
The Committee Takes note that Côte d’Ivoire has nominated Traditional skills of loincloth weaving in Côte d’Ivoire (No. 01949) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity: In Côte d’Ivoire, the traditional skills of loincloth weaving are characterised by the specific weaving techniques and r...
8 December 2023>Kasane
'Ie Samoa, fine mat and its cultural value
ablished 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....
Samoa,First report of the United Arab Emirates on the status of the element ‘Al Sadu, traditional weaving skills in the United Arab Emirates’,The Al Sadu element reflects the response of the Bedouin people to living in a harsh environment with limited natural resources available. The raw materials used in it are sheep’s wool, camel lint, goat hair...
Sustaining Seperu folk dance and associated practices
ocess, 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...
Botswana2023-08-02 - 28-02-2025>
Community-based inventorying to safeguard the intangible cultural heritage in western Guatemala
tions of local ICH elements and record them, such as the ´Torito´s dance´, local culinary traditions, weaving techniques and ceramic production.,Community-based inventorying to safeguard the intangible cultural heritage in western Guatemala,Santa Apolonia, Guatemala,...
5 June 2017 - 9 June 2017>Santa Apolonia, Guatemala
Craftsmanship of traditional woven textile Kente
Both women and men are involved in the production process, with women being in charge primarily of weaving and producing cotton yarn and men producing the loom and other relevant tools. Each community of producers is led by a chief weaver, who is responsible for regulating the standards of production, resolving conflict among weavers, and establis...
Ghanaocess, 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...
Timor-LesteSustaining Seperu folk dance and associated practices
ect involves promotion activities such as a television show, a permanent exhibition, craft fairs and a weaving competition. The homes and workshops of poncho artisans will be given publicity and prominence. The project also entails developing an academic programme for the existing School for the Safeguarding Poncho Para’í de 60 Listas. Training...
Botswana2023-08-02 - 28-02-2025>
Traditional craft skills and arts of Al-Mudhif building
nity plays a part in the creation and maintenance of the space, such as by collecting the reeds and weaving the mats and rugs that are used as mattresses inside the building. The traditional customs and handicraft skills related to constructing Al-Mudhif are transmitted informally through hands-on practice and participation in cultural activities....
Iraqready, 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. Decides that, from the information included...
7 December 2013>Baku