heritage List", "title": "Millions of revellers from all over Eypt - Christians and Muslims - participate in the celebrations commemorating the journey of the Holy Family in the Monastery of the Virgin in Durunka, the region from which the Holy Family returned to Bethlehem" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14916-BIG.jpg", "copyright": "Ministry of Tourism ad Antiquities, the High Committee for specialist studies of festivals related to the journey of the Holy Family in Egypt, and to place the festivals on the UNESCO Intangible Heritage List", "title": "Invoking blessings from commemorating the Holy Family as part of the Nativity of the Virgin Mary (Feast)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14917-BIG.jpg", "copyright": "Ministry of Tourism ad Antiquities, the High Committee for specialist studies of festivals related to the journey of the Holy Family in Egypt, and to place the festivals on the UNESCO Intangible Heritage List", "title": "The participation of young girls and scout groups in the festivals by marching while holding flags on drum beast" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14918-BIG.jpg", "copyright": "Ministry of Tourism ad Antiquities, the High Committee for specialist studies of festivals related to the journey of the Holy Family in Egypt, and to place the festivals on the UNESCO Intangible Heritage List", "title": "The participation of children and youth dressed in liturgical costumes in the ceremony outside the church while holding banners with the name of the Kom Maria Church in Menya" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14919-BIG.jpg", "copyright": "Ministry of Tourism ad Antiquities, the High Committee for specialist studies of festivals related to the journey of the Holy Family in Egypt, and to place the festivals on the UNESCO Intangible Heritage List", "title": "Participants of all segments of society and all ages commemorate the advent of the Holy Family to Egypt" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14920-BIG.jpg", "copyright": "Ministry of Tourism ad Antiquities, the High Committee for specialist studies of festivals related to the journey of the Holy Family in Egypt, and to place the festivals on the UNESCO Intangible Heritage List", "title": "Some of the revellers from Ethiopia participate by singing and beating drums in the Holy Family commenmoration festivals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14921-BIG.jpg", "copyright": "Ministry of Tourism ad Antiquities, the High Committee for specialist studies of festivals related to the journey of the Holy Family in Egypt, and to place the festivals on the UNESCO Intangible Heritage List", "title": "Performing arts represent one of youth celebration manifestations as young people engage in performing Coptic heritage songs, related to the Holy Family, using wind and percussion instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14922-BIG.jpg", "copyright": "Ministry of Tourism ad Antiquities, the High Committee for specialist studies of festivals related to the journey of the Holy Family in Egypt, and to place the festivals on the UNESCO Intangible Heritage List", "title": "The Marian tree, which is named after the Virgin Mary, is visited by revellers seeking blessings till now" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14923-BIG.jpg", "copyright": "Ministry of Tourism ad Antiquities, the High Committee for specialist studies of festivals related to the journey of the Holy Family in Egypt, and to place the festivals on the UNESCO Intangible Heritage List", "title": "Baptizing children during the celebrations commemorating the Holy Family is one of the practices which fathers and mothers think to invoke blessings" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14924-BIG.jpg", "copyright": "Ministry of Tourism ad Antiquities, the High Committee for specialist studies of festivals related to the journey of the Holy Family in Egypt, and to place the festivals on the UNESCO Intangible Heritage List", "title": "Revellers make a simulation of the well-known scene of the Holy Family. Here, the role of the community in presenting it in a dramatic way to perpetuate this scene and memory in the hearts of children and adults is manifest" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=yG3o-yhtSG4", "copyright": "Ministry of Tourism and Antiquities, the High Committee for specialist studies of festivals related to the Journey of the Holy Family in Egypt, and to place the Festivals on the UNESCO Intangible Heritage List, 2020", "title": "Festivals related to the Journey of the Holy Family in Egypt" } ], "sustainability": "" } }, "element_1701": { "type": "element", "label": "Furyu-odori, ritual dances imbued with people\u2019s hopes and prayers", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15402-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15402-HUG.jpg" }, "description": "Furyu-odori in Japan refers to various ritual folk dances, characterized by eye-catching costumes and lively dances and music. These local dances have been performed for centuries, primarily in rural areas. With life in these areas often affected by severe climate events, local communities created ritualistic performances to express their hopes for a tranquil life. The dances are performed for many reasons, including to pray for the end of plagues, the repose of the deceased, a good harvest or safety from disasters. Each element, from the costumes to the music, is believed to dispel evil spirits and misfortune and to strengthen good forces, such as local deities and ancestral spirits, that protect the communities. The dances vary from one region to the next but share commonalities. Knowledge and skills are transmitted formally and informally, through local governments and preservation organizations, in schools and within families and communities. The performance of Furyu-odori is an occasion for community members who have moved to urban areas to return home. For instance, former Uonuma City residents who live in Tokyo travel back home to take part in the dance. Some also perform Furyu-odori in Tokyo at annual gatherings of people from the same regions.", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/furyu-odori-ritual-dances-imbued-with-people-s-hopes-and-prayers-01701", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15402-BIG.jpg", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "Girls dance (Chakkirako)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15403-BIG.jpg", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "A community comes together to dance (Gujoh-odori)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15404-BIG.jpg", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "Dancers wearing masks dance (Onikenbai)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15405-BIG.jpg", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "Performers shoulder large objects in Shinji-odori at Katte Shrine" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15406-BIG.jpg", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "Dancers beating taiko drums dance (Kannoh-gaku)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15408-BIG.jpg", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "Ayako-odori dancers preparing for the ritual dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15409-BIG.jpg", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "Mentors teach younger bearers how to play festival music for Gujoh-odori" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15410-BIG.jpg", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "Bearers create objects used in the ritual dance for Dainenbutsu in Mushoh-no" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15411-BIG.jpg", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "Items used in the ritual dance are displayed to promote Bon-odori in Nishimonai" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15412-BIG.jpg", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "A procession walks through a rural area to perform Ayako-odori" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=j39ZmLke6wM", "copyright": "Agency for Cultural Affairs, Japan, 2021", "title": "Furyu-odori" } ], "sustainability": "" } }, "element_1702": { "type": "element", "label": "Pasillo, song and poetry", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14604-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14604-HUG.jpg" }, "description": "The pasillo is a type of music and dance that emerged in Ecuador in the nineteenth century, during the South American independence wars. It is a fusion of elements of indigenous music, such as the yarav\u00ed, with a complex variety of musical genres including the waltz, the minuet and the Spanish bolero. The pasillo, which means \u2018small step\u2019, is danced in short steps by a couple. A product of urban culture, it is performed in ballroom dances, public ceremonies, festivals, radio and television programmes, and outdoor concerts. It is a dynamic, ever-evolving practice that can be performed by soloists, duos, trios and ensembles. Usually accompanied by guitars and the requinto, a high-pitched guitar, it is essentially a musicalized poem, with lyrics relating to love, heartbreak, life, death, family, homeland and the daily life of the people. To Ecuadorians, the pasillo is an identity marker and a symbol of their connection with the homeland, and with time, has become a form of collective expression. The music is performed by men and women and transmitted from generation to generation within families, in formal training centres, and through street musicians and popular or municipal bands.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pasillo-song-and-poetry-01702", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14600-BIG.jpg", "copyright": "Museum School of the Pasillo, 2019", "title": "Performance of Estudiantina of the School of the Pasillo. Marathon '500 minutes of Corridors', outside the Museum, Quito" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14601-BIG.jpg", "copyright": "National Institute of Cultural Heritage. Zonal 6, 2018", "title": "Street musicians performing Pasillos. Calder\u00f3n Park, Historic Center of Cuenca" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14602-BIG.jpg", "copyright": "Cristina Moreno, 2019", "title": "Concert of the Metropolitan Symphonic Band, Casa de la M\u00fasica, Quito" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14603-BIG.jpg", "copyright": "Margarita Laso", "title": "Concert by Margarita Laso, Plaza de San Miguel de Bol\u00edvar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14604-BIG.jpg", "copyright": "Museum School of the Pasillo, 2019", "title": "Performance by the Alvaro Trio. Marathon '500 Minutes of Pasillos', outside The Musem, Quito" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14605-BIG.jpg", "copyright": "Museum School of the Pasillo, 2019", "title": "Performance by Hilda Murillo and Fresia Saavedra, Museo Escuela del Pasillo, Quito" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14606-BIG.jpg", "copyright": "Museum School of the Pasillo, 2019", "title": "Homage for the centenary of the birth of the composer Nicol\u00e1s Fiallos. Holy Water of from the city of Ba\u00f1os, Tungurahua" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14607-BIG.jpg", "copyright": "Museum School of the Pasillo, 2019", "title": "Pasillo Gala. Performance of the National Ballet of Ecuador and the Ensemble of the Pasillo Museum with Paula Herrera. Sucre National Theatre, Quito" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14608-BIG.jpg", "copyright": "Museum School of the Pasillo, 2019", "title": "Solo performance with the student of the Pasillo School. Marathon '500 minutes of Pasillo', outside the Museum, Quito" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14609-BIG.jpg", "copyright": "National Institute of Cultural Heritage INPC. Zonal 3, 2018", "title": "A luthier of guitars and requintos, Riobamaba" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=9WOXNvTUjaM", "copyright": "Rodolfo Mu\u00f1oz, 2020", "title": "Evolution and relevance of the Pasillo in Ecuador" } ], "sustainability": "" } }, "element_1703": { "type": "element", "label": "Pehlevanliq culture: traditional zorkhana games, sports and wrestling", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15877-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15877-HUG.jpg" }, "description": "Pehlevanliq culture in Azerbaijan includes games and sports, such as wrestling, and individual performances. Pehlevans use specific tools that resemble medieval weapons (such as swords, shields and bows), but are heavier (originally, to allow pehlevans to handle real weapons easily). The competitions are overseen by referees and accompanied by music or fast-beating drums. The main practitioners of the element are the pehlevans, the men who practise, perform and transmit their knowledge and skills. The community also includes local organizations, trainers and students at local physical education institutions, as well as the spectators and the craftsmen who create the tools. The main driver for the transmission of the element has been the interest of local communities in the games, sports and performances. An integral part of popular culture, folk events and outdoor celebrations, Pehlevanliq culture provides a strong sense of identity to communities in Azerbaijan. For many years, pehlevans have been a symbol of determination, promoting social cohesion and providing a sense of pride and shared identity to local communities.", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/pehlevanliq-culture-traditional-zorkhana-games-sports-and-wrestling-01703", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15876-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2009", "title": "Pehlevanliq and zorkhana games" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15877-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2009", "title": "Pehlevanliq and zorkhana games" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15878-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2009", "title": "Pehlevanliq and zorkhana games" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15879-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2009", "title": "Pehlevanliq and zorkhana games" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15880-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2009", "title": "Pehlevanliq and zorkhana games" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15881-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2010", "title": "Pehlevanliq and zorkhana games" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15882-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2010", "title": "Pehlevanliq and zorkhana games" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15883-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2010", "title": "Pehlevanliq and zorkhana games" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15884-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2010", "title": "Pehlevanliq and zorkhana games" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15885-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2010", "title": "Pehlevanliq and zorkhana games" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=Gzh8zuMFGuw", "copyright": "Ministry of Culture of Azerbaijan, 2021", "title": "Pehlevanliq, traditional zorkhana games and sports" } ], "sustainability": "" } }, "element_1704": { "type": "element", "label": "Craftsmanship and performing art of balaban\/mey", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16224-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16224-HUG.jpg" }, "description": "Balaban (in Azerbaijan) or Mey (in T\u00fcrkiye) is a centuries-old woodwind instrument made up of three parts: a body, a wide and flat double reed and a clip. The instrument is traditionally made of plum or apricot wood and coated with linseed or olive oil. Once dry, crafters drill several holes into the front of the body and one hole into the back. The sizes, number of holes and materials used vary according to the region. The knowledge, skills and techniques of crafting and playing Balaban are typically passed on informally within families through observation and hands-on experience, as well as through apprenticeships. The musical practice is also transmitted formally in universities and high schools, traditional music conservatories, institutions and student music communities. Balaban plays a significant role in the music cultures of Azerbaijan and T\u00fcrkiye and is commonly used as a solo or accompanying instrument at folk festivities, weddings and concerts. A vital part of the identity and collective memory of its musicians and craftspeople, it is also an important means of promoting cultural identity, solidarity and social memory in both countries, with people of all ages, genders, socio-economic backgrounds and ethnicities gathering to listen to and participate in the performances.", "list": "RL", "year": 2023, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/craftsmanship-and-performing-art-of-balaban-mey-01704", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16224-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2011", "title": "Crafting balaban, Babakhan Amrov" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16225-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2011", "title": "Crafting balaban and transmitting knowledge in the Alasgarovs family" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16226-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2011", "title": "Teaching balaban performance to students" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16227-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2011", "title": "During the teaching of balaban musical instrument to students by Albakhish Mammadov, a teacher of the Musical College named after Asaf Zeynall\u0131" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16228-BIG.jpg", "copyright": "Mamed Rahimov\/Ministry of Culture, Azerbaijan, 2011", "title": "Balaban performing by Alikhan Samadov" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16229-BIG.jpg", "copyright": "Ministry of Culture and Tourism, General Directorate of Research and Training, Turkey, 2020", "title": "Traditional craftsmanship of mey" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16230-BIG.jpg", "copyright": "Ministry of Culture and Tourism, General Directorate of Research and Training, Turkey, 2020", "title": "Traditional craftsmanship of mey" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16231-BIG.jpg", "copyright": "Ministry of Culture and Tourism, General Directorate of Research and Training, Turkey, 2020", "title": "Different sizes of mey in different tunes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16232-BIG.jpg", "copyright": "Ministry of Culture and Tourism, General Directorate of Research and Training, Turkey, 2020", "title": "Mey performance in Minstrel Gatherings" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16233-BIG.jpg", "copyright": "Ministry of Culture and Tourism, General Directorate of Research and Training, Turkey, 2020", "title": "Children trainees in mey courses" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=nJc58r_1rRA", "copyright": "Ministry of Culture of Azerbaijan; Ministry of Culture and Tourism of T\u00fcrkiye, 2020", "title": "Craftsmanship and performing art of balaban\/mey" } ], "sustainability": "" } }, "element_1705": { "type": "element", "label": "Telling tradition of Nasreddin Hodja\/ Molla Nesreddin\/ Molla Ependi\/ Apendi\/ Afendi Kozhanasyr Anecdotes", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15676-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15676-HUG.jpg" }, "description": "The Telling Tradition of Nasreddin Anecdotes refers to the social practices and festivals around the telling of anecdotes attributed to Nasreddin, a philosopher and wiseman recognized for his wisdom and humorous analyses and representations of society and life experiences. Although there are slight differences across communities in terms of imagery, character names and stories, the key features are shared as a common heritage in Azerbaijan, Kazakhstan, Kyrgyzstan, Tajikistan, T\u00fcrkiye, Turkmenistan and Uzbekistan. The anecdotes are transmitted through oral tradition and written sources and have inspired local idioms and proverbs. Many have become classics and are also distributed in printed and visual media and in television programmes prepared for children. Characterized by their wisdom, witty repartees, absurdity and element of surprise, the Nasreddin anecdotes often break with accepted norms, with the narrator finding unexpected ways out of complicated situations and always coming out as the winner by the power of word. The anecdotes have an instructive and entertaining function, and communities use them to enrich conversations, reinforce arguments, persuade others or explain a situation. Municipalities, universities and non-governmental organizations play a vital role in the transmission of the anecdotes, organizing various activities and festivals for their commemoration at local, national and international levels.", "list": "RL", "year": 2022, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/telling-tradition-of-nasreddin-hodja-molla-nesreddin-molla-ependi-apendi-afendi-kozhanasyr-anecdotes-01705", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15669-BIG.jpg", "copyright": "Ministry of Culture, Azerbaijan, 2013", "title": "Illustration of an anecdote of Molla Nasreddin, Azerbaijan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15670-BIG.jpg", "copyright": "Ministry of Culture, Azerbaijan, 2013", "title": "A scene from a theatralized performance of Molla Nasreddin" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15671-BIG.jpg", "copyright": "Ministry of Culture, Azerbaijan, 2013", "title": "Illustration of an anecdote of Molla Nasreddin, Azerbaijan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15672-BIG.jpg", "copyright": "National ICH Committee, Kazakhstan, 2009", "title": "The monument of Kozhanasyr\/Khodja Nasreddin at Nur-Sultan, Astana, Kazakstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15673-BIG.jpg", "copyright": "National Bank of Kazakhstan", "title": "Kozhanasyr silver coin, 500 Tenge, date of issue 2015, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15674-BIG.jpg", "copyright": "National Bank of Kazakhstan", "title": "Kozhanasyr neizilber coin, 50 Tenge, date of issue 2015, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15675-BIG.jpg", "copyright": "Ardakh Nurgaz, 2020", "title": "Contemporary theater performance about Kozhanasyr at Auezov Academic Theater, Almaty, Kazakhstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15676-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2020", "title": "Informal transmission of the element. The elder tells the humorous stories of Apendi to children, Kyrgyz Republic" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15677-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2020", "title": "The element is transmitted formally in the kindergartens. Apendi stories are intensive narratives because of its humor and meaning" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15678-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2020", "title": "Experts of the National Academy of Sciences of the Kyrgyz Republic researching Apendi manuscripts" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=LuVsJsKE6nQ", "copyright": "Ministry of Culture of Azerbaijan\/National Committee for the Safeguarding ICH of Kazakhstan\/National Commission of Kyrgyzstan for UNESCO\/TV Safina\/Ministry of Culture and Tourism of Tuckey\/Gurbnanov Chynar Jumanazarovich\/Iqboljon Melikuziev", "title": "Telling tradition of Nasreddin Hodja\/ Molla Nesreddin\/ Molla Ependi\/ Apendi\/ Afendi Kozhanasyr Anecdotes" } ], "sustainability": "" } }, "element_1706": { "type": "element", "label": "Bakhshi art", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14681-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14681-HUG.jpg" }, "description": "Epic poetry plays a crucial role in the musical and poetic heritage of the Uzbek and Karakalpak people of Uzbekistan. Called dostons, the traditional centuries-old poems are based on myths, legends, folk tales and legendary chants, and address varied themes such as patriotism, commitment, love, friendship and solidarity. Bakhshi refers to the performance of these epic stories and original pieces with the accompaniment of musical instruments including the dombra (a stringed instrument) and the kobuz (a bowed instrument). The storytellers, also called bakhshis, perform the stories from memory, incorporating cultural traditions and practices. Successful bakhshis must have the ability to captivate listeners with their melodies and to narrate stories in an interesting and original way, making creative use of language, word games, proverbs and phrases. They must also be able to recite the long epic poems from memory. Although bakhshis were traditionally men, a group of women bakhshis emerged in the nineteenth century and continues to contribute to the tradition. The practice is passed on within families and through formal bakhshi schools. The art of bakhshi is a vital part of the Uzbek lifestyle, and the storytellers are always welcoming guests in family ceremonies, rituals, public holidays and local festivities.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/bakhshi-art-01706", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14673-BIG.jpg", "copyright": "National Commission of Uzbekistan for UNESCO, 2019", "title": "Bakhshi performance. Bakhshi International Festival in Termez, Uzbekistan 2019" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14675-BIG.jpg", "copyright": "National Commission of Uzbekistan for UNESCO, 2019", "title": "Bakhshi performer Maysara Rakhimova from Surkhondaryo Region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14676-BIG.jpg", "copyright": "National Commission of Uzbekistan for UNESCO, 2019", "title": "Davronbek Bakhshi Endirbaev from Qoraqalpogiston" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14678-BIG.jpg", "copyright": "National Commission of Uzbekistan for UNESCO, 2019", "title": "Karimboy Bakhshi from Khorazm Region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14680-BIG.jpg", "copyright": "National Commission of Uzbekistan for UNESCO, 2019", "title": "Shomurod Bakshi Togayev from Qashqadaryo Region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14681-BIG.jpg", "copyright": "National Commission of Uzbekistan for UNESCO, 2019", "title": "Shoberdi Bakshi Boltaev from Surkhondaryo Region" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14682-BIG.jpg", "copyright": "National Commission of Uzbekistan for UNESCO, 2019", "title": "Zulkhumor Shernazarova from Surkhondaryo Region" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=_MMRt3yWsFg", "copyright": "National Commission of the Republic of Uzbekistan to UNESCO", "title": "Bakhshi art of Uzbekistan" } ], "sustainability": "" } }, "element_1707": { "type": "element", "label": "Corso culture, flower and fruit parades in the Netherlands", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14636-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14636-HUG.jpg" }, "description": "Dating back to the late nineteenth century, a corso is an annual parade of floats or boats decorated with flowers, fruit, vegetables and, in some cases, people in costumes. Originating in the south of France and Italy, the practice spread to the Netherlands in the nineteenth century. The parade takes place in streets or on rivers, and is often accompanied by bands and theatre performances, some of which occur at night with illuminated floats. Groups of friends or entire neighbourhoods often spend months preparing elaborate floats, adding the fresh products (flowers, fruit and vegetables) in the final days before the event. The floats, which can be up to 20 metres long and 10 metres high, are propelled by motor or pushed manually. The corso is a competition. Neighbourhoods complete in creating the best float, and the float judged best by the jury wins a prize. But corso culture is about much more than the parade and competition. Having a drink or meal together after working on the floats and organizing regular parties is an important part of the corso, creating a sense of social cohesion and solidarity that is often people\u2019s main motivation for participating in the event. Corso culture is passed on through apprenticeships, school programmes and participation in the annual parade.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/corso-culture-flower-and-fruit-parades-in-the-netherlands-01707", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14632-BIG.jpg", "copyright": "Jan Bouwhuis, 2019", "title": "Dragon covered with fruit, vegetables, beans and seeds: winner of the 2019 fruit corso in Tiel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14633-BIG.jpg", "copyright": "M+Fotografie, 2017", "title": "Maquette of a float by corso group Rataplan in Vollenhove" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14634-BIG.jpg", "copyright": "Peter Griess, 2020", "title": "The welding of concrete wire in the tent of the Veur Mekare corso building group in Lichtenvoorde" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14635-BIG.jpg", "copyright": "Bloemencorso Bollenstreek", "title": "Hyacinths harvested from the bulb region for the flower parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14636-BIG.jpg", "copyright": "Lianne Wijnen Fotografie, 2017", "title": "Final preparations on the Saturday before the parade in Valkenswaard. The flowers are prepared by pre-pinning nails into the flowers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14637-BIG.jpg", "copyright": "M+Fotografie, 2017", "title": "Finishing touches the day before the parade in Vollenhove" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14638-BIG.jpg", "copyright": "Erwin Martens, 2019", "title": "Float covered with dahlias, 20 meters long, 9 meters high and 4.5 meters wide. The float is pushed along by men and women inside the float" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14640-BIG.jpg", "copyright": "Arnaud Roelofsz, 2019", "title": "Float featuring a performance by a children's theatre company for children in Delft" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14641-BIG.jpg", "copyright": "Malou Evers, 2016", "title": "The Zundert celebration where the float builders gather on the town square seconds after hearing they have won" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14642-BIG.jpg", "copyright": "Lienne Wijnen Fotografie, 2017", "title": "Float covered with dahlias, Valkenswaard, 2017" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=NhX8G1Ar4KM", "copyright": "Amsterdamse FilmStichting, 2020", "title": "Corso culture" } ], "sustainability": "" } }, "element_1708": { "type": "element", "label": "Falconry, a living human heritage", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14863-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14863-HUG.jpg" }, "description": "Falconry is the traditional art and practice of training and flying falcons (and sometimes eagles, hawks, buzzards and other birds of prey). It has been practised for over 4000 years. The practice of falconry in early and medieval periods of history is documented in many parts of the world. Originally a means of obtaining food, falconry has acquired other values over time and has been integrated into communities as a social and recreational practice and as a way of connecting with nature. Today, falconry is practised by people of all ages in many countries. As an important cultural symbol in many of those countries, it is transmitted from generation to generation through a variety of means, including through mentoring, within families or in training clubs. The modern practice of falconry focuses on safeguarding falcons, quarry and habitats, as well as the practice itself. And while falconers come from different backgrounds, they share universal values, traditions and practices, including the methods of breeding, training and caring for birds, the equipment used and the bonds between the falconer and the bird. The falconry community includes supporting entities such as falcon hospitals, breeding centres, conservation agencies and traditional equipment makers.", "list": "RL", "year": 2021, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/falconry-a-living-human-heritage-01708", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14858-BIG.jpg", "copyright": "Croatian Falconry Club, 2019", "title": "The tradition of falconry is passed down through generations through stories, books and first-hand experience. Falconry is ideal in order to connect children from early ages with nature and wildlife, Croatia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14862-BIG.jpg", "copyright": "Hungarian Open Air Museum, 2020", "title": "Hunting with falcons and hunting-dogs. The event was organized by the Hungarian Falconry Club in Ab\u00e1dszal\u00f3k, Hungary" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14863-BIG.jpg", "copyright": "A\u00f3dhan Brown, 2019", "title": "Father and daughter, Ireland" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14866-BIG.jpg", "copyright": "Salbuurun Federation\/National Commission of the Kyrgyz Republic for UNESCO, 2019", "title": "Young falconry practitioner in one of the local falconry festivals in Kyrgyzstan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14870-BIG.jpg", "copyright": "Jos Kuijer, 2017", "title": "Feeding a very young bird, Netherlands" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14873-BIG.jpg", "copyright": "S\u0142awomir Sielicki", "title": "Polish falconer working on reestablishing the tree nesting population of peregrine, Poland" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14877-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Center, 2019", "title": "Hand-made falconry tools, made with natural materials, Slovakia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14878-BIG.jpg", "copyright": "Slovak Intangible Cultural Heritage Center, 2019", "title": "Young people, future bearers of the element, Slovakia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14880-BIG.jpg", "copyright": "Syria Trust for Development, 2020", "title": "A woman works on falconry tools by hand, Syrian Arab Republic" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14882-BIG.jpg", "copyright": "Syria Trust for Development, 2020", "title": "Women weave hunting nets by hands, Syrian Arab Republic" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=WSSJIb20m3U", "copyright": "Department of Culture & Tourism - Abu Dhabi\/International Wildlife Consultants (UK) Ltd\/10\/12\/2009, 2020", "title": "Falconry, a living human heritage" } ], "sustainability": "" } }, "element_1709": { "type": "element", "label": "Tocat\u00ec, a shared programme for the safeguarding of traditional games and sports", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15902-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15902-HUG.jpg" }, "description": "As part of coordinated efforts to safeguard traditional games and sports in Italy, Belgium, Croatia, Cyprus and France, the Associazione Giochi Antichi launched Tocat\u00ec (\u2018it's your turn\u2019), a festival and platform uniting communities, groups and individuals that practice traditional games. Tocat\u00ec links traditional games and sports to the values of intangible cultural heritage, mobilizing thousands of players, volunteers, admirers and media actors. By taking place in the streets and rendering highly urbanized and touristic areas spaces of inclusion and equality, it also raises awareness of the existence of intangible cultural heritage and the related risks. The five main objectives of the Tocat\u00ec programme are to: (a) enhance a common ground of exchange between practitioners and institutions; (b) establish a process for the participatory identification, documentation and monitoring of traditional games and sports; (c) improve the transmission of traditional games and sports in formal and non-formal education; (d) empower and protect communities and increase their ability to secure access to and manage public spaces; and (e) involve communities, groups, individuals, institutions and other stakeholders in innovative capacity-building initiatives. These objectives were identified through community consultations and meetings at the local, national and international levels and have dynamically shaped Tocat\u00ec, contributing to the programme's growing participation and reach.", "list": "GSP", "year": 2022, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/BSP\/tocati-a-shared-programme-for-the-safeguarding-of-traditional-games-and-sports-01709", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15896-BIG.jpg", "copyright": "Alain Meessen, Handmade in Brugge, 2020", "title": "In Flanders craftsmanship is high on the agenda of the ICH policy, including the skills for conservation and restoration of equipment for TGS, Belgium" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15897-BIG.jpg", "copyright": "ViaS, 2013", "title": "Playing krulbol in Evergem at the occasion of the European Games, Belgium" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15898-BIG.jpg", "copyright": "Sportimonium, 2013", "title": "Traditional Games Parc: explanation of the games to the visitors by the museum coach, Sportimonium, Hofstade, Belgium" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15899-BIG.jpg", "copyright": "Istarski Pljo\u010dkarski Savez, 2019", "title": "Educational workshop of traditional game pljo\u010dkanje with school children, Croatia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15900-BIG.jpg", "copyright": "Istarski Pljo\u010dkarski Savez, 2019", "title": "Night tournament of game pljo\u010dkanje, Croatia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15901-BIG.jpg", "copyright": "Istarski Pljo\u010dkarski Savez, 2018", "title": "Savudrija open, the oldest plj\u010doke tournament in Croatia" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15902-BIG.jpg", "copyright": "Cyprus National Commission for UNESCO, 2018", "title": "Playing lingrin during Holy Easter festivities in Miliou village, Pafos, Cyprus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15903-BIG.jpg", "copyright": "Cyprus National Commission for UNESCO, 2018", "title": "Playing skatulika during Holy Easter festivities in Miliou village, Pafos, Cyprus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15904-BIG.jpg", "copyright": "Cyprus National Commission for UNESCO, 2018", "title": "Playing faratzis during Holy Easter festivities in Miliou village, Pafos, Cyprus" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15905-BIG.jpg", "copyright": "Dominique Drouet, 2019", "title": "Exposition of the panels of the 'Parcours d'Interpr\u00e9tation du jeu de la boule de sable' in the grounds of the Abbey of Saint-Florent-le-Vieil, Mauges, Maine-et-Loire, France" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=KwgHGg2FJ8c", "copyright": "Sportimonium\/Istarski Pljo\u010dkarski Savez\/Folklore Association Ktima\/Conf\u00e9d\u00e9ration FALSAB-F\u00e9d\u00e9ration de Gouren, Willemont\/Gouren TV\/Il Piccolo Cinema\/KSTUDIO\/AGA, 2020", "title": "Tocat\u00ec, a shared programme for the safeguarding of traditional games and sports" } ], "sustainability": "" } }, "element_1710": { "type": "element", "label": "Harissa, knowledge, skills and culinary and social practices", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15230-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15230-HUG.jpg" }, "description": "Harissa, a seasoning made with chilli pepper paste, is an integral part of domestic provisions and the daily culinary and food traditions of Tunisian society. It is usually prepared by women in a convivial and festive family or neighbourhood setting. It is prepared by drying the chilli peppers in the sun, and splitting the peppers, removing the stalks and deseeding. The chilli peppers are then washed, ground and seasoned with salt, garlic and coriander using a pestle and mortar or a manual meat mincer. The harissa is stored in glass or pottery for subsequent use. The cultivation of chilli peppers follows an agrarian calendar that prohibits sowing during certain periods, which are considered unlucky. Chillies are hung on looms and replicas are made from coral to avoid bad luck. The knowledge and skills related to chilli pepper growing are passed on within communities of farmers or through agronomy schools and institutes.", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/harissa-knowledge-skills-and-culinary-and-social-practices-01710", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15228-BIG.jpg", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "Repiquage de plants de piments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15229-BIG.jpg", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "Cueillette des piments rouges par des paysannes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15230-BIG.jpg", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "Assemblage des piments en guirlandes, en vue de les faire s\u00e9cher sur les terrasses ou les fa\u00e7ades des demeures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15231-BIG.jpg", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "\u00c9queutage et \u00e9p\u00e9pinage des piments sur fond de guirlandes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15232-BIG.jpg", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "Mouture des piments lav\u00e9s, \u00e0 l'aide d'un hachoir \u00e0 viande manuel" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15233-BIG.jpg", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "La harissa en condiment pour un bol de labl\u00e2bi (pois chiches bouillis dans de l'eau)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15234-BIG.jpg", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "L'apprentissage de la pr\u00e9paration de la harissa de m\u00e8re \u00e0 fille, en dehors des heures de scolarit\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15235-BIG.jpg", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "Piments rouges accroch\u00e9s au m\u00e9tier \u00e0 tisser, en protection contre le mauvais oeil" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15236-BIG.jpg", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "Partage convivial d'un repas o\u00f9 la harissa figure comme mise en bouche et ingr\u00e9dient" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15237-BIG.jpg", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "Au festival de la harissa \u00e0 Nabeul (Cap Bon), session de novembre 2019" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=pLsGeSG-BCw", "copyright": "Institut National du Patrimoine (INP), Tunisie, 2020", "title": "La harissa, savoirs, savoir-faire, et pratiques culinaires et sociales" } ], "sustainability": "" } }, "element_1711": { "type": "element", "label": "Congolese rumba", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14763-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14763-HUG.jpg" }, "description": "Congolese rumba is a musical genre and a dance common in urban areas of the Democratic Republic of the Congo and the Republic of the Congo. Generally danced by a male-female couple, it is a multicultural form of expression originating from an ancient dance called nkumba (meaning \u2018waist\u2019 in Kikongo). The rumba is used for celebration and mourning, in private, public and religious spaces. It is performed by professional and amateur orchestras, choirs, dancers and individual musicians, and women have played a predominant role in the development of religious and romantic styles. The tradition of Congolese rumba is passed down to younger generations through neighbourhood clubs, formal training schools and community organisations. For instance, rumba musicians maintain clubs and apprentice artists to carry on the practice and the manufacture of instruments. The rumba also plays an important economic role, as orchestras are increasingly developing cultural entrepreneurship aimed at reducing poverty. The rumba is considered an essential and representative part of the identity of Congolese people and its diaspora. It is perceived as a means of conveying the social and cultural values of the region and of promoting intergenerational and social cohesion and solidarity.", "list": "RL", "year": 2021, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/congolese-rumba-01711", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14748-BIG.jpg", "copyright": "Etienne Kokolo, Kinshasa, R\u00e9publique du Congo, 2018", "title": "Myoto, groupe musical exclusivement f\u00e9minin, en pleine prestation pour le mois de la Femme" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14757-BIG.jpg", "copyright": "Etienne Kokolo, Kinshasa, R\u00e9publique du Congo, 2019", "title": "Concert de Bantous de la capitale lors du Festival Rumba Parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14758-BIG.jpg", "copyright": "Etienne Kokolo, Kinshasa, R\u00e9publique du Congo, 2018", "title": "Prestation de Zao au Festival Rumba Parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14759-BIG.jpg", "copyright": "Etienne Kokolo, Kinshasa, R\u00e9publique du Congo, 2018", "title": "Chorale Ch\u0153ur la Gr\u00e2ce rend hommage \u00e0 Papa Wemba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14760-BIG.jpg", "copyright": "Etienne Kokolo, Kinshasa, R\u00e9publique du Congo, 2018", "title": "Soir\u00e9e Rumba avec le groupe Lipopo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14761-BIG.jpg", "copyright": "Etienne Kokolo, Kinshasa, R\u00e9publique du Congo, 2017", "title": "Le groupe Nkento Bakaji constitu\u00e9 d'artistes f\u00e9minines au Festival Rumba Parade" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14762-BIG.jpg", "copyright": "Etienne Kokolo, Kinshasa, R\u00e9publique du Congo, 2018", "title": "Soir\u00e9e Rumba avec la Fanfare la Confiance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14763-BIG.jpg", "copyright": "Etienne Kokolo, Kinshasa, R\u00e9publique du Congo, 2020", "title": "Visite par les \u00e9l\u00e8ves du Mus\u00e9e national de la R\u00e9publique d\u00e9mocratique du Congo. Apprentissage de l'un des instruments traditionnels utilis\u00e9s pour la Rumba congolaise" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14764-BIG.jpg", "copyright": "Etienne Kokolo, Kinshasa, R\u00e9publique du Congo, 2017", "title": "Concert du groupe Pamoja, des artistes \u00e2g\u00e9s de 16 \u00e0 26 ans" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14765-BIG.jpg", "copyright": "Etienne Kokolo, Kinshasa, R\u00e9publique du Congo, 2020", "title": "Illustration du groupe Rumba Loningisa lors du Colloque international sur la rumba de mars" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=GRS56j3Jj6M", "copyright": "Commission nationale pour l'inscription et la promotion de la rumba, 2020", "title": "La rumba, patrimoine vivant des deux Congos" } ], "sustainability": "" } }, "element_1712": { "type": "element", "label": "Al Talli, traditional embroidery skills in the United Arab Emirates", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15208-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15208-HUG.jpg" }, "description": "Talli is a traditional handicraft practised in various parts of the United Arab Emirates. Today, the demand for Talli is at its highest before religious festivals (Eids) and the marriage season in the summer. Also known as Alseen, Talli is usually created with a combination of six cotton threads separated by a silver thread in the middle. These are skilfully woven into colourful shapes with symbolic meanings tied to life in the desert and at sea. A time-consuming craft, Talli is transmitted informally from mothers to daughters, as well as formally through courses and workshops held in schools, universities and heritage-development centres. The practice is also promoted during cultural events, festivals and competitions. The gathering of women in houses and residential neighbourhoods to braid Talli has a social dimension, as it provides an opportunity for social interaction and for the exchange of Talli knowledge. These gatherings also serve as cultural forums to share folk tales, proverbs and other verbal forms of the country's intangible cultural heritage.", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-talli-traditional-embroidery-skills-in-the-united-arab-emirates-01712", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15204-BIG.jpg", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2019", "title": "Kajuja is the main tool used for producing talli broidery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15205-BIG.jpg", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2019", "title": "Emirati woman is making traditional embroidery talli" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15206-BIG.jpg", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2019", "title": "Emirati woman is working on the Kajuja to make traditional embroidery talli" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15207-BIG.jpg", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2019", "title": "Women dresses with talli embroidery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15208-BIG.jpg", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2019", "title": "Emirati women are making traditional embroidery talli" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15209-BIG.jpg", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2019", "title": "An oval pillow made of cotton used with Kajuja to produce the talli broidery" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15210-BIG.jpg", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2019", "title": "Emirati woman is making traditional embroidery talli" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15211-BIG.jpg", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2020", "title": "Group of Emirati women are making traditional embroidery talli" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15212-BIG.jpg", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2020", "title": "Group of Emirati women are making traditional embroidery talli with young girls" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15213-BIG.jpg", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2020", "title": "Emirati women are making traditional embroidery talli with some talli products in front of them" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=eF5vfKH1i_U", "copyright": "Dubai Culture & Art Authority, United Arab Emirates, 2020", "title": "Al Talli, traditional embroidery skills in the United Arab Emirates" } ], "sustainability": "" } }, "element_1713": { "type": "element", "label": "Sadeh\/Sada celebration", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15240-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15240-HUG.jpg" }, "description": "Sadeh, or Sada, is a celebration held annually on 30 January. In the folk calendar, it marks the day when farmlands are prepared for their next spring plantation and when people celebrate the end of the coldest winter days, with 50 days and 50 nights remaining to spring. Accordingly, \u2018Sadeh\u2019 means \u2018one hundred\u2019. The element enjoys diverse manifestations in Iran and Tajikistan. It involves singing, dancing and praying around a fire and offering blessings and dry or fresh fruits. The day also marks the traditional start of agricultural work for the new season, with farmers sprinkling fertilizer in their lands and gardeners pruning their trees and bushes. After the Sadeh celebration, people in the villages meet outdoors to collectively clean water-streams and pools and to repair bridges. In both countries, the practice, including the preparation of traditional dishes, is transmitted through participation, observation and storytelling. Media, social networks, scientific works, articles, conferences and symposiums also contribute to the transmission of Sadeh. The practice unites people from different cultural, ethnic and religious backgrounds, providing an opportunity for peaceful interactions around agricultural and food traditions and promoting diversity and the continuation of oral expressions and memory.", "list": "RL", "year": 2023, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/sadeh-sada-celebration-01713", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15239-BIG.jpg", "copyright": "Iran\u2019s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2020", "title": "Sadeh celebration in Kerman, Bodagh Abad district, the ritual scene of traditional music" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15240-BIG.jpg", "copyright": "Iran\u2019s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2020", "title": "Sadeh celebration in Tehran, a Zoroastrian woman plays a traditional instrument(Daf) circling around the fire of Sadeh" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15241-BIG.jpg", "copyright": "Iran\u2019s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2020", "title": "Sadeh celebration in Taft (Yazd), Zoroastrian women play a traditional instrument (Daf), circling around the fire of Sadeh" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15242-BIG.jpg", "copyright": "Iran\u2019s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2020", "title": "Sadeh celebration in Ma\u015f`ab\u012b village (South Khorasan province), ch\u0103ow ch\u0103aow sub-ritual, rural women offer cookies to children" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15243-BIG.jpg", "copyright": "Iran\u2019s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2020", "title": "Sadeh celebration in Tehran, Zoroastrian women and men circling around the fire of Sadeh" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15244-BIG.jpg", "copyright": "Iran\u2019s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2020", "title": "Sadeh celebration in Tehran, Zoroastrian young woman carries the fire box towards the pile of firewood of the celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15245-BIG.jpg", "copyright": "Iran\u2019s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2020", "title": "Sadeh celebration in Tehran, Zoroastrian young women and men carry the fire boxes to towards the pile of firewood of the celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15247-BIG.jpg", "copyright": "Iran\u2019s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2020", "title": "Sadeh celebration in Torbat-e Jam, ritual celebrants circle around the fire of Sadeh celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15248-BIG.jpg", "copyright": "Iran\u2019s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2020", "title": "Sadeh celebration in Kerman, Bodagh Abad, Zoroastrian women circulate the ritual bread of Sirok, offering them to the participants of the celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15249-BIG.jpg", "copyright": "Iran\u2019s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), 2020", "title": "Sadeh celebration in Kerman, Bodagh Abad, Mobads (Zoroastrian clerics) set fire to the dried woods of the Sadeh celebration" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=2FicdVndhkk", "copyright": "", "title": "Sadeh\/Sada celebration" } ], "sustainability": "" } }, "element_1716": { "type": "element", "label": "National programme to safeguard the traditional art of calligraphy in Iran", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14966-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14966-HUG.jpg" }, "description": "The tradition of calligraphy has always been associated with the act of writing in Iran, and even when the writers had limited literacy, calligraphy and writing were still intricately linked. But with the advent of printing and the emergence of computer programmes and digital fonts, this art gradually declined and the emphasis on pure readability replaced the observance of both readability and aesthetics. This resulted in a decline in the appreciation of calligraphy among the new generations. The safeguarding of the Iranian calligraphic tradition thus became a major concern in the 1980s, and a national programme was developed for this purpose by non governmental organizations in collaboration with the government. This programme aimed to expand informal and formal public training in calligraphy, publish books and pamphlets, hold art exhibitions, and develop academic curricula, while promoting appropriate use of the calligraphic tradition in line with modern living conditions. Some of the work on this programme was started by the Iranian Calligraphers Association before the 1980s, and given its immense popularity, the public sector turned it into a national programme by redefining and coordinating it on a large scale based on the experiences of the public and private sectors.", "list": "GSP", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/national-programme-to-safeguard-the-traditional-art-of-calligraphy-in-iran-01716", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14958-BIG.jpg", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "Handwritting before & after calligraphy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14959-BIG.jpg", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "Calligraphy training classes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14960-BIG.jpg", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "Calligraphy as a side event of an Qurah and Etrat exhibition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14961-BIG.jpg", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "Calligraphy class in 1987" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14962-BIG.jpg", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "Poster of a Conference on Nastaligh Script" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14963-BIG.jpg", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "Judgement of a calligraphy competition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14964-BIG.jpg", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "Calligraphy as a side event of an Qurah and Etrat exhibition" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14965-BIG.jpg", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "Calligraphy in other religions: Zoroastrianism & Christianity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14966-BIG.jpg", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "Calligraphic fa\u00e7ade of buildings" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14967-BIG.jpg", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "Calligraphic works in furniture" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=B6bnDql_QX8", "copyright": "Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH), Islamic Republic of Iran, 2020", "title": "National programme to safeguard the traditional art of calligraphy in Iran" } ], "sustainability": "" } }, "element_1717": { "type": "element", "label": "Alheda'a, oral traditions of calling camel flocks", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14906-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14906-HUG.jpg" }, "description": "Alheda\u2019a is an oral polyphonic expression accompanied by gestures or musical instruments played by herders to communicate with their camels. The rhythmic expression is inspired by poetry, and the herder uses a unique repository of sounds that the camels have become accustomed to in order to direct herds through the desert or pasture to an area for drinking, feeding and milking preparation. Alheda\u2019a can also be used for swift assembly in case of immediate danger such as sandstorms. Herders train their camels to recognize the difference between right and left, to open their mouths when asked, and to kneel down to be ridden. The practice creates a strong bond between the camels and their herders, as well as among the herders themselves. It is transmitted within families and communities, with children accompanying adult family members on daily trips.", "list": "RL", "year": 2022, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/alheda-a-oral-traditions-of-calling-camel-flocks-01717", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14905-BIG.jpg", "copyright": "Abdullah Alhumaidani, Saudi Arabia, 2020", "title": "A herder calling his flock by \"Alsaliq\"" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14906-BIG.jpg", "copyright": "Abdullah Alhumaidani, Saudi Arabia, 2020", "title": "\"Alwalish\", one form of Alheda'a used in Jazan that mixes the voice of the herder with the sound of the flute" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14907-BIG.jpg", "copyright": "Abdullah Aldossrey, Saudi Arabia, 2020", "title": "A herder using Alheda'a to gather his flock" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14908-BIG.jpg", "copyright": "Abdullah Aldossrey, Saudi Arabia, 2020", "title": "The flocks starting \"Albat'h\" race" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14909-BIG.jpg", "copyright": "Abdul Hamid, Oman, 2020", "title": "Older practitioners play a role to transfer Hedda to new generations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14910-BIG.jpg", "copyright": "Abdul Hamid, Oman, 2020", "title": "Hedda is a language between human and camels" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14911-BIG.jpg", "copyright": "Al Noobi, Oman, 2020", "title": "Tagroud is a type of Hedda" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14912-BIG.jpg", "copyright": "Mina Adly Bekhit Gendi (K. Renative FZ-LLC), United Arab Emirates, 2020", "title": "Community participation in documenting relevant information concerning the camel Hidaa (traditional art appeal), 19 February 2020, Al Ain, United Arab Emirates" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14913-BIG.jpg", "copyright": "Mina Adly Bekhit Gendi (K. Renative FZ-LLC), United Arab Emirates, 2020", "title": "Fatima Al-Hamli, a camel breeder, summons the camel with specific sounds and signals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14914-BIG.jpg", "copyright": "Mina Adly Bekhit Gendi (K. Renative FZ-LLC), United Arab Emirates, 2020", "title": "Among the camel Hidaa is the one used to gather camels around the water well" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=JSAHGv4igsQ", "copyright": "Abdurlrahim Alshein, Saudi Arabia \/ K? Renatve FZ-LLC, United Arab Emirates, 2021", "title": "Heda'a Al Ebel \/ Camel Hidaa, traditional call and communication skills" } ], "sustainability": "" } }, "element_1718": { "type": "element", "label": "Arabic calligraphy: knowledge, skills and practices", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14766-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14766-HUG.jpg" }, "description": "Arabic calligraphy is the artistic practice of handwriting Arabic script in a fluid manner to convey harmony, grace and beauty. The practice, which can be passed down through formal and informal education, uses the twenty-eight letters of the Arabic alphabet, written in cursive, from right to left. Originally intended to make writing clear and legible, it gradually became an Islamic Arab art for traditional and modern works. The fluidity of Arabic script offers infinite possibilities, even within a single word, as letters can be stretched and transformed in numerous ways to create different motifs. Traditional techniques use natural materials, such as reeds and bamboo stems for the qalam, or writing instrument. A mixture of honey, black soot and saffron is used for the ink, and the paper is handmade and treated with starch, egg white and alum. Modern calligraphy commonly uses markers and synthetic paint, and spray paint is used for calligraffiti on walls, signs and buildings. Artisans and designers also use Arabic calligraphy for artistic enhancement, such as for marble and wood carving, embroidery and metal etching. Arabic calligraphy is widespread in Arab and non-Arab countries and is practised by men and women of all ages. Skills are transmitted informally or through formal schools or apprenticeships.", "list": "RL", "year": 2021, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/arabic-calligraphy-knowledge-skills-and-practices-01718", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14766-BIG.jpg", "copyright": "Hosain Daghriri, Saudi Arabia, 2020", "title": "Embroidery of Arabic calligraphy on Kiswat Al Ka'aba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14767-BIG.jpg", "copyright": "Hosain Daghriri, Saudi Arabia, 2020", "title": "Saudi calligrapher" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14768-BIG.jpg", "copyright": "Hosain Daghriri, Saudi Arabia, 2020", "title": "Arabic calligraffiti by Noura Bin Saidan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14769-BIG.jpg", "copyright": "Centre National de Recherche Pr\u00e9historique, Anthropologique et Historique (CNRPAH), Algeria, 2020", "title": "La transmission interg\u00e9n\u00e9rationnelle de la calligraphie, Club des calligraphes, Alger" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14770-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), Egypt, 2020", "title": "Religious utilization of Arabic calligraphy in Hajj" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14771-BIG.jpg", "copyright": "Egyptian Society for Folk Traditions (ESFT), Egypt, 2020", "title": "Engraving Arabic calligraphy on brass" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14772-BIG.jpg", "copyright": "Nahla Emam, Egypt, 2020", "title": "Teaching Arabic calligraphy in Egypt" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14773-BIG.jpg", "copyright": "Mohanad Abdul Ameer Abass, Al-Najaf Cultural House, Cultural Relations Directorate, Iraq, 2020", "title": "Writing some of the verses of the Holy Qur'an on the ceilings of the inner and outer walls of the shrine of the Prophet Yunus, peace be upon him, in Al-Kufa district, from the works of the well-known Najafi calligrapher Jassem Al-Najafi" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14774-BIG.jpg", "copyright": "Ashraf Hasan", "title": "Jordanian calligrapher Dr Refa'at Bayzeh" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14775-BIG.jpg", "copyright": "Hikmat Kofahi, Jordan, 2008", "title": "Jordanian artist and calligrapher" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=bSe2bTN_Dzw", "copyright": "", "title": "Arabic callygraphy, kowledge, skills and practices" } ], "sustainability": "" } }, "element_1719": { "type": "element", "label": "Songkran in Thailand, traditional Thai New Year festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15310-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15310-HUG.jpg" }, "description": "In Thailand, Songkran refers to the sun\u2019s annual passing into the Aries constellation, the first sign of the Zodiac, which marks the traditional start of the new year. Occurring in mid-April after the rice harvest, it is a time when people reunite with their families and pay their respects to older adults, ancestors and sacred Buddha images. Pouring water is a significant act during Songkran, symbolizing cleansing, reverence and good fortune. Other activities include bathing important Buddha images, splashing water on family and friends, folk plays, games, music and feasting. The tradition is passed on through participation in the festivities. Parents transmit the tradition to their children orally through regular social and family interactions. Educational institutes, government agencies, the media and Thai astrologers also play an important role in preserving, promoting and transmitting the astrological knowledge and wisdom related to Songkran. Songkran promotes community cooperation, unity and forgiveness. It is viewed as a time to symbolically wash away misfortunes, pray for prosperity for the coming year, reunite with family members, and honour ancestors and older adults. Furthermore, by emphasizing the importance of older adults and of family, Songkran helps to combat loneliness and social isolation.", "list": "RL", "year": 2023, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/songkran-in-thailand-traditional-thai-new-year-festival-01719", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15308-BIG.jpg", "copyright": "Banharn Vihokhern, Thailand, 2019", "title": "The merit-making ceremonies include giving alms to monks and listening to sermons on Buddha\u2019s teachings. These are believed to bring happiness and prosperity throughout the whole year. This photo was taken at Rongthamsamakkhi temple, Chiang Mai province (Northern Thailand)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15309-BIG.jpg", "copyright": "Khon Kaen Provincial Cultural Office, Thailand, 2019", "title": "The locals join to the \u201cSia-Khro\u201d ritual to ward off bad luck and start an enlightened new year at Chai Si Temple in Khon Khon province." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15310-BIG.jpg", "copyright": "Department of Cultural Promotion, Thailand, 2015", "title": "The procession of Buddha image called 'Luang-Phor-Phra-Sai' at Nong Khai province is a ceremony where the community pours water on the Buddha image to cleanse and bring prosperity in the New Year." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15311-BIG.jpg", "copyright": "Department of Cultural Promotion, Thailand, 2015", "title": "Families gently pour water on Buddha image and pay respect to their ancestors\u2019 ashes kept at their local temple. A small memorial ceremony will be held by monks to give merit to the deceased relatives." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15312-BIG.jpg", "copyright": "Department of Cultural Promotion, Thailand, 2019", "title": "In Songkran, pouring water on monks\u2019 palm is an expression to show respect and ask blessings for good fortune and prosperity in life. This photo was taken at Phrom Wong Saram Temple, Bangkok." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15313-BIG.jpg", "copyright": "Department of Cultural Promotion, Thailand, 2015", "title": "Part of Songkran ceremony is when younger people pour water on their senior relatives and the elderly in the community. This is in part to pay respect and ask for blessings for the New Year." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15314-BIG.jpg", "copyright": "Phrae Provincial Cultural Office, Thailand, 2019", "title": "After the merit-making ceremonies, people will splash water on each other, with a polite and friendly manners, to enjoy Songkran and show best wishes for the coming year." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15315-BIG.jpg", "copyright": "Bunchai Tongcharoen buangarm, Thailand, 2019", "title": "In some areas, locals would gather at their community centers and make \u201cKa-La-Mae\u201d, a type of indigenous sweet for Songkran. This is to show a sense of bond and unity within the community." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15316-BIG.jpg", "copyright": "Phetchaburi Provincial Cultural Office, Thailand, 2019", "title": "In many communities, people would bring sand to their local temples and build sand pagodas, which is another distinctive tradition of Songkran. The sand would later be donated and used for temple restoration or public works." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15317-BIG.jpg", "copyright": "Saensuk Municipality, Thailand, 2019", "title": "Children together with adults would gather and play \u201cMon-Son-Pha\u201d, a popular traditional game during Songkran." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=7RbC3BvrH9s", "copyright": "Department of Cultural Promotion, Thailand, 2022", "title": "Songkran in Thailand, traditional Thai New Year festival" } ], "sustainability": "" } }, "element_1722": { "type": "element", "label": "The art of embroidery in Palestine, practices, skills, knowledge and rituals", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15147-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15147-HUG.jpg" }, "description": "The art of traditional embroidery is widespread in Palestine. Originally made and worn in rural areas, the practice is now common in all of Palestine and among members of the diaspora. Women\u2019s village clothing usually consists of a long dress, trousers, a jacket, a headdress and a veil. Each of these garments is embroidered with a variety of symbols including birds, trees and flowers. The choice of colours and designs indicates the woman\u2019s regional identity and marital and economic status. On the main garment, the loose-fitting dress called a thob, the chest, sleeves and cuffs are covered with embroidery. Embroidered, vertical panels run down the dress from the waist. The embroidery is sewn with silk thread on wool, linen or cotton. Embroidery is a social and intergenerational practice, as women gather in each other\u2019s homes to practise embroidery and sewing, often with their daughters. Many women embroider as a hobby, and some produce and sell embroidered pieces to supplement their family\u2019s income, either on their own or in collaboration with other women. These groups gather in each other\u2019s homes or in community centres, where they may also market their work. The practice is transmitted from mother to daughter and through formal training courses.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/the-art-of-embroidery-in-palestine-practices-skills-knowledge-and-rituals-01722", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15145-BIG.jpg", "copyright": "Wafaa Abu Gulmee, Palestine, 2020", "title": "Girl wearing an embroidered wedding dress" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15146-BIG.jpg", "copyright": "Wafaa Abu Gulmee, Palestine, 2020", "title": "Girl wearing an embroidered wedding dress" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15147-BIG.jpg", "copyright": "Wafaa Abu Gulmee, Palestine, 2020", "title": "Palestinian women participating in the wedding celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15148-BIG.jpg", "copyright": "Wafaa Abu Gulmee, Palestine, 2020", "title": "Palestinian women participating in the wedding celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15150-BIG.jpg", "copyright": "Tania Tamari Nasir, Palestine, 2019", "title": "House linens from Palestinian embroidery from Ramallah" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15151-BIG.jpg", "copyright": "Zahara Hamad, Palestine, 2019", "title": "Aya and Sarah from Ramallah participate in the Palestinian Heritage Day at the school" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15152-BIG.jpg", "copyright": "Wafaa Abu Gulmee, Palestine, 2020", "title": "Three Palestinian women wear the embroidered dress during Henna Day" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15153-BIG.jpg", "copyright": "Tania Tamari Nasir, Palestine, 2019", "title": "Embroidery unit from Tania Nasser boo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15154-BIG.jpg", "copyright": "Tania Tamari Nasir, Palestine, 2019", "title": "Dome drawings of the Palestinian dress from Bethlehem" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=QC15tZuAkYI", "copyright": "Rashid Almashharawi, Palestine, 2020", "title": "The art of embroidery in Palestine: practices, skills, knowledge and rituals" } ], "sustainability": "" } }, "element_1724": { "type": "element", "label": "Knowledge of the light rum masters", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15555-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15555-HUG.jpg" }, "description": "Cuban light rum emerges in 1862 in the city of Santiago de Cuba. Since then, there has been an uninterrupted transmission of the Cuban light rum masters' knowledge, which is put into practice in aging cellars, mixture areas and laboratories. The Cuban light rum masters' knowledge is a set of traditional, scientific, sensory knowledge and techniques transmission that ensures the safeguarding of the Cuban light rum manufacturing process. Regardless of brand, light rum masters follow an ethical code centred on respect for Cuban rum culture and its history and good practices, with ecoculture and harmony with the environment at its core. The transmission of light rum's master knowledge is a life-long learning process that is passed down from generation to generation and includes protecting aging cellars, knowing their contents and characteristics and the history of each barrel, and knowing which mixtures result in a given appearance, aroma, taste and texture. Masters form a guild-type community with selective admission that advocates for responsible consumption and acts as a cultural bridge between Cuba and the rest of the world.", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/knowledge-of-the-light-rum-masters-01724", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15554-BIG.jpg", "copyright": "Cuba Ron S.A, 2020", "title": "The community of Light Rum Masters exchanges its knowledge" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15555-BIG.jpg", "copyright": "Cuba Ron S.A, 2020", "title": "Master Francisco Javier Sabat transmits his knowledge to a young disciple" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15556-BIG.jpg", "copyright": "Cuba Ron S.A, 2019", "title": "Master Salom\u00e9 Alem\u00e1n checks the sensory typicality of fresh eau-de-vie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15557-BIG.jpg", "copyright": "Cuba Ron S.A, 2019", "title": "First Master Jos\u00e9 Pablo Navarro and two other masters perform rum cellar calculations" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15563-BIG.jpg", "copyright": "Cuba Ron S.A, 2019", "title": "As part of a tasting, master Tranquilino Palencia checks the brilliance of a product" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15564-BIG.jpg", "copyright": "Cuba Ron S.A, 2019", "title": "Master Asbel Morales selects the basis for the development of a product in the cellar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15565-BIG.jpg", "copyright": "Cuba Ron S.A, 2019", "title": "One of the community's working sessions of Cuban Light Rum Masters" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15566-BIG.jpg", "copyright": "Cuba Ron S.A, 2019", "title": "Bearers share the knowledge they have inherited" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15567-BIG.jpg", "copyright": "Cuba Ron S.A, 2019", "title": "Candidates for Master from all over Cuba honor previous generations of Masters" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15568-BIG.jpg", "copyright": "Cuba Ron S.A, 2019", "title": "First master Jos\u00e9 Pablo Navarro supervises barrels with deposited liquids for more than 150 years" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=qQNlxnQYFDI", "copyright": "Cuba Ron S.A, 2019", "title": "The knowledge of the light rum masters" } ], "sustainability": "" } }, "element_1725": { "type": "element", "label": "Falak", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14696-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14696-HUG.jpg" }, "description": "Falak, meaning \u2018heaven\u2019, \u2018fortune\u2019 and \u2018universe\u2019, is the traditional folklore music of the mountain people of Tajikistan. The expressive and philosophical musical genre may be performed by a male or female soloist, either acappella, or with a single instrumental accompaniment or an ensemble and dancers. Characterized by their high range, falak songs most often relate to love, pain, suffering, the homeland, and separation and the hope of reunion between a parent and a child or between two lovers. The instruments used for falak performances include traditional Tajikistani percussion and string instruments, such as violins and flutes. Falak performers, known as falakkhons, are the traditional singers and instrumentalists who perform falak during festivities, ceremonies and ritual events. However, the music may be performed in many contexts, including outdoors while working in the fields or looking after herds in the mountains, or during feasts and social gatherings. It is also performed during the annual \u2018Day of Falak\u2019 festival. Falak is viewed as a state of mind and an identity marker for the mountain communities. The tradition is passed from one generation to the next within families and through formal education.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/falak-01725", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14693-BIG.jpg", "copyright": "Tajikistan National Commission for UNESCO, 2020", "title": "Members of the family ensemble of 'Kholovos', Kulob city, Tajikistan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14695-BIG.jpg", "copyright": "Tajikistan National Commission for UNESCO, 2020", "title": "Falak singer Davlatmand Kholov with his group, Dushanbe city, Tajikistan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14696-BIG.jpg", "copyright": "Tajikistan National Commission for UNESCO, 2020", "title": "Falak singers of the Vakhan community, Ishkashim, Tajikistan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14697-BIG.jpg", "copyright": "Tajikistan National Commission for UNESCO, 2020", "title": "Individual falak singer Abubakr Nozimov, Norak city, Tajikistan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14698-BIG.jpg", "copyright": "Tajikistan National Commission for UNESCO, 2020", "title": "Competition of Falakkhoni (singing falak) in the Tajikistan National Conservatory named after Taleb Sattorov" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14699-BIG.jpg", "copyright": "Tajikistan National Commission for UNESCO, 2020", "title": "Young falak singer, Bokhtar city, Tajikistan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14700-BIG.jpg", "copyright": "Tajikistan National Commission for UNESCO, 2020", "title": "Mahmadsafar Murodov, leader of the family ensemble of 'Murovovs' with his grandchildren Sobir and Sadir" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14701-BIG.jpg", "copyright": "Tajikistan National Commission for UNESCO, 2020", "title": "The transmission process in the family ensemble of 'Kholovs', Said Kholov (in the center) is learning playing in musicals instruments to his nephews" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14702-BIG.jpg", "copyright": "Tajikistan National Commission for UNESCO, 2020", "title": "Famous falak group of the Vakhan community with its leader Khubonsho Qurbonshoev second from right), Ishkashim district, Tajikistan" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14703-BIG.jpg", "copyright": "Tajikistan National Commission for UNESCO, 2020", "title": "Falak group from Voznavd community, Rushan district, Tajikistan, with its leader Qurbonsho Qurbonshoev (in the center)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=XBCUQMlYx60", "copyright": "Tojik Film, 2015", "title": "Falak" } ], "sustainability": "" } }, "element_1726": { "type": "element", "label": "August 15th (Dekapentavgoustos) festivities in two Highland Communities of Northern Greece: Tranos Choros (Grand Dance) in Vlasti and Syrrako Festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15617-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15617-HUG.jpg" }, "description": "The Tranos Choros (Grand Dance) and Syrrako festival are celebrated nationwide in Greece to commemorate the Dormition of the Virgin Mary. Historically, these Orthodox festivities originating in Vlasti and Syrrako marked the annual reunion of pastoral communities before the sheep or cattle farmers moved to their winter pastures. Although the population of most highland communities has greatly diminished, today the festivals are associated with the reunion of the communities whose inhabitants have migrated to cities. The main feature of both festivals are the ritualistic dances. For the Tranos Choros in Vlasti, dancers of all ages form a large open circle, holding hands and dancing to a slow and imposing rhythm while singing a cappella. In the Syrrako Festival, a band and singers accompany the dance. In the communities, youth learn the customs by watching the participants and preparations from an early age. Today, cultural organizations also play a key role in transmitting the dances and cultural context. The festivities are viewed as a celebration of both villages\u2019 identities, providing an opportunity for younger generations to connect with their cultural heritage. In Syrrako, the festival is also an opportunity for older villagers to speak their native language, Vlach, which is in gradual decline.", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/august-15th-dekapentavgoustos-festivities-in-two-highland-communities-of-northern-greece-tranos-choros-grand-dance-in-vlasti-and-syrrako-festival-01726", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15615-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Spoorts", "title": "Tranos Chronos Vlasti. Women in their traditional dress" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15616-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Spoorts", "title": "The lead dancer with his daughter and his grandchildren on their way to Livadia, in order to participate in Tranos Choros" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15617-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Spoorts", "title": "The mother dresses her daughter with a traditional dress to make her part of Tranos Choros" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15618-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Spoorts", "title": "Tranos Choros takes place in the meadow of Vlasti (Livadia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15619-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Spoorts", "title": "The dancers of Tranos Choros, men and women, in the circle according to their age from the older to the younger" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15620-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Spoorts", "title": "Panoramic view of Syrrako" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15621-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Spoorts", "title": "Commemorative photo from the Syrrako Festival at Chorostasi, the open-air dance floor on the main square of the village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15622-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Spoorts", "title": "View of the three levels of Syrrako's square, with the dancers in two circles, the exterior for the men and the inner for the women" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15623-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Spoorts", "title": "Young people dancing in two circles, the exterior for the men the inner for the women" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15624-BIG.jpg", "copyright": "Hellenic Ministry of Culture and Spoorts", "title": "The tradition passes on the younger generation" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=-e1F1D4GRds", "copyright": "Hellenic Ministry of Culture and Sports, 2020", "title": "August 15th (Dekapentavgoustos) festivities in two Highland Communities of Northern Greece: Tranos Choros (Grand Dance) in Vlasti and Syrrako Festival" } ], "sustainability": "" } }, "element_1727": { "type": "element", "label": "Cultural Heritage of Boka Navy Kotor: a festive representation of a memory and cultural identity", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15093-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15093-HUG.jpg" }, "description": "Boka Navy is a traditional, non-governmental maritime organization founded in Kotor, Montenegro in 809. Its origin is linked to the arrival of the relics of St. Tryphon, the patron saint of the city of Kotor. Comprised of a community of seafarers with military, economic, educational and humanitarian functions, Boka Navy has played a memorial role for two centuries, preserving and promoting maritime history and tradition. Membership is voluntary and open to men, women and children of all ages. The organization is founded on the respect of human rights and of religious, national and cultural diversity. During formal celebrations, members wear colourful traditional uniforms, carry historic weapons and perform the traditional circle kolo dance. Boka Navy is the backbone of the annual St. Tryphon festivities, which take place from 13 January through 3 February and include a procession and a series of rituals in the cathedral. The external festivities begin with the Boka Navy\u2019s traditional kolo circle dance and are followed by a procession carrying the relics of St. Tryphon through the main town squares and streets. Thousands of spectators attend the processions in the historic centre and observe the festive events. Hundreds of women, men and children also participate in preparations of the activities.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/cultural-heritage-of-boka-navy-kotor-a-festive-representation-of-a-memory-and-cultural-identity-01727", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15093-BIG.jpg", "copyright": "Ministry of Culture of Montenegro", "title": "Celebration of St Tryphon Day in 2020: the Admiral of Boka Navy with the Mayor of Kotor and the representatives of Church; photo also shows participation of different generations in celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15094-BIG.jpg", "copyright": "Ministry of Culture of Montenegro", "title": "Celebration of St Tryphon Day in 2020: traditional flag of Boka Navy presented during the celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15095-BIG.jpg", "copyright": "Ministry of Culture of Montenegro", "title": "Celebration of St Tryphon Day in 2020: traditional dance Kolo (detail)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15096-BIG.jpg", "copyright": "Ministry of Culture of Montenegro", "title": "Celebration of St Tryphon Day in 2020: traditional dance Kolo (detail)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15097-BIG.jpg", "copyright": "Ministry of Culture of Montenegro", "title": "Celebration of St Tryphon Day in 2020: different generations involved in celebration" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15098-BIG.jpg", "copyright": "Ministry of Culture of Montenegro", "title": "Celebration of St Tryphon Day in 2020: City Music Marching Band Kotor plays traditional dance Kolo while sailors dance in the middle of representatives of stakeholders and many locals" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15099-BIG.jpg", "copyright": "Ministry of Culture of Montenegro", "title": "Celebration of Kotor Municipality Day: Kolo dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15100-BIG.jpg", "copyright": "Ministry of Culture of Montenegro", "title": "Celebration of Kotor Municipality Day: Kolo dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15101-BIG.jpg", "copyright": "Ministry of Culture of Montenegro", "title": "Celebration of Kotor Municipality Day: preparation for the dance" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15102-BIG.jpg", "copyright": "Ministry of Culture of Montenegro", "title": "Celebration of Kotor Municipality Day: preparation for the dance" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=1mH3UlbRgQ8", "copyright": "Ministry of Culture of Montenegro", "title": "Boka Navy - traditional maritime organization" } ], "sustainability": "" } }, "element_1730": { "type": "element", "label": "Hungarian string band tradition", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15660-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15660-HUG.jpg" }, "description": "The Hungarian string band tradition is one of the country\u2019s defining ensembles and one of the most common representatives of folk music culture. The basic fiddle-viola-bass line-up takes many forms across regions and eras and can be expanded to include additional string players or reed instruments. Up until the middle of the twentieth century, string bands provided music for village parties, family and village festivities, agricultural events and religious and public holidays. Today, they play a crucial role in stage performances, local festivities such as dances, and urban t\u00e1nch\u00e1z (\u201cdance-house\u201d or folk dance parties). A group\u2019s repertoire can include thousands of melodies, which village musicians play entirely from memory. In addition to memory-based oral transmission, melodies are now also acquired in formal educational settings using written transcriptions and audio-visual documentation. Because Hungarian string bands have always adapted to the social context, the melodies, lyrics, playing style and repertoire are jointly shaped by the musicians and the dancers and audiences. With its varied instrumental composition, social and cultural functions and diverse repertoire, the Hungarian folk string band has a radiating effect across all of Europe and especially in neighbouring areas, making it one of the most influential musical phenomena in the region today.", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/hungarian-string-band-tradition-01730", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15659-BIG.jpg", "copyright": "Hungarian Heritage House, 2014", "title": "One of the emblematic bands of the Transdanubian region, J\u00e1nos Or\u00f3s Kis and his band from Bogyiszl\u00f3. Mihalovics Zsolt, grandson of Or\u00f3s, is the leader of the band nowadays, who learnt the knowledge of the folk music from his grandfather" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15660-BIG.jpg", "copyright": "Dobroda, 2019", "title": "Traditional string ensemble (violin, modified viola and double bass) including clarinet and cimbalom (folk hammered dulcimer). Dobroda Band" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15661-BIG.jpg", "copyright": "Hungarian Heritage House, 2014", "title": "Members of the Fon\u00f3 Band are presenting the instruments of a string band. Zsolt K\u00fcrt\u00f6si is explaining the sounding of the double bass while Gergely Ag\u00f3cs is dealing with an interested pupil" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15662-BIG.jpg", "copyright": "Farkas J\u00f3zsef", "title": "'Peacock' - folk music and folk dance talent search and competition on the television. Spontaneous playing music in the backstage by the members of the 'Leg\u00e9nyes' Band from Eger" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15663-BIG.jpg", "copyright": "Bart\u00f3k Andr\u00e1sn\u00e9 Gy\u00f6ngyv\u00e9r, 2006", "title": "Band of Sr. and Jr. S\u00e1ndor Cso\u00f3ri with female musician and singer. Folk song learning at the Gathering of the T\u00e1nch\u00e1z Musicians in the Hungarian Open Air Museum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15664-BIG.jpg", "copyright": "Farkas J\u00f3zsef, 2017", "title": "Spontaneous playing music at the Gathering of the Carpathian Basin T\u00e1nch\u00e1z Musicians in the Hungarian Open Air Museum in Szentendre. The violinist, Bea Salomon, is one of the best known female musicians in Hungary" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15665-BIG.jpg", "copyright": "Hungarian Heritage House, 2019", "title": "Communication on musicians at the 6th Gathering of the Carpathian Basin T\u00e1nch\u00e1z Musicians at the Ny\u00edregyh\u00e1za-S\u00f3st\u00f3 Museum Village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15666-BIG.jpg", "copyright": "Hungarian Open Air Museum, 2018", "title": "Contact between the dancers and musicians. Amusement by the dancers of Nagyecsed and the musician of Dobroda Band at the Whitsun Heritage Festival in the Hungarian Open Air Museum" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15667-BIG.jpg", "copyright": "Jr. Vit\u00e1nyi Iv\u00e1n, 2016", "title": "Spontaneous playing music and dancing at the annual T\u00e1nch\u00e1ztal\u00e1lkoz\u00f3 (National T\u00e1nch\u00e1z Festival). Participants from all over the country and from across the border come for two days to play music and dance together at the Budapest event" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15668-BIG.jpg", "copyright": "Hungarian Heritage House, 2016", "title": "Gala event of the 4th Folk Fiddling Competition in the context of Anna ball in Balatonf\u00fcred. The competition has been organized by the local government in collaboration with the Hungarian Heritage House since 2013" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=97XBRNIAvZo", "copyright": "Hagyom\u00e1nyok H\u00e1za, 2020", "title": "Hungarian string band tradition" } ], "sustainability": "" } }, "element_1735": { "type": "element", "label": "Carolinian wayfinding and canoe making", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15122-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15122-HUG.jpg" }, "description": "Carolinian wayfinding and canoe making refers to the centuries-old tradition of building and navigating long-distance canoes. Communities in Micronesia, and particularly in the outer islands of Yap State, continue the traditions of building the ocean- voyaging sailing canoes from local materials and of navigating, or wayfinding, without maps or instruments. The entire community participates in the construction of the canoe, which begins with the selection and felling of a tree and involves a detailed measurement system based on an indigenous mathematical tradition that is both accurate and verifiable. The carving is done almost exclusively with the indigenous adze. The asymmetrical design supports high-speed sailing and allows access to shallow water. Traditional wayfinders use environmental cues, including atmospheric phenomena, to navigate. Although they have been lost in most Pacific nations, these wayfinding and canoe-making traditions and technologies enabled the settlement of thousands of islands in the Pacific Ocean. The practice is passed on through traditional apprenticeships led by master canoe carvers and navigators. Today, only a limited number of navigators and canoe carvers remain, with few opportunities to pass on the knowledge and skills due to the reduced size of nuclear families and migration to high islands. The element is also threatened by faster transportation alternatives and environmental degradation.", "list": "USL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/carolinian-wayfinding-and-canoe-making-01735", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15122-BIG.jpg", "copyright": "Eric Metzgar, (USA) Micronesia, 2013", "title": "Carvers on Lamortek Island examine the work on the keel for a voyaging canoe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15124-BIG.jpg", "copyright": "Eric Metzgar (USA), Micronesia, 2016", "title": "Two single-outigger canoes from Lamotrek Island at sea on a voyage from Guam to Lamotrek" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15125-BIG.jpg", "copyright": "Eric Metzgar (USA), Micronesia, 2019", "title": "Lashings on a voyaging canoe attaching the pontoon float to the outrigger" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15126-BIG.jpg", "copyright": "Eric Metzgar (USA), Micronesia, 1978", "title": "Men on Lamotrek Island observing the measurements for the carving of an outrigger strut in the construction of a voyaging canoe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15127-BIG.jpg", "copyright": "Eric Metzgar, Micronesia, 1978", "title": "Tiripo preparing breadruit sap on Lamotrek Island for caulking the planks of a voyaging canoe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15128-BIG.jpg", "copyright": "Eric Metzgar (USA), Micronesia, 1978", "title": "Men and boys on Lamotrek Island help to pull a voyaging canoe from the ocean onto the shore. Palm fronds are layed down in front of the canoe to act as skids and protect the keel from damage." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15130-BIG.jpg", "copyright": "Nagaoka (Japan), Micronesia, 1994", "title": "Wojpwuj canoe launching ceremony, Mwoakilloa Atoll, Micronesia. This ceremony was\r\nheld to celebrate the accomplishment of building one's first sailing canoe." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15131-BIG.jpg", "copyright": "Nagaoka (Japan), Micronesia, 2015", "title": "The pwo initiation rituals for traditional navigators held in Yap,\r\n2015. The master of ceremonies initiated a navigator while he tied a\r\ncoconut-leaf bracelet and an amulet to an initiate's right wrist and intoned \"bracelet for the navigator\" chants." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15132-BIG.jpg", "copyright": "Michael Jordan, 2006, Micronesia, 2016", "title": "Shaping the hull of a Namonuito sailing canoe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15158-BIG.jpg", "copyright": "Eric Metzgar (USA), Micronesia, 1978", "title": "Chief Magowe and Rangmal on Lamotrek Island adzing an outrigger strut for construction of a voyaging canoe" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=djIopaZOGB8", "copyright": "Stefan M. Krause and Pasifika Renaissance, Federated States of Micronesia, 2020", "title": "Traditional navigation and canoe building in the Federated States of Micronesia" } ], "sustainability": "" } }, "element_1737": { "type": "element", "label": "Craft of making \u0110\u00f4ng H\u1ed3 Folk woodblock printings ", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15349-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15349-HUG.jpg" }, "description": "\u0110\u00f4ng H\u1ed3 Folk woodblock printing is the practice of creating colourful prints using carved wooden blocks, observed in a village forming part of B\u1eafc Ninh province. The themes of these prints often include worship, history, daily life and landscapes. The entire process is carried out by hand, from drawing the design with ink on special paper, to carving the image onto woodblocks, preparing natural colour pigments, and printing the image on a special paper coated with scallop powder. Colours are applied in a specific order, with black outlines added in the final step to complete the picture.

\u0110\u00f4ng H\u1ed3 Folk woodblock printings are closely linked to important festivals such as the Lunar New Year and the Mid-Autumn Festival, as well as to rituals honouring ancestors and deities. Today, a small number of families continue this craft, passing down the related knowledge and skills within their households and to apprentices through hands-on training and close mentorship. Some parts of the process, such as designing images and carving blocks, require dedicated training and are mastered over many years. The woodblocks used for printing are treasured family heirlooms that are handed down through generations.", "list": "USL", "year": 2025, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/craft-of-making-ong-h-folk-woodblock-printings-01737", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15349-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2020", "title": "Nguy\u1ec5n \u0110\u0103ng Ch\u1ebf (84 years old) is an artisan of the 20th generation from a \u0110\u00f4ng H\u1ed3 woodblock printing lineage in \u0110\u00f4ng Kh\u00ea hamlet, Song H\u1ed3 commune, Thu\u1eadn Th\u00e0nh district, B\u1eafc Ninh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15350-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2020", "title": "Nguy\u1ec5n \u0110\u1ee9c T\u00e1m (40 years old) is a wood carver who works for the workshop of the Nguy\u1ec5n \u0110\u0103ng Ch\u1ebf\u2019s household in \u0110\u00f4ng Kh\u00ea hamlet, Song H\u1ed3 commune, Thu\u1eadn Th\u00e0nh district, B\u1eafc Ninh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15351-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2020", "title": "There are color printing woodblocks and a line printing woodblock for printing a complete \u0110\u00f4ng H\u1ed3 image" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15352-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2020", "title": "Artisan Nguy\u1ec5n \u0110\u0103ng T\u00e2m (48 year old) pounds scallop shells at his family\u2019s workshop in \u0110\u00f4ng Kh\u00ea hamlet, Song H\u1ed3 commune, Thu\u1eadn Th\u00e0nh district, B\u1eafc Ninh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15353-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2020", "title": "Artisan Nguy\u1ec5n \u0110\u0103ng T\u00e2m (48 years old) covers the scallop shell paste on the d\u00f3 papers in \u0110\u00f4ng Kh\u00ea hamlet, x\u00e3 Song H\u1ed3 commune, Thu\u1eadn Th\u00e0nh district, B\u1eafc Ninh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15354-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2020", "title": "Artisan Nguy\u1ec5n H\u1eefu Qu\u1ea3 (56 years old) makes \u0110\u00f4ng H\u1ed3 printing colors at his family\u2019s workshop in \u0110\u00f4ng Kh\u00ea hamlet, Song H\u1ed3 commune, Thu\u1eadn Th\u00e0nh district, B\u1eafc Ninh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15355-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2020", "title": "Printing tools at the artisan Nguy\u1ec5n H\u1eefu Qu\u1ea3\u2019s workshop in \u0110\u00f4ng Kh\u00ea hamlet, Song H\u1ed3 commune, Thu\u1eadn Th\u00e0nh district, B\u1eafc Ninh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15356-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2020", "title": "Nguy\u1ec5n \u0110\u0103ng Ch\u1ebf\u2019s printing workshop in \u0110\u00f4ng Kh\u00ea hamlet, Song H\u1ed3 commune, Thu\u1eadn Th\u00e0nh district, B\u1eafc Ninh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15357-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2020", "title": "Artisan Nguy\u1ec5n \u0110\u0103ng Ch\u1ebf worries about the woodblocks that have not conserved well at home in \u0110\u00f4ng Kh\u00ea hamlet, Song H\u1ed3 commune, Thu\u1eadn Th\u00e0nh district, B\u1eafc Ninh province" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15358-BIG.jpg", "copyright": "Viet Nam National Institute of Culture and Arts Studies, 2020", "title": "Artisan Nguy\u1ec5n \u0110\u0103ng Ch\u1ebf instructs a wood carver at his printing workshop in \u0110\u00f4ng Kh\u00ea hamlet, Song H\u1ed3 commune, Thu\u1eadn Th\u00e0nh district, B\u1eafc Ninh province" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=j7-nHNFn1f0", "copyright": "", "title": "The Craft of Making \u0110\u00f4ng H\u1ed3 Folk Woodblock Printings" } ], "sustainability": "" } }, "element_1738": { "type": "element", "label": "Nomad games, rediscovering heritage, celebrating diversity", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14369-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14369-HUG.jpg" }, "description": "Kyrgyz people\u2019s cultural heritage is intrinsically linked to the nomadic lifestyle. However, during the Soviet era, which came with forced sedentation, many elements became endangered, including traditional games. After gaining independence in 1991, the local communities in Kyrgyzstan started working on revitalizing and celebrating their traditional culture. In this context, traditional game practitioners and knowledge bearers from different communities across the country held their first major meeting in 2007 to discuss current challenges for the traditional games and the safeguarding needs. The participants identified many challenges but agreed that some of them were very urgent: the first being the loss of knowledge about the traditional games and the second being the lack of interest among the younger generation to play the games. After long discussions and deliberations, the participants identified several safeguarding needs that shaped the Nomad Games: Rediscovering Heritage programme. The traditional game practitioners reached a consensus about the need to prioritize documentation and identification of traditional games in different parts of the country. These goals were prioritized because many people knowledgeable about traditional games were older and there was a real threat of losing their knowledge about traditional games unless it was documented.", "list": "GSP", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/nomad-games-rediscovering-heritage-celebrating-diversity-01738", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14369-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2010", "title": "Interview with a practitioner in the inventory process of traditional games. During the inventory, regional differences in the rules of the game and the techniques of the same games are documented" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14370-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2016", "title": "Meeting with representatives of traditional game federations, Ethnogames Confederation, ICH experts, traditional game bearers and practitioners about the current challenges of traditional games and safeguarding needs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14371-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2017", "title": "Traditional Nomad Games festival on a provincial level. Horseback competition among the representatives of different team" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14372-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2018", "title": "Nomad games attracted wide media coverage, which is fostering to raise the general public's awareness. Media coverage is growing. For example, during the WNG in 2018, international information channels included 50TV channels, 12 radio stations, 67 news agencies, 48 newspapers, and more than 50 independent reporters" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14373-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2014", "title": "Video documentation of the traditional game 'Ordo' in Issyk-Kul region. Based on the safeguarding needs, video documentations of the traditional games aims to raise the general public\u2019s awareness" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14374-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2015", "title": "Traditional Toguz Korgool game competition among schoolchildren,held as part of the programme Nomad Games.The main goal is to popularize the nomadic cultural heritage, to foster patriotic feelings, interest in traditional games and raise the intellectual level of children" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14375-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2016", "title": "The opening ceremony of the World Nomad Games in 2016. The World Nomad Games have become a platform for traditional game practitioners and interested communities to strengthen mutual cooperation and exchange of experience" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14376-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2016", "title": "Thousands of volunteers from local communities to participate the Nomad Games programme. For instance, more than 3000 volunteers from local communities from all over the country took part in the WNG." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14378-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2014", "title": "Learning workshop on traditional horseback game 'At Chabysh' for visitors" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14379-BIG.jpg", "copyright": "National Commission of the Kyrgyz Republic for UNESCO, 2016", "title": "Nomad Games festivals create a platform not only for the traditional game practitioners but also to a wide range of traditional craftsmen and craftswomen such as yurt (traditional felt dwelling) makers" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=RVHM9RaQ1V4", "copyright": "National Commission of the Kyrgyz Republic for UENSCO, 2020", "title": "The Nomad games: rediscovering heritage, celebrating diversity" } ], "sustainability": "" } }, "element_1739": { "type": "element", "label": "The School of Living Traditions (SLT)", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14557-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14557-HUG.jpg" }, "description": "In 1995, the Sub-commission on Cultural Communities and Traditional Arts of the National Commission for Culture and the Arts (NCCA) \u2013 the lead agency mandated to preserve, promote and develop Philippine culture and the arts \u2013 affirmed the need to safeguard traditional knowledge and practices from rapid cultural devaluation brought about by media, tourism, formal education and religion. This paved the way for the creation of The School of Living Traditions (SLT) programme, involving informal, community-managed learning centres where practitioners can transmit their communities\u2019 knowledge, intangible cultural heritage, skills and values to younger generations. The identification of priorities for safeguarding was led by elders, leaders and other members of communities through a series of consultations. In the process, the NCCA provided capacity-building assistance for the mobilization of logistics and other resources needed to establish the learning centres. The SLT programme aims to develop, implement and evaluate community-based measures to safeguard vital traditional cultural knowledge and practices from the potential negative effects of modernization. In 2015, the NCCA initiated the enhancement of the SLT programme. This entails the implementation of site-specific five-year community development programmes to support the transmission and viability of intangible cultural heritage in partnership with local communities and organizations.", "list": "GSP", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/BSP\/the-school-of-living-traditions-slt-01739", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14551-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "A Manobo chieftain conversing with a School of Living Traditions learning facilitator" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14552-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "Ali wood carving cultural master Cipriano Lachica demonstrates basic carving in front of SLT students" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14553-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "A local coordinator addresses the crowd of fellow Panay Bukidnon during the launching of their SLT center" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14554-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "Young learners with their cultural masters in an outdoor SLT learning session" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14555-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "Young Blaan learners being taught by a cultural master of a traditional Blaan dance called Maral Tahu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14556-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "An lfugao cultural master demonstrates backstrap loomweaving as a student curiously looks on" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14557-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "One of SLT Kalinga's artforms is the creation of Bamboo musical instruments" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14558-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "The preparation of raw materials for basketry is carefully assembled by a student and a cultural master" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14559-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "T'boli students don their traditional garb" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14560-BIG.jpg", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "A Subanen SLT student trying to emulate a cultural master" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=TtUCBWUJYns", "copyright": "National Commission for Culture and the Arts, Philippines, 2020", "title": "Philippines Schools of Living Traditions (SLT)" } ], "sustainability": "" } }, "element_1740": { "type": "element", "label": "Hiragasy, a performing art of the Central Highlands of Madagascar", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16457-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16457-HUG.jpg" }, "description": "Hiragasy is a performing art composed of song, dance and speech. Originating in the central highlands of Madagascar, the performance takes place in public spaces. It generally involves two troupes and lasts about one hour and thirty minutes, following a standard structure, including drumming, greetings, storytelling, dance and folk songs. The lyrics of hiragasy performances allude to moral, civic and cultural values, and the music is performed using traditional instruments. Hiragasy is present in all Malagasy festive and cultural events. A source of national identity, it is transmitted informally within families, with children following their parents on tour and joining in on the performances. During the royal era, hiragasy was used as a means of communication between rulers and the people to convey a message. With the advent of Christianity, it served as a means of expressing Malagasy faith and culture beyond the temples. Today, it is viewed as a means of conveying morals and cultural values, history and knowledge of Malagasy ancestors. In rural areas, hiragasy is considered as a vital means of educating young people. It maintains social cohesion and promotes peace within the family and among fellow citizens and society.", "list": "RL", "year": 2023, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/hiragasy-a-performing-art-of-the-central-highlands-of-madagascar-01740", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16457-BIG.jpg", "copyright": "Office R\u00e9gional du Tourisme Analamanga (ORTANA), Madagascar, 2019", "title": "Musiciens de Hiragasy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16458-BIG.jpg", "copyright": "Office R\u00e9gional du Tourisme Analamanga (ORTANA), Madagascar, 2019", "title": "Musiciens de Hiragasy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16459-BIG.jpg", "copyright": "Office R\u00e9gional du Tourisme Analamanga (ORTANA), Madagascar, 2019", "title": "Danseur-acrobate de Hiragasy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16460-BIG.jpg", "copyright": "Office R\u00e9gional du Tourisme Analamanga (ORTANA), Madagascar, 2019", "title": "Danseur de Hiragasy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16462-BIG.jpg", "copyright": "Office R\u00e9gional du Tourisme Analamanga (ORTANA), Madagascar, 2019", "title": "Jeune danseur-acrobate de Hiragasy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16463-BIG.jpg", "copyright": "Office R\u00e9gional du Tourisme Analamanga (ORTANA), Madagascar, 2019", "title": "Jeune danseur-acrobate de Hiragasy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16464-BIG.jpg", "copyright": "Office R\u00e9gional du Tourisme Analamanga (ORTANA), Madagascar, 2019", "title": "Orateur de la troupe" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16465-BIG.jpg", "copyright": "Office R\u00e9gional du Tourisme Analamanga (ORTANA), Madagascar, 2019", "title": "Spectacle de Hiragasy" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16466-BIG.jpg", "copyright": "Office R\u00e9gional du Tourisme Analamanga (ORTANA), Madagascar, 2019", "title": "Troupe de Hiragasy" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=rSPEuuRXtSQ", "copyright": "Televiziona Malagasy (TVM), Madagascar, 2020", "title": "Ny Hiragasy" } ], "sustainability": "" } }, "element_1741": { "type": "element", "label": "Malagasy Kabary, the Malagasy oratorical art", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14548-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14548-HUG.jpg" }, "description": "Malagasy kabary is a poeticized speech performed in front of an audience. It is highly structured and consists of proverbs, maxims, rhetorical figures and wordplay. The ritualistic style of speech was originally used by leaders to inform the community about social life and administration. Over time, communities started using it to communicate and for social events. It thus became inseparable from social life in Madagascar, used for festivities, funerals, official ceremonies and popular events. Its function is to express values and thoughts that give collective meaning to material facts. In practice, Malagasy kabary takes place as a conventional dialogue, usually involving two orators, or mpikabary, in front of a gathering. It can last several hours, but in certain circumstances (such as during funerals), the structure is simplified to last around ten minutes. Although traditionally performed by older, elite men, today it is increasingly performed by young people and women. At the family level, it contributes to cohesion when performed at meetings where all generations are present and partake in the performance. In the public sphere, it is viewed as a means of strengthening relationships between groups and communities, creating an atmosphere of sharing and cohesion.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/malagasy-kabary-the-malagasy-oratorical-art-01741", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14541-BIG.jpg", "copyright": "Association Fikambananan'ny Mpikabary Malagasy (FIMPIMA), Madagascar, 2015", "title": "Nuits des Rh\u00e9teurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14542-BIG.jpg", "copyright": "Association Fikambananan'ny Mpikabary Malagasy (FIMPIMA), Madagascar, 2016", "title": "Concours de Kabary pour les jeunes" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14543-BIG.jpg", "copyright": "Association Fikambananan'ny Mpikabary Malagasy (FIMPIMA), Madagascar, 2017", "title": "Cours de Kabary" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14544-BIG.jpg", "copyright": "Association Fikambananan'ny Mpikabary Malagasy (FIMPIMA), Madagascar, 2017", "title": "C\u00e9r\u00e9monie du Lamba" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14545-BIG.jpg", "copyright": "Association Fikambananan'ny Mpikabary Malagasy (FIMPIMA), Madagascar, 2017", "title": "Sortie de promotion, France" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14546-BIG.jpg", "copyright": "Association Fikambananan'ny Mpikabary Malagasy (FIMPIMA), Madagascar, 2018", "title": "Remise des dipl\u00f4mes, Antsiranana" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14547-BIG.jpg", "copyright": "Association Fikambananan'ny Mpikabary Malagasy (FIMPIMA), Madagascar, 2019", "title": "Semaine du Kabary, Toliara" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14548-BIG.jpg", "copyright": "Association Fikambananan'ny Mpikabary Malagasy (FIMPIMA), Madagascar, 2020", "title": "Talents culturels" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14549-BIG.jpg", "copyright": "Association Fikambananan'ny Mpikabary Malagasy (FIMPIMA), Madagascar, 2019", "title": "Spectacle de Kabary et danses, Fianarantsoa" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14550-BIG.jpg", "copyright": "Association Fikambananan'ny Mpikabary Malagasy (FIMPIMA), Madagascar, 2017", "title": "Semaine du Kabary, Toamasina" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=K9dbz6kHswA", "copyright": "Televiziona Malagasy, Madagascar, 2020", "title": "Ny Kabary Malagasy" } ], "sustainability": "" } }, "element_1742": { "type": "element", "label": "Talchum, mask dance drama in the Republic of Korea", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16147-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16147-HUG.jpg" }, "description": "Talchum is a performing art that encompasses dance, music and theatre. An ensemble of six to ten musicians accompanies masked performers who humorously explore social issues through dramatic combinations of songs, dances, movements and dialogue. The practice uses caricatures of everyday characters to convey its underlying appeal to universal equality and criticism of social hierarchy. Talchum performances do not require a formal stage: any empty space can become a venue. The audience plays an essential role, contributing to the production with their cheers and jeers as the drama unfolds. This interaction with audiences and the focus on social criticism contributed to Talchum\u2019s large-scale transmission in the 1970s and 1980s among young people, particularly university students. This generation continues to play a critical role in the transmission of the practice, passing on the related knowledge and skills of Talchum performance and mask-making to younger generations through local associations, clubs, camps and public schools. Initially performed by men, the practice now includes women. In addition to serving as a tool for social commentary, Talchum can promote and reinforce local cultural identities through the inclusion of local dialects and folksongs. Talchum mask dance dramas are also an important part of local festivals. ", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/talchum-mask-dance-drama-in-the-republic-of-korea-01742", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16147-BIG.jpg", "copyright": "International Mask Arts and Culture Organization (IMACO), Republic of Korea, 2003", "title": "Bibi's dance at the Goseong Ogwangdae performance. Bibi is an imagerinary creature that punishes hypocritical yangban nobilities by devouring them." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16148-BIG.jpg", "copyright": "National Intangible Heritage Center, Republic of Korea, 2001", "title": "Gilnori parade of Bukcheong Saja Noreum. The guide leads all performers to the center to dance together." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16149-BIG.jpg", "copyright": "International Mask Arts and Culture Organization (IMACO), Republic of Korea, 2013", "title": "Lion dance at the Bongsan Talchum. The lion is sent by Buddha to punish the corrupted monk. The monk repents, and the lion forgives the monk and they dance together." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16150-BIG.jpg", "copyright": "National Intangible Heritage Center, Republic of Korea, 2002", "title": "Lion dance at the Gangnyeong Talchum. At the start of the performance, the lion and the keeper dance together to purify the theatrical space." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16151-BIG.jpg", "copyright": "Hahoe Byeolsingut Talnori Safeguarding Association, Republic of Korea, 2008", "title": "Apostate monk and Bune (young lady) in Hahoe Byeolsingut Talnori. Apostate monk and Bune dance together and satire the corrupted monk." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16152-BIG.jpg", "copyright": "International Mask Arts and Culture Organization (IMACO), Republic of Korea, 2019", "title": "Jiyeon Gwangdae's dance at the Yechoen Cheongdan Noreum. Four Jiyeon Gwangdaes, wearing masks made from winnows, symbolize the four directions (NSEW) and four seasons." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16153-BIG.jpg", "copyright": "International Mask Arts and Culture Organization (IMACO), Republic of Korea, 2020", "title": "Master Kim Dong-pyo crafting a Hahoe Tal (mask). He is making a tal of yangban (nobility) by sculpting." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16154-BIG.jpg", "copyright": "International Mask Arts and Culture Organization (IMACO), Republic of Korea, 2018", "title": "Participants of tal (mask) making class at Andong International Mask Dance Festival." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16155-BIG.jpg", "copyright": "International Mask Arts and Culture Organization (IMACO), Republic of Korea, 2005", "title": "An elementary school student at the basic education course of Gasan Ogwangdae, wearing a mask made from paper." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/16156-BIG.jpg", "copyright": "Hahoe Byeolsingut Talnori Safeguarding Association, Republic of Korea, 2015", "title": "Shanghai Korean school students present Hahoe Byeolsingut Talnori performance which they learned from practitioners." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=uxxYOV0NjYQ", "copyright": "Cultural Heritage Administration, Republic of Korea, 2021", "title": "Talchum, mask dance drama in the Republic of Korea" } ], "sustainability": "" } }, "element_1743": { "type": "element", "label": "Flower carpets tradition for Corpus Christi processions", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14340-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14340-HUG.jpg" }, "description": "The tradition of arranging flower carpets is inherently linked to the feast of Corpus Christi in Poland. For the feast, which typically involves a mass followed by a joyful procession from the church to the streets, families in several villages use flowers to arrange colourful and symbolic carpets on the route of the procession, usually on the road section in front of their homes. The flower carpets cover the road running from the church through the village and can reach almost two kilometres in length. The flowers used are picked from the surrounding fields or from family gardens. Soil, sand, tree bark and freshly cut grass or calamus leaves may also be used. Families start collecting flowers a few days before the celebration and begin the process of arranging the carpets early on the morning of Corpus Christi. The preparation lasts several hours, and the end result is an ephemeral and collective art piece meant to express religiosity, creativity and an appreciation of the beauty of nature. The tradition unites the entire community and has shaped local identity. The practice has been passed on for generations, especially within families. Pattern-making workshops are also regularly held in schools, with support from the parish and non-governmental organizations.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/flower-carpets-tradition-for-corpus-christi-processions-01743", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14331-BIG.jpg", "copyright": "Janusz Tatarkiewicz, Poland, 2018", "title": "Residents of the Spycimierz parish collect flowers that they will use to arrange flower carpets for the Corpus Christi procession" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14332-BIG.jpg", "copyright": "Janusz Tatarkiewicz, Poland, 2018", "title": "A multi-generational family from the Spycimierz parish sorts and prepares flowers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14333-BIG.jpg", "copyright": "Janusz Tatarkiewicz, Poland, 2018", "title": "Laying the carpet according to the previously arranged pattern. Damp black soil is used to mark the contours." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14334-BIG.jpg", "copyright": "Janusz Tatarkiewicz, Poland, 2018", "title": "Residents are arranging a piece of carpet in front of the parish church in Spycimierz. One of the three gates of the procession route is visible." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14335-BIG.jpg", "copyright": "Janusz Tatarkiewicz, Poland, 2018", "title": "A family arranges their part of a carpet from fresh flowers" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14336-BIG.jpg", "copyright": "Bla\u017aej Duk, Poland, 2012", "title": "Parishioners create flower carpet between the presbytery and the parish church in Zalesie \u015al\u0105skie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14337-BIG.jpg", "copyright": "Joanna Banik, Poland, 2019", "title": "Grandfather and granddaughters arrange a piece of capet in the village of Olszova" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14338-BIG.jpg", "copyright": "Joanna Banik, Poland, 2019", "title": "In Olszova flower patterns are laid on sand" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14339-BIG.jpg", "copyright": "Joanna Banik, Poland, 2019", "title": "Olszova: families arrange their parts of the flower carpet in front of their properties" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14340-BIG.jpg", "copyright": "Janusz Tatarkiewicz, Poland, 2018", "title": "The Corpus Christi procession passes through the village of Spycimierz on the flower carpet" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=ZQEnkUP-uzI", "copyright": "Janusz Tatarkiewicz, Poland, 2019", "title": "Flowers carpets tradition for Corpus Christi processions" } ], "sustainability": "" } }, "element_1744": { "type": "element", "label": "Harees dish: know-how, skills and practices", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15981-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15981-HUG.jpg" }, "description": "Harees is a popular traditional dish made with wheat grain, meat and ghee. Typically consumed at breakfast and dinner, the dish is usually made in big quantities because of the effort required to clean and grind the grain. It is served in large dishes that are shared by several people, and eaten using the thumb and forefinger while sitting on one knee. Although harees is prepared for many occasions, it is particularly popular during Ramadan, when honouring guests, and for social events such as weddings. It is also popular during the pilgrimage season because of the simplicity of its ingredients and the ability to make and serve it in large quantities. In the United Arab Emirates, Oman and Saudi Arabia, Harees is present in many social and cultural elements such as folk stories, sayings and poetry. The related skills and knowledge are passed on from mothers to daughters, in educational institutes, restaurants and hotels, and through the media and official institutions. Preparing and serving harees is viewed as a sign of hospitality and generosity. A means of promoting social connection, the practice strengthens bonds between people and communities while enhancing cultural affinity in the societies concerned.", "list": "RL", "year": 2023, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/harees-dish-know-how-skills-and-practices-01744", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15981-BIG.jpg", "copyright": "Mina Adly Bekhit Gendi, K. Renative FZ-LLC, United Arab Emirates; 2020", "title": "A group of men gathered in a festive occasion eating the popular harees dish (United Arab Emirates)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15982-BIG.jpg", "copyright": "Mina Adly Bekhit Gendi, K. Renative FZ-LLC, United Arab Emirates; 2020", "title": "Both genders in the United Arab Emirates enjoy preparing the traditional harees dish. Here, a man and a women are about to start its preparation." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15983-BIG.jpg", "copyright": "Mina Adly Bekhit Gendi, K. Renative FZ-LLC, United Arab Emirates; 2020", "title": "A group of women waiting for harees to be served in a family gathering (United Arab Emirates)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15984-BIG.jpg", "copyright": "Mina Adly Bekhit Gendi, K. Renative FZ-LLC, United Arab Emirates; 2020", "title": "Purification and washing of wheat grains prior to the preparation of harees (United Arab Emirates)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15985-BIG.jpg", "copyright": "Ahmad Hameed, Oman, 2020", "title": "The popular harees dish ready to be served (Oman)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15986-BIG.jpg", "copyright": "Ahmad Hameed, Oman, 2020", "title": "Adding meat to the other ingredients to constitute the harees dish (Oman)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15987-BIG.jpg", "copyright": "Ahmad Hameed, Oman, 2020", "title": "Crushing and grinding all the ingredients intended for harees preparation with a mortar and pestle (Oman)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15988-BIG.jpg", "copyright": "Shoroq Media Production (Yasser), Saudi Arabia, 2020", "title": "Pestle or 'Mahbaj' is the main tool used to grind and blend wheat to become harees (Saudi Arabia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15989-BIG.jpg", "copyright": "Shoroq Media Production (Yasser), Saudi Arabia, 2020", "title": "The circular motion used on the edge of the pot until the ingredients become consistently mashed (Saudi Arabia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15990-BIG.jpg", "copyright": "Shoroq Media Production (Yasser), Saudi Arabia, 2020", "title": "Wheat or 'Habb' is the most essential ingredient in al harees dish (Saudi Arabia)" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=FvnI4WuudUk", "copyright": "Department of Culture and Tourism, UAE, 2020", "title": "Harees dish: Know-how, skills and practices" } ], "sustainability": "" } }, "element_1746": { "type": "element", "label": "Betashar, traditional wedding ritual", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14968-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14968-HUG.jpg" }, "description": "In Kazakhstan, the Betashar ritual is the ceremony of revealing the bride\u2019s face during a wedding ceremony. It originated in medieval times, when the groom rarely saw his future bride before the wedding. At the beginning of the ceremony, the bride\u2019s mother dresses her in the traditional Kazakh headdress and a veil. She is escorted into the hall, where the guests await her appearance. The \u2018akyn\u2019 (the singer and leader of ceremony) starts the bridal song, praising the groom\u2019s family and ancestors. As a sign of respect and greeting, the bride and her sisters-in-law bow to each person as they are mentioned. The \u2018akyn\u2019 then lifts the bride\u2019s veil to reveal her face to the guests. The groom\u2019s mother welcomes the bride as a new family member, and the groom takes her by the hand. Relatives then shower the newlyweds with sweets and coins. The social norms and knowledge related to betashar are transmitted from grandmothers to grandchildren. Akyns and the craftspeople who create the traditional wedding attire and accessories transmit their knowledge through apprenticeships. The ritual unites new family members and neighbours. It also allows for the exchange of traditional knowledge, such as folk songs, while enhancing mutual understanding and dialogue.", "list": "RL", "year": 2024, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/betashar-traditional-wedding-ritual-01746", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14968-BIG.jpg", "copyright": "National Committee for the Safeguarding of the Intangible Cultural Heritage of the Republic of Kazakhstan, 2018", "title": "Bride's appearance to the guests, in company of two elder sisters-in-law (Jenge)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14969-BIG.jpg", "copyright": "National Committee for the Safeguarding of the Intangible Cultural Heritage of the Republic of Kazakhstan, 2018", "title": "Bride bowing to the relatives of the groom during the Betashar ritual" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14970-BIG.jpg", "copyright": "National Committee for the Safeguarding of the Intangible Cultural Heritage of the Republic of Kazakhstan, 2018", "title": "Salem Beru - bride's bow of respect to a new family" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14971-BIG.jpg", "copyright": "National Committee for the Safeguarding of the Intangible Cultural Heritage of the Republic of Kazakhstan, 2018", "title": "Music poet Akyn performing Betashar Jyr" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14972-BIG.jpg", "copyright": "National Committee for the Safeguarding of the Intangible Cultural Heritage of the Republic of Kazakhstan, 2018", "title": "Gifting money for viewing the bride" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14973-BIG.jpg", "copyright": "National Committee for the Safeguarding of the Intangible Cultural Heritage of the Republic of Kazakhstan, 2018", "title": "Unveiling the bride's face with the neck of Dombyra" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14974-BIG.jpg", "copyright": "National Committee for the Safeguarding of the Intangible Cultural Heritage of the Republic of Kazakhstan, 2018", "title": "Mother-in-law Ene unveiling the bride's face with the neck of Dembyra (regional distinction)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14975-BIG.jpg", "copyright": "National Committee for the Safeguarding of the Intangible Cultural Heritage of the Republic of Kazakhstan, 2018", "title": "Shashu ceremony - showering the newlyweds with sweets and coins" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14976-BIG.jpg", "copyright": "National Committee for the Safeguarding of the Intangible Cultural Heritage of the Republic of Kazakhstan, 2018", "title": "Mother-in-law (Ene) kissing the bride with wishes of family happiness" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14977-BIG.jpg", "copyright": "National Committee for the Safeguarding of the Intangible Cultural Heritage of the Republic of Kazakhstan, 2018", "title": "Mother-in-law's wishes of family happiness" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=7b9YNWSkfHs", "copyright": "National Committee for the Safegurading of Intangible Cultural Heritage of the Republic of Kazakhstan, 2019", "title": "Betashar" } ], "sustainability": "" } }, "element_1747": { "type": "element", "label": "Fjiri", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14312-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14312-HUG.jpg" }, "description": "Fjiri is a musical performance that commemorates the history of pearl diving in Bahrain. Dating back to the late nineteenth century, it was traditionally performed by pearl divers and pearling crews to express the hardships faced at sea. The performers sit in a circle, singing and playing different types of drums, finger chimes and a jahl, a clay pot used as an instrument. The centre of the circle is occupied by the dancers and the lead singer, who is in charge of conducting the performance. Fjiri originated on the Island of Muharraq, where, up until the mid-twentieth century, most of the population formed part of the pearling community. However, today the practice has reached a wider audience through performances in festivals across all regions of Bahrain. It is now well-known across the country and is viewed as a means of expressing the connection between the Bahraini people and the sea. Fjiri is usually performed in cultural spaces called durs by descendants of pearl divers and pearling crews and by other individuals. The transmission process usually entails consistently practicing in durs and performing for audiences. Although it is performed by all-male groups, Fjiri is enjoyed by all members of the community. The words, rhythms and instruments are used to convey the values of perseverance, strength and resourcefulness.", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/fjiri-01747", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14311-BIG.jpg", "copyright": "Bahrein Authority for Culture and Antiquities (BACA), 2014", "title": "Picture of Tabl" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14312-BIG.jpg", "copyright": "Bahrein Authority for Culture and Antiquities (BACA), 2014", "title": "Band playing with Tar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14313-BIG.jpg", "copyright": "Bahrein Authority for Culture and Antiquities (BACA), 2018", "title": "Fijiri dance performance 1" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14314-BIG.jpg", "copyright": "Bahrein Authority for Culture and Antiquities (BACA), 2018", "title": "Fijiri dance performance 2" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14315-BIG.jpg", "copyright": "Bahrein Authority for Culture and Antiquities (BACA), 2018", "title": "Fijiri dance performance 3" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14316-BIG.jpg", "copyright": "Bahrein Authority for Culture and Antiquities (BACA), 2014", "title": "Band performance in Arad Fort" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14317-BIG.jpg", "copyright": "Bahrein Authority for Culture and Antiquities (BACA), 2018", "title": "Young practitioner performing dance in Dar Al-Muharraq" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14318-BIG.jpg", "copyright": "Bahrein Authority for Culture and Antiquities (BACA), 2018", "title": "Fijiri performance in Dar Al-Muharraq" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14319-BIG.jpg", "copyright": "Bahrein Authority for Culture and Antiquities (BACA), 2018", "title": "Young practitioner performing dance with Naham singing in the background" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14320-BIG.jpg", "copyright": "Bahrein Authority for Culture and Antiquities (BACA), 2018", "title": "Young practitioner performing Fijiri music with band members" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=U2Of3XK_Ndg", "copyright": "Bahrain Authority for Culture and Antiquities, 2020", "title": "Fijiri" } ], "sustainability": "" } }, "element_1748": { "type": "element", "label": "Ceebu J\u00ebn, a culinary art of Senegal", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14479-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14479-HUG.jpg" }, "description": "Ceebu j\u00ebn is a dish that originated in the fishing communities on the Island of Saint-Louis in Senegal. Although recipes vary from one region to the next, the dish is typically made with fish steak, broken rice, dried fish, mollusc and seasonal vegetables such as onions, parsley, garlic, chilli pepper, tomatoes, carrots, eggplant, white cabbage, cassava, sweet potato, okra and bay leaf. The quality of the fish and the choice of vegetables are determined by the importance of the event or the degree of affection one has for the guest. The recipe and techniques are traditionally passed down from mother to daughter. In most families, ceebu j\u00ebn is eaten with the hands, although spoons or forks are usually used in restaurants. The dish is also tied to specific cultural practices. For instance, it is forbidden to sit with a raised knee, the bowl must be held with the left hand, and grains of rice must not be dropped when eating. The ceebu j\u00ebn dish and associated practices are viewed as an affirmation of Senegalese identity. ", "list": "RL", "year": 2021, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/ceebu-jen-a-culinary-art-of-senegal-01748", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14475-BIG.jpg", "copyright": "", "title": "Vue a\u00e9rienne villages des p\u00eacheurs" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14476-BIG.jpg", "copyright": "", "title": "Arriv\u00e9e des p\u00eacheurs et d\u00e9barquement poissons Guet Ndar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14477-BIG.jpg", "copyright": "", "title": "Poissons Guet Ndar, daurades rouges Guet Ndar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14478-BIG.jpg", "copyright": "", "title": "Poissons D\u00e9em de Guet Ndar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14479-BIG.jpg", "copyright": "", "title": "Pr\u00e9paration poissons ceebu j\u00ebn" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14480-BIG.jpg", "copyright": "", "title": "\u00c9tal de l\u00e9gumes Ndar ceebu j\u00ebn" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14481-BIG.jpg", "copyright": "", "title": "M\u00e8re \u00e0 fille ceebu j\u00ebn" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14482-BIG.jpg", "copyright": "", "title": "Ceebu j\u00ebn sur le feu" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14483-BIG.jpg", "copyright": "", "title": "Femmes pr\u00e9parant le ceebu jeunes en pr\u00e9sence d'une fillette" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/14484-BIG.jpg", "copyright": "", "title": "Repas ceebu j\u00ebn en groupe" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=QlLxWJcSInw", "copyright": "Direction du Patrimoine Culturel (DPC), Minist\u00e8re de la Culture et de la Communication (MCC), S\u00e9n\u00e9gal, 2020", "title": "Ceebu J\u00ebn, art culinaire du S\u00e9n\u00e9gal" } ], "sustainability": "" } }, "element_1844": { "type": "element", "label": "Al-Khanjar, craft skills and social practices", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15366-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15366-HUG.jpg" }, "description": "Al-Khanjar is a part of traditional dress worn by men in Oman during national and religious events and special occasions such as weddings. An essential element of Omani culture, its manufacture requires significant knowledge and skills that are transmitted from one generation to next. The Omani khanjar is attached around the waist and includes a belt, handle, blade, scabbard and cover, all made from a variety of materials including wood, leather, cloth and silver. The materials, which are engraved with unique designs, are viewed as a reflection of the connection to the land. The khanjar is a part of the state emblem and plays a key role in many Omani customs and traditions. Historical sources and archaeological discoveries indicate that Omanis have worn the khanjar for centuries. Formal workshops and trainings also contribute to its transmission. A highly appreciated gift, the khanjar is one of the gifts that Omanis give to official guests as an expression of the cultural connection between nations. Many poems in the Omani literature also describe and praise the khanjar, and Omani artists and photographers have competed in documenting the object and the craft. Wearing the khanjar is also associated with many, if not all, Omani folk arts. ", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-khanjar-craft-skills-and-social-practices-01844", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15362-BIG.jpg", "copyright": "Ahmed El Omda, Oman, 2018", "title": "Belt of Omani Khanjar taking the important part of hammered silver sewing skills" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15363-BIG.jpg", "copyright": "Ahmed El Omda, Oman, 2018", "title": "File preparing team collecting data from the researchers and stakeholders" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15364-BIG.jpg", "copyright": "Ahmed El Omda, Oman, 2018", "title": "The Omani khanjar is finished and shows the craftsman\u2019s ingenuity incarving the khanjar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15365-BIG.jpg", "copyright": "Hamood Alkharossi, Oman, 2018", "title": "Omani officials wearing Khanjar in Muscat book fair opening ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15366-BIG.jpg", "copyright": "Ahmed El Omda, Oman, 2018", "title": "Omani Youth consider the importance of Omani Khanjar to their cultural identity" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15367-BIG.jpg", "copyright": "Ahmed El Omda, Oman, 2018", "title": "Sharing knowledge about the nomination with local community to create awareness about the nomination" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15368-BIG.jpg", "copyright": "Zakaria Albalushi, Oman, 2018", "title": "The government set educational programs to safeguard Khanjar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15369-BIG.jpg", "copyright": "Ahmed El Omda, Oman, 2018", "title": "Transmitting skills of crafting Omani Khanjar through non formal education" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15370-BIG.jpg", "copyright": "Ahmed El Omda, Oman, 2018", "title": "Women playing role inengraving and crafting Omani Khanjar" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15371-BIG.jpg", "copyright": "Ahmed El Omda, Oman, 2018", "title": "Workshops transmitting knowledge of socialand cultural functions of Omani Khanjar" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=aPU1hG1MXTs", "copyright": "Ahmed EL Omda, Oman, 2018", "title": "The Omani Khanjar" } ], "sustainability": "" } }, "element_1845": { "type": "element", "label": "Shuwalid festival", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15374-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15374-HUG.jpg" }, "description": "Shuwalid is an annual three-day festival celebrated by the Harari people of Ethiopia. It marks the end of six days of fasting to compensate omissions during Ramadan. The Harari people celebrate Shuwalid at the shrines of Aw Shulum Ahmed and Aw Akebara, found at the main entrance gates of the walled city of Harar. The festival starts with supplications and spiritual songs, followed by the reading of scriptures, music and dance. The celebration is concluded with words of blessing. The occasion unites community members of all ages and genders and serves as a platform for community elders to share their knowledge and experiences and to give blessings to the next generations, as well as for youth to learn about cultural values, norms and traditions. Shuwalid is transmitted within families and by participating in the celebration, as well as through formal educational and safeguarding measures in the sites where the festival takes place. The media and relevant government institutions also support the activities. A platform for the transmission of performing arts, oral traditions, traditional dress and other cultural elements, Shuwalid promotes social cohesion and a sense of identity. It also contributes to cultural exchange and supports the local community and artisans.", "list": "RL", "year": 2023, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/shuwalid-festival-01845", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15372-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2019", "title": "Boys collect fire woods that are used for heating drums from households in the walled city of Harar (Jugol). On this occasion, elders offer heartfelt verbal blessing to the boys for their contribution towards successoful celebration of the festival" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15373-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2019", "title": "Small and large drums (karabu) used for colorful celebration of the holiday need to be heated with fire from the firewood collected so that they produce the desired sound and qualified to be used for the occasion" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15374-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2019", "title": "After the drums prepared, heated and put in the designated places at the venue, elderly people who have experience of beating drum will assess if the drum is adequately heated to provide the desired sound for performance of the ritual" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15375-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2019", "title": "Performance of the festival starts with the seating arrangements of practitioners and participants. Murid, who are leaders of the Awatch and masters of the ceremony, sit in the designated place and prepare for commencement of the ritual." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15376-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2019", "title": "Women and the other practitioners of the element participate in the Shuwalid festival holding Rahan leaves with their hands or put it on their heads and ears to produce nice odor in and around the venue of the festival." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15377-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2019", "title": "The celebration of Shuwalid Festival takes place at the shrine or Awatch found at the two main entrance gates of the walled city of Harar or Jugol. Awatch is the holy place established in memory of great religious men." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15378-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2019", "title": "One of the shrines that served as cultural space for Shuwalid festival is the holy place or Awatch of Aw Akebara found at the entrance gate of Asesum Beri (Felana Ber) of the Walled city of Harar or Jugol." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15379-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2019", "title": "The participants of the festival travel from one cultural space of Shuwalid that is Aw shulum Ahmad Awatch to another Aw Akebara Awatch in the street known as Amir Uga (street of Emir of the Harar Emirate)." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15380-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2019", "title": "The girls attend the festival in group wearing colorful traditional costumes and jewelries on top of their nature endowed beauty. The festival gives the girls an opportunity to freely socialize and the young men to look for a girlfriend." }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15381-BIG.jpg", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2019", "title": "The occasion is also used for marriage engagement among young boys and girls. Getting acquainted during Shuwalid festival and engaged into married life is still a living tradition of the Harari People." } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=keqvrZ2KBTo", "copyright": "Authority for Research and Conservation of Cultural Heritage (ARCCH), Ethiopia, 2021", "title": "Shuwalid Festival" } ], "sustainability": "" } }, "element_1846": { "type": "element", "label": "Bear festivities in the Pyrenees", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15736-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15736-HUG.jpg" }, "description": "The Bear festivities take place every winter in five villages in the Pyrenees mountain range located in Andorra and France. During the event, young men dress up as bears and run through the streets trying to catch participants. The festivities are punctuated by dances, speeches in Catalan and music. The entire local population takes part, hunting the bears and welcoming the spectators. Although the style varies from one village to the next, the scenario remains the same and symbolizes the end of winter, spring rebirth (with the bear waking up from hibernation) and the relationship between humans and nature. After a decline in popularity in the 1960s, the festivities have regained popularity over the last thirty years. People of all ages and backgrounds participate to different degrees, by helping with the organization, playing roles, singing or taking part in the chases. The Bear festivities are passed on through associations and schools, and within circles of family and friends. Children are also in the habit of spontaneously \u2018playing Bear\u2019. Uniting thousands of people from the Catalan region, the centuries-old event constitutes an opportunity for the population of the five Pyrenean villages to celebrate their common heritage and assert their membership of the community.", "list": "RL", "year": 2022, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/RL\/bear-festivities-in-the-pyrenees-01846", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15735-BIG.jpg", "copyright": "Fran\u00e7ois Gor\u00e9e, 2007", "title": "L'Ours d'Arles-sur-Tech, entour\u00e9 du Trappeur, de la Roseta et des Chasseurs \u00e0 qui il \u00e9chappe sans cesse. Il est finalement abattu puis, revenu \u00e0 la vie, il est \u00ab ras\u00e9 \u00bb et int\u00e9gr\u00e9 \u00e0 la danse des habitants du village" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15736-BIG.jpg", "copyright": "Robert Lizarte, 2019", "title": "L'Ourse d'Encamp, attir\u00e9e par l'odeur du d\u00e9jeuner de la Fregona, arrive dans le pr\u00e9 o\u00f9 s'affairent les faucheurs. Dans cette sc\u00e9nographie, sans doute tr\u00e8s ancienne, les chasseurs feignent d'abattre la \u00ab mala b\u00e8stia \u00bb dans la liesse g\u00e9n\u00e9rale" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15737-BIG.jpg", "copyright": "Marie Adamski, 2015", "title": "Le Meneur ex\u00e9cute la danse du rasage de l'Ours de Saint-Laurent-de-Cerdans sur la place publique entour\u00e9 d'une partie des personnages de la f\u00eate : la Monaca, les Botifarrons en blanc et l'Escalfador avec la chaufferette. Les musiciens de la cobla dominent la sc\u00e8ne" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15738-BIG.jpg", "copyright": "\u00c9velyne Coutas, 2017", "title": "Commedia N\u00a05.Le rasage de l'Ours \u00e0 Prats-de-Mollo. Extrait de l'exposition 'Immt\u00e9rialit\u00e9s' pr\u00e9sent\u00e9e \u00e0 Prats-de-Mollo, Arles-sur-Tech et Paris, 2018" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15739-BIG.jpg", "copyright": "Albert Roig, 1991", "title": "Tous les personnages qui interviennent dans la f\u00eate de l'Ourse d'Ordino arpentent les rues du village en dansant avec l'Ourse revenue \u00e0 la vie" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15740-BIG.jpg", "copyright": "Joan Torres Salvador, 2020", "title": "L'Ourse et les faucheurs, petits et grands, dansent ensemble \u00e0 la fin de la repr\u00e9sentation de \u00ab l'Ultima Ossa d'Ordino \u00bb" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15741-BIG.jpg", "copyright": "Claudie Voisenat, 2017", "title": "Une histoire d'amiti\u00e9 o\u00f9 se m\u00e9langent les g\u00e9n\u00e9rations : \u00e0 Prats-de-Mollo tout le monde joue \u00e0 \u00eatre m\u00e2chur\u00e9" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15742-BIG.jpg", "copyright": "Anna Alcazar Alvarez, 2020", "title": "Un groupe d'enfants fait un atelier sur le ball (danse) de l'Ourse d'Encamp" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15743-BIG.jpg", "copyright": "Fran\u00e7ois Nau, 2014", "title": "\u00c0 Arles-sur-Tech; les musiciens, filles et gar\u00e7ons, adultes et enfants confondus, interpr\u00e8tent les airs traditionnels des f\u00eates. Les trompettes c\u00f4toient les flaviols et les tambourins, instruments traditionnels" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15744-BIG.jpg", "copyright": "Claudie Voisenat, 2018", "title": "Entourant l'Ours, tous les personnages de la f\u00eate de l'Ours des enfants de Saint-Laurent de Cerdans (Brouette avec les perruques, Monaca avec le double masque, Escalfador, Botifarrons en blanc et Figueretas en violet) se pr\u00e9pare \u00e0 interagir entre eux et avec la population. Ils portent le bandana de soutien \u00e0 la candidature des f\u00eates de l'ours \u00e0 l'UNESCO" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=uk0gNlGMzeg", "copyright": "Fran\u00e7ois Boutonnet Kalimago Films, 2020", "title": "Les f\u00eates de l\u00b4Ours dans les Pyr\u00e9n\u00e9es" } ], "sustainability": "" } }, "element_1847": { "type": "element", "label": "Quinchamal\u00ed and Santa Cruz de Cuca pottery", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15534-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15534-HUG.jpg" }, "description": "Chili's Quinchamal\u00ed and Santa Cruz de Cuca pottery is embedded in the mestizo cultural tradition of central Chile and is characterized by black functional and decorative objects with white accents, created using techniques dating back centuries. Functional items include pots, fountains and tableware. Decorative items include figurines related to the peasant landscape and local characters (such as the guitarrera, a peasant woman carrying a guitar). Potters sell their creations in their homes, at local stalls, at the Chill\u00e1n Market and at craft fairs, as well as through intermediaries. Women hold the knowledge and practices of pottery, forming female lineages with distinctive styles. A source of social and economic autonomy, the practice highlights women's non-subordinate role in gender relations. However, the viability of the element is threatened by demographic and environmental factors and precarious social contexts. With young people moving to urban areas, the possibility for transmission is diminished. Access to raw materials is also becoming increasingly difficult due to a loss of biodiversity and soil degradation. Furthermore, the absence of regulation favours the appropriation of the intellectual property around pottery knowledge and its use by designers and artists for profit, without sharing the benefits with the practitioners.", "list": "USL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/USL\/quinchamali-and-santa-cruz-de-cuca-pottery-01847", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15531-BIG.jpg", "copyright": "Amanda Valenzuela Pallamar, 2021", "title": "Potter Flor Caro accessing the property where the extraction of raw materials is made, Quinchamal\u00ed, Chill\u00e1n" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15532-BIG.jpg", "copyright": "Amanda Valenzuela Pallamar, 2021", "title": "Potter Flor Caro in the process of extraction of raw materials for pottery, Quinchamal\u00ed, Chill\u00e1n" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15533-BIG.jpg", "copyright": "Claudio P\u00e9rez, 2014", "title": "Potter M\u00f3nica Venegas in the process of stepping on the clay. Quinchamal\u00ed, Chill\u00e1n, Chile" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15534-BIG.jpg", "copyright": "Claudio P\u00e9rez, 2014", "title": "Potter Teorinda Ser\u00f3n in the process of modeling a utilitarian piece. Quinchamal\u00ed, Chill\u00e1n, Chile" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15535-BIG.jpg", "copyright": "Erwin Brevis Vergara, 2016", "title": "Potter Riola Castro modeling a 'guitarrera' in her workshop. Quinchamal\u00ed, Chill\u00e1n, Chile" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15536-BIG.jpg", "copyright": "Nayadet Nu\u00f1ez Rodr\u00edgues, 2021", "title": "Potter Marcela Rodr\u00edguez in the modeling work of an utilitarian piece, transmission of knowledge and pottery practices, Quinchamal\u00ed, Chill\u00e1n" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15537-BIG.jpg", "copyright": "Claudio P\u00e9rez, 2014", "title": "Potter Riola Castro in the process of firing the piece" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15538-BIG.jpg", "copyright": "Claudio P\u00e9rez, 2014", "title": "Potter Victorina Gallegos in the engraving process of the piece" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15539-BIG.jpg", "copyright": "Nayadet Nu\u00f1ez Rodr\u00edguez, 2021", "title": "Pottery family, Olivia Osorio (left), Marcela Rodr\u00edguez and her grandson Mat\u00edas Riffo, transmission of knowledge and practices of pottery, Quinchamal\u00ed, Chill\u00e1n" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15540-BIG.jpg", "copyright": "Constanza Mu\u00f1oz Virgilio, 2017", "title": "Flor Caro and Cecilia Montti at a stand at the Expo Mundo Rural 2017, Fair of the Institute for Agricultural Development. Santiago, Metropolitan Region, Chile" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=5nEmE-TxGCM", "copyright": "Erwin Campos Ram\u00edrez", "title": "Quinchamal\u00ed and Santa Cruz de Cuca pottery" } ], "sustainability": "" } }, "element_1848": { "type": "element", "label": "Portuguese-Galician border ICH: a safeguarding model created by Ponte...nas ondas!", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15913-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15913-HUG.jpg" }, "description": "The Ponte\u2026nas ondas! (PNO!) project aims to safeguard intangible cultural heritage on the Portuguese-Galician border by creating spaces in which the heritage can be practiced and transmitted to younger generations. Initially developed in schools of the municipalities of Salvaterra de Mi\u00f1o (Spain) and Mon\u00e7\u00e3o (Portugal), the project later spread to many other schools and institutions. More recently, this living heritage has been studied and analysed for educational purposes by teachers and researchers from PNO!, with the support of tradition bearers, practitioners and specialists from universities in the region. The PNO! project has allowed young people to get involved in the practice and transmission of their own traditions thanks to the dissemination of cultural heritage in schools, the training of teachers, the presence of bearers and practitioners in classrooms to share their knowledge and experience, and the use of information and communications technology and radio resources to transmit, promote and enhance the shared intangible cultural heritage.", "list": "GSP", "year": 2022, "multinational": true, "link": "https:\/\/ich.unesco.org\/en\/BSP\/portuguese-galician-border-ich-a-safeguarding-model-created-by-pontenas-ondas-01848", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15913-BIG.jpg", "copyright": "Jos\u00e9 Manuel Gon\u00e7alves, 2016", "title": "Galician-Portuguese Traditional Games, 10\u00ba Galician Portuguese Schools Meeting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15914-BIG.jpg", "copyright": "Agust\u00edn Abreu, 2005", "title": "1 Cultural Heritage for the Future, Recording of the videoclip 'Closer' with students from 17 schools from Galicia (Spain) and Portugal on the international bridge between Valen\u00e7a do Minho (Portugal) and Tui (Galicia)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15915-BIG.jpg", "copyright": "Lourdes Carita, 2010", "title": "Living Cultural Heritage, Oral Tradition Research Contest, Awards Ceremony" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15916-BIG.jpg", "copyright": "Elia Veloso \u00c1lvarez, 2017", "title": "Schools in the Waves, Launch of the Web portal 'www.escolasnasondas.com' on World Radio Day 2017 with the rector of the University of Vigo" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15917-BIG.jpg", "copyright": "Elia Veloso \u00c1lvarez, 2009", "title": "15th Ponte\u2026 Nas Ondas! The Cultural Heritage of Living Treasures Conference to publicize the Living Human Treasures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15918-BIG.jpg", "copyright": "Elia Veloso \u00c1lvarez, 2007", "title": "Transmission, Conference celebrated at the University of Vigo broadcast on television by culture-bearers and young people" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15919-BIG.jpg", "copyright": "Elia Veloso \u00c1lvarez, 2005", "title": "In the Waves of Cultural Heritage, Live radio broadcast" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15920-BIG.jpg", "copyright": "Xerardo Feijoo Rapela, 2015", "title": "In the Waves of Cultural Heritage, 9th Meeting of Traditional Games celebrated in the Centro de Est\u00e1gios in Melga\u00e7o (Portugal)" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15921-BIG.jpg", "copyright": "Aine Veloso \u00c1lvarez, 2009", "title": "15th Ponte\u2026 Nas Ondas! The Cultural Heritage of Living Treasures, Conference to publicize Living Human Treasures" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15922-BIG.jpg", "copyright": "M\u00aa Jes\u00fas \u00c1lvarez Paz, 20143", "title": "On the Bridge, Live on the bridge. Radio-visual production with the participation of youth and culture-bearers" } ], "video": [ { "url": "https:\/\/www.youtube.com\/watch?v=cj5kCdVZ9h4", "copyright": "Santiago Veloso Troncoso, 2020", "title": "Portuguese-Galician border ICH: a safeguarding model created by Ponte...nas ondas!" } ], "sustainability": "" } }, "element_1849": { "type": "element", "label": "Al-Mansaf in Jordan, a festive banquet and its social and cultural meanings", "meta": { "icon": { "small": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15387-MED.jpg", "large": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15387-HUG.jpg" }, "description": "Al-Mansaf is a festive dish that is central to Jordan\u2019s socio-cultural events. An important and well-known symbol that evokes a deep sense of identity and social cohesion, it is associated with the agro-pastoral lifestyle in which meat and dairy are readily available. Large chunks of sheep or goat meat are boiled with spices in a yogurt sauce and served with rice or sometimes bulgur over a layer of thin bread. The preparation itself is a social event, with cooks discussing common concerns, telling stories and singing. The layers of bread, rice and meat are arranged on a platter and garnished with fried, desiccated almonds. In northern Jordan, fried bulgur balls filled with minced meat are also placed around the dish. The host\u2019s relatives carry the platters to the reception hall and the guests sit around them, with five to seven people around each platter. Traditionally, the dish is consumed with the right hand while the left is placed behind the back, but today some people use dishes and spoons. Women generally pass down the recipes and related practices (such as milking the goat or sheep) to their daughters and granddaughters. Culinary institutes and universities also contribute to the dish\u2019s transmission.", "list": "RL", "year": 2022, "multinational": false, "link": "https:\/\/ich.unesco.org\/en\/RL\/al-mansaf-in-jordan-a-festive-banquet-and-its-social-and-cultural-meanings-01849", "images": [ { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15382-BIG.jpg", "copyright": "Ministry of Culture, Jordan, 2020", "title": "Al Mansaf is cooked in hotels" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15383-BIG.jpg", "copyright": "Ministry of Culture, Jordan, 2016", "title": "Al Mansaf is served during parliamantary elections" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15384-BIG.jpg", "copyright": "JRTV, Jordan, 20215", "title": "Al Mansaf is served during clan reconcilliation" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15385-BIG.jpg", "copyright": "Ministry of Culture, Jordan, 2020", "title": "Al Mansaf is served during weddings" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15386-BIG.jpg", "copyright": "Ministry of Culture, Jordan, 2020", "title": "Al Mansaf" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15387-BIG.jpg", "copyright": "Ministry of Culture, Jordan, 2020", "title": "Both men and women cook Al Mansaf" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15388-BIG.jpg", "copyright": "Ministry of Culture, Jordan, 2020", "title": "Making Jameed" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15389-BIG.jpg", "copyright": "Ministry of Culture, Jordan, 2020", "title": "PSC meeting" }, { "url": "https:\/\/ich.unesco.org\/img\/photo\/thumb\/15390-BIG.jpg",