Representative List of the Intangible Cultural Heritage of ...

Representative List of the Intangible CulturalHeritage of Humanity

2009IntangibleCulturalHeritage

United Nations Educational, Scientific and

Cultural Organization

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2009

Representative List of the Intangible CulturalHeritage of Humanity

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UNESCO is proud to launch this much-awaited series of publications devoted to three key

components of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage:

the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, the Representative List

of the Intangible Cultural Heritage of Humanity, and the Register of Good Safeguarding

Practices. The publication of these first three books attests to the fact that the 2003 Convention

has now reached the crucial operational phase.

The successful implementation of this ground-breaking legal instrument remains one of

UNESCO’s priority actions, and one to which I am firmly committed. In 2008, before my election

as Director-General of UNESCO, I had the privilege of chairing one of the sessions of the

Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, in Sofia,

Bulgaria. This enriching experience reinforced my personal convictions regarding the

significance of intangible cultural heritage, its fragility, and the urgent need to safeguard it for

future generations.

Forewordby Irina Bokova, Director-General of UNESCO


It is most encouraging to note that since the adoption of the Convention in 2003, the term

‘intangible cultural heritage’ has become more familiar thanks largely to the efforts of UNESCO

and its partners worldwide. However, much remains to be done. We must continue to send out

clear messages about what constitutes intangible cultural heritage, why it should be

safeguarded, and what actions need to be taken.

The present publication series, along with UNESCO’s intangible heritage website, will serve as our

principal communication tool for informing the widest possible public about all aspects of living

heritage. Moreover, we trust that the numerous examples of intangible cultural heritage

worldwide and the concrete information about community participation and effective

safeguarding practices featured in these pages will incite all those concerned – from government

officials, policy makers, teachers and youth, to NGOs and international organizations – to

appreciate the significance of their own living heritage and that of other cultures. This

heightened awareness should, in turn, spur further safeguarding measures and activities.

The UN General Assembly proclaimed 2010 as the International Year for the Rapprochement of

Cultures. UNESCO’s efforts to safeguard intangible cultural heritage aim to promote “reciprocal

knowledge of cultural, ethnic, linguistic and religious diversity” – one of the four stated

objectives of the Year. Safeguarding intangible cultural heritage directly contributes to

UNESCO’s priority mission to safeguard the world’s cultural diversity.

Safeguarding intangible heritage requires close collaboration with local, regional and

international actors and practitioners of all ages, thus providing an excellent opportunity for

intergenerational as well as intercultural dialogue. The multinational intangible heritage

elements and multinational good safeguarding practices described in these publications

provide good examples of constructive international cooperation.

I am confident that these publications will also encourage more Member States to join the

growing ranks of the States Parties to the Convention for the Safeguarding of the Intangible

Cultural Heritage. More than 120 have ratified the Convention to date. This unique legal

instrument will thus become a truly universal tool and the foremost reference point for

safeguarding our irreplaceable living heritage.


UNESCO

Founded in 1945, the United Nations Educational, Scientific and Cultural Organization (UNESCO),

a specialized agency of the United Nations, has a mandate in international cooperation in the

fields of education, science, culture, and communication. UNESCO functions as a laboratory of

ideas, setting standards to forge universal agreements on emerging issues. The Organization also

serves as a clearing-house for the dissemination and sharing of information and knowledge as it

assists its 193 Member States to build on their human and institutional capacities.

The Culture Sector, as one of the Programme Sectors of UNESCO, has over the years been

involved in the creation of seven international conventions in the field of culture1, for which the

Sector assumes a Secretariat role. The Sector assists Member States in the protection and

promotion of their cultural diversity through the adoption of measures encompassing heritage

protection, rehabilitation and safeguarding, and the development and implementation of

cultural policies and sustainable cultural industries.

The Convention for Intangible Cultural Heritage

The Convention for the Safeguarding of the Intangible Cultural Heritage, adopted during the

2003 General Conference of UNESCO, and which entered into force in 2006, is one of seven

UNESCO Conventions in the field of culture. The Convention has four primary goals:

� To safeguard intangible cultural heritage.

� To ensure respect for the intangible cultural heritage of the communities, groups and

individuals concerned.

� To raise awareness and appreciation of the importance of the intangible cultural heritage at

local, national and international levels.

� To provide for international cooperation and assistance.

The term ‘intangible cultural heritage’ is defined in the Convention as “the practices,

representations, expressions, knowledge and skills – as well as the instruments, objects, artefacts

and cultural spaces, associated therewith – that communities, groups, and in some cases,

individuals recognize as part of their cultural heritage” (Article 2.1). The domains covered by the

Convention include oral expressions and traditions, performing arts, rituals and festive events,

knowledge and practices concerning nature and the universe, and traditional craftsmanship.

Introduction

1. UNESCO’s seven conventions inthe field of culture includes:Protection and Promotion of theDiversity of Cultural Expressions(2005); Safeguarding of theIntangible Cultural Heritage(2003); Protection of theUnderwater Cultural Heritage(2001); Protection of the WorldCultural and Natural Heritage(1972); Prohibiting andPreventing the Illicit Import,Export and Transfer of CulturalProperty (1970); Protection ofCultural Property in the Event ofArmed Conflict (1954); andUniversal Copyright Convention(1952, 1971).


2 Article 2 – DefinitionsFor the purposes of thisConvention,

1. The ‘intangible culturalheritage’ means the practices,representations, expressions,knowledge, skills – as well asthe instruments, objects,artefacts and cultural spacesassociated therewith – thatcommunities, groups and, insome cases, individualsrecognize as part of theircultural heritage. Thisintangible cultural heritage,transmitted from generationto generation, is constantlyrecreated by communities andgroups in response to theirenvironment, their interactionwith nature and their history,and provides them with asense of identity andcontinuity, thus promotingrespect for cultural diversityand human creativity. For thepurposes of this Convention,consideration will be givensolely to such intangiblecultural heritage as iscompatible with existinginternational human rightsinstruments, as well as withthe requirements of mutualrespect among communities,groups and individuals, and ofsustainable development.

2. The ‘intangible culturalheritage’, as defined inparagraph 1 above, ismanifested inter alia in thefollowing domains: (a) oral traditions and

expressions, includinglanguage as a vehicle of theintangible cultural heritage;

(b) performing arts;

(c) social practices, rituals andfestive events;

(d) knowledge and practicesconcerning nature and theuniverse;

(e) traditional craftsmanship.

The 2003 Convention is composed of two statutory organs: the General Assembly of the States

Parties to the Convention, made up of signatory States to the Convention that meet every two

years to provide strategic orientations for the implementation of the Convention; and twenty-

four members of the Intergovernmental Committee for the Safeguarding of the Intangible

Cultural Heritage elected by the General Assembly that meet annually to carry forward the

concrete implementation of the Convention. One of the principal responsibilities of the

Intergovernmental Committee is to inscribe intangible cultural heritage elements on the

Representative List of the Intangible Cultural Heritage of Humanity and the List of Intangible

Cultural Heritage in Need of Urgent Safeguarding, as well as select programmes, projects and

activities that best reflect the principles and objectives of the Convention in order to create a

Register of Good Safeguarding Practices.

Representative List of the Intangible Cultural Heritage of Humanity

The current publication presents the 76 intangible cultural heritage elements inscribed on the

Representative List by the Intergovernmental Committee during its fourth session in Abu Dhabi,

United Arab Emirates, in 2009. The inscription process begins with the completion of

nomination form ICH-02 by States Parties, available for download from the ICH Convention

website (www.unesco.org/culture/ich/en/forms/). Upon completion, States Parties submit the

nomination file(s) to UNESCO for examination by a Subsidiary Body composed of six members

of the Intergovernmental Committee. Examination by the Subsidiary Body includes

recommendations to the Committee that provides guidance on whether or not to inscribe the

nominated elements. In the 2009 cycle of nominations, the Committee acted upon the

recommendations provided by the Subsidiary Body to inscribe those elements receiving

favourable appraisals. The Representative List currently consists of 166 intangible cultural

heritage elements, of which 90 elements were inscribed in 2008 and 76 elements in 2009.

In order to fully comply with the requirements for nomination, submitting States Parties are

requested to demonstrate that the element nominated for inscription on the Representative List

satisfies all five criteria:


Criterion 1 The element constitutes intangible cultural heritage as defined in Article 22 of the

Convention.

Criterion 2 Inscription of the element will contribute to ensuring visibility and awareness of

the significance of the intangible cultural heritage and to encouraging dialogue,

thus reflecting cultural diversity worldwide and testifying to human creativity.

Criterion 3 Safeguarding measures are elaborated that may protect and promote the element.

Criterion 4 The element has been nominated following the widest possible participation of

the community, group or, if applicable, individuals concerned and with their free,

prior and informed consent.

Criterion 5 The element is included in an inventory of the intangible cultural heritage present

in the territory(ies) of the submitting State(s) Party(ies), as defined in Article 113 and

Article 124.

The purpose of the Representative List is to ensure greater visibility of intangible cultural

heritage in general and the nominated elements in particular as representatives of intangible

cultural heritage, as well as to increase awareness of its significance (c.f. Article 16 of the

Convention). Nomination for and inscription on the Representative List should therefore not be

seen as an end in itself but rather as a means to showcase the diversity of intangible heritage

manifestations. The States Parties, communities, groups and individuals concerned, whose

intangible heritage elements are inscribed, are called upon to work as ‘representatives’ of all

intangible cultural heritage in pursuit of the stated purpose of the Representative List.

Every one of the seventy-six elements of intangible cultural heritage illustrated in the present

publication includes a brief description of the element as well as the Committee’s decision to

inscribe based on the five satisfied selection criteria. By reproducing the decisions of the

Committee, the publication intends not only to offer readers insights into the Committee’s

evaluation process but also to highlight the importance of upstream processes in the

preparation of nomination files. The processes begin with community consultation, during

which the communities identify and define their intangible cultural heritage providing their

free, prior and informed consent to nominating their heritage for the List, through to

3. ‘Safeguarding’ means measuresaimed at ensuring the viabilityof the intangible culturalheritage, including theidentification, documentation,research, preservation,protection, promotion,enhancement, transmission,particularly through formal andnon-formal education, as well asthe revitalization of the variousaspects of such heritage.

4. ‘States Parties, means Stateswhich are bound by thisConvention and among whichthis Convention is in force.

5. This Convention appliesmutatis mutandis to theterritories referred to in Article33, which become Parties tothis Convention in accordancewith the conditions set out inthat Article. To that extent theexpression ‘States Parties’ alsorefers to such territories.

3 Article 11 – Role of States PartiesEach State Party shall:

(a) take the necessary measuresto ensure the safeguarding ofthe intangible culturalheritage present in its territory;

(b) among the safeguardingmeasures referred to in Article2, paragraph 3, identify anddefine the various elementsof the intangible culturalheritage present in itsterritory, with theparticipation of communities,groups and relevant non-governmental organizations.

4 Article 12 – Inventories1. To ensure identification with a

view to safeguarding, eachState Party shall draw up, in amanner geared to its ownsituation, one or moreinventories of the intangiblecultural heritage present in itsterritory. These inventoriesshall be regularly updated.

2. When each State Partyperiodically submits its reportto the Committee, inaccordance with Article 29, itshall provide relevantinformation on suchinventories.


systematically ensuring that all aspects of the nomination process are thoroughly thought out

and planned for. The preparation processes create an important opportunity for dialogue

among local communities and national authorities as well as intercultural and interstate

dialogue, as demonstrated by the multinational elements presented.

External visibility and recognition as a result of inscription – whether local, national, or

international – can help communities identify with, and in some cases better appreciate, their

own cultural heritage and thus recognize its importance beyond their own community. This in

turn may encourage greater pride in their heritage and further motivate the community to

transmit the associated knowledge to future generations. However, it is important to remain

attentive to the negative consequences of nomination that may become apparent in

interactions with other communities and countries in the case of increased visibility for some

while making others feel ‘invisible’, which may inadvertently create tension.

While the notion of ‘representativity’ is open to various interpretations, it is imperative to note

that the Convention firmly believes that every element of intangible cultural heritage is equally

important because of its intrinsic values to the concerned communities, and it does not, in any

way, nurture the notion of hierarchy. Moreover, inscription itself does not presume that an

inscribed element has greater cultural importance than one that is not listed. Respect for every

heritage is therefore fundamental to the spirit of the Convention, and UNESCO’s awareness-

raising activities ensure that such mutual respect is fully promoted.

As intangible cultural heritage is a ‘living’ entity, an element that is presently viable and fully ‘alive’

and that relies on people to persevere, the threat of becoming ‘endangered’ with time is a real

and tangible concern. The continued viability of the inscribed elements is evaluated through

the periodic reports that each State Party is required to submit for the elements inscribed on

either the Representative List or the Urgent Safeguarding List. In the event that the Committee

determines that an element inscribed on the Representative List changed its viability and that it

no longer satisfies the selection criteria, the Committee may decide to remove the element in

question from the Representative List. While UNESCO assumes its key role as a catalyst for

international cooperation for safeguarding, the actual safeguarding must inevitably take place at


the local and national level because safeguarding must start and continue with the active

participation of the communities involved.

This publication series by UNESCO is just one of the many efforts to ensure visibility of and raise

awareness about intangible cultural heritage. It will be regularly updated as the number of new

elements inscribed on the Representative List by the Committee continues to grow. More

detailed information, including the actual nomination files, community consents, photographic

and film documentation as well as any updates are all available for consultation on UNESCO’s

intangible cultural heritage website: www.unesco.org/culture/ich/en/lists/.

The wide range of manifestations of intangible cultural heritage, of which we are increasingly

aware thanks in large part to the Convention, bears testimony to the cultural diversity that is

apparent not only among States but also within States. We hope that the variety of intangible

cultural heritage presented in this publication will inspire us to reflect on our own heritage –

heritage that may have become neglected over time but whose knowledge has been

transmitted from generation to generation, and has been playing a pivotal role in our own

society as it quietly shapes and enriches humanity. The rich intangible cultural heritage, ranging

from traditional performing arts to traditional indigenous knowledge of natural resource

management, reveals the important role it has played in society and will continue to play

should it be appropriately safeguarded. It may even offer us insights and understanding on how

to resolve contemporary socio-cultural issues such as food security, conflict resolution,

environmental conservation, healthcare and education.


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61

74

1

71

29

28

Argentina & Uruguay1. Tango

Azerbaijan2. The art of Azerbaijani

Ashiqs

Azerbaijan, India,Islamic Republic ofIran, Kyrgyzstan,Uzbekistan, Pakistan &Turkey

3. Novruz, Nowrouz,Nooruz, Navruz, Nauroz,Nevruz

Belgium4. Procession of the Holy

Blood in Bruges

Bulgaria5. Nestinarstvo, messages

from the past: thePanagyr of SaintsConstantine and Helenain the village of Bulgari

China6. The art of Chinese seal

engraving

7. China engraved blockprinting technique

8. Chinese calligraphy

9. Chinese paper-cut

10. Chinese traditionalarchitecturalcraftsmanship for timber-framed structures

11. The craftsmanship ofNanjing Yunjin brocade

12. The Dragon Boat festival

13. Farmers’ dance of China’sKorean ethnic group

14. Gesar epic tradition

15. Grand song of the Dongethnic group

16. Hua’er

17. Manas

18. The Mazu belief andcustoms

19. Mongolian art of singing:Khoomei

20. Nanyin

21. Regong arts

22. Sericulture and silkcraftsmanship of China

23. Tibetan opera

24. The traditional firingtechnology of Longquanceladon

25. The traditionalhandicrafts of makingXuan paper

26. Xi’an wind andpercussion ensemble

27. Yueju opera

Colombia28. Carnaval de Negros

y Blancos

29. Holy Week processions in Popayán

Croatia30. Annual carnival bell

ringers’ pageant from theKastav area

31. The festivity of SaintBlaise, the patron ofDubrovnik

32. Lacemaking in Croatia

33. Procession Za Krizen(‘following the cross’) on the island of Hvar

34. Spring procession ofLjelje/Kraljice (queens)from Gorjani

35. Traditional manufacturingof children’s wooden toysin Hrvatsko Zagorje

36. Two-part singing andplaying in the Istrian scale

Cyprus37. Lefkara laces or Lefkaritika

Estonia38. Seto Leelo, Seto

polyphonic singingtradition

France39. Aubusson tapestry

40. Maloya

41. The scribing tradition inFrench timber framing

Hungary42. Busó festivities at Mohács:

masked end-of-wintercarnival custom

India43. Ramman: religious festival

and ritual theatre of theGarhwal Himalayas, India

Indonesia44. Indonesian Batik

Islamic Republic of Iran45. The Radif of Iranian music

Japan46. Akiu no Taue Odori

47. Chakkirako

48. Daimokutate

49. Dainichido Bugaku

50. Gagaku

51. Hayachine Kagura

52. Hitachi Furyumono

53. Koshikijima no Toshidon

54. Ojiya-chijimi, Echigo-jofu:techniques of makingramie fabric in Uonumaregion, Niigata Prefecture

55. Oku-noto no Aenokoto

56. Sekishu-Banshi:papermaking in theIwami region of ShimanePrefecture

57. Traditional Ainu dance

58. Yamahoko, the floatceremony of the KyotoGion festival

Intangible Cultural Heritage of Humanity 2009


63

75

60

32

43

72

76

441

37

38

5

59

7370

69

4525

8

12

11

9

7

6

10

2426

2322

27

21

20

13

14

18

15

19

17

16

39

40

44

30

31

42

33

34

3536

4850

49

46

47

54

53

52

51

56

57

58

55

66

64

65

6867

3

2

Uruguay74. El candombe y su espacio

sociocultural: unapráctica comunitaria

Uzbekistán75. El katta ashula

Viet Nam76. Los cantos populares

quan ho de Băc Ninh

Mali59. The Manden Charter,

proclaimed in KurukanFuga

60. The septennial re-roofingceremony of theKamablon, sacred houseof Kangaba

Mexico61. Places of memory and

living traditions of theOtomí-Chichimecaspeople of Tolimán: thePeña de Bernal, guardianof a sacred territory

62. Ritual ceremony of theVoladores

Nigeria63. Ijele masquerade

Republic of Korea64. Cheoyongmu

65. Ganggangsullae

66. Jeju ChilmeoridangYeongdeunggut

67. Namsadang Nori

68. Yeongsanjae

Romania69. Doina

Spain70. Irrigators’ tribunals of the

Spanish Mediterraneancoast: the Council of WiseMen of the plain ofMurcia and the WaterTribunal of the plain ofValencia

71. Whistled language of the island of La Gomera(Canary Islands), the SilboGomero

Turkey72. Âşıklık (minstrelsy)

tradition

73. Karagöz

Uruguay74. The Candombe and its

socio-cultural space: a community practice

Uzbekistan75. Katta Ashula

Viet Nam76. Quan Ho Băc Ninh

folk songs


2009

Intangible Heritage of HumanityRepresentative List of the IntangibleCultural Heritage of Humanity

At its fourth session in Abu Dhabi, United Arab Emirates, in 2009, the IntergovernmentalCommittee for the Safeguarding of the Intangible Cultural Heritage inscribed 76elements on the Representative List of the Intangible Cultural Heritage of Humanity.

The Representative List, established under Article 16 of the Convention, aims at ensuringbetter visibility of the intangible cultural heritage and raising awareness of its importancewhile encouraging dialogue that respects cultural diversity.


1

The Argentinean and Uruguayan tradition of theTango, now familiar around the world, wasdeveloped by the urban lower classes in BuenosAires and Montevideo in the Río de la Plata basin.Among this mix of European immigrants to theregion, descendents of African slaves and thenatives of the region known as criollos, a widerange of customs, beliefs and rituals weremerged and transformed into a distinctivecultural identity. As one of the most recognizableembodiments of that identity, the music, danceand poetry of tango both embodies andencourages diversity and cultural dialogue. It ispractised in the traditional dance halls of BuenosAires and Montevideo, spreading the spirit of itscommunity across the globe even as it adapts tonew environments and changing times. Thatcommunity today includes musicians,professional and amateur dancers,choreographers, composers, songwriters,teachers of the art and the national livingtreasures who embody the culture of tango.Tango is also incorporated into celebrations ofnational heritage in Argentina and Uruguay,reflecting the widespread embrace of thispopular urban music.

Tango

Argentina

Uruguay


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedTango on the Representative List as the nomination file satisfied all the selection criteria, as follows:

The Tango is a musical genre that includes dance, music, poetry andsinging, and is considered one of the main manifestations of identity forthe inhabitants of the Río de la Plata region.

Inscription of the element on the Representative List would contribute tovisibility of intangible cultural heritage and a deeper understanding of theTango as a regional expression resulting from the fusion of several cultures.

The two nominating States have presented a number of joint andindividual safeguarding measures for the element by which thecommunities and the authorities commit to the creation of specializedtraining and documentation centres, as well as the establishment of anorchestra, museums and preservation trusts.

The nomination of the element benefitted from the continuousparticipation of the Uruguayan and Argentinean communities throughmeetings, seminars, interviews and workshops, and communityrepresentatives have signed documents to mark their free, prior andinformed consent.

The element is included in the inventories of intangible cultural heritagethat are being elaborated in Uruguay and Argentina.

Definition ofintangible culturalheritage

Contributiontowards visibility ofintangible culturalheritage

Safeguardingmeasures

Communityparticipation

Inventory


2

The art of Azerbaijani Ashiqs combines poetry,storytelling, dance and vocal and instrumentalmusic into a traditional performance art thatstands as a symbol of Azerbaijani culture.Characterized by the accompaniment of the saz, astringed musical instrument, the classicalrepertoire includes 200 songs, 150 literary-musicalcompositions known as dastans, nearly 2,000poems in different traditional poetic forms andnumerous stories. The regional variations mayinclude other musical instruments, but all areunited by a common national language andartistic history. Ashiqs take part in weddings,

friendly parties and festive events throughout theCaucasus and appear on concert stages, radio andtelevision, sometimes synthesizing classicalmelodies with contemporary ones as theycontinue to recreate their repertoire. Their art isconsidered an emblem of national identity and theguardian of Azerbaijani language, literature andmusic. Even as Ashiqs represent the consciousnessof a people, they also help to promote culturalexchange and dialogue: Kurds, Lezhins, Talishes,Tats and other ethnic groups living in the countryoften perform the Ashiqs’ art, and their poems andsongs have spread across the region.

The art of AzerbaijaniAshiqs

Azerbaijan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedthe art of Azerbaijani Ashiqs on the Representative List as the nomination file satisfied all theselection criteria, as follows:

The art of Azerbaijani Ashiqs is recognized as a symbol of national culturalidentity that embodies various artistic spheres practised by poets,composers, singers or actor-narrators, thus uniting in one artisticexpression the communities of the entire country.

Inscription of the element on the Representative List would contribute toincreasing the visibility of intangible cultural heritage at the local, nationaland international levels, stimulating in particular interest among youth,and strengthening dialogue, cooperation and respect among severalcommunities in Azerbaijan and neighbouring countries.

A set of safeguarding measures have been proposed with thecommitments of the State, tradition bearers, public organizations, NGOs, aswell as educational and academic institutions to strengthen the element’stransmission to future generations.

The element has been nominated with wide participation at all stages ofthe file’s preparation by the community of practitioners, institutes andorganizations that have given their free, prior and informed consentcollectively in writing and during the fifth congress of Azerbaijani Ashiqs.

The element is included in the 2003 list of the intangible cultural heritageof Azerbaijan and is also being included in a national inventory beingprepared by the Ministry of Culture.





Inventory


3

Novruz, Nowrouz, Nooruz, Navruz, Nauroz orNevruz marks the New Year and the beginning ofspring across a vast geographical area covering,inter alia, Azerbaijan, India, Islamic Republic ofIran, Kyrgyzstan, Pakistan, Turkey and Uzbekistan.It is celebrated on 21 March every year, a dateoriginally determined by astronomicalcalculations. Novruz is associated with variouslocal traditions, such as the evocation of Jamshid,a mythological king of Iran, and numerous talesand legends. The rites that accompany thefestivity vary from place to place, ranging fromleaping over fires and streams in Iran to tightropewalking, leaving lit candles at house doors,

traditional games such as horse racing or thetraditional wrestling practised in Kyrgyzstan.Songs and dances are common to almost all theregions, as are semi-sacred family or publicmeals. Children are the primary beneficiaries ofthe festivities and take part in a number ofactivities, such as decorating hard-boiled eggs.Women play a key role in organizing Novruz andpassing on its traditions. Novruz promotes thevalues of peace and solidarity betweengenerations and within families, as well asreconciliation and neighbourliness, thuscontributing to cultural diversity and friendshipamong peoples and various communities.

Novruz, Nowrouz, Nooruz,Navruz, Nauroz, Nevruz

Azerbaijan

India

Islamic Republic

of Iran

Kyrgyzstan

Uzbekistan

Pakistan

Turkey


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedNovruz, Nowrouz, Nooruz, Navruz, Nauroz, Nevruz on the Representative List as the nomination filesatisfied all the selection criteria, as follows:

The element is a celebration consisting of various customs practisedwithin the family and the entire community, including traditional games,culinary traditions, music, dance, oral expressions and crafts, and forms afundamental part of the cultural identity of the communities concerned.

The inscription of the element on the Representative List wouldencourage inter- and intracultural dialogue and mutual respect amongcultures, while strengthening the transmission of the element to futuregenerations.

A number of safeguarding measures aim, with the commitment of thecommunities and States, at strengthening cooperation betweenauthorities, NGOs and local communities, the establishment of a regionalnetwork, the creation of community teaching centres in the field of thecrafts and other related arts, and the realization of inventories.

The nomination has been greeted with the enthusiastic support of localcommunities, cultural groups, academic institutions, practitioners andindividuals concerned with the safeguarding of the element, and theirconsent has been obtained for the elaboration of the nomination.

The element is included variously on inventories according to the situationof each of the nominating States.





Inventory


4

Each spring, 30,000 to 45,000 spectators gatherin the heart of the Belgian city of Bruges towatch the Procession of the Holy Blood onAscension Day, forty days after Easter. Thecolourful pageant dates back to the thirteenthcentury, when a citizen of Bruges is said to havebrought the Relic of the Holy Blood of JesusChrist back from the Second Crusade. Led by thethirty city notables of the Brotherhood of theHoly Blood and accompanied by brass bands,more than 1,700 citizens on foot, in carts or onhorseback perform stories from the OldTestament, the life of Jesus and the history ofBruges. Then, various civic groups venerate the

relic and the procession concludes with a prayerceremony, performed in several languages toaccommodate the international audience. Forcenturies, the ceremony has played an importantrole in expressing the identity of Bruges’sinhabitants and in facilitating encounters withpeople from outside the city. Participants are arepresentative cross-section of ages, families andcommunities. Some inhabitants haveparticipated for forty or fifty years, and émigrésoften return for ‘Bruges’s Finest Day’. TheProcession is a vibrant example of how acollective ceremony can unite a city throughritual enactment of its history and beliefs.

Procession of the HolyBlood in Bruges

BelgiumBelgium


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedProcession of the Holy Blood in Bruges on the Representative List as the nomination file satisfied allthe selection criteria, as follows:

The Procession of the Holy Blood is a ritual and social event of the city ofBruges that has maintained continuity over time and that functions for thecitizens as a valued connection to their history and source of their identity,creating pride and reinforcing bonds among the community.

Inscription of the procession on the Representative List would strengthenthe community’s link to its history and its future, and help raise awarenessof the importance of intangible cultural heritage as an expression ofhuman creativity and cultural diversity.

The community and local authorities have identified safeguardingmeasures that include organizing public events, sensitizing youth andpromoting the element, while monitoring and evaluating the effects ofinscription on the Representative List.

The involvement of various community bodies and representatives in thenomination demonstrates their commitment to the safeguarding of thiselement as an essential part of their cultural identity, and their free, priorand informed consent has been shown through written concurrence.

The element is included in an inventory that is maintained by the Arts andHeritage Agency of the Flemish Community.





Inventory


5

The Nestinarstvo fire-dancing rite is the climaxof the annual Panagyr ritual on the feast days ofSaints Constantine and Helena (3 and 4 June) inthe village of Bulgari, in the Mount Strandzharegion of south-east Bulgaria. The ritual is held toensure the well-being and fertility of the village.In the morning, consecrated and ceremonialrituals are solemnized and a procession with thesacred icons representing the two Saints travelsoutside the village to a spring with holy water,accompanied by drum and bagpipes. At thespring, holy water and candles are handed outto everyone present for good health. The festival

culminates in a fire-dance in the evening as thehighest form of veneration of the Saints. Peoplesilently form a circle around the burning embersled by the sacred drum, and the Nestinari, whoare spiritual and physical leaders through whomthe saints express their will, begin entering thecircle and treading the embers. Formerlycelebrated in some thirty nearby Bulgarian andGreek villages, Nestinarstvo remains today inBulgari, a village of only a hundred persons.During the Panagyr, however, thousands crowdthe village, including in recent years manyGreeks who join the ritual.

Nestinarstvo, messagesfrom the past: the Panagyr of Saints Constantine and Helena in thevillage of Bulgari

Bulgaria


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedNestinarstvo, messages from the past: the Panagyr of Saints Constantine and Helena in the village ofBulgari on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Nestinarstvo and Panagyr are a vital expression of the identity of thepeople of the Mount Strandzha region in south-east Bulgaria,encompassing ritual, music, dance, foodways and clothing.

Inscription of the element on the Representative List would contribute toensuring visibility and respect for intangible cultural heritage, particularlyin drawing attention to this ritual’s important role in reuniting Bulgariansand Greeks of Strandzha origin.

The local community’s efforts to ensure viability of the element have beensupported by national and local governmental bodies, especially throughdocumentation and awareness-raising.

The local community in the village of Bulgari has given its free, prior andinformed consent to the nomination.

Nestinarstvo is included in the Bulgarian National Register of IntangibleCultural Heritage and was inscribed in 2008 on the Bulgarian NationalRepresentative List of the Intangible Cultural Heritage.





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The art of seal engraving is a cornerstone ofChinese fine arts. The seal was originally used asa signature or sign of authority, but it came tobe used by all social classes and in much of Asia.The Seal Engravers’ Society of Xiling in ZhejiangProvince, central China, which was founded acentury ago, preserves the art of seal engravingalong with approximately a hundred otherspecialized institutions. The design is firstsketched on paper, and then engraved on stone,in reverse, with a knife. In addition to mastery oftraditional calligraphy, the art of engravingrequires a high degree of virtuosity, since the

artist works on a tiny surface area where everycurve, every thickness of line counts. The verydiverse motifs are the fruit of the artist’simagination and culture. As an instrument ofcalligraphy and painting, the seal is a work of artin itself. It expresses an entire culture’s ideasabout humankind and nature. Today, sealscontinue to be used in official documents andprivate correspondence. Even though thoseunderstanding the complex characters are everfewer, the art of seal engraving is still practisedby both professionals and amateurs.

The art of Chinese sealengraving

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedthe art of Chinese seal engraving on the Representative List as the nomination file satisfied all theselection criteria, as follows:

The art of Chinese seal engraving gives its practitioners a sense of identityand is transmitted from generation to generation, through both formaleducation and apprenticeship.

Inscription of the element on the Representative List would contribute tothe worldwide visibility of intangible cultural heritage and promoterespect for cultural diversity and creativity.

Numerous and diverse present and future measures are elaborated tosafeguard the element, including education, documentation and researchactivities.

The involvement of the communities in the nomination process isdemonstrated through letters of consent, participation in preparatorymeetings and editing of the nomination file.

The element is inscribed on the National List of Intangible CulturalHeritage administered by the Department of Intangible Cultural Heritageof the Ministry of Culture.





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The traditional China engraved block printingtechnique requires the collaboration of half adozen craftspeople possessed of printingexpertise, dexterity and team spirit. The blocksthemselves, made from the fine-grained woodof pear or jujube trees, are cut to a thickness oftwo centimetres and polished with sandpaperto prepare them for engraving. Drafts of thedesired images are brushed onto extremely thinpaper and scrutinized for errors before they aretransferred onto blocks. The inked designsprovide a guide for the artisan who cuts thepicture or design into the wood, producing

raised characters that will eventually apply ink topaper. First, though, the blocks are tested withred and then blue ink and corrections are madeto the carving. Finally, when the block is ready tobe used, it is covered with ink and pressed byhand onto paper to print the final image. Blockengraving may be used to print books in avariety of traditional styles, to create modernbooks with conventional binding, or toreproduce ancient Chinese books. A number ofprinting workshops continue this handicrafttoday thanks to the knowledge and skills of theexpert artisans.

China engraved blockprinting technique

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedChina engraved block printing technique on the Representative List as the nomination file satisfiedall the selection criteria, as follows:

The element is transmitted from generation to generation through atraditional master-apprentice system and gives its practitioners a sense ofidentity and continuity.

Inscription of the element on the Representative List would contribute,through celebrating creativity and diversity, to the visibility of intangiblecultural heritage at the local, national and international levels.

Proposed safeguarding measures include research, awareness-raising,supporting the recognized masters and facilitating inter-generationaltransmission.

Three relevant organizations of practitioners were widely involved in theprocess of nomination and gave their free, prior and informed consent.






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Chinese calligraphy has always been more thansimply a tool for communication, incorporatingas it does the element of artistry for which thepractice is still valued in an age of ballpoint pensand computers. Indeed, calligraphy is no longerthe basic tool of intellectuals and officials but hasbecome the preserve of professional artisans andamateur enthusiasts. Whether they are recordinginformation or simply creating beautiful forms,calligraphers’ brushes are used to ink fivedifferent styles of script, known as ‘seal’, ‘official’,‘cursive’, ‘running’ and ‘regular’. The art may appearon any writing surface – even the rocky walls ofcliffs – 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 taughtat school. Many ceremonies that mark nationalcelebrations and religious rituals incorporate thepractice, and calligraphy has itself provedinfluential on modern art, architecture anddesign. In its distinctive Chinese form, calligraphyoffers an important channel for the appreciationof traditional culture and for arts education. It isalso a source of pride and pleasure for theChinese people and embodies importantaspects of the country’s intellectual and artisticheritage.

Chinese calligraphy

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedChinese calligraphy on the Representative List as the nomination file satisfied all the selection criteria,as follows:

The art of Chinese calligraphy is recognized by its practitioners as a symbolof their identity and is passed on from generation to generation.

Inscription of the element on the Representative List would contribute tothe visibility of intangible cultural heritage and promote respect forcultural diversity and creativity, expressed in the richness of the symbolsused in Chinese calligraphy.

Various safeguarding measures have already been implemented and arange of measures are proposed, including educational, promotional andresearch activities.

The practitioners of calligraphy participated in the nomination processthrough joint meetings of the two main practitioner associations.






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Present throughout China and in various ethnicgroups, paper-cut is a popular art integral toeveryday lives. A predominantly female pursuit,it is transmitted from mother to daughter over along period of time, beginning in childhood,and is particularly common in rural areas. Itearns the most skilful artists respect andadmiration. Many techniques are used: thepaper can be cut or engraved with a chisel,coloured or left blank. Increasingly, moderntechnologies are used. Motifs, which vary greatlyand are often devised by the artist, depend on

the region of origin (for example, in southernChina fine and delicate motifs predominate) andthe purpose of the product, which might beused for interior decor (windows, beds andceilings), festivities (weddings, birthdays andceremonies), or prayers (invoking the rain,warding off the devil, and so on). As a key part ofChinese social life in all ethnic groups, paper-cutexpresses the moral principles, philosophies andaesthetic ideals of its exponents. It continues toprovide an outlet for emotion and isexperiencing an unprecedented revival.

Chinese paper-cutChina


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedChinese paper-cut on the Representative List as the nomination file satisfied all the selection criteria,as follows:

Chinese paper-cut is constantly recreated and passed on from generationto generation, providing the Chinese people with a sense of identity andcontinuity.

Inscription of the element on the Representative List would contribute tothe visibility of intangible cultural heritage at the local, national andinternational levels and promote respect for cultural diversity and creativityexpressed in the variety of cuts, styles, sizes and figures.

The nomination describes well the current, recent and intended efforts toensure the viability of the element.

The nomination describes wide participation of the communitiesconcerned and demonstrates their free, prior and informed consent.

A large number of local manifestations of the element are inscribed on theNational List of Intangible Cultural Heritage administered by theDepartment of Intangible Cultural Heritage of the Ministry of Culture.





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Standing as distinctive symbols of Chinesearchitectural culture, timber-framed structuresare found throughout the country. The woodencomponents such as the columns, beams,purlins, lintel and bracket sets are connected bytenon joints in a flexible, earthquake-resistantway. The surprisingly strong frames can beinstalled quickly at the building site byassembling components manufactured inadvanced. In addition to this structuralcarpentry, the architectural craft alsoencompasses decorative woodworking, tileroofing, stonework, decorative painting andother arts passed down from masters toapprentices through verbal and practicalinstruction. Each phase of the construction

procedure demonstrates its unique andsystematic methods and skills. Employed todaymainly in the construction of structures in thetraditional style and in restoring ancient timber-framed buildings, Chinese traditionalarchitectural craftsmanship for timber-framedstructures embodies a heritage of wisdom andcraftsmanship and reflects an inheritedunderstanding of nature and interpersonalrelationships in traditional Chinese society. Forthe carpenters and artisans who preserve thisarchitectural style, and for the people who havelived in and among the spaces defined by it forgenerations, it has become a central visualcomponent of Chinese identity and animportant representative of Asian architecture.

Chinese traditionalarchitecturalcraftsmanship for timber-framed structures

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedChinese traditional architectural craftsmanship for timber-framed structures on the RepresentativeList as the nomination file satisfied all the selection criteria, as follows:

Chinese traditional architectural craftsmanship for timber-framedstructures has a long history of being transmitted from generation togeneration by a large community of practitioners throughout China, whorecognize it as their cultural identity.

Inscription of the element on the Representative List would contribute toenhancing the continuation of the architectural craftsmanship, increasingthe visibility of intangible cultural heritage and promoting cultural diversityand human creativity as well as intercultural dialogue.

The governmental and non-governmental sectors have carried out severalsafeguarding measures such as recording and publishing, and futuresafeguarding measures, including promotion, research and support tocraftspeople are proposed.

The element was nominated through consultation and cooperation withthe bearers of the craftsmanship, bodies concerned with its safeguardingand research institutions, and submitted with consent letters of the bearersand institutes concerned.

The diverse components of the element are inscribed on the National Listof Intangible Cultural Heritage administered by the Department ofIntangible Cultural Heritage of the Ministry of Culture.





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In the Chinese tradition of weaving NanjingYunjin brocade, two craftspeople operate theupper and lower parts of a large, complicatedloom to produce textiles incorporating finematerials such as silk, gold and peacock featheryarn. The technique was once used to produceroyal garments such as the dragon robe andcrown costume; today, it is still used to makehigh-end attire and souvenirs. Preservedprimarily in Jiangsu province in eastern China,the method comprises more than a hundredprocedures, including manufacturing looms,drafting patterns, the creation of jacquard cardsfor programming weaving patterns, dressing theloom and the many stages of weaving itself. Asthey ‘pass the warp’ and ‘split the weft’, theweavers sing mnemonic ballads that remindthem of the techniques they employ thatenhance the cooperative, artistic atmosphere atthe loom. The workers view their craft as part ofa historical mission since, in addition to creatingfabrics for contemporary use, Yunjin is used toreplicate ancient silk fabrics for researchers andmuseums. Named for the cloud-like splendourof the fabrics, Yunjin remains popularthroughout the country.

The craftsmanship ofNanjing Yunjin brocade

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedthe craftsmanship of Nanjing Yunjin brocade on the Representative List as the nomination filesatisfied all the selection criteria, as follows:

The craftsmanship of Nanjing Yunjin brocade has a long historyrepresenting a unique Chinese culture, is recognized by its practitioners astheir intangible cultural heritage, and provides them with a sense ofidentity.

Inscription on the Representative List would encourage young people tolearn the craftsmanship, promote cultural diversity, human creativity andintercultural dialogue as well as sustainable development of the workers’community, and raise awareness about the importance of the intangiblecultural heritage at the local, national and international levels.

Various current, recent and proposed safeguarding measures such asactivities for stimulating recognition, research and transmission of theelement are described in a clear and precise manner.

The nomination was prepared by several institutions concerned as well asskill holders and craft workers who demonstrated their free, prior andinformed consent.






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Beginning on the fifth day of the fifth lunarmonth, people of several ethnic groupsthroughout China and the world celebrate theDragon Boat festival, especially in the middleand lower reaches of the Yangtze River. Thefestivities vary from region to region, but theyusually share several features. A memorialceremony offering sacrifices to a local hero iscombined with sporting events such as dragonraces, dragon boating and willow shooting;feasts of rice dumplings, eggs and ruby sulphurwine; and folk entertainments including opera,song and unicorn dances. The hero who iscelebrated varies by region: the romantic poetQu Yuan is venerated in Hubei and HunanProvinces, Wu Zixu (an old man said to havedied while slaying a dragon in GuizhouProvince) in South China, and Yan Hongwo inYunnan Province among the Dai community.Participants also ward off evil during the festivalby bathing in flower-scented water, wearingfive-colour silk, hanging plants such as moxa

and calamus over their doors, and pasting papercut-outs onto their windows. The Dragon Boatfestival strengthens bonds within families andestablishes a harmonious relationship betweenhumanity and nature. It also encourages theexpression of imagination and creativity,contributing to a vivid sense of cultural identity.

The Dragon Boat festivalChina


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedthe Dragon Boat festival on the Representative List as the nomination file satisfied all the selectioncriteria, as follows:

The Dragon Boat festival, comprising ceremonies, dances, performances,games, and the preparation of food and beverages, is carried out in anatmosphere of harmony that strengthens social cohesion, and is regardedand transmitted by the community from generation to generation as partof its cultural identity.

The inscription of the element on the Representative List would contributeto the visibility of intangible cultural heritage at the local, national andinternational levels, promoting dialogue and respect among cultures byoffering an example of hospitality that consolidates affection amongpeople.

The nomination includes a set of existing and proposed safeguardingmeasures to be carried out by committed groups, communities and officialState bodies encompassing documentation, educational activities,promotion and support to poetry associations and boat builders.

The festival was nominated with the involvement of communities, groupsand the local government of the city of Xukou, and consent has beengiven on behalf of the communities concerned.






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Gathering in fields or villages during communityfestivals, members of the Korean ethnic group inJilin and other provinces in north-eastern Chinaoffer a traditional sacrifice to the God of theLand to pay homage to nature and pray forgood fortune and a plentiful harvest. This is thebeginning of the Farmers’ dance of China’sKorean ethnic group, a popular folk practicepassed on by senior members of a communityto younger generations. Musicians play oboe-like suona, bell-shaped gongs and a variety ofdrums, while masked or unmasked dancersmove farcically to the accompaniment. Thedance is inspired by the motions of farming,which it imitates through gestures such as‘walking the field ridges’. Spreading from itsagricultural origins to Korean people of all walksof life in both urban and rural areas, the dancehas evolved considerably since it was brought toChina at the end of the nineteenth century. Forexample, the musical ensemble has beenexpanded to include wind instruments, and thedancers’ costumes have been influenced by theclothes of other Chinese ethnic groups. As theproduct of accumulated labour and wisdom, theFarmers’ dance remains an important expressionof the cultural heritage of China’s Korean ethnicgroup.

Farmers’ dance of China’sKorean ethnic group

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedFarmers’ dance of China’s Korean ethnic group on the Representative List as the nomination filesatisfied all the selection criteria, as follows:

The Farmers’ dance of China’s Korean ethnic group has been transmittedfrom generation to generation, reflecting its community’s interactions withnature and history and symbolizing its cultural identity.

Inscription of the element on the Representative List would contribute toensuring visibility of intangible cultural heritage and encouragingcooperation and dialogue between regions and nations.

The current, recent and intended efforts to ensure the viability of theelement are described, and the will and commitment of the concernedparties to safeguard the element are demonstrated.

The nomination was prepared with the free, prior and informed consent ofthe main bearers of the element.






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The ethnic Tibetan, Mongolian and Tucommunities in western and northern Chinashare the story of the ancient hero King Gesar,sent to heaven to vanquish monsters, deposethe powerful, and aid the weak while unifyingdisparate tribes. The singers and storytellers whopreserve the Gesar epic tradition performepisodes of the vast oral narrative (known as‘beads on a string’) in alternating passages ofprose and verse with numerous regionaldifferences. Tibetan masters carry bronze mirrorsand use facial expressions, sound effects andgestures to enhance their singing, whileMongolian performers are accompanied byfiddles and intersperse improvised, melodicsinging with musical storytelling and oral

narrative. Epic performances, oftenaccompanied by rituals such as offerings andmeditation, are embedded in the religious anddaily lives of the community. For example, whena child is born, passages about King Gesar’sdescent into the world are sung. The hundredsof myths, folktales, ballads and proverbs handeddown as part of the tradition not only serve as aform of major entertainment in ruralcommunities but also educate listeners inhistory, religion, custom, morality and science. Acontinuing inspiration for thangka painting,Tibetan opera and other art forms, the Gesarepic imbues audiences both young and old witha sense of cultural identity and historicalcontinuity.

Gesar epic traditionChina


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedGesar epic tradition on the Representative List as the nomination file satisfied all the selection criteria,as follows:

Transmission of the Gesar epic from generation to generation is clearlydescribed and the element gives a sense of identity and continuity to theseveral ethnic communities concerned.

Inscription of the Gesar epic tradition on the Representative List wouldcontribute to the visibility of intangible cultural heritage and promoterespect for cultural diversity and human creativity.

The safeguarding measures described in the nomination include effortsfocused on research and transmission while strengthening the culturalspace in which the epic is learned and performed.

The communities concerned were involved in the nomination process andgave their consent in a free, prior and informed manner.






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A popular saying among the Dong people inGuizhou Province in southern China has it that‘rice nourishes the body and songs nourish thesoul’. Their tradition of passing on culture andknowledge in music is exemplified in the GrandSong of the Dong ethnic group, multi-part singingperformed without instrumental accompanimentor a leader. The repertoire includes a range ofgenres such as ballads, children’s songs, songs ofgreeting and imitative songs that test performers’virtuosity at mimicking the sounds of animals.Taught by masters to choirs of disciples, GrandSongs are performed formally in the drum-tower,the landmark venue for rituals, entertainment and

meetings in a Dong village, or morespontaneously in homes or public places. Theyconstitute a Dong encyclopaedia, narrating thepeople’s history, extolling their belief in the unityof humans and nature, preserving scientificknowledge, expressing feelings of romantic love,and promoting moral values such as respect forone’s elders and neighbours. Grand Song isperformed widely today, with each villageboasting various choirs divided by age andsometimes gender. In addition to disseminatingtheir lifestyle and wisdom, it remains a crucialsymbol of Dong ethnic identity and culturalheritage.

Grand song of the Dongethnic group

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedGrand song of the Dong ethnic group on the Representative List as the nomination file satisfied allthe selection criteria, as follows:

The Grand song of the Dong ethnic group in China is an a capella songtradition that brings together children, women and men, who consider it asymbol of their identity and continuity.

Inscription of the element on the Representative List would help ensurethe visibility of intangible cultural heritage and encourage culturaldiversity, while promoting aesthetic and social values of friendship andpeace.

The nomination proposes important safeguarding measures to ensure theviability of the element to which the State, the communities and civilsociety are committed, notably through the establishment of choirs,identification of outstanding singers, and sociological and anthropologicalresearch.

The element has been nominated through a process that has involved atall stages the communities, universities, research centres and relevantorganizations, while practitioners and community representatives havesigned letters of approval testifying to their free, prior and informedconsent.






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In Gansu and Qinghai Provinces and throughoutnorth-central China, people of nine differentethnic groups share a music tradition known asHua’er. The music is drawn from an extensivetraditional repertoire named after ethnicities,towns or flowers (‘Tu People’s ling’, ‘White Peonyling’), and lyrics are improvised in keeping withcertain rules – for example, verses have three,four, five or six lines, each made up of sevensyllables. Songs may tell of young love, the hardwork and weariness of the farming life, thefoibles of men and women or the joy of singing.The songs are also a vivid oral record of recentsocial developments in China as singerscomment on the changes they observe aroundthem. Hua’er singers may have little schooling,but the most successful and widely respectedsingers today have become household names,performing widely and even creating their owninstitutes to pass on their art to apprentices.Whether it is being sung spontaneously by ruralpeople working in the field or travelling, orperformed more formally at one of more than ahundred traditional Hua’er festivals held annuallyin these provinces, Hua’er is an importantvehicle for expressing personal feelings in asocial setting and cultural exchange acrossethnicities, as well as a popular ruralentertainment.

Hua’er

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedHua’er on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Hua’er is an important artistic form recognized by the communities thatpractise it as part of their identity and as a tool to express their thoughtsand feelings. it is transmitted from one generation to the next as animportant form of cultural exchange and emotional communication.

Inscription of the element on the Representative List would increasevisibility and contribute to a better understanding of the cultural value ofthis type of heritage worldwide, while increasing the pride, creativity andenthusiasm of the singers and tradition bearers.

Local and national government bodies, as well as individuals from thecommunity, propose safeguarding measures designed to reinforce anddevelop recent and current efforts to which the State and the communityare committed in order to ensure the element’s viability.

The support of the State for the nomination is complemented by theconsent of the communities and practitioners.






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The Kirgiz ethnic minority in China,concentrated in the Xinjiang region in the west,pride themselves on their descent from the heroManas, whose life and progeny are celebrated inone of the best-known elements of their oraltradition: the Manas epic. Traditionally sung by aManaschi without musical accompaniment, epicperformances takes place at social gatherings,community celebrations, ceremonies such asweddings and funerals, and dedicated concerts.Regional variations abound, but all arecharacterized by pithy lyrics with phrases thatnow permeate the everyday language of thepeople, melodies adapted to the story and

characters, and lively parables. The long epicrecords all the major historic events of greatestimportance for the Kirgiz people and crystallizestheir traditions and beliefs. The Kirgiz in Chinaand the neighbouring Central Asian countries ofKyrgyzstan, Kazakhstan and Tajikistan regard theManas as a key symbol of their cultural identityand the most important cultural form for publicentertainment, the preservation of history, thetransmission of knowledge to the young andthe summoning of good fortune. One of the‘three major epics of China’, it is both anoutstanding artistic creation and an oralencyclopaedia of the Kirgiz people.

ManasChina


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedManas on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Manas is a major epic representative of the traditions and historicalrichness of the Kirgiz community of China, which recognize and transmit itas a key symbol of their cultural identity.

Inscription of the element on the Representative List would give greatervisibility to intangible cultural heritage, encourage cultural dialogue acrossChina and beyond in neighbouring pastoralist communities, and give animpetus to the safeguarding and transmission of the practice.

The nomination proposes important measures that commit local andnational authorities, as well as civil society and the bearers to safeguard theManas tradition, notably through the establishment of safeguardingagencies in the communities where it is practised.

The element has been nominated in a process that has involvedcommunities, groups and practitioners while respecting the tradition’sabundant customary practices, and their free, prior and informed consenthas been certified by relevant agencies.






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As the most influential goddess of the sea inChina, Mazu is at the centre of a host of beliefsand customs, including oral traditions, religiousceremonies and folk practices, throughout thecountry’s coastal areas. Mazu is believed to havelived in the tenth century on Meizhou Island,where she dedicated herself to helping herfellow townspeople, and died attempting torescue the survivors of a shipwreck. Localresidents built a temple in her honour andbegan to venerate her as a goddess. She iscelebrated twice each year in formal templefairs, when Meizhou residents, farmers andfisherfolk temporarily suspend their work tosacrifice marine animals, venerate statues ofMazu, and enjoy a variety of dances and otherperformances. Smaller worship ceremonies takeplace throughout the year in the other 5,000Mazu temples around the world and in privatehomes; these may involve floral tributes, candles,incense and firecrackers, and eveningprocessions of residents bearing ‘Mazu lanterns’.Followers may implore the god for pregnancy,peace, the solution to a problem or general well-being. Deeply integrated into the lives of coastalChinese and their descendants, belief in andcommemoration of Mazu is an importantcultural bond that promotes family harmony,social concord, and the social identity of thesecommunities.

The Mazubelief andcustoms

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedthe Mazu belief and customs on the Representative List as the nomination file satisfied all theselection criteria, as follows:

The Mazu belief and customs have been recognized by the communitiesconcerned as a symbol of their identity and continuity and passed downfor centuries from generation to generation.

Inscription of the element on the Representative List would contribute toensuring visibility of intangible cultural heritage and raising awarenessabout it at the international level, thus promoting cultural diversity andhuman creativity.

The nomination includes various current and intended efforts to ensurethe viability of the element such as research, awareness-raising and theestablishment of a safeguarding organization, and demonstrates thecommitment of the parties concerned to safeguard the element.

The nomination was initiated by community organizations, villagecommittees and Mazu temples that participated in the nominationprocess by providing relevant literature and cultural relics, reviewing thecontent of the nomination, accepting interviews and planningsafeguarding measures; their free, prior and informed consent is provided.






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The Mongolian art of singing: Khoomei, orHooliin Chor (‘throat harmony’), is a style ofsinging in which a single performer produces adiversified harmony of multiple voice parts,including a continued bass element producedin the throat. These singers may perform aloneor in groups. Khoomei is practised today amongMongolian communities in several countries,especially in Inner Mongolia in northern China,western Mongolia and the Tuva Republic ofRussia. Traditionally performed on the occasionof ritual ceremonies, songs express respect andpraise for the natural world, for the ancestors ofthe Mongolian people and for great heroes. The

form is reserved for special events and groupactivities such as horse races, archery andwrestling tournaments, large banquets andsacrificial rituals. The timing and order of songs isoften strictly regulated. Khoomei has long beenregarded as a central element representingMongolian culture and remains a strong symbolof national or ethnic identity. As a window intothe philosophy and aesthetic values of theMongol people, it has served as a kind ofcultural emissary promoting understanding andfriendship among China, Mongolia and Russia,and has attracted attention around the world asa unique form of musical expression.

Mongolian art of singing:Khoomei

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedMongolian art of singing: Khoomei on the Representative List as the nomination file satisfied all theselection criteria, as follows:

The Mongolian art of singing: Khoomei is recognized by the community asan important part of its identity and continuity that is continuallyrecreated, innovated and transmitted as a symbolic expression of itsculture.

Inscription of the element on the Representative List would contribute to abetter understanding of the Mongolian people’s special attachment andinteraction with nature, to increased awareness among youngergenerations and academia, and to strengthened respect and cooperationbetween countries in the region.

National and local institutions and the community have elaboratedsafeguarding measures designed to improve the system of transmissionand to promote the popularization of the art form among youngergenerations.

The element has been nominated in a process that widely involved thecommunity of practitioners and audience, alongside local governingbodies, academic institutions, professional organizations and transmittingbodies, and their free, prior and informed consent was provided in writing.






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Nanyin is a musical performing art central to theculture of the people of Minnan in southern FujianProvince along China’s south-eastern coast, and toMinnan populations overseas. The slow, simpleand elegant melodies are performed ondistinctive instruments such as a bamboo flutecalled the dongxiao and a crooked-neck luteplayed horizontally called the pipa, as well as morecommon wind, string and percussion instruments.Of Nanyin’s three components, the first is purelyinstrumental, the second includes voice, and thethird consists of ballads accompanied by theensemble and sung in Quanzhou dialect, either by

a sole singer, who also plays clappers, or by agroup of four who perform in turn. The richrepertoire of songs and scores preserves ancientfolk music and poems and has influenced opera,puppet theatre and other performing arttraditions. Nanyin is deeply rooted in the social lifeof the Minnan region. It is performed duringspring and autumn ceremonies to worship MengChang, the god of music, at weddings andfunerals, and during joyful festivities in courtyards,markets and the streets. It is the sound of themotherland for Minnan people in China andthroughout South-East Asia.

NanyinChina


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedNanyin on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Nanyin, a performing art integrating singing and instrumental music, hasbeen passed down from generation to generation and constantlyrecreated by local people, reflecting their perceptions about life and natureand symbolizing their identity and continuity.

Inscription of the element on the Representative List would contribute toraising awareness about the value of intangible cultural heritage amongthe practitioners and communities concerned, and promote respect forcultural diversity, human creativity and intercultural dialogue.

The nomination describes various practical safeguarding measures anddemonstrates the commitment of the State and the communitiesconcerned.

The nomination file was prepared by relevant governmental and non-governmental institutions and submitted with consent letters ofcommunities concerned.






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In monasteries and villages along the LongwuRiver basin in Qinghai Province in western China,Buddhist monks and folk artists of the Tibetanand Tu ethnicity carry on the plastic arts ofpainting thangka and murals, crafting patchworkbarbola and sculpting known collectively as theRegong arts. Their influence extends to nearbyprovinces and beyond to South-East Asiancountries. Thangka, the art of painting religiousscrolls used to venerate Buddha, uses a specialbrush to apply natural dyes to cloth preparedwith patterns sketched in charcoal; barbolaemploys plant and animal forms cut from silkfabric to create soft relief art for veils and

column ornaments; and wood, clay, stone orbrick Regong sculpture decorates rafters, wallpanels, tea tables and cabinets in both templesand homes. The technique is mainly passedfrom fathers to children or from masters toapprentices strictly following ancient Buddhistpainting books that provide instruction on lineand figure drawing, colour matching andpattern design. Characterized by a distinctivelyTibetan Buddhist religion style and uniqueregional features, the Regong arts embody thespiritual history and traditional culture of theregion and remain an integral part of the artisticlife of people there today.

Regong artsChina


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedRegong arts on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Regong arts, transmitted by monks and folk artists, combine TibetanBuddhism with local traditional culture and various artistic forms, andrepresent the unique identity of the region.

Inscription on the Representative List would contribute to demonstratingcultural diversity and human creativity, enhance a sense of cultural identityand continuity, and encourage respect and dialogue among differentcultures.

The Regong Arts Association, established in 2001, has carried out varioussafeguarding activities together with local and national authorities, andfeasible, comprehensive and sustainable safeguarding measures areproposed with budget allocation and commitments by the concernedparties.

Various entities concerned with the element such as museums,associations, governmental agencies, research institutions as well asindividual bearers support the nomination and participated in itspreparation, identifying necessary safeguarding measures.






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Sericulture and silk craftsmanship of China,based in Zhejiang and Jiangsu provinces nearShanghai and Chengdu in Sichuan Province,have an ancient history. Traditionally animportant role for women in the economy ofrural regions, silk-making encompasses plantingmulberry, raising silkworms, unreeling silk,making thread, and designing and weavingfabric. It has been handed down within familiesand through apprenticeship, with techniquesoften spreading within local groups. The lifecycle of the silkworm was seen as representingthe life, death and rebirth of human beings. Inthe ponds that dot the villages, silkworm wasteis fed to fishes, while mud from the pondsfertilizes the mulberry trees, and the leaves inturn feed the silkworms. Near the beginning ofthe lunar year, silkworm farmers invite artisansinto their homes to perform the story of theGoddess of the Silkworm, to ward off evil andensure a bountiful harvest. Every April, femalesilkworm farmers adorn themselves withcolourful flowers made of silk or paper andmake harvest offerings as part of the SilkwormFlower festival. Silk touches the lives of ruralChinese in more material ways, too, in the formof the silk clothes, quilts, umbrellas, fans andflowers that punctuate everyday life.

Sericulture and silkcraftsmanship of China

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedSericulture and silk craftsmanship of China on the Representative List as the nomination file satisfiedall the selection criteria, as follows:

Sericulture and silk craftsmanship in China have long providedcommunities in many parts of the country with a sense of identity andcontinuity.

Its inscription on the Representative List will contribute to enhancing thevisibility of intangible cultural heritage and of one of China’s oldesthandicrafts, both within the country and internationally, and enhancecreativity through promoting its aesthetic significance.

A detailed and coherent set of diverse safeguarding measures is identified,focusing especially on providing educational programmes for children.

The participation of communities is convincingly described and theirconsent is demonstrated through detailed letters.






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Tibetan opera, the most popular traditionalopera of minority ethnic groups in China, is acomprehensive art form combining folk song,dance, storytelling, chant, acrobatics andreligious performance. Most popular in theQinghai-Tibetan Plateau in western China, theperformance begins with a prayer ceremony,including the cleansing of the stage by huntersand blessings by the elder, and concludes withanother blessing. The heart of the opera is adrama narrated by a single speaker and enactedby performers supported by groups of singers,dancers and acrobats. Actors wear traditionalmasks of a variety of shapes and colours thatcontrast with their simple makeup.Performances may take place in public squaresor temples (or, today, on stage), with the centreof the space marked by a tree placed on theground, wrapped in colourful paper andsurrounded by purified water and theatricalprops. Rooted in Buddhist teachings, the storiestold in Tibetan opera recount the triumph ofgood and the punishment of evil and thereforeserve a social teaching function for thecommunity. This multifaceted representative ofTibetan art and cultural heritage also acts as abridge among Tibetans in different parts of thecountry, promoting ethnic unity and pride.

Tibetan opera

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedTibetan opera on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Tibetan opera represents the essence of Tibetan culture, and is recognizedby its practitioners as central to their identity and a symbol of continuitythat they endeavour to pass on from generation to generation.

Inscription of the element on the Representative List would contribute tolocal, national and international visibility for intangible cultural heritage,thus increasing the pride of tradition bearers and providing a viableopportunity for dialogue amongst cultures.

A series of current and future safeguarding measures is proposed,including training for young practitioners, research and publications, thusexpressing the will and commitment of the communities, practitioners,civil society and authorities to ensure the viability of the element.

The element has been nominated with the free, prior and informedconsent of practitioners and cultural institutes.

The element is inscribed on the National List of Intangible CulturalHeritage administered by the Department of Intangible Cultural Heritageof the Ministry of Culture, and on several provincial inventories.





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The city of Longquan in the coastal Chineseprovince of Zhejian is known for its celadonpottery and the traditional firing technologythat imparts its distinctive glaze. Compoundedfrom violet-golden clay and a mixture of burntfeldspar, limestone, quartz and plant ash, theglaze is prepared from recipes that have oftenbeen handed down for generations by teachersor within families. The glaze is applied to a firedstoneware vessel, which is then fired again in a

repeated cycle of six stages of heating andcooling where precise

temperatures matter agreat deal: either

over- or under-

firing will spoil the effect. Experienced celadonartists carefully control each stage with athermometer and by observing the colour ofthe flame, which reaches temperatures as highas 1310º C. The final product may take either oftwo styles: the ‘elder brother’ celadon has a blackfinish with a crackle effect, while the ‘youngerbrother’ variety has a thick, lavender-grey andplum-green finish. With its underlying jade-likegreen colour, celadon fired by the family-oriented businesses of Longquan is prized asmasterwork-quality art that can also serve ashousehold ware. It is a proud symbol of thecultural heritage of the craftspeople, their cityand the nation.

The traditional firingtechnology of Longquanceladon

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedThe traditional firing technology of Longquan celadon on the Representative List as the nominationfile satisfied all the selection criteria, as follows:

The traditional firing technology of Longquan celadon has beentransmitted from generation to generation within the communitiesconcerned for many centuries.

Inscription of the element on the Representative List would contribute tothe visibility and awareness of intangible cultural heritage, stimulate inter-cultural dialogue and promote respect for cultural diversity and humancreativity in the world.

Various past and future safeguarding measures are described such asrecognition of and subsidies to artists, scientific research and academicexchanges on the manufacturing skills, and awareness-raising about theelement through the establishment of a museum and village.

The element was nominated by relevant organizations with theparticipation and consent of skill holders.






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25

The unique water quality and mild climate ofJing County in Anhui Province in eastern Chinaare two of the key ingredients in the craft ofmaking Xuan paper that thrives there.Handmade from the tough bark of the TaraWing-Celtis or Blue Sandalwood tree and ricestraw, Xuan paper is known for its strong,smooth surface, its ability to absorb water andmoisten ink, and fold repeatedly withoutbreaking. It has been widely used in calligraphy,painting and book printing. The traditionalprocess passed down orally over generationsand still followed today proceeds strictly by

hand through more than a hundred steps suchas steeping, washing, fermenting, bleaching,pulping, sunning and cutting – all of which lastsmore than two years. The production of the‘Paper of Ages’ or ‘King of Papers’ is a major partof the economy in Jing County, where theindustry directly or indirectly employs one innine local people, and the craft is taught in localschools. True mastery of the entire complicatedprocess is attained only by a lifetime ofdedicated work. Xuan paper has becomesynonymous with the region, where a score ofartisans still keep the craft alive.

The traditional handicraftsof making Xuan paper

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedThe traditional handicrafts of making Xuan paper on the Representative List as the nomination filesatisfied all the selection criteria, as follows:

The traditional handicrafts of making Xuan paper have been transmittedorally from generation to generation and provide the communitiesconcerned with a sense of identity and continuity.

Inscription on the Representative List would contribute to the visibility ofintangible cultural heritage, raise awareness among young people aboutits importance, and promote cultural diversity and human creativity.

The nomination describes recent efforts undertaken by various parties,proposes safeguarding measures with a clear timeline and budgetallocation, and demonstrates the commitment of national and localgovernments as well as the communities concerned.

The practitioners and communities concerned participated actively in theelaboration of the nomination file at all stages and expressed their free,prior and informed consent.






Inventory


26

Xi’an wind and percussion ensemble, which hasbeen played for more than a millennium inChina’s ancient capital of Xi’an, in ShaanxiProvince, is a type of music integrating drumsand wind instruments, sometimes with a malechorus. The content of the verses is mostlyrelated to local life and religious belief and themusic is mainly played on religious occasionssuch as temple fairs or funerals. The music canbe divided into two categories, ‘sitting music’and ‘walking music’, with the latter alsoincluding the singing of the chorus. Marchingdrum music used to be performed on theEmperor’s trips, but has now become the

province of farmers and is played only in openfields in the countryside. The drum music bandis composed of thirty to fifty members,including farmers, teachers, retired workers,students and others. The music has beentransmitted from generation to generationthrough a strict master-apprentice mechanism.Scores of the music are recorded using anancient notation system dating from the Tangand Song dynasties (seventh to thirteenthcenturies). Approximately three thousandmusical pieces are documented and about onehundred and fifty volumes of handwrittenscores are preserved and still in use.

Xi’an wind and percussionensemble

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedXi’an wind and percussion ensemble on the Representative List as the nomination file satisfied all theselection criteria, as follows:

The tradition of the Xi’an wind and percussion ensemble constitutes aliving cultural practice and art form that is part of the identity of thecommunities of Xi’an City and surrounding districts.

Its inscription on the Representative List would contribute to ensuringrecognition of and respect for intangible cultural heritage as well asstimulating dialogue on this kind of music and enhancing cultural diversitywithin China and beyond.

The nomination presents measures to safeguard this tradition, includingthe provision of funds for the maintenance of instruments, thedocumentation of practitioners, and the collection of musical scores.

In the preparation of the nomination file, the community participated atevery stage and has given its free, prior and informed consent in the formof written certifications signed by each of the six active musicians’associations.






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The Chinese tradition of Yueju opera combinesMandarin operatic traditions and Cantonesedialect. Rooted in the Cantonese-speakingprovinces of Guangdong and Guangxi in south-eastern China, Yueju opera is characterized by acombination of string and percussioninstruments, with elaborate costumes and facepainting. It also incorporates stunts and fightsusing real weapons and draws on the Shaolinmartial arts, as illustrated by the centralWenwusheng role that demands proficiency inboth singing and fighting. It has developed arich repertoire of stories ranging from historicalepics to more realistic descriptions of daily life.An important form of recreation, the opera isalso, in some rural communities, combined withceremonial, religious and sacrificial elementsinto a spiritual amalgam of art and customknown as Shengongxi. Yueju opera is popularthroughout China and provides a cultural bondamong Cantonese speakers in the country andabroad. They view its success around the worldas a point of pride, regarding the opera as animportant means by which foreigners come tounderstand their culture. Today, the tradition ispassed to new artists through both dramaschools and apprenticeship programmes.

Yueju opera

China


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedYueju opera on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Yueju opera is a form of cultural heritage of the Cantonese communities ofGuangdong, Guangxi, Hong Kong and Macao that is transmitted as aperforming art in drama schools.

Its inscription on the Representative List would add greater recognitionand support to intangible cultural heritage, contribute to the viability andpromotion of Yueju opera, improve cultural communication between thepeople of China and abroad, and increase cooperation between nations.

The Government as well as the practitioners are committed toimplementing various safeguarding measures including establishment ofan opera teaching system, creation of a database, elaboration of acatalogue and publication and establishment of a research centre.

The element has been nominated with the free, prior and informedconsent of communities, professionals, practitioners and culturalorganizations.






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Arising out of native Andean and Hispanictraditions, the Carnaval de negros y blancos(Black and White Carnival) in San Juan de Pastoin south-western Colombia is a great celebrationlasting from 28 December to 6 January eachyear. The celebrations begin on the 28th with theCarnival of Water − the throwing of water inhomes and on the streets to initiate a festivemood. On New Year’s Eve, the Old Year’s paradetakes place, with marchers carrying satiricalfigures representing celebrities and currentevents, and culminating in a ritual burning ofthe passing year. The main days of the carnival

are the last two, when people of all ethnicitiesdon black cosmetics on the first day, then whitetalcum on the next to symbolize equality andintegrate all citizens through a celebration ofethnic and cultural difference. The Black andWhite Carnival is a period of intensecommunion, when private homes becomecollective workshops for the display andtransmission of carnival arts and a wide range ofpeople come together to express their views onlife. The festival is especially important as theexpression of a mutual desire for a future oftolerance and respect.

Carnaval de Negros y Blancos

Colombia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedCarnaval de Negros y Blancos on the Representative List as the nomination file satisfied all theselection criteria, as follows:

The Carnaval de Negros y Blancos provides a high sense of identity andcontinuity to the community that transmits it to the next generation,making the element a mainstay of its heritage and an important means ofsocial integration.

Inscription on the Representative List would enhance the element’s role inraising awareness and creating social cohesion, reinforcing the carnival’sfunction of social expression and encouraging respect and interculturaldialogue among communities.

The State, the carnival’s corporation, Corpocarnaval, and the communitiesinvolved have prepared a coherent safeguarding plan to be implementedin a participatory manner and with the full commitment of all to safeguardand develop the carnival.

The element was nominated with the participation of the community,while respecting customary practices governing access to knowledge ofthe carnival, and free, prior and informed consent has been certified inletters signed by community representatives.

The element is included in an inventory of the intangible cultural heritagein the Municipality of Pasto.





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The Holy Week processions in Popayán are oneof the oldest traditions in Colombia, practisedsince the colonial period. From the Tuesday tothe Saturday before Easter, between 8 p.m. and11 p.m., a series of processions take place. Thefive processions, devoted to Mary, Jesus, theCross, the Laying in the Tomb, and theResurrection, follow a two-kilometre routethrough the town centre. Each procession is setaround reliquary floats, or pasos, which arecreated and assembled according to complexrules. The reliquary floats are adorned withornate, flower-decked wooden statues, most ofwhich date from the late eighteenth century anddepict the Easter story. The route is flanked oneither side by worshippers carrying candles and

wearing special clothing. The processions areremarkable for their artistic quality (gilding,cabinetwork), and their sounds and smells(incense). Preparations, which last for a wholeyear, follow instructions passed down to childrenfrom age five, and from generation togeneration. The processions have their ownvocabulary and expertise, and the roles andresponsibilities of each individual are preciselyallocated. Some inhabitants of the town, whohave formed a general assembly to protect thetradition, act as the organizers and work with theauthorities and various bodies. The processions,which attract many visitors from around theworld, are a major factor contributing to socialcohesion and the local collective psyche.

Holy Week processions in Popayán

Colombia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedHoly Week processions in Popayán on the Representative List as the nomination file satisfied all theselection criteria, as follows:

Holy Week processions in Popayán have been enacted and transmitted bythe communities of Popayán, forming a specific body of knowledgereflected in their techniques and conception, and promoting socialcohesion and dialogue.

Inscription of the element on the Representative List would contribute toenhancing visibility and awareness of the value of intangible culturalheritage at the local, national and international levels, while ensuring itssafeguarding and encouraging mutual respect and dialogue amongdifferent cultures.

Feasible safeguarding measures, including awareness-raising,communication and preservation of art works, are proposed with thecommitment of the communities concerned as well as national and localauthorities.

The nomination demonstrates the participation of the communitiesconcerned, including academic institutions and community-basedorganizations, in the nomination, and includes their free, prior andinformed consent.

The element is inscribed on the inventory of intangible cultural heritage inprogress.





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During the January carnival period, bell ringersmarch through the villages that dot the Kastavregion in north-west Croatia. Clothed insheepskin throws with bells around their waistsand sporting distinctive zoomorphic masks orhats embellished with sprigs of evergreen, twoto more than thirty ringers swagger in groupsbehind a guide carrying a small evergreen tree.They enliven their gait by bumping each others’hips rhythmically and leaping into the air as theywalk. Groups may also include theatricalcharacters such as a prankster ‘bear’ whoregularly escapes the control of his two ‘guards’.When they reach a village, the bell ringers form

concentric circles in the town square, ringingfiercely until the residents offer them food and achance to rest before they continue theirjourney. At the end of the carnival, the ringersproceed through their own village, collectingrubbish at each house and burning it out front,involving everyone present in the ceremony.With variations distinctive to each village, theannual carnival bell ringers’ pageant is a way tostrengthen bonds within the community and avaluable means of renewing friendships amongthe towns in the region while integratingnewcomers into its traditional culture.

Annual carnival bellringers’ pageant from theKastav area

Croatia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedAnnual carnival bell ringers’ pageant from the Kastav area on the Representative List as thenomination file satisfied all the selection criteria, as follows:

The element gives its practitioners a sense of identity and continuity,through the costumes, dances and journey that they make; it is passed onfrom generation to generation.

Inscription of the element would contribute to the visibility of intangiblecultural heritage at the local, national and international levels and promoterespect for cultural diversity and creativity.

Various current and planned safeguarding measures are presented in thenomination, including a number of areas such as education, visibility anddocumentation, and specifying costs and timelines.

The nomination demonstrates clearly that the practitioners of the element,i.e. the bell ringers, participated at all stages of the nomination process andtheir free, prior and informed consent is demonstrated.

The element is inscribed in the Register of Cultural Goods of the Republicof Croatia maintained by the Ministry of Culture.





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The evening before the festivity of Saint Blaise inDubrovnik, Croatia, as all the church bells in thecity ring and white doves are released assymbols of peace, worshippers gather for a ritualhealing of the throat to preserve them againstillness. On the third of February, the official dayof both patron saint and city, parish bannerbearers flow into the city in folk costume for thecentrepiece of the festival: a processionattended by bishops, ambassadors, civic leaders,visiting notables and the people of Dubrovnik.The festivity embodies many aspects of humancreativity, from rituals to folk songs, fromperformance to traditional crafts (including themaking of the historical weapons fired incelebration). The ritual dates back in some formto at least 1190 and has reinforced a closeidentification of Dubrovnik’s residents with thecity’s patron, Saint Blaise. Over time, the festivityhas evolved as Dubrovnik and the world havechanged. Each generation adapts it slightly,inspired by its own ideas and needs to make theritual its own. On Saint Blaise’s day, Dubrovnikgathers not only its residents, but all those whopay respect to tradition and the right to one’sfreedom and peace.

The festivity of Saint Blaise,the patron of Dubrovnik

Croatia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedthe festivity of Saint Blaise, the patron of Dubrovnik on the Representative List as the nomination filesatisfied all the selection criteria, as follows:

The festivity of Saint Blaise, the patron of Dubrovnik, is transmitted andrecreated by the inhabitants of Dubrovnik, providing them with a sense ofidentity and continuity and strengthening their solidarity and friendship.

The nomination demonstrates the potential for inscription of the elementon the Representative List to encourage dialogue and promote culturaldiversity, Saint Blaise being associated with ecumenism, openness andtolerance.

The nomination demonstrates that the people and authorities ofDubrovnik are committed to safeguarding the festivity of Saint Blaise, thepatron of Dubrovnik, through a wide range of measures that would ensureits viability.

The nomination clearly demonstrates the consent and active participationof all segments of the community (civil society, clergy, local scholars andlocal authorities), further confirmed by their signed letters and declarationsin the video.






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At least three distinct traditions of Lacemakingin Croatia persist today, centred on the towns ofPag on the Adriatic, Lepoglava in northernCroatia and Hvar on the Dalmatian island of thesame name. Pag needle-point lace was originallyused to make ecclesiastical garments,tablecloths and ornaments for clothing. Theprocess involves embellishing a spider webpattern with geometrical motifs and istransmitted today by older women who offeryear-long courses. Lepoglava bobbin lace ismade by braiding thread wound on spindles, orbobbins; it is often used to make lace ribbons forfolk costumes or is sold at village fairs. An

International Lace Festival in Lepoglavacelebrates the art every year. Aloe lace is madein Croatia only by Benedictine nuns in the townof Hvar. Thin, white threads are obtained fromthe core of fresh aloe leaves and woven into anet or other pattern on a cardboardbackground. The resulting pieces are a symbolof Hvar. Each variety of lace has long beencreated by rural women as a source of additionalincome, and has left a permanent mark on theculture of its region. The craft both produces animportant component of traditional clothes andis itself testimony to a living cultural tradition.

Lacemaking in CroatiaCroatia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedLacemaking in Croatia on the Representative List as the nomination file satisfied all the selectioncriteria, as follows:

Traditional lacemaking of the Croatian regions of Pag, Lepoglava and Hvaris an essential element of the identity of the communities concerned,transmitted from generation to generation.

Inscription of the element would contribute to the visibility of intangiblecultural heritage in the regions concerned and internationally, as well aspromote respect for cultural diversity and creativity.

The nomination describes various current and planned safeguardingmeasures, including legal protection, documentation and inclusion inschool education, with a priority on transmission.

The nomination process was carried out with the full consent andparticipation of the local communities and institutions, such as clubs andassociations. the consent of the latter is included in the nomination.

The three types of lacemaking presented in the nomination are inscribedin the Register of Cultural Goods of the Republic of Croatia maintained bythe Ministry of Culture.


Contributiontowards visibility ofintangible cultural heritage



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After mass on Maundy Thursday before theChristian holiday of Easter, each of six villages onthe Dalmatian island of Hvar in southern Croatiasends out a group that will proceed through theother villages in a circle, covering twenty-fivekilometres in eight hours before returninghome. Each party in this community-organizedZa Krizen (‘following the cross’) procession is ledby a cross-bearer who walks barefoot or in socks,never resting. The cross-bearer, formerly selectedfrom among religious brotherhoods and todaychosen by registration up to twenty years inadvance, has a much-desired and respectedposition, reflecting the devotion of theindividual bearer and his family. He is followed

by two friends with a candelabra and otherscarrying candles and lanterns, five choral singerswho sing the Lamentation of the Virgin Mary atseveral points along the way, and manyworshippers of all ages from Croatia and abroadwearing the tunics of religious brotherhoods.The procession is greeted by the priests of eachof the other five villages and then returns home.The cross-bearer runs the last hundred metres toreceive the blessing of his home priest. A long-established and inalienable part of Hvar religiousand cultural identity, the procession connectsthe communities of the island to each other andto the world’s Catholic community.

Procession Za Krizen(‘following the cross’) on the island of Hvar

Croatia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedProcession Za Krizen (‘following the cross’) on the island of Hvar on the Representative List as thenomination file satisfied all the selection criteria, as follows:

The element expresses the religious, cultural and social identity of thepopulation of Hvar Island, and has been transmitted from generation togeneration, providing the community with a sense of continuity.

Inscription of the element on the Representative List would contribute toenhancing the visibility of intangible cultural heritage while promotingrespect for cultural diversity and encouraging dialogue.

The proposed safeguarding measures effectively target sustainability,awareness-raising and preservation of the built heritage linked to thiselement.

The element was nominated with the full participation of the communityconcerned, as well as relevant cultural and scientific institutions, and withtheir free, prior and informed consent.

The Procession Za Krizen is inscribed in the Register of Cultural Goods ofthe Republic of Croatia maintained by the Ministry of Culture.





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The Procession of Queens is performed by theyoung girls of the village of Gorjani in theSlavonia region of north-east Croatia everyspring. The girls in a group are divided into tenkraljevi (kings), who wear sabres and men’s hats,and about five kraljice (queens), who wear whitegarlands on their heads like brides. OnWhitsunday (a feast in the Christian calendar),they proceed from house to house, performingfor the families they encounter. While the kingsdance with their sabres, the queens commenton the dance in song. The family then joins in alarger folk dance and provides refreshments

before the girls continue to another house. Thenext day, the party visits a neighbouring town orvillage and returns for a feast at one of theperformers’ homes. The entire community,including the elementary school, the churchand many of the town’s families, assist in thepreparations for the procession, which is asource of particular pride for the women whoparticipate. Although the meaning and originsof the ritual are uncertain, villagers view it as asymbol of Gorjani and a showcase for theirchildren’s beauty and elegance.

Spring procession ofLjelje/Kraljice (queens)from Gorjani

Croatia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedSpring procession of Ljelje/Kraljice (queens) from Gorjani on the Representative List as thenomination file satisfied all the selection criteria, as follows:

The Spring procession of Ljelje/Kraljice (queens) from Gorjani, combiningritual, performing arts and festive events, has been transmitted throughmany generations and clearly constitutes an important element of thelocal community’s cultural identity.

The nomination describes the positive impacts of the element’s inscriptionon the national inventory, and how these would be multiplied on thecommunity, national and international levels by inscription on theRepresentative List.

The proposed safeguarding measures include documentation, educationalprogrammes, training and enhancement of visibility, on local and nationallevels, targeted especially at children of the region.

The nomination highlights the enthusiasm and involvement of thecommunity in its preparation and includes its written consent.






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Villagers along the pilgrimage route to theMarian shrine of Our Lady of the Snow in MarijaBistrica in Hrvatsko Zagorje in northern Croatiadeveloped a technique for traditionalmanufacturing of children’s wooden toys thathas been handed down for generations. Themen take soft willow, lime, beech and maplewood from the region and dry, hew, cut andcarve it using traditional tools; the women thenapply ecologically-friendly paint inimprovisational floral or geometric patterns,painting ‘from imagination’. The whistles, horses,cars, furniture, spinning dancers, jumping horsesand flapping birds produced today are almostidentical to those made more than a century

ago – though no two toys are precisely thesame, thanks to the handcrafted productionprocess. Popular among both locals and tourists,these toys are sold in parish fairs, markets andshops around the world. They have also evolvedwith the times and, in addition to the traditionalshapes such as horses and carts, new onesrepresenting cars, trucks, airplanes and trainshave appeared, reflecting the world surroundingmodern-day children. Toy instruments, carefullytuned as they are created, still serve asimportant components in themusical education of ruralchildren.

Traditional manufacturing ofchildren’s wooden toys inHrvatsko Zagorje

Croatia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedTraditional manufacturing of children’s wooden toys in Hrvatsko Zagorje on the Representative List asthe nomination file satisfied all the selection criteria, as follows:

Traditional manufacturing of children’s wooden toys in Hrvatsko Zagorje istransmitted from generation to generation and provides the communitywith a sense of identity, while continuing to have a specific social functionin people’s lives.

Inscription of the element on the Representative List would contribute tothe visibility of intangible cultural heritage worldwide while at the sametime promoting the role of handicrafts in the education and emotionaldevelopment of children.

Elaborate safeguarding measures currently sustaining the element arepresented, and well defined future measures are proposed, specifyingresponsibilities and costs and focusing on promotion and education.

The nomination was prepared with the support and participation ofpractitioners and their organizations, and their free, prior and informedconsent is demonstrated.






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On the Istrian peninsula in western Croatia,several varieties of two-part singing and playingin the Istrian scale are preserved by Croatian,Istro-Romanian and Italian communities. Thestyle is characterized by vigorous, partly nasalsinging. It involves a degree of variation andimprovisation in both vocal parts but alwaysends with two performers singing in unison oran octave apart. Typical musical instruments arethe sopele shawms, always played in a pair,bagpipes, flutes and the tambura lute. Severallocal sub-styles have developed their owncharacteristics. For example, in kanat, performedprimarily by the Croatian population, the secondvoice is often exchanged for or doubled with asmall sopele; in the widespread variant known astarankanje, words are sometimes replaced withcharacteristic syllables (ta-na-na, ta-ra-ran, etc.)designed to imitate the sound of the flute. Thistradition is still a part of everyday life and festiveoccasions, including wedding ceremonies,community and family gatherings and religiousservices. Its bearers, about a hundredoutstanding singers and players and some tencraftspeople, have acquired their skills andknowledge from their elders. Nowadays they areoften associated with organized amateur folkloregroups, spread throughout the region.

Two-part singing and playing in the Istrian scale

Croatia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedTwo-part singing and playing in the Istrian scale on the Representative List as the nomination filesatisfied all the selection criteria, as follows:

Two-part singing and playing in the Istrian scale have been transmittedfrom generation to generation as an essential component of the identityof the local populations.

Inscription of the element on the Representative List would contribute toraising awareness of the significance of intangible cultural heritage andespecially to strengthening the self-respect of community members andpractitioners.

The nomination presents a number of sound safeguarding efforts, and aset of well-defined safeguarding measures is proposed for the future,including documentation, research, publications, awareness-raising andtransmission.

The participation in the nomination process of the community, particularlythat of two associations, is described, and their letters of consent areprovided.






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The tradition of lacemaking in the village ofLefkara in southeastern Cyprus dates back to atleast the fourteenth century. Influenced byindigenous craft, the embroidery of Venetiancourtiers who ruled the country beginning in1489, and ancient Greek and Byzantinegeometric patterns, Lefkara lace is made by handin designs combining four basic elements: thehemstitch, cut work, satin stitch fillings andneedlepoint edgings. This combined art andsocial practice is still the primary occupation ofwomen in the village who create distinctivetablecloths, napkins and show pieces while

sitting together and talking in the narrow streetsor on covered patios. Unique mastery of the craftis passed to young girls through years of informalexposure and then formal instruction by theirmother or grandmother in applying cottonthread to linen. When she has learned her artthoroughly, the lacemaker uses her imaginationto design work that embodies both tradition andher own personality. Testament to the ability toappreciate multiple influences and incorporatethem into one’s own culture, lacemaking is at thecentre of daily life for women of Lefkara and aproud symbol of their identity.

Lefkara laces or LefkaritikaCyprus


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedLefkara laces or Lefkaritika on the Representative List as the nomination file satisfied all the selectioncriteria, as follows:

Passed on from generation to generation over many years, the craft ofLefkaritika is sustained by its aesthetic and socio-economic values,providing women of Lefkara with an enviable sense of identity andcontinuity.

Inscription of the element on the Representative List would contribute toraising awareness of the significance of traditional handicraft skills and thesuccessful integration of diverse cultural influences and moderntechniques.

Efforts to safeguard the element will be carried out by governmentalbodies and the communities concerned and will include such measures ascreating an archive, organizing contests, establishing scholarships, researchprojects, a lacemaking school and a foundation.

Community involvement is evident at all stages of the nomination, andsigned consent letters are testimony of its free, prior and informedconsent.

Lefkaritika are included in the Heritage Archives of the Municipality ofLefkara and in the Archives of Oral Tradition of the Scientific ResearchCentre of Cyprus as well as at the National Heritage Index being created byexperts at the Cyprus Research Centre.





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38

For the Seto community living in southeasternEstonia and the Pechory district of the RussianFederation, the tradition of leelo, an ancientpolyphonic singing tradition, is a cornerstone ofcontemporary identity. Performed to traditionalmelodies and in traditional costume, leelofeatures a lead singer, who delivers a verse line,followed by a choir that joins in for the finalsyllables and then repeats the whole line.Although lyrics are sometimes learned fromformer great performers, skill in composition isthe mark of an excellent lead singer. Most choirsare composed wholly of women, and the mostnotable lead singer is crowned on Seto KingdomDay as the King’s ‘Mother of Song’. Singingformerly accompanied nearly all daily activities inthe Seto’s rural communities; today, although it isincreasingly restricted to stage performance, thetradition remains prominently alive in communityevents as a central, vibrant and highly valuedelement of Seto culture. Popular among touristsand a source of pride for the Seto, leelo choirs arethe hubs of their community and theembodiment of local identity.

Seto Leelo,Setopolyphonicsingingtradition

Estonia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedSeto Leelo, Seto polyphonic singing tradition on the Representative List as the nomination filesatisfied all the selection criteria, as follows:

The Seto Leelo polyphonic singing tradition is a viable symbol of theidentity and continuity of the Seto community that is committed tomaintaining its transmission from generation to generation.

The inscription of the element on the Representative List would inspireother communities of Estonia to rediscover, value and promote theirheritage and, while upholding its local symbolic meaning, contribute tothe visibility of intangible cultural heritage and to dialogue and culturaldiversity worldwide.

The community and local and national authorities have drawn up anintegral safeguarding plan including classes for children and promotionalactivities in order to allow the leelo tradition again to become one of themain axes of the community’s daily life.

The element was nominated with the full participation of the SetoCongress, the Union of Rural Municipalities of Setomaa, and leelo choirs,and the free, prior and informed consent of practitioners and communityrepresentatives has been expressed through letters.

The element is included in the national inventory of intangible culturalheritage of the Republic of Estonia that is administered by the EstonianFolk Culture Development and Training Centre.





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39

A centuries-old tradition, the craft of Aubussontapestry consists of weaving an image usingprocesses practised in Aubusson and a numberof other localities in the Creuse region of France.This craft produces mainly large decorative wallhangings but also rugs and pieces of furniture.Aubusson tapestry can be based on an image inany artistic style, prepared by a paper ‘cartoon’(template) designer. Weaving is done manuallyby a lissier, or weaver, on a loom positionedhorizontally, working on the reverse side of thetapestry, and using yarns that are hand-dyed in-house. This process is time-consuming andexpensive. The Aubusson tapestries are a goldstandard throughout the world, to the extentthat Aubusson has become a common noun insome languages. The production of tapestries inAubusson and Felletin provides enough work forthree small businesses and ten or so freelanceartisan weavers, thus creating a significantvolume of related work (wool production andspinning, marketing, by-products, museum,exhibitions and tourism). To stabilize the level ofactivity and avoid breaking the line oftransmission, the interest of the young must bestimulated and this heritage promoted.

Aubussontapestry

France


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedAubusson tapestry on the Representative List as the nomination file satisfied all the selection criteria,as follows:





Inventory

Aubusson tapestry provides its practitioners with a sense of identity andcontinuity and constitutes intangible cultural heritage as defined in theConvention.

Inscription of the element would contribute to the visibility of intangiblecultural heritage and, through the shared traditions of tapestry around theworld, to dialogue among cultures.

Important safeguarding measures are currently implemented and othersproposed to ensure the long-term safeguarding of the element.

The nomination describes how the community concerned participated inthe nomination process and demonstrates its free, prior and informedconsent.

The element is included in national inventories.


40

Maloya is a form of music, song and dancenative to Réunion Island. Of mixed racial originssince its outset, Maloya was created by Malagasyand African slaves on the sugar plantations, andwas eventually appropriated by the whole of theisland’s population. Initially conceived as adialogue between a soloist and a choiraccompanied by percussion instruments,Maloya exists today in an increasing variety offorms, both in terms of texts and instruments(the introduction of djembes, synthesizers,drums, etc.). Sung and danced on stage byprofessional or semi-professional artists, it ismixed with rock, reggae or jazz and inspirespoetry and slam. Although originally dedicatedto ancestral worship as part of a ritual, Maloyahas gradually over time become a song oflament against slavery, and for the past thirtyyears it has represented the island’s identity.Every cultural, political and social event on theisland is accompanied by Maloya, which thusbecame a vehicle for asserting political rights.Today, it is kept alive by 300 documentedgroups, including a number of world-famousartists, and by specialized music teaching at theConservatoire de la Réunion. An element ofnational identity, an example of cultural mixing,a moral touchstone and a model for integration,Maloya is nevertheless threatened by socialchanges and by the disappearance of its mainexponents and the practice of veneratingancestors.

Maloya

France


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedMaloya on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Maloya has been passed down from generation to generation, adapting tothe social context of Réunion Island and providing the communitiesconcerned with a sense of identity and continuity.

Inscription of Maloya on the Representative List would contribute tosafeguarding intangible cultural heritage by strengthening traditionalinstrument production methods and transmission in schools, andpromoting respect for cultural diversity and human creativity.

Recent safeguarding measures are elaborated including support to artistsfor the diffusion of the element and proposed measures such as researchin various relevant fields and classes and workshops under the auspices ofthe Réunion education authorities.

The nomination was elaborated with the support and participation ofvarious civil associations and governmental institutions and submittedwith their free, prior and informed consent.

The element is inscribed in an inventory maintained by the Ministry ofCulture.





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41

The purpose of the scribing tradition is tomaster in three dimensions the design of acomplex wooden building. This traditionalexpertise runs counter to modernstandardization by emphasizing the role of thebuilder in the construction process and giving acreative impulse to the structures themselves.Scribing is a combination of the graphicprocesses used in France since the thirteenthcentury that make it possible to expressaccurately through the design the actualvolumes of a building, its interlockings and thecharacteristics of the wooden components. Itwas taught as a special subject quite distinctfrom the theory and practice of architecture.Through this process, the carpenter candetermine all the components before they arebuilt, however complex they are, and thus besure that all the assemblies will fit togetherperfectly when the timber frame is built.Carpenters who are members of trade guildsrecognize the scribing tradition as having asymbolic and initiatory meaning that remains asecret. The art plays a crucial role in the valuesystem of the Companions of the Tour deFrance, for example. Special training in scribingis available in several dozen training centres,guilds and businesses.

The scribing tradition in Frenchtimber framing

France


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedthe scribing tradition in French timber framing on the Representative List as the nomination filesatisfied all the selection criteria, as follows:

The element is passed down among its practitioners, providing them witha sense of identity and continuity.

Inscription of the element on the Representative List would contribute tothe visibility of intangible cultural heritage at the local, national andinternational levels and promote respect for cultural diversity andcreativity.

The proposed measures focus on the vocational training of the youth,which is essential to the safeguarding of the element.

The communities and practitioners were involved in the nominationprocess and the identification of the safeguarding measures, and their free,prior and informed consent is provided.

The element is inscribed in the inventory of intangible cultural heritage ofFrance, currently being prepared.





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The Busó festivities at Mohács in southernHungary are a six-day carnival in late February tomark the end of winter, and named after thebusós, frightening-looking costumed people(traditionally men) wearing wooden masks andbig woolly cloaks. The festival is multifaceted,and includes a children’s costume contest, adisplay of the art of mask carvers and othercraftspeople, the arrival of more than 500 busósin rowboats on the Danube for a march throughthe city alongside horse-drawn or motorizedfantasy vehicles, the burning of a coffinsymbolizing winter on a bonfire in the centralsquare, and feasts and music throughout the

city. The tradition originated with the Croatianminority in Mohács, but today the busó is ageneral emblem of the city and acommemoration of the great events of itshistory. More than a social event, the carnival isan expression of belonging to a city, a socialgroup and a nation. It plays an important socialrole by offering a chance for self-expression in acommunal setting. The arts underlying thefestivities are preserved by self-organized groupsof busós of all cultural backgrounds, many ofwhom pass on the techniques of mask carvingand ritual celebration to younger generations.

Busó festivities at Mohács:masked end-of-winter carnival custom

Hungary


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedBusó festivities at Mohács: masked end-of-winter carnival custom on the Representative List as thenomination file satisfied all the selection criteria, as follows:

The Busó festivities at Mohács bring together the Croat minority in Mohácsand their Hungarian, German, Serbian and Roma neighbours who havepassed on the tradition for generations, creating a strong sense of localidentity and multi-ethnic unity through music, masking, dances andcelebration.

Inscription on the Representative List would promote the Busó festivities atnational and international levels as a vibrant example of cultural pluralism,the continuing creativity and innovation of its practitioners, and thecultural openness of the local community.

The community, local authorities and the State are committed to joiningforces for the safeguarding of the festivities as part of an inclusivesafeguarding strategy that will ensure its viability through educationalprogrammes and promotional activities.

The element was nominated following an open consultative process at allstages, bringing together practitioners, festival organizers, non-governmental organizations, experts and local authorities who collectivelyand clearly demonstrated their free, prior and informed consent.

The element is inscribed on an inventory maintained by the Ministry ofCulture and Education, Department of Public Cultural Issues.





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43

Every year in late April, the twin villages ofSaloor-Dungra in the state of Uttarakhand(northern India) are marked by Ramman, areligious festival in honour of the tutelary god,Bhumiyal Devta, a local divinity whose templehouses most of the festivities. This event is madeup of highly complex rituals: the recitation of aversion of the epic of Rama and various legends,and the performance of songs and maskeddances. The festival is organized by villagers, andeach caste and occupational group has adistinct role. For example, youth and the eldersperform, the Brahmans lead the prayers andperform the rituals, and the Bhandaris –representing locals of the Kshatriya caste – are

alone entitled to wear one of the most sacredmasks, that of the half-man, half-lion Hindudeity, Narasimha. The family that hosts BhumiyalDevta during the year must adhere to a strictdaily routine. Combining theatre, music,historical reconstructions, and traditional oraland written tales, the Ramman is a multiformcultural event that reflects the environmental,spiritual and cultural concept of the community,recounting its founding myths andstrengthening its sense of self-worth. In order toensure that it remains viable, the community’spriorities are to promote its transmission and toobtain its recognition beyond the geographicalarea in which it is practised.

Ramman: religious festival and ritual theatre of the GarhwalHimalayas, India

India


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedRamman: religious festival and ritual theatre of the Garhwal Himalayas, India on the RepresentativeList as the nomination file satisfied all the selection criteria, as follows:

Ramman, religious festival and ritual theatre of the Garhwal Himalayas,India combines music, poetry, dance and crafts that form an expression ofthe religious and aesthetic experience of the community, celebrate thebonds between humanity, nature and the divinity, and give thecommunity a sense of identity and belonging.

Inscription of the element on the Representative List would allow theefforts of the community and State to gain further momentum and boostthe self-esteem of the tradition bearers, while contributing to the visibilityand awareness of intangible cultural heritage at the local, national andinternational levels.

Various safeguarding measures to ensure the viability of the element areproposed, to be carried out with the will and commitment of thecommunity concerned.

The nomination process of the element has benefitted from theparticipation of the community, particularly the ritual leader and theelected representative body of the community, and the submitted consentletter signed by them testifies to their free, prior and informed consent.

The element is included in various inventories for the intangible culturalheritage that are to be consolidated into a national inventory.





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44

The techniques, symbolism and culturesurrounding hand-dyed cotton and silkgarments known as Indonesian Batik permeatethe lives of Indonesians from beginning to end:infants are carried in batik slings decorated withsymbols designed to bring luck to the child, andthe dead are shrouded in funerary batik. Clotheswith everyday designs are worn regularly inbusiness and academic settings, while specialvarieties are incorporated into celebrations ofmarriage and pregnancy and into puppettheatre and other art forms. The garments evenplay the central role in certain rituals, such as theceremonial casting of royal batik into a volcano.Batik is dyed by proud craftspeople who drawdesigns on fabric using dots and lines of hotwax, which resists vegetable and other dyes andtherefore allows the artisan to colour selectivelyby soaking the cloth in one colour, removing thewax with boiling water and repeating if multiplecolours are desired. The wide diversity ofpatterns reflects a variety of influences, rangingfrom Arabic calligraphy, European bouquets andChinese phoenixes to Japanese cherry blossomsand Indian or Persian peacocks. Often handeddown within families for generations, the craft ofbatik is intertwined with the cultural identity ofthe Indonesian people and, through thesymbolic meanings of its colours and designs,expresses their creativity and spirituality.

IndonesianBatik

Indonesia


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedIndonesian Batik on the Representative List as the nomination file satisfied all the selection criteria, asfollows:

Indonesian Batik has a rich symbolism related to social status, localcommunity, nature, history and cultural heritage. provides Indonesianpeople with a sense of identity and continuity as an essential componentof their life from birth to death and continues to evolve without losing itstraditional meaning.

Inscription on the Representative List would contribute to ensuring thevisibility of intangible cultural heritage at the local, national andinternational levels, raising awareness about its value and motivatingpractitioners, in particular younger generations, to continue its practice.

Various actors such as governmental and non-governmental institutionsand community-based associations have jointly carried out safeguardingmeasures including awareness-raising, capacity-building and educationalactivities, and intend to continue these efforts.

The communities concerned were widely involved in the nominationprocess through field research in the communities; they also participatedin the file preparation team and in a series of seminars to discuss the filecontents, and provided their free, prior and informed consent.

The element is inscribed on the inventory of cultural elements maintainedby the Department of Culture and Tourism.





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45

The Radif of Iranian music is the traditionalrepertoire of the classical music of Iran thatforms the essence of Persian musical culture.More than 250 melodic units, called gushe, arearranged into cycles, with an underlying modallayer providing the backdrop against which avariety of melodic motifs are set. Although themain performance practice of Iranian traditionalmusic unfolds through improvisation accordingto the mood of the performer and in responseto the audience, musicians spend years learningto master the radif as the set of musical tools fortheir performances and compositions. The radifmay be vocal or instrumental, performed on avariety of instruments with different

performance techniques including the long-necked lutes tār and setār, as well as the santurhammered zither, kamānche spike fiddle and neyreed pipe. Passed from master to disciplethrough oral instruction, the radif embodiesboth the aesthetic practice and the philosophyof Persian musical culture. Learning the radifstretches over at least a decade of self devotionduring which the students memorize the radif’srepertoire and engage in a process of musicalasceticism intended to open the gates ofspirituality. This rich treasury lies at the heart ofIranian music and reflects the cultural andnational identity of the Iranian people.

The Radif of Iranian musicIslamic Republic

of Iran


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedThe Radif of Iranian music on the Representative List as the nomination file satisfied all the selectioncriteria, as follows:

The Radif of Iranian music is recognized as an expression of culturalidentity, transmitted from one generation to the next as the principalemblem of Iran’s music culture.

Inscription of the element on the Representative List would strengthencultural identity and raise visibility of intangible cultural heritage, as well asencouraging and improving inter- and intra-cultural dialogue andunderstanding among the peoples of the region.

Various safeguarding measures are foreseen, supported by the will andcommitment of the community and the State to safeguard the element,including training programmes in music universities and private schools,concert programmes, as well as research and publications.

The element has been nominated with the involvement of thecommunities, institutions and individual practitioners whose free, prior andinformed consent has been given in writing.

The element is registered in the National Inventory of the IntangibleCultural Heritage of Iran.





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46

In the Akiu no Taue Odori, residents of the townof Akiu in northern Japan pray for a goodharvest by simulating in dance the actionsinvolved in transplanting rice. Performed sincethe end of the seventeenth century incommunities throughout the region, the Akiuno Taue Odori today takes place during festivalsin the spring or autumn. Ten female dancersdressed in colourful kimonos and floralheaddresses, assisted by two to four maledancers, perform a repertoire of six to tendances. Holding fans or bells, the women alignthemselves in one or two rows and performmovements designed to evoke the gestures of

the rice cycle, particularly taue, thetransplantation of seedlings into a large rice fieldfilled with water. Once believed to ensure abountiful harvest, the performances have losttheir religious significance as attitudes andbeliefs have changed, and as modernagricultural techniques have replaced ritualssuch as the Akiu no Taue Odori as guarantors ofabundance. Today, the dance is a cultural andaesthetic event, connecting townspeople totheir agricultural heritage, to Japan’s tradition ofreliance on rice, and to a group identitytransmitted across centuries through folkperformance.

Akiu no Taue OdoriJapan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedAkiu no Taue Odori on the Representative List as the nomination file satisfied all the selection criteria,as follows:

The ritual dance for rice cropping has been transmitted from generation togeneration and is constantly recreated, reflecting respect for nature andthe importance of ancestral techniques of cultivation to ensure a bountifulharvest.

Inscription of this element on the Representative List would motivatetransmitting bodies to continue practising their heritage as well as garnergreater attention for similar agricultural rituals in Japan and worldwide,increasing respect for cultural diversity.

The nomination identifies practical measures that have sustained theelement until now and cites specific safeguarding measures by thecommunities, expert groups, and the State including research,documentation and elementary education to ensure its transmission tofuture generations.

The nomination includes evidence of the free, prior and informed consentof the community concerned.

The element is inscribed as an Important Intangible Folk Cultural Propertyon the national inventory maintained by the Agency for Cultural Affairs.





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47

Located on a peninsula in Kanagawa Prefecturein central Japan, Miura City developed as amilitary port on the Pacific and a harbourproviding shelter to passing ships. Drawing ondances from other cities demonstrated to themby visiting sailors, the people of Miura began thetradition of Chakkirako to celebrate the NewYear and bring fortune and a bountiful catch offish in the months to come. By the mid-eighteenth century, the ceremony had taken itsform as a showcase for the talent of local girls.Every year in the middle of January, at a shrineor before the houses of the community, five to

ten women from age forty to eighty sing acapella to accompany the dancing of ten totwenty young girls in colourful kimonos. Thedancers perform face-to-face in two lines or in acircle, holding fans before their faces in somepieces and clapping thin bamboo stickstogether in others. The name of the dance,Chakkirako, evokes the sound these sticks make.Transmitted from older women to young girls,Chakkirako employs a medley of centuries-oldsongs and dances to entertain and reaffirm thecontinuing cultural identity of the performersand their community.

ChakkirakoJapan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedChakkirako on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Chakkirako has been transmitted from generation to generation as a NewYear’s celebration for the local people, embodying a connection betweenancestral tradition and contemporary art, and providing the communitywith a sense of identity and continuity.

Its inscription on the Representative List would raise awareness regardingthe significance of intangible cultural heritage, encourage its transmitters,and promote respect for the cultural diversity and human creativity that itreflects.

The Association for the Preservation of Chakkirako has been makingvarious efforts for its transmission to future generations, together with localelementary schools and Boards of Education at the city and prefecturallevels, while the national government subsidizes archival recording.







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48

In Yahashira Shrine of Nara City in central Japan,young men of the Kami-Fukawa communitystand in a semi-circle dressed in samurai clothesand carrying bows. One by one, they are calledto the centre by an old man who reads thename of a character in the tales of the feudbetween the Genji and Heike clans. Each in turndelivers his character’s lines from memory, in adistinctive accent but without acting or musicalaccompaniment. When all twenty-six charactershave spoken, the youths rhythmically stamptheir feet and sing themselves offstage.Originally a rite of passage at the age ofseventeen to mark the formal acceptance of theeldest son into the community of the twenty-two families of Kami-Fukawa, the Daimokutate isnow performed annually in mid-October byyoung men of various ages and from manydifferent families. Indeed, since the twentiethcentury, the dispersion of the original twenty-two families has meant that other residents ofNara have led the effort to preserve theceremony. Unique in Japan as a dramaticperformance without acting or music, theDaimokutate is an important marker of identityand plays an indispensable role in maintainingsolidarity in this mountainous town.

Daimokutate

Japan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedDaimokutate on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Recited by youths reproducing ancestral practices passed on to them,Daimokutate is a unique performing art essential to the identity of theKami-Fukawa community of Nara.

Its inscription on the Representative List will strengthen the bearers andincrease the number of practitioners, bringing wider attention to thisexample of cultural dynamism and human creativity.

The Association for the Preservation of Daimokutate, together with localand national authorities, have elaborated safeguarding measures includingdocumentation, research and transmission programmes.

The element was nominated subsequent to dialogue and cooperationwith the community concerned, and the nomination includes evidence ofits free, prior and informed consent.






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49

According to legend, travelling performers ofbugaku, the ritual dance and music of theImperial Palace, visited Hachimantai Town innorthern Japan in the early eighth century,during the reconstruction of Dainichido, theshrine pavilion. The ritual performance ofDainichido Bugaku takes its name from this story,but the art evolved considerably since, reflectinglocal features as elders transmitted it to theyoung within each of the four local communitiesof Osato, Azukisawa, Nagamine and Taniuchi. Onthe second day of each year (2 January), thepeople of these communities proceed fromdedicated sites to the shrine, where they performnine sacred dances from dawn to noon as aprayer for happiness in the New Year. Some ofthe dances involve masks (including theimaginary lion-like shishi of myths), othersinclude child dancers, reflecting variationsamong the four groups. The practice deepensthe sense of affiliation with the local communityfor both the participants and the many residentswho come to observe the tradition each year.Although the Dainichido Bugaku wasinterrupted for nearly six decades in the lateeighteenth century, the people of Hachimantaitake great pride in the restored tradition, which isthe spiritual core of their solidarity.

DainichidoBugaku

Japan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedDainichido Bugaku on the Representative List as the nomination file satisfied all the selection criteria,as follows:

Dainichido Bugaku has been passed from elders to the young of its fourlocal communities and provides them a sense of identity and continuity,reflecting Japanese artistic and social characteristics.

Inscription of the element on the Representative List would contribute toraising awareness about the importance of intangible cultural heritage atthe national and international levels, which would motivate the bearers tocontinue its transmission, while promoting respect for other similartraditions elsewhere.

Safeguarding will be carried out by the Association for the Preservation ofDainichido Bugaku with support from national, prefectural and citygovernments, through measures such as training successors, audio-visualrecordings and supporting festive events.

The nomination provides evidence of the consent of the Association forthe Preservation of Dainichido Bugaku established by the fourcommunities transmitting the element.






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50

Gagaku, characterized by long, slow songs anddance-like movements, is the oldest of theJapanese traditional performing arts. It isperformed at banquets and ceremonies in theImperial Palace and in theatres throughout thecountry, and encompasses three distinct arts.The first, Kuniburi no Utamai, features ancientJapanese songs, partial accompaniment by harpand flute and simple choreography. The secondconsists of instrumental music (especially windinstruments) and a ceremonial dance developedon the Asian continent and subsequentlyadapted by Japanese artists. The third, Utamono,is danced to vocal music whose texts includeJapanese folk songs and Chinese poems.Influenced by the politics and culture ofdifferent periods over its long evolution, Gagakucontinues to be transmitted to apprentices bymasters in the Music Department of the ImperialHousehold Agency, many of whom are thedescendants of families with deep roots in theart. It is not only an important cultural tool inconfirming Japanese identity and acrystallization of the history of Japanese society,but also a demonstration of how multiplecultural traditions can be fused into a uniqueheritage through constant recreation over time.

Gagaku

Japan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedGagaku on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Gagaku has flourished for more than a millennium; its practitionersrecognize it as their heritage confirming their identity and historicalcontinuity, and readily pass it on to younger generations.

Inscription of the element on the Representative List would raiseawareness of the importance of the historical and cultural heritage andreinforce respect for cultural diversity.

The Music Department of the Imperial Household Agency and itsmembers are responsible for the preservation and transmission of Gagakuto future generations and have elaborated a number of safeguardingmeasures to that effect.

The commitments of the Music Department of the Imperial HouseholdAgency to the safeguarding of the element and their participation in andconsent to the nomination are clearly demonstrated.

The element is inscribed as an Important Intangible Cultural Property onthe national inventory maintained by the Agency for Cultural Affairs.





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In the fourteenth or fifteenth century, when thepeople of Iwate Prefecture in the northern part ofmainland Japan worshipped Mount Hayachine asa deity, they began a tradition of folkperformance that continues to enliven the GreatFestival of the Hayachine Shrine held in HanamakiCity on the first day of August. The HayachineKagura is a series of masked dances accompaniedby drum, cymbals and flute: six ritual dancesbegin the performance; five dances recountstories of the deities and medieval Japanesehistory, and a final dance features a performerdressed as a shishi, an imaginary lion-like creature

representing the Hayachine deity himself.Originally danced by holy officers of the Shrine todemonstrate the power of the mountain deityand bless the people, the Hayachine Kagura isnow performed by representatives of the entirecommunity, who take pride in their distinctiveculture. To transmit and display the ritual is toreconfirm a sense of identity within the groupand to contribute to the continuity of animportant tradition. Its enactment alsocommemorates events from Japanese historyand celebrates one of the mountain deitiesworshipped throughout the country.

Hayachine KaguraJapan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedHayachine Kagura on the Representative List as the nomination file satisfied all the selection criteria,as follows:

Hayachine Kagura has been transmitted for centuries, changing over timebut remaining relevant for a clearly defined community and providing itwith a sense of belonging and identity.

Inscription on the Representative List of this element, practised by a smallpopulation but essential to its identity, would demonstrate the spirit ofrespect for customary practices that abound in intangible cultural heritage.

The Association for the Preservation of Hayachine Kagura and the State willorganize a coherent set of safeguarding measures, emphasizing educationin particular.







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The Hitachi Furyumono is a parade held duringthe cherry blossom festival every April in HitachiCity on the Pacific coast in the middle of Japan,and once every seven years in May during theGreat Festival at the local Kamine Shrine. Each offour local communities – Kita-machi, Higashi-machi, Nishi-machi and Hom-machi – creates aparade float that serves at once as a space toworship a deity and as a multi-level puppettheatre. Three to five masters manipulate theropes controlling a single puppet as musiciansprovide accompaniment to the elaborate show.A community event administered by the generalagreement of the local residents, the HitachiFuryumono involves everyone who wishes toparticipate. The art of the puppeteer, however, ispassed within families strictly from father toeldest son as a secret process, which haspreserved an ancient repertoire of techniquesand stories supposedly originating with atravelling entertainer around the eighteenthcentury. For the annual cherry blossom festival,one community presents its float each year, butfor the Great Festival at Kamine Shrine, the fourcommunities compete to see whosepuppeteers are the most skilled and which canprovide the best hospitality to the local deity.

HitachiFuryumono

Japan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedHitachi Furyumono on the Representative List as the nomination file satisfied all the selection criteria,as follows:

Hitachi Furyumono has been transmitted by four local communities andtheir puppeteers, and contributes to providing them with a sense ofidentity and stimulating their mutual understanding and cooperation, inparticular through the preparation and enactment of the festivities.

Its inscription on the Representative List would raise awareness about thesignificance of intangible cultural heritage within its communities, andcontribute to reinforcing visibility and transmission of similar festivals atthe national and international levels.

Local authorities and civil associations have undertaken severalsafeguarding efforts such as transmitting the puppetry knowledge andskills to future generations, collaborating with the national governmentthat has subsidized projects, to train puppet manipulators and restore andprocure equipment.

The element was nominated through dialogue with experts in intangiblecultural heritage and demonstrates the free, prior and informed consent ofthe communities.






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Japanese folk faith holds that, in times of change,a deity visits our world to bring blessings.Koshikijima no Toshidon, which occurs everyNew Year’s Eve on Shimo-Koshiki Island in thesouthwestern part of the Japanese Archipelago,is one such raiho-shin, or visiting deity. Two tofive local men dress as deities called Toshidon,donning straw raincoats decorated with theleaves of indigenous plants and wearingmonstrous masks with long, pointed noses,oversized fangs and demonic horns. Proceedingthrough their village, the Toshidon knock ondoors and walls to summon the children of thehouse, whose parents have informed the men in

advance of any mischief of the past year. They sitdown with the children and scold them for theirmissteps while preaching good behaviour. With aparting gift of a large, spherical rice cake thatsymbolically allows each child to grow a yearolder in peace, the Toshidon walk backwards outof the house and proceed to the next family.These visits play an important role in reinforcinga sense of community in Shimo-Koshiki: childrengradually develop a sense of affiliation with theirvillage and its culture, while the men who act asToshidon reinforce their identity and thecontinuity of their longstanding traditions.

Koshikijima no ToshidonJapan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedKoshikijima no Toshidon on the Representative List as the nomination file satisfied all the selectioncriteria, as follows:

Koshikijima no Toshidon provides a sense of identity and continuity bothfor those who have transmitted the event by playing the role of Toshidondeities, as well as for children who are advised, admonished andencouraged to behave properly as community members.

The inscription of the element on the Representative List would contributeto encouraging the continuation of this practice and to ensuring thevisibility and significance of intangible cultural heritage, including similarevents observed elsewhere in East Asia and Europe.

Local authorities as well as the Association for the Preservation ofKoshijimano no Toshidon will carry out a variety of safeguarding measuresaimed at ensuring its transmission and promotion, such as workshops andseminars including the production of Toshidon masks.







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The high-quality, lightweight patterned textilesmade from the ramie plant are ideal for the hotand humid Japanese summer. Ojiya-chijimi,Echigo-jofu: techniques of making ramie fabric inUonuma region, Niigata Prefecture developed inthe north-western part of Japan’s main island andbear the mark of the region’s cooler climate –particularly its snowy winters. Ramie fibres aresplit from the plant by fingernail and twisted intothreads by hand. In tie-dying, bundles of ramiethreads are bound tightly with cotton beforedying so as to produce a geometric or floralpattern when the thread is woven into fabricusing a simple back-strap loom. The cloth iswashed 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 belightened by the sun and the ozone released by

the snow’s evaporation. Clothes produced by thismethod have been popular among people ofvarious social classes for centuries. Practised todaymainly by older craftspeople, the art remains apoint of cultural pride and an important tool forreinforcing a sense of identity for the community.

Ojiya-chijimi, Echigo-jofu:techniques of making ramie fabric in Uonuma region, Niigata Prefecture

Japan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedOjiya-chijimi, Echigo-jofu: techniques of making ramie fabric in Uonuma region, Niigata Prefecture onthe Representative List as the nomination file satisfied all the selection criteria, as follows:

Ojiya-chijimi, Echigo-jofu: techniques of making ramie fabric in Uonumaregion, Niigata Prefecture have been recreated and transmitted whilechanging their social and cultural functions over time, and provide a senseof identity and continuity for the community that recognizes them as itsintangible cultural heritage.

Inscription on the Representative List would contribute to raisingawareness about the importance of intangible cultural heritage in thecommunity concerned and encourage its continuous interest andpractice, as well as promoting the visibility of its creativity at the nationaland international levels.

Coherent and feasible safeguarding measures including legislation,awareness raising, training and documentation are demonstrated with thecommunity’s efforts and national and local governmental support.

The element was nominated with the participation of the Association forthe Conservation of Techniques for Echigo-jofu, Ojiya-chijimi-fu andincludes evidence of their free, prior and informed consent.






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Oku-noto no Aenokoto is an agricultural ritualtransmitted from generation to generation bythe rice farmers of the Noto Peninsula, whichprojects from Ishikawa prefecture in the centreof Japan’s main island, Honshu. The twice-yearlyceremony, performed in February andDecember, is unique among the harvest ritualsof Asia in that the master of the house invitesthe deity of the rice field into his home,behaving as though the invisible spirit wereactually present. In December, to expressgratitude for the harvest, the farmer runs a bathand begins to prepare a meal, summoning thedeity from the field with the sound of poundingrice cakes. Welcoming his guest in formalclothes and a lantern, the farmer allows thedeity to rest in a guest room before assisting thedeity with a bath and offering a meal of rice,beans and fish. Because the deity is said to havepoor eyesight, the host describes the meal as heserves it. A similar ritual is performed beforeplanting in February to ensure an abundantharvest. Performed with individual variationsthroughout the region, Oku-noto no Aenokotoreflects the everyday culture of the Japanese,who have cultivated rice since ancient times,and serves as a marker of identity for the area’sfarmers.

Oku-noto noAenokoto

Japan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedOku-noto no Aenokoto on the Representative List as the nomination file satisfied all the selectioncriteria, as follows:

Oku-noto no Aenokoto is a unique agricultural ritual through whichhuman creativity is well illustrated, and people in the local communityconfirm their identity and continuity.

Its inscription on the Representative List would contribute to raising publicawareness of intangible cultural heritage and enhancing transmission ofthe agricultural ritual, while increasing visibility and understanding of otheragricultural rituals transmitted throughout the world.

A variety of safeguarding measures, such as organizing seminars fortransmission and promotion, publishing junior high school guidebooks,and producing documentary films, have been and will be carried outtogether by the Association for the Preservation of Oku-noto no Aenokotoand local and national authorities.







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The unique techniques of Sekishu-Banshipapermaking create the strongest paperproduced in Japan. Sekishu-Banshi has longbeen made in the Iwami region of ShimanePrefecture in western Japan, originally as a sidebusiness for local farmers. Once popular amongmerchants for account books, it is used todayprimarily for shoji (paper doors), calligraphy andconservation and restoration work. Theextraordinarily durable paper is handmade fromthe kozo tree (paper mulberry), and specificallyfrom the long, tough fibres just below the bark,which are considered to have too manyimpurities for other forms of paper. During the

environmentally-friendly process, locally grownkozo is harvested in winter, the outer barksteamed off, the fibres boiled, beaten by hand,mixed with mucilage in water, and then filteredwith a wooden-framed bamboo screen to formsheets; the resulting paper is dried on woodenor metal boards. The art today is the work ofspecialist papermakers in an artisan’s association,for whom Sekishu-Banshi is the foundation oftheir craft and one of the most important partsof their cultural heritage. They pass theirtraditional techniques to young successorsthrough hands-on training, preserving a senseof continuity and identity.

Sekishu-Banshi: papermaking in the Iwami region of ShimanePrefecture

Japan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedSekishu-Banshi: papermaking in the Iwami region of Shimane Prefecture on the Representative List asthe nomination file satisfied all the selection criteria, as follows:

Sekishu-Banshi: papermaking in the Iwami region of Shimane Prefecturehas been transmitted from generation to generation while changing itssocial and cultural functions, and has provided a sense of identity andcontinuity for the community concerned as well as the Japanese people.

Its inscription on the Representative List would stimulate dialogue andmutual understanding among cultures worldwide that possesspapermaking traditions, while fostering appreciation of cultural diversityand human creativity.

The Sekishu-Banshi Craftsmen’s Association, together with national andlocal authorities, is carrying out various safeguarding measures such assuccessor-training workshops and documentation to strengthen theviability of the element.

The element was nominated with the participation of the Sekishu-BanshiCraftsmen’s Association and includes evidence of their free, prior andinformed consent.






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The Ainu are an indigenous people who todaylive mostly in Hokkaidō in northern Japan.Traditional Ainu dance is performed atceremonies and banquets, as part of newlyorganized cultural festivals and privately in dailylife; in its various forms, it is closely connected tothe lifestyle and religion of the Ainu. Thetraditional style involves a large circle of dancers,sometimes with onlookers who sing anaccompaniment without musicalinstrumentation. Some dances imitate the callsand movements of animals or insects; others,like the sword and bow dances, are rituals; and

still others are improvisational or purelyentertainment. Believing that deities can befound in their surroundings, the Ainu frequentlyuse dance to worship and give thanks for nature.Dance also plays a central role in formalceremonies such as Iyomante, in whichparticipants send the deity, embodied in a bearthey have eaten, back to heaven by mimickingthe movements of a living bear. For the Ainu,dance reinforces their connection to the naturaland religious world and provides a link to otherArctic cultures in Russia and North America.

Traditional Ainu danceJapan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedTraditional Ainu dance on the Representative List as the nomination file satisfied all the selectioncriteria, as follows:

Traditional Ainu dance is transmitted and recreated by seventeenpreservation associations in the fifteen cities and townships that make upthe Ainu community of Hokkaido, providing them a sense of identity andcontinuity.

Inscription of the element on the Representative List will contribute toincreased visibility of intangible cultural heritage and to a greater pride intheir heritage within the Ainu community, promoting increasedintercultural dialogue and reflecting cultural diversity.

The safeguarding measures are coherent, and the commitment of civilsociety, local officials and national institutions is demonstrated.

The free, prior and informed consent of the Ainu community is evidentfrom the nomination.

Traditional Ainu Dance is included as an Important Intangible Folk CulturalProperty on the inventory maintained by the Agency for Cultural Affairs.





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On July 17 every year, the Gion Festival in Kyotoin central Japan culminates in a grandprocession of yamahoko, floats known as‘moving museums’ because of their elaboratedecoration with tapestries and wooden andmetal ornaments. The festival is held by theYasaka Shrine in the neighbourhood of Gion,and the thirty-two floats are built by theresidents of the city’s self-governing districts,who have transmitted the tradition for manyyears. Each district works with musicians to playin the orchestras that accompany the parade aswell as diverse artisans to assemble, decorateand disassemble the floats, which proceed in anorder determined each year by lottery. The floatscome in two varieties: yama floats withplatforms decorated to resemble mountains andhoko floats dominated by tall wooden polesoriginally intended to summon the Plague Deityso that he could be transformed into aprotective spirit through music, dance andworship. Today, the yamahoko parade is arepresentative urban summer festivalshowcasing the creative spirit and artistry of thefloat-building districts and providingentertainment for the entire city.

Yamahoko, the floatceremony of the KyotoGion festival

Japan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedYamahoko, the float ceremony of the Kyoto Gion festival on the Representative List as thenomination file satisfied all the selection criteria, as follows:

Yamahoko, the float ceremony of the Kyoto Gion festival, has been passeddown over generations, is organized collectively by local residents and isrecognized by them as a symbol of their identity and continuity.

Inscription of the element on the Representative List would raise thevisibility of this and similar festivals and increase awareness about theimportance of intangible cultural heritage at national and internationallevels.

Various practical safeguarding measures such as maintenance of the floats,documentation and research have been carried out and proposed underthe initiative of the Foundation for Gion Festival Preservation Associationsin cooperation with national, prefectural and city governments.

The nomination includes the free, prior and informed consent of theFoundation for Gion Festival Preservation Associations.






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In the early thirteenth century, following a majormilitary victory, the founder of the MandingoEmpire and the assembly of his wise menproclaimed in Kurukan Fuga the new MandenCharter, named after the territory situated abovethe upper Niger River basin, between present-dayGuinea and Mali. The Charter, one of the oldestconstitutions in the world albeit mainly in oralform, contains a preamble of seven chaptersadvocating social peace in diversity, theinviolability of the human being, education, theintegrity of the motherland, food security, theabolition of slavery by razzia (or raid), andfreedom of expression and trade. Although theEmpire disappeared, the words of the Charter and

the rituals associated with it are still transmittedorally from father to son in a codified way withinthe Malinke clans. To keep the tradition alive,commemorative annual ceremonies of thehistoric assembly are organized in the village ofKangaba (adjacent to the vast clearing of KurukanFuga, which now lies in Mali, (close to theGuinean border). The ceremonies are backed bythe local and national authorities of Mali and, inparticular, the traditional authorities, who see it asa source of law and as promoting a message oflove, peace and fraternity, which has survivedthrough the ages. The Manden Charter continuesto underlie the basis of the values and identity ofthe populations concerned.

The Manden Charter,proclaimed in KurukanFuga

Mali


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedthe Manden Charter, proclaimed in Kurukan Fuga on the Representative List as the nomination filesatisfied all the selection criteria, as follows:

The Manden Charter, recognized by its community members as anessential part of their heritage, is customary law on the basis of which theyregulate their social life while respecting nature and the changingenvironment; it is passed on orally from generation to generation andprovides a sense of belonging, identity and continuity to its community.

Inscription of the Manden Charter on the Representative List wouldpromote intercultural dialogue by giving wider visibility to its values oftraditional governance and conflict resolution.

Legal mechanisms and safeguarding measures focusing especially ondocumentation and awareness raising are elaborated in the nomination,which also demonstrates the commitments of both State andcommunities to implement such measures.

The participation of traditional authorities and local officials in thenomination is reflected in the safeguarding measures elaborated, and thefile includes evidence of their free, prior and informed consent.

Kurukan Fuga, the cultural space where the Manden Charter wasproclaimed, is inscribed on the inventory of national cultural heritage.





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The Malinke and other peoples of the Mandenregion of south-west Mali gather every sevenyears to celebrate when a new thatch roof isinstalled atop the Kamablon (or House ofSpeech) in the village of Kangaba. Built in 1653,the distinctive circular Kamablon of Kangabashelters objects and furniture of high symbolicvalue to the community and serves as a villagesenate. Members of the Keita clan –descendants of the Mali Empire’s founder,Sundiata Keita – and griots with the patronymDiabate are the keepers of the Kamablon’shistory and organizers of the ceremony. The re-

roofing is an occasion to evoke the history andculture of the Manden through oral traditions,and an opportunity to strengthen social bonds,settle conflicts, and predict what will happen forthe next seven years. During five days, youngpeople of 20 or 21 years of age take down theold roof and put in place a new one under thesupervision and guidance of community elderswho transmit on that occasion their knowledgerelating to the house, its construction, historyand symbolic value. Griots from the nearbyvillage of Kela carry out homage to Sundiata andrecount the oral history of the Manden region.

The septennial re-roofingceremony of theKamablon, sacred houseof Kangaba

Mali


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedthe septennial re-roofing ceremony of the Kamablon, sacred house of Kangaba on theRepresentative List as the nomination file satisfied all the selection criteria, as follows:

The re-roofing ceremony is a ritual event in which oral traditions arerecited and sung, transmitting the oral history of the Mali Empire to itsmodern-day descendants in the Manden region, and reuniting clan andfamily members around a powerful symbol of their cultural identity.

Inscription of the ceremony on the Representative List would contribute tosocial cohesion and mutual respect among the communities of theManden, while ensuring visibility and awareness of their shared culturalheritage.

The community of Kangaba and national authorities have elaboratedmeasures to safeguard this important element, through legislation and anawareness-raising programme to encourage the transmission of skills andknowledge to future generations.

The Kangaba community and custodians of the Kamablon welcomed theinitiative of the National Directorate for Cultural Heritage to nominate theelement, as demonstrated by their free, prior and informed consent.

The Kamablon sacred house was inscribed in 2005 on the inventory ofnational cultural heritage maintained by the National Directorate forCultural Heritage.





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Living in the semi-desert zone of the state ofQuerétaro in central Mexico, the Otomí-Chichimeca people have developed a range oftraditions that express a unique relationshipwith their local topography and ecology. Theircultural environment is dominated by asymbolic triangle formed by the Zamorano andFrontón hills and the Bernal rock. It is to thesesacred hills that people make annualpilgrimages bearing miraculous crosses to prayfor water and divine protection, venerate theirancestors and celebrate their communal identityand continuity. Other community festivitiesthroughout the year make up a calendar of

rituals centred on water – a dangerously scarceelement in this climate – and dedicated to theendurance of the Otomí-Chichimeca people.The rituals often occur in intimate family chapelsdedicated to ancestors or in chimales, temporarybut impressive reed structures with leafy roofsbuilt as an offering, an emblem of enduranceand a symbol of vitality and belonging. Therelationship between spiritual culture andphysical space has an influence on the art of theregion, including religious images, murals, danceand music, and the traditions that embody it arecentral components of the cultural identity ofthe community.

Places of memory andliving traditions of theOtomí-Chichimecaspeople of Tolimán: the Peña de Bernal, guardian of a sacred territory

Mexico


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedPlaces of memory and living traditions of the Otomí-Chichimecas people of Tolimán: the Peña deBernal, guardian of a sacred territory on the Representative List as the nomination file satisfied all theselection criteria, as follows:

The element is a cultural space encompassing symbolic and spiritualmeanings and practices related to nature and rooted in the value systemof the community, constituting an important part of the social life of thecommunities concerned and providing them with a sense of identity andcontinuity.

Inscription on the Representative List would contribute to promotingcultural diversity and inter-cultural dialogue at the national andinternational levels, enhancing visibility and awareness of intangiblecultural heritage.

Safeguarding measures, respecting nature in the context of climatechange, are proposed based on the diverse forms of communityparticipation, while the commitment of federal and local governments aswell as the communities concerned is demonstrated.

The nomination was elaborated based on consultation with communities,groups and individuals concerned through a series of consultativemeetings and submitted with their free, prior and informed consent.

The element is inscribed on the inventories of intangible cultural heritageat the national and local levels.





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The ritual ceremony of the Voladores (‘flyingmen’) is a fertility dance performed by severalethnic groups in Mexico and Central America,especially the Totonac people in the easternstate of Veracruz, to express respect for andharmony with the natural and spiritual worlds.During the ceremony, four young men climb awooden pole eighteen to forty metres high,freshly cut from the forest with the forgivenessof the mountain god. A fifth man, the Caporal,stands on a platform atop the pole, takes up hisflute and small drum and plays songs dedicatedto the sun, the four winds and each of thecardinal directions. After this invocation, theothers fling themselves off the platform ‘into thevoid’. Tied to the platform with long ropes, theyhang from it as it spins, twirling to mimic themotions of flight and gradually loweringthemselves to the ground. Every variant of thedance brings to life the myth of the birth of theuniverse, so that the ritual ceremony of theVoladores expresses the worldview and valuesof the community, facilitates communicationwith the gods and invites prosperity. For thedancers themselves, and the many others whoparticipate in the spirituality of the ritual asobservers, it encourages pride in and respect forone’s cultural heritage and identity.

Ritualceremony of theVoladores

Mexico


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedRitual ceremony of the Voladores on the Representative List as the nomination file satisfied all theselection criteria, as follows:

Ritual ceremony of the Voladores has been transmitted from generation togeneration and constantly recreated by the communities concerned inresponse to their interaction with nature and the universe.

Inscription of the element on the Representative List would contribute tofostering understanding of and respect for cultural diversity, stimulatedialogue among stakeholders, and enhance visibility and awareness of theimportance of intangible cultural heritage.

Several factors threatening the viability of the element are identified and aset of safeguarding measures such as establishment of the School forVolador Children are described, supported by demonstrations of thecommitment of governmental authorities as well as the communitiesconcerned.

The Voladores themselves, along with other civil and public institutes, werewidely involved in the nomination process either individually or throughtheir associations, and their free, prior and informed consent is provided.

The element is inscribed in the Intangible Cultural Heritage Inventory ofMexico maintained by the National Council for Culture and the Arts.





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In many communities in the state of Anambra insouth-eastern Nigeria, celebrations, burialceremonies and other special occasions duringthe dry season, to evoke fertility and a bountifulharvest, feature the performance of the Ijelemasquerade. The mask is about four metres tall– so large that it takes a hundred men sixmonths of work to prepare the costume andbuild an outdoor house to hold it before aperformance. Divided into upper and lowersegments by a large python at the centre, theIjele is constructed with colourful fabrics on askeleton of bamboo sticks and decorated withfigurines and depictions of every aspect of life.The towering masked figure dances at theculmination of a series of other masquerades,protected by six ‘police’ and carrying a mirrorwith the power to draw in and punish evil-doers.Ijele mask carriers, chosen by ballot, secludethemselves for three months, during which timethey live on a special diet to acquire the strengthnecessary to don the mask. The masqueradeplays a number of important roles in thecommunity: spiritually, it marks both festive andsolemn occasions; politically, it provides anopportunity to reaffirm loyalty to a chief or king;and culturally it provides a popularentertainment as young boys and girls sing anddance to the tunes of Akunechenyi music.

Ijelemasquerade

Nigeria


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedIjele masquerade on the Representative List as the nomination file satisfied all the selection criteria, asfollows:

The Ijele masquerade includes songs, music, dance, social practices, ritualsand events concerning nature, and is recreated and passed on to youngergenerations by the communities as a symbol of their beliefs, identity,continuity and the interaction of human beings with nature.

Inscription on the Representative List will contribute to reinforcing thevisibility of intangible cultural heritage and promoting its importance atthe local, national and international levels, increasing respect for thepolitical, spiritual, social and recreational significance the elementembodies.

Measures to ensure the element’s viability are proposed by theGovernment and the communities that are committed to safeguarding it,supported by financial and administrative resources.


The Ijele Masquerade is inscribed on a national inventory of intangiblecultural heritage.





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Cheoyongmu is a court dance today performedon stage but formerly used to dispel evil spiritsand to pray for tranquillity at royal banquets orduring exorcism rites on New Year’s Eve topromote good fortune. Based on the Koreanlegend of Cheoyong, a son of the dragon kingYongwang, who took human form and saved hishuman wife from the smallpox spirit throughsinging and dancing, the dance is performed byfive men clad in white, blue, black, red andyellow to represent the four cardinal directionsand the centre. They wear the light wine-coloured mask of the man-god, with whiteteeth, tin earrings with a necklace of lead beads,

and a black hat decorated with two peonyblossoms and seven peaches to ward off eviland invite auspicious energy. The dancers movewith stateliness and vigour through a variety ofstyles and music tempos, punctuated by variouslyrical song recitations. Part of a greater folkmythology surrounding Cheoyong, includingthe belief that his image carved on the gate of ahouse would repel smallpox and other ills,Cheoyongmu also embodies the philosophy ofConfucianism, particularly the Theory of the FiveElements. The creation of the Cheoyong masksalso provides a valuable opportunity fortraditional craftsmanship.

CheoyongmuRepublic of Korea


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedCheoyongmu on the Representative List as the nomination files satisfied all the selection criteria, as follows:

Cheoyongmu is an art form that is recognized and upheld by itspractitioners as a marker of their identity, one that they have endeavouredto hand down from generation to generation.

Inscription on the Representative List will make the element better knownto artists and scholars, giving wider visibility to intangible cultural heritage,both to an international audience and within the community ofpractitioners.

A series of safeguarding measures demonstrates the will and commitmentof the State and community to safeguard the element, providing financialand other support to ensure favourable conditions for its transmission andviability.

The element has been nominated with active involvement of thecommunity and, in particular, the tradition bearers who have given theirfree, prior and informed consent in writing.

The element is designated as Important Intangible Cultural Heritage by theIntangible Cultural Heritage Division of the Cultural HeritageAdministration.





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Ganggangsullae is a seasonal harvest andfertility ritual popular in the south-western partof the Republic of Korea, performed primarily onKorea’s Thanksgiving in the eighth lunar month.Under a bright full moon, dozens of young,unmarried village women gather in a circle, joinhands and sing and dance all night under thedirection of a lead singer. During interludes, thewomen playfully mime vignettes reflecting lifein a farm or fishing village, including treading onroof tiles, unrolling a mat, catching a mouse ortying herrings. The dance takes its name fromthe refrain repeated after each verse, althoughthe exact meaning of the word is unknown.Once a rare break from restrictive rules

governing the behaviour of rural young womenwho were not allowed to sing aloud or go out atnight, except during the Chuseok Thanksgivingcelebration, the ritual is mostly preserved todayby middle-aged women in cities and taught aspart of the music curriculum of elementaryschools. Now practised as a performing artthroughout Korea, it can be seen as arepresentative Korean folk art. It is an importanthereditary custom drawn from the rice culturethat pervaded daily life in the countryside. Theeasy tunes and movements can be learnedquickly for this communal practice thatcontributes to harmony, equality and friendshipamong the women dancers.

GanggangsullaeRepublic of Korea


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedGanggangsullae on the Representative List as the nomination file satisfied all the selection criteria, asfollows:

Ganggangsullae offers its practitioners a sense of identity and provides achannel of free expression for the women who have been passing it onfrom generation to generation.

The inscription of Ganggangsullae on the Representative List would givean example of intangible heritage as a resource for the invigoration offriendly and harmonic bonds between human beings and would promoterespect for cultural diversity and human creativity while encouragingcontinuity among practitioners.

Various safeguarding measures propose that national institutes of culture,universities and private organizations act jointly to guarantee protectionand promotion of the element.

The element has been nominated with the involvement of thepractitioners and skill holders who have given their free, prior andinformed consent through a signed letter of consent.






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The Jeju Chilmeoridang Yeongdeunggut is aritual held in the second lunar month to pray forcalm seas, an abundant harvest and a plentifulsea catch. The rites held at Chilmeoridang in thevillage of Gun-rip are representative of similarceremonies held throughout the island of Jeju inthe Republic of Korea. Village shamans perform aseries of rituals to the goddess of the winds(Grandmother Yeondeung), the Dragon KingYongwang and mountain gods. The YeondeungWelcome Rite includes a ceremony to call thegods, prayers for a good catch, and a three-actplay to entertain the ancestral gods; theYeondeung Farewell Rite two weeks later includesofferings of drinks and rice cakes, a ceremony towelcome the Dragon King, fortune telling withmillet seeds, and the launching of a straw boatinto the sea by the village’s senior men. As thegoddess Yeondeung departs on the fifteenth day,marking the arrival of spring, she sows seeds andcalms the troubled waters. Besides the shamans,the Yeongdeunggut is primarily supported by thefemale divers and ship owners who prepare foodand offer sacrifices. Both a seasonal rite and acultural festival, this ritual is a distinctiveembodiment of Jeju identity and an expression ofthe villagers’ respect for the sea on which theirlivelihood depends.

Jeju ChilmeoridangYeongdeunggut

Republic of Korea


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedJeju Chilmeoridang Yeongdeunggut on the Representative List as the nomination file satisfied all theselection criteria, as follows:

The Yeongdeunggut ritual offers a sense of identity to the inhabitants ofChilmeoridang village and holds special significance to Jeju Island where itis transmitted from generation to generation.

Its inscription on the Representative List will contribute to greater nationaland international visibility of intangible cultural heritage and the element’srecognition as a cultural symbol and living example of the significant andcreative relationship between human beings and nature.

Safeguarding measures have been proposed with support from the State,private and public institutions, and tradition bearers committed toguaranteeing the element’s viability through the construction of trainingcentres and the development of educational programmes to instruct thelocal population in the meaning of the element.

The element has been nominated with the participation of thecommunity, including appropriate bodies and individual practitioners,whose free, prior and informed consent has been given in writing.






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Namsadang Nori, literally the ‘all-male vagabondclown theatre’, is a multifaceted folkperformance tradition originally practised widelyby travelling entertainers and now kept alive byprofessional troupes in the Republic of Korea.The performance is made up of six components:a segment of ‘farmers’ music’ emphasizes thepercussive sounds of metal gongs and animal-hide drums; a mask dance presents four comicscenes depicting people from different socialclasses; a tightrope walking act sees an acrobaton a high-wire engaged in witty exchanges witha clown below; in a puppet play, more than fiftypuppets act out seven scenes together with anarrator and musicians; an acrobatic segmentcombines physical feats performed on theground with comic dialogue and music; and anintricate display of hoop spinning with awooden stick completes the performance. Inaddition to entertaining rural audiences thatwould surround the performers in outdoorarenas, Namsadang Nori carried an importantsocial message. The mask dance and puppetplays in particular enacted the oppression of thelower classes as well as women in a male-dominated society. Through satire, theseperformances raised issues on behalf of thosewith no political voice and manifested ideals ofequality and freedom, sustaining and inspiringthe underprivileged.

NamsadangNori

Republic of Korea


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedNamsadang Nori on the Representative List as the nomination file satisfied all the selection criteria, asfollows:

Namsadang Nori is popular among grassroots people and has beentransmitted from generation to generation and recognized by thecommunity concerned as a part of its heritage.

Inscription on the Representative List would encourage young people tolearn Namsadang Nori, raising visibility as well as awareness about theimportance of intangible cultural heritage at the national and internationallevels, and promoting respect for the diversity of cultural expressionsworldwide.

The nomination describes a series of feasible interventions that couldensure practical safeguarding of the element.

The nomination includes the free, prior and informed consent of thecommunity concerned.






Inventory


68

A central element of Korean Buddhist culture,Yeongsanjae is a re-enactment of Buddha’sdelivery of the Lotus Sutra on the Vulture Peak inIndia, through which philosophical and spiritualmessages of Buddhism are expressed, andthrough which people in attendance developself-discipline. Yeongsanjae begins with a ritualreception for all the saints and spirits of heavenand earth and concludes with a farewell ritualrepresenting manners of the otherworldly realmof Buddha, with singing, ceremonial adornmentand varied ritual dances such as the cymbaldance, drum dance and ceremonial robe dance.The other components include a ritualcleansing, a tea ceremony, the dedication of arice meal to the Buddha and Bodhisattvas, asermon inviting the audience to the door oftruth and a ritual meal for the dead tocongratulate them on their entry into heaven.Preserved chiefly by the Taego Order of KoreanBuddhism based in Seoul, the Yeongsanjae isheld in temples throughout the Republic ofKorea to help all beings enter the world of truthby worshipping and admiring the Buddha andhis laws and monks. The ceremony serves as animportant space for the transmission of valuesand art forms and for meditation, training andenlightenment.

Yeongsanjae

Republic of Korea


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedYeongsanjae on the Representative List as the nomination files satisfied all the selection criteria, as follows:

Yeongsanjae is a cherished expression of the identity of its practitionerswho have passed it on from generation to generation.

Its inscription on the Representative List would contribute to ensuring thevisibility of intangible cultural heritage at the local, national andinternational levels, thereby reflecting cultural diversity and humancreativity.

The nomination presents the national system of safeguarding measuresand describes the commitment of the Yeongsanjae PreservationAssociation to enhancing awareness and transmission of the element.

The nomination includes evidence of free, prior and informed consentgranted by the practitioners.






Inventory


69

Known by various names throughout Romania,the doina is a lyrical, solemn chant that isimprovised and spontaneous. As the essence ofRomanian folklore, it was the only musical genrein many regions of the country until 1900.Technically, the doina can be sung in anycontext (outdoors, at home, at work or duringwakes), and is always performed solo, with orwithout instrumental accompaniment (whichmight include the traditional straight flute,bagpipes and even improvised instruments).There are several regional variants. The doina hasa wide-ranging expressive and thematic palettethat spans joy, sadness, solitude, social conflicts,brigand attacks, love and so on. Expressing as itdoes the personal qualities, emotions andvirtuosity of the creator-performer, the doinaalso plays an important social role by providinga cathartic outlet that strengthens solidarity. Ithas also given rise to other artistic genres suchas dances. Today, the doina is under threatlocally because of a break in the line oftransmission from parent to child. Althoughsome fifteen people have been identified asrepresentatives of the various types of doina, anenvironment conducive to performance andtransmission must be restored in order to ensurethat this important feature of Romania’sintangible cultural heritage continues toflourish.

Doina

Romania


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedDoina on the Representative List as the nomination file satisfied all the selection criteria, as follows:

The doina has been transmitted, mainly inside families, in many parts ofRomania, where people regard it as part of their cultural heritage and theiridentity.

Inscription of the element on the Representative List would bear witnessto human creativity and would contribute to enhancing the visibility ofintangible cultural heritage.

Current, recent and intended efforts to ensure the viability of the elementare described and it is demonstrated that the concerned parties have thewill and commitment to safeguard the element through the measuresidentified.


The element is included on the national inventory by the NationalCommission for the Safeguarding of the Intangible Cultural Heritage.





Inventory


70

The irrigators’ tribunals of the SpanishMediterranean coast are traditional law courts forwater management that date back to the al-Andalus period (ninth to thirteenth centuries).The two main tribunals, the Council of Wise Menof the Plain of Murcia and the Water Tribunal ofthe Plain of Valencia, are recognized underSpanish law. Inspiring authority and respect,these two courts, whose members are electeddemocratically, settle disputes orally in a swift,transparent and impartial manner. The Council ofWise Men has seven geographicallyrepresentative members, and has jurisdiction overa landowners’ assembly of 23,313 members. TheWater Tribunal comprises eight electedadministrators representing a total of 11,691

members from nine communities. In addition totheir legal role, the irrigators’ tribunals play a keypart in the communities of which they are avisible symbol, as apparent from the ritesperformed when judgements are handed downand the fact that the tribunals often feature inlocal iconography. They provide cohesion amongtraditional communities and synergy betweenoccupations (wardens, inspectors, pruners, etc.),which contribute to the oral transmission ofknowledge derived from centuries-old culturalexchanges, and they have their own specialistvocabulary peppered with Arabic borrowings. Inshort, the courts are long-standing repositories oflocal and regional identity and are of specialsignificance to local inhabitants.

Irrigators’ tribunals of theSpanish Mediterraneancoast: the Council of Wise Men of the plain of Murcia and the WaterTribunal of the plain of Valencia

Spain


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedIrrigators’ tribunals of the Spanish Mediterranean coast: the Council of Wise Men of the plain ofMurcia and the Water Tribunal of the plain of Valencia on the Representative List as the nominationfile satisfied all the selection criteria, as follows:

The element is recognized by the residents of Murcia and Valencia as theirintangible cultural heritage, sustaining their being and ensuring themcontinuity, hence they pass it on from generation to generation.

Inscription of the element on the Representative List would promotetraditional governance and amicable conflict resolution, while enhancingthe visibility of intangible cultural heritage, promoting dialogue amongcultures and testifying to human creativity.

The nomination describes practical safeguarding measures that havesustained this cultural practice for many years and proposes additionalmeasures that would ensure maintenance of the element at the local,national and international levels, supported by the commitments of boththe State and the communities concerned.

The members of the communities concerned participated actively in theelaboration of the nomination, expressing their free, prior and informedconsent, and the two tribunals accorded their formal approval.

The Council of Wise Men is inscribed in the General Registry for CulturalHeritage of Murcia Region and in a transnational inventory maintained byMEDINS (Mediterranean Intangible Space); the Water Tribunal is similarlyinscribed in the General Inventory of Cultural Heritage of Valencia and,nationally, in the Registry of Cultural Interest Goods of the Ministry forCulture.





Inventory


71

The whistled language of La Gomera Island inthe Canaries, the Silbo Gomero, replicates theislanders’ habitual language (Castilian Spanish)with whistling. Handed down over centuriesfrom master to pupil, it is the only whistledlanguage in the world that is fully developedand practised by a large community (more than22,000 inhabitants). The whistled languagereplaces each vowel or consonant with awhistling sound: two distinct whistles replacethe five Spanish vowels, and there are fourwhistles for consonants. The whistles can bedistinguished according to pitch and whetherthey 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 Gomerois understood by almost all islanders andpractised by the vast majority, particularly theelderly and the young. It is also used duringfestivities and ceremonies, including religiousoccasions. To prevent it from disappearing likethe other whistled languages of the CanaryIslands, it is important to do more for itstransmission and promote the Silbo Gomero asintangible cultural heritage cherished by theinhabitants of La Gomera, and the CanaryIslanders as a whole.

Whistled language of the island of La Gomera(Canary Islands), the SilboGomero

Spain


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedWhistled language of the island of La Gomera (Canary Islands), the Silbo Gomero on theRepresentative List as the nomination file satisfied all the selection criteria, as follows:

Silbo Gomero is widely practised by the inhabitants of the island of LaGomera who recognize it as their distinctive contribution to the culturalheritage of the other islands in the archipelago of the Canary Islands.

Its inscription on the Representative List would increase communities’awareness and foster their efforts to preserve oral traditions and transmitthem to coming generations.

The safeguarding measures described, especially the introduction of thelanguage in schools as an educational discipline, are a guarantee for theprotection and promotion of the whistle language of the Canary Islands,and are supported by a firm and sustainable commitment by the State andcommunities concerned.

The participation of the community in initiating educational programmesfor Silbo Gomero and in supporting the nomination is complemented byevidence of their free, prior and informed consent.

The element is inscribed in the Inventory of Historical Heritage Propertiesof the Canary Islands, maintained by the Ministry for Education,Universities, Culture and Sport.





Inventory


72

The Âşıklık (minstrelsy) tradition of Turkey isperformed by wandering poet-singers known asâşıks. Dressed in traditional clothes and pluckinga stringed saz, the âşık is a common performerat weddings, in coffeehouses and during publicfestivals of all types. The âşık is called in a dreamto undertake a long apprenticeship in the arts ofplaying string and percussion instruments,singing, storytelling and repartee that form theheart of the vocation. The poems they recite,usually about love, are written in rhymed syllabicmeter and end with a quatrain in which the âşıkutters the Mâhlas, his pseudonym. Theirimprovisational performances may also include

riddles, folk tales, verbal duels of wit andcreativity with other âşıks, and verses sung whilethe minstrel holds a needle in his mouth to forcehim to recite poems avoiding B, P, V, M and Fsounds. Because âşıks travel betweencommunities, they help to spread cultural valuesand ideas, and they facilitate a robust socialdialogue, in part through topical poetry andsocial and political satire. At weddings inparticular, âşıks are regarded as instructors andguides whose tradition draws on and enrichesTurkish literary culture and the daily lives ofcommunities throughout the country.

Âşıklık (minstrelsy)tradition

Turkey


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedÂşıklık (minstrelsy) tradition on the Representative List as the nomination file satisfied all the selectioncriteria, as follows:

The Âşıklık (minstrelsy) tradition from Turkey is deeply rooted in social lifeand gives identity and continuity to its community; it constitutes a livingtradition that is passed on from master to apprentice, always evolving as itis practised.

Inscription of the element on the Representative List would not onlycontribute to visibility and recognition of intangible cultural heritage, butwould particularly motivate youth to preserve the tradition and wouldbring communities closer together, thus having a significant impact onnational and international levels.

The nomination includes a wide range of safeguarding measuresencompassing, among others, the revitalization of cafes where thetradition is practised, educational activities, as well as researchprogrammes that will be carried out with the commitment and activeparticipation of the Government and practitioners so as to ensurecontinuity of the element among the young.

The element was nominated with the involvement of the community,bringing together the Government, civil society representatives andpractitioners who participated in the elaboration of the file and theidentification of safeguarding measures, and who have given their free,prior and informed consent.

The element is included in the Turkish National Inventory for IntangibleCultural Heritage, established under the aegis of the Ministry of Cultureand Tourism.





Inventory


73

Karagöz is a form of shadow theatre in Turkey inwhich figures known as tasvirs, made of camel orox hide in the shape of people or things, areheld on rods in front of a light source to casttheir shadows onto a cotton screen. A playbegins with the projection of an introductoryfigure to set the scene and suggest the themesof the drama, before it vanishes to the shrillsound of a whistle, giving way to a mainperformance that may incorporate singing,tambourine music, poetry, myth, tongue-twisters and riddles. The usually comic storiesfeature the main characters Karagöz and Hacivatand a host of others, including a cabaretchanteuse called Kantocu and an illusionist-acrobat named Hokkabaz, and plays abound inpuns and imitations of regional accents. Thepuppets are manipulated by one lead artist, theHayali, who may have one or more apprentice-assistants who are learning the craft by helpingto create the tasvirs and accompanying theaction with music. Once played widely atcoffeehouses, gardens, and public squares,especially during the holy month of Ramazan, aswell as during circumcision feasts, Karagöz ismostly found today in performance halls,schools and malls in larger cities where it stilldraws audiences. The traditional theatrestrengthens a sense of cultural identity whilebringing people closer together throughentertainment.

Karagöz

Turkey


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedKaragöz on the Representative List as the nomination file satisfied all the selection criteria, as follows:

Karagöz is recognized and valued for its playful way of transmittingcommunity cultural values and identity through stimulating thespectator’s imagination; it incorporates diverse forms of art such as poetry,narration, farce, music and dance.

Inscription of the element on the Representative List would contribute toincreasing visibility and awareness of this distinctive theatre at the local,national and international level, creating social and cultural dialogueamong other traditional shadow theatre practitioners worldwide, openingnew horizons for cultural diversity and promoting respect amongindividuals.

The local and national authorities, as well as committed practitioners andNGOs, have elaborated important measures to safeguard Karagöz, inparticular through training programmes in schools and universities, thecreation of information and documentation centres, and the organizationof festivals.

The element has been nominated through a process that involved artists,experts, representatives of related groups and institutions that cametogether for the identification of safeguarding measures and theelaboration of the file, and their free, prior and informed consent has beengiven in writing.

The element is included in the Turkish National Inventory for IntangibleCultural Heritage, established under the aegis of the Ministry of Cultureand Tourism.





Inventory


74

Every Sunday and on many holidays, thellamadas de tambores de candombe orcandombe drum calls enliven the Sur, Palermoand Cordón districts in southern Montevideo,Uruguay, home to a population of Africandescent. The practice of the Candombe beginsaround communal fires as people gather to tunetheir drums and socialize before beginning theirmarch. Once underway, the drum-call parade isled by the most prestigious members, fromfamilies recognized by the community for theirdrumming for many generations; otherdrummers are organized behind them in rows,and informal participants, dancers andspectators march alongside or watch from

balconies. The beat of the largest and deepestdrum, the piano, is distinctive to each of thethree neighbourhoods, so that the organizedcall and response structure of the Candombeboth unites the districts and signals theirindividual identities. Transmitted within familiesof African descent, the Candombe is recognizedas an expression of resistance as well as aUruguayan musical celebration and collectivesocial practice deeply interwoven in the daily lifeof these neighbourhoods. It is also a symbol andmanifestation of the memory of the community,drawing former residents back on special daysto the historical nucleus of Candombe.

The Candombe and itssocio-cultural space:a community practice

Uruguay


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedthe Candombe and its socio-cultural space: a community practice on the Representative List as thenomination file satisfied all the selection criteria, as follows:

The Candombe is a source of pride and a symbol of the identity ofcommunities of African descent in Montevideo, embraced by youngergenerations and favouring group cohesion, while expressing thecommunities’ needs and feelings with regard to their ancestors.

Inscription of the element on the Representative List would provide animportant impetus to the visibility of intangible cultural heritage, creativityand dialogue between the diverse communities concerned, whilestrengthening its resistance to certain negative tendencies.

Both the State and the communities have elaborated safeguardingmeasures and are committed to strengthening the candombe’s viabilitythrough inventory making, education and intergenerational transmission,as well as awareness-raising activities.

The element has been nominated with the involvement, throughout theentire process, of the relevant communities, including organizations,transmitting bodies and individuals, and they have given their free, priorand informed consent in writing.

The element is inscribed in the inventory of traditional feast days inUruguay, maintained by the Comisión del Patrimonio Cultural de la Nación.





Inventory


75

Katta Ashula (literally ‘big song’) is a type oftraditional song that forms part of the identity ofvarious peoples of the Ferghana Valley inUzbekistan, which is also home to Tajiks, Uyghursand Turks, and of some regions of Kyrgyzstan,Tajikistan and Kazakhstan. An original genre,Katta Ashula combines performing arts, singing,instrumental music, Eastern poetry and sacredrites. It covers a range of subjects, from love tophilosophical and theological concepts of theuniverse and nature, while leaving some roomfor improvisation. Transmitted orally from masterto pupil from one generation to another during ademanding apprenticeship, it is interpreted by aminimum of two and a maximum of five singers.Nowadays, Katta Ashula is an importantexpression of Uzbek cultural identity that canpromote dialogue between cultures. To keep thistradition viable, festivals, contests and variousother activities already organized by theGovernment of Uzbekistan and the localauthorities are to be reinforced through theintroduction of programmes, for transmitting thetradition to young people, and research (creationof a database, organization of conferences,publications, and so on).

Katta Ashula

Uzbekistan


The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedKatta Ashula on the Representative List as the nomination files satisfied all the selection criteria, as follows:

Katta Ashula is a singing tradition that is cherished by the community as asymbol of its identity and continuity that it endeavours to transmit fromgeneration to generation.

The inscription of the element on the Representative List would greatlycontribute to the visibility and awareness of intangible cultural heritage atthe local, national and international levels, and help ensure the element’scontinuity and transmission.

Various safeguarding measures at different levels, such as the organizationof festivals, traditional competitions of performers, legal measures, schoolprogrammes, or documentation have been implemented and areproposed, with the expressed commitment of the communities and theState.

The element has been nominated in a process that involved thecommunities, cultural groups, individuals, civil society institutions andfoundations, and NGOs, and free, prior and informed consent has beengiven by community representatives in a jointly signed statement.

The element is included in an inventory that is currently being prepared bythe Ministry of Culture and Sports.





Inventory


76

In the provinces of Băc Ninh and Băc Giang innorthern Viet Nam, many of the villages aretwinned, reinforcing their relationship throughsocial customs such as Quan ho Băc Ninh folksongs. The songs are performed as alternatingverses between two women from one village,who sing in harmony, and two men fromanother village, who respond with similarmelodies, but with different lyrics. The womentraditionally wear distinctive large round hatsand scarves; the men’s costumes includes turbans,umbrellas and tunics. The more than 400 songlyrics, sung with 213 different melody variations,express people’s emotional states of longing and

sadness upon separation, and the happiness ofthe meeting of lovers, but custom forbidsmarrying a singing partner. Quan ho singing iscommon at rituals, festivals, competitions andinformal gatherings, where guests will perform avariety of verses for their hosts before singingfarewell. Younger musicians of both sexes maypractice the four singing techniques – restrained,resonant, ringing and staccato – at partiesorganized around singing. Quan ho songsexpress the spirit, philosophy and local identityof the communities in this region, and help forgesocial bonds within and between villages thatshare a cherished cultural practice.

Quan Ho Băc Ninh folk songs

Viet Nam‘

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The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribedQuan Ho Băc Ninh folk songs on the Representative List as the nomination file satisfied all theselection criteria, as follows:

Quan Ho Băc Ninh folk songs are performed on various occasions such asthe worshipping of protection gods, fertility rituals or village festivals, andare recognized and transmitted by their communities as a symbol of localand regional identity.

Inscription of the element on the Representative List would contribute toensuring visibility and awareness of musical traditions on local, nationaland international levels, promoting social integration and enhancing inter-regional communication, cultural dialogue and respect for diversity.

A set of wide-ranging safeguarding measures, supported by thecommitment of the community and local authorities, is proposed toensure the viability of the element, notably the development of a culturalcentre, the inclusion of songs in the local school curriculum, and theestablishment of an artists’ association.

The element has been identified and nominated in a process that haswidely involved, at all stages, the local authorities and the communities,who provided their free, prior and informed consent in writing.

The element is included in the list of Vietnamese intangible heritageadministered by the Viet Nam Institute of Culture and Arts Studies.





Inventory


Elements inscribed on the Representative List

Albania Albanian Folk Iso-polyphony (2008)

The Ahellil of Gourara (2008)

Argentina; Uruguay The Tango (2009)

Armenia The Duduk and its Music (2008)

Azerbaijan The art of Azerbaijani Ashiq (2009)

The Azerbaijani Mugham (2008)

Azerbaijan; India; Novruz, Nowrouz, Nooruz, Navruz, Nauroz, NevruzIran (Islamic Republic of ); (2009)Kyrgyzstan; Pakistan; Turkey; Uzbekistan

Bangladesh Baul Songs (2008)

Belgium Procession of the Holy Blood in Bruges (2009)

The Carnival of Binche (2008)

Belgium; France Processional Giants and Dragons in Belgium andFrance (2008)

Belize; Guatemala; Honduras; Language, Dance and Music of the Garifuna (2008)Nicaragua

Benin; Nigeria; Togo The Oral Heritage of Gelede (2008)

Bhutan The Mask Dance of the Drums from Drametse (2008)

Bolivia (Plurinational State of ) The Andean Cosmovision of the Kallawaya (2008)

The Carnival of Oruro (2008)

Brazil Oral and Graphic Expressions of the Wajapi (2008)

The Samba de Roda of the Recôncavo of Bahia (2008)

Bulgaria Nestinarstvo, messages from the past: the Panagyrof Saints Constantine and Helena in the village ofBulgari (2009)

The Bistritsa Babi – Archaic Polyphony, Dances andRituals from the Shoplouk Region (2008)

Cambodia Sbek Thom, Khmer Shadow Theatre (2008)

The Royal Ballet of Cambodia (2008)

Central African Republic The Polyphonic Singing of the Aka Pygmies ofCentral Africa (2008)

China China engraved block printing technique (2009)

Chinese calligraphy (2009)

Chinese paper-cut (2009)

Chinese traditional architectural craftsmanship fortimber-framed structures (2009)

Farmers’ dance of China’s Korean ethnic group (2009)

Gesar epic tradition (2009)

Grand song of the Dong ethnic group (2009)

Hua’er (2009)

Kun Qu Opera (2008)

Manas (2009)

Mongolian art of singing: Khoomei (2009)

Nanyin (2009)

Regong arts (2009)

Sericulture and silk craftsmanship of China (2009)

The art of Chinese seal engraving (2009)

The craftsmanship of Nanjing Yunjin brocade (2009)

The Dragon Boat festival (2009)

The Guqin and its Music (2008)

The Mazu belief and customs (2009)

The traditional firing technology of Longquanceladon (2009)

China The traditional handicrafts of making Xuan paper(2009)

The Uyghur Muqam of Xinjiang (2008)

Tibetan opera (2009)

Xi’an wind and percussion ensemble (2009)

Yueju opera (2009)

Colombia Carnaval de Negros y Blancos (2009)

Holy Week processions in Popayán (2009)

The Carnival of Barranquilla (2008)

The Cultural Space of Palenque de San Basilio (2008)

Costa Rica Oxherding and Oxcart Traditions in Costa Rica (2008)

Côte d’Ivoire The Gbofe of Afounkaha - the Music of theTransverse Trumps of the Tagbana Community (2008)

Croatia Annual carnival bell ringers’ pageant from theKastav area (2009)

Lacemaking in Croatia (2009)

Procession Za Krizen (’following the cross’) on theisland of Hvar (2009)

Spring procession of Ljelje/Kraljice (queens) fromGorjani (2009)

The festivity of Saint Blaise, the patron of Dubrovnik(2009)

Traditional manufacturing of children’s wooden toysin Hrvatsko Zagorje (2009)

Two-part singing and playing in the Istrian scale(2009)

Cuba La Tumba Francesa (2008)

Cyprus Lefkara laces or Lefkaritika (2009)

Czech Republic Slovácko Verbuňk, Recruit Dances (2008)

Dominican Republic The Cocolo Dance Drama Tradition (2008)

The Cultural Space of the Brotherhood of the HolySpirit of the Congos of Villa Mella (2008)

Ecuador; Peru The Oral Heritage and Cultural Manifestations of theZápara People (2008)

Egypt The Al-Sirah Al-Hilaliyyah Epic (2008)

Estonia Seto Leelo, Seto polyphonic singing tradition (2009)

The Kihnu Cultural Space (2008)

Estonia; Latvia; Lithuania The Baltic Song and Dance Celebrations (2008)

France Aubusson tapestry (2009)

Maloya (2009)

The scribing tradition in French timber framing(2009)

Gambia; Senegal The Kankurang, Manding Initiatory Rite (2008)

Georgia Georgian Polyphonic Singing (2008)

Guatemala The Rabinal Achí Dance Drama Tradition (2008)

Guinea The Cultural Space of Sosso-Bala (2008)

Hungary Busó festivities at Mohács: masked end-of-wintercarnival custom (2009)

India Kutiyattam, Sanskrit Theatre (2008)

Ramlila - the Traditional Performance of theRamayana (2008)

Ramman: religious festival and ritual theatre of theGarhwal Himalayas, India (2009)

The Tradition of Vedic Chanting (2008)


Indonesia Indonesian Batik (2009)

The Indonesian Kris (2008)

The Wayang Puppet Theatre (2008)

Iran (Islamic Republic of ) The Radif of Iranian music (2009)

Iraq The Iraqi Maqam (2008)

Italy Opera dei Pupi, Sicilian Puppet Theatre (2008)

The Canto a tenore, Sardinian Pastoral Songs (2008)

Jamaica The Maroon Heritage of Moore Town (2008)

Japan Akiu no Taue Odori (2009)

Chakkirako (2009)

Daimokutate (2009)

Dainichido Bugaku (2009)

Gagaku (2009)

Hayachine Kagura (2009)

Hitachi Furyumono (2009)

Kabuki Theatre (2008)

Koshikijima no Toshidon (2009)

Ningyo Johruri Bunraku Puppet Theatre (2008)

Nôgaku Theatre (2008)

Ojiya-chijimi, Echigo-jofu: techniques of makingramie fabric in Uonuma region, Niigata Prefecture(2009)

Oku-noto no Aenokoto (2009)

Sekishu-Banshi: papermaking in the Iwami region ofShimane Prefecture (2009)

Traditional Ainu dance (2009)

Yamahoko, the float ceremony of the Kyoto Gionfestival (2009)

Jordan The Cultural Space of the Bedu in Petra and WadiRum (2008)

Kyrgyzstan The Art of Akyns, Kyrgyz Epic Tellers (2008)

Lithuania Cross-crafting and its Symbolism (2008)

Madagascar The Woodcrafting Knowledge of the Zafimaniry(2008)

Malawi The Vimbuza Healing Dance (2008)

Malawi; Mozambique; Zambia The Gule Wamkulu (2008)

Malaysia Mak Yong Theatre (2008)

Mali The Cultural Space of the Yaaral and Degal (2008)

The Manden Charter, proclaimed in Kurukan Fuga(2009)

The septennial re-roofing ceremony of theKamablon, sacred house of Kangaba (2009)

Mexico Places of memory and living traditions of theOtomí-Chichimecas people of Tolimán: the Peña deBernal, guardian of a sacred territory (2009)

Ritual ceremony of the Voladores (2009)

The Indigenous Festivity dedicated to the Dead(2008)

Mongolia The Traditional Music of the Morin Khuur (2008)

Mongolia; China Urtiin Duu - Traditional Folk Long Song (2008)

Morocco The Cultural Space of Jemaa el-Fna Square (2008)

The Moussem of Tan-Tan (2008)

Mozambique The Chopi Timbila (2008)

Nicaragua El Güegüense (2008)

Nigeria Ijele masquerade (2009)

The Ifa Divination System (2008)

Palestine The Palestinian Hikaye (2008)

Peru Taquile and its Textile Art (2008)

Philippines The Darangen Epic of the Maranao People of LakeLanao (2008)

The Hudhud Chants of the Ifugao (2008)

Republic of Korea Cheoyongmu (2009)

Ganggangsullae (2009)

Jeju Chilmeoridang Yeongdeunggut (2009)

Namsadang Nori (2009)

The Gangneung Danoje Festival (2008)

The Pansori Epic Chant (2008)

The Royal Ancestral Ritual in the Jongmyo Shrineand its Music (2008)

Yeongsanjae (2009)

Romania Doina (2009)

The Căluş Ritual (2008)

Russian Federation The Cultural Space and Oral Culture of theSemeiskie (2008)

The Olonkho, Yakut Heroic Epos (2008)

Slovakia The Fujara and its Music (2008)

Spain Irrigators’ tribunals of the Spanish Mediterraneancoast: the Council of Wise Men of the plain ofMurcia and the Water Tribunal of the plain ofValencia (2009)

The Mystery Play of Elche (2008)

The Patum of Berga (2008)

Whistled language of the island of La Gomera(Canary Islands), the Silbo Gomero (2009)

Tajikistan; Uzbekistan Shashmaqom Music (2008)

Tonga The Lakalaka, Dances and Sung Speeches of Tonga(2008)

Turkey Âşıklık (minstrelsy) tradition (2009)

Karagöz (2009)

The Arts of the Meddah, Public Storytellers (2008)

The Mevlevi Sema Ceremony (2008)

Uganda Barkcloth Making in Uganda (2008)

Uruguay The Candombe and its socio-cultural space: acommunity practice (2009)

Uzbekistan Katta Ashula (2009)

The Cultural Space of the Boysun District (2008)

Vanuatu Vanuatu Sand Drawings (2008)

Viet Nam Nha Nhac, Vietnamese Court Music (2008)

Quan Ho Băc Ninh folk songs (2009)

The Space of Gong Culture (2008)

Yemen The Song of Sana’a (2008)

Zambia The Makishi Masquerade (2008)

Zimbabwe The Mbende Jerusarema Dance (2008)

. ‘


Photographic credits

1 Argentina; Uruguay The Tango © 2008, by Ministerio de Cultura Ciudad de Buenos Aires

2 Azerbaijan The art of Azerbaijani Ashiq © 2008, by M.Rahimov / Azerbaijan Ministry of Culture & Tourism

3 Azerbaijan; India; Novruz, Nowrouz, Nooruz, Navruz, Nauroz, Nevruz © Kyrgyz Ministry of Culture and InformationIran (Islamic Republic of ); © Azerbaijan Ministry of Culture and Tourism Kyrgyzstan; Pakistan; © The Iranian Cultural Heritage, Handicrafts and Tourism Organization Turkey; Uzbekistan

4 Belgium Procession of the Holy Blood in Bruges © 2007, by Stad Brugge Cel Fotografie

5 Bulgaria Nestinarstvo, messages from the past: the Panagyr © 2004, by Regional Museum Burgasof Saints Constantine and Helena in the village of Bulgari

6 China The art of Chinese seal engraving © 2008, by Luo PengPeng

7 China China engraved block printing technique © 2008, by YZYQ

8 China Chinese calligraphy © 2008, by Yan Xiaofei © 2008, by Chai Tianlin © 2005, by Yan Xiaofei © 2007, by Xiao Wenfei

9 China Chinese paper-cut © Zhangpu County, Fujian Province © Weixian County, Hebei Province – Madame Ma Fangsi (Duplicate) © Xinbin County, Jilin Province Photographer:Jin Yazhen © Luxi City, Dehong Prefecture, Yunnan Province

10 China Chinese traditional architectural craftsmanship for © 2005, by Liu Tuo timber-framed structures © 2006, by Liu Tuo

© 2001, by Liu Tuo © 2001, by Liu Tuo

11 China The craftsmanship of Nanjing Yunjin brocade © 2008, by Nanjing ’Yujin’ Brocade Research Institute Company Limited

12 China The Dragon Boat festival © Xiao Xuan’an© WU Zhijian

13 China Farmers’ dance of China’s Korean ethnic group © 2008, Yanbian Culture & Art Research Center

14 China Gesar epic tradition © 2008, by IEL of CASS

15 China Grand song of the Dong ethnic group © 2008, Ministry of Culture

16 China Hua’er © 2008, by Hezheng County Bureau of Culture (Photo 1632 & 1634)© 2008, by Ke Yang

17 China Manas © 2008, by Xinjiang Safeguarding and Research Center of Intangible Cultural Heritage

18 China The Mazu belief and customs © 2005, by First Mazu Temple of Meizhou © 2006, by First Mazu Temple of Meizhou

19 China Mongolian art of singing: Khoomei © 2005, by Sulde © 2007, by Khogjiltu © 2007, by IMARI

20 China Nanyin © Culture Bureau of Quanzhou, Fujian Province

21 China Regong arts © 2008, by Qinghai Regong Art Society of China

22 China Sericulture and silk craftsmanship of China © 2008, by China National Silk Museum

23 China Tibetan opera © 2008, by the Intangible Cultural Heritage & Protection Office in Tibet Antonomous Region of P.R. of China © 2008, by the Art Institute in Qinghai of P.R. of China © 2008, by the Tibetan Troupe in Tibet Antonomous Region of P.R. of China © 2008, by the Research Institute of Ethnical Art in Tibet Autonomous Region of P.R. of China

24 China The traditional firing technology of Longquan celadon © 2008, by Longquan Celadon Industry Association

25 China The traditional handicrafts of making Xuan paper © 2008, by Huang Feison

26 China Xi’an wind and percussion ensemble © 2008, by Shaanxi Art Research Institute

27 China Yueju opera © 2005, by Guangdong Grand Yueju Opera Company © 2006, by Guangzhou Yueju Opera Company © 2006, by Culture bureau of Guangzhou Municipality

28 Colombia Carnaval de Negros y Blancos, © Investigación de Carnaval – Universidad de Nariño

29 Colombia Holy Week processions in Popayán © 2009, Felipe Velasco Melo

30 Croatia Annual carnival bell ringers’ pageant from the Kastav area © 2008, by Ministry of Culture

31 Croatia The festivity of Saint Blaise, the patron of Dubrovnik © 2008, by Ministry of Culture

32 Croatia Lacemaking in Croatia © 2008, by Ministry of Culture

33 Croatia Procession Za Krizen (’following the cross’) on the © 2008, by Ministry of Cultureisland of Hvar

34 Croatia Spring procession of Ljelje/Kraljice (queens) from Gorjani © 2008, by Ministry of Culture

35 Croatia Traditional manufacturing of children’s wooden toys in © 2008, by Ministry of CultureHrvatsko Zagorje

36 Croatia Two-part singing and playing in the Istrian scale © 2008, by Ministry of Culture

37 Cyprus Lefkara laces or Lefkaritika © 2008, by Lefkara Municipality / Ministry of Education and Culture


38 Estonia Seto Leelo, Seto polyphonic singing tradition © 2008, by Kalle Allik © 2006, by Merlin Loiv © Õie Sarv

39 France Aubusson tapestry © 2005, by L’Estampille© 1987, by mdta © 2008, by Ch. Andoque

40 France Maloya © 2001, by Savignan RP

41 France The scribing tradition in French timber framing © 2008, by F. Calame

42 Hungary Busó festivities at Mohács: masked end-of-winter © 2008, by Miklos Adam carnival custom © 2008, by Tunde Minorics

© 2008, by Laszlo Felfoldi

43 India Ramman: religious festival and ritual theatre of © IGNCA, Ministry of Culturethe Garhwal Himalayas, India

44 Indonesia Indonesian Batik © 2008, by Le Sae Photo thanks to Andry-Dodiek© 2008, by Batik Museum Institute, Pekalongan

45 Iran (Islamic Republic of ) The Radif of Iranian music © House of Music

46 Japan Akiu no Taue Odori © 2008, by Sendai City Board of Education

47 Japan Chakkirako © 2007, by Miura City Board of Education

48 Japan Daimokutate © 2005, by Nara Conference for Preservation of Traditional Culture

49 Japan Dainichido Bugaku © 2007, by Kazuno City

50 Japan Gagaku © 2002, by Music Department of the Imperial Household Agency © 2005, by Music Department of the Imperial Household Agency © 2006, by Music Department of the Imperial Household Agency

51 Japan Hayachine Kagura © 2008, by Nakamura Yoshiyuki © 2008, by Matsumoto Naoki

52 Japan Hitachi Furyumono © 2005, by Association for the Preservation of Hitachi Hometown Performing Arts © 2008, by Association for the Preservation of Hitachi Hometown Performing Arts

53 Japan Koshikijima no Toshidon © 2007, by Satsumasenndai City

54 Japan Ojiya-chijimi, Echigo-jofu: techniques of making © 1977, by the National Museum of Modern Art, Tokyo ramie fabric in Uonuma region, Niigata Prefecture © 1996, by Association for the conservation of techniques for Echigo-iofu, Oiiva-Chiiimi-fu

© 1998, by Association for the conservation of techniques for Echigo-jofu, Ojiya-Chijimi-fu

55 Japan Oku-noto no Aenokoto © 2007, by Noto-cho, Housu-gun, Ishikawa-ken

56 Japan Sekishu-Banshi: papermaking in the Iwami © 2007, by Sekishu-Banshi Craftsmen’s Association region of Shimane Prefecture © 2008, by Sekishu-Banshi Craftsmen’s Association

57 Japan Traditional Ainu dance © 2006, by Ainu Association of Hokkaido © 2007, by Ainu Association of Hokkaido © 2008, by Ainu Association of Hokkaido

58 Japan Yamahoko, the float ceremony of the Kyoto Gion festival © 2007, by Inoue Shigeya

59 Mali The Manden Charter, proclaimed in Kurukan Fuga © 2008 DNPC

60 Mali The septennial re-roofing ceremony of the © 2008, DNPCKamablon, sacred house of Kangaba

61 Mexico Places of memory and living traditions of the ©2007, Government of the state of QueretaroOtomí-Chichimecas people of Tolimán: the Peña de Bernal, guardian of a sacred territory

62 Mexico Ritual ceremony of the Voladores © 2008, by Cumbre Tajín

63 Nigeria Ijele masquerade © 2008, by E. A. Odekanyin© 2008, by D. Alahiya

64 Republic of Korea Cheoyongmu © 2000, by Cultural Heritage Administration

65 Republic of Korea Ganggangsullae © 2004, by National Research Institute of Cultural Heritage

66 Republic of Korea Jeju Chilmeoridang Yeongdeunggut © 2007, by National Research Institute of Cultural Heritage

67 Republic of Korea Namsadang Nori © 2000, by Cultural Heritage Administration

68 Republic of Korea Yeongsanjae © 2003, by National Research Institute of Cultural Heritage

69 Romania Doina © 2008, by Ion Serban

70 Spain Irrigators’ tribunals of the Spanish Mediterranean coast: © 2005, by Generalitat Valenciana the Council of Wise Men of the plain of Murcia and © 2005, by Servicio del Patrimonio Histórico de la Región de Murciathe Water Tribunal of the plain of Valencia

71 Spain Whistled language of the island of La Gomera © 2008, by Gobierno de Canarias(Canary Islands), the Silbo Gomero

72 Turkey Âșıklık (minstrelsy) tradition © 2008, by Information and Documentation Center for Folk Culture/ Ministry of Culture and Tourism

73 Turkey Karagöz © 2007, by Information and Documentation Center for Folk Culture/ Ministry of Culture and Tourism

74 Uruguay The Candombe and its socio-cultural space: a community © 2008, by Sellanespractice

75 Uzbekistan Katta Ashul © 2008, by Rustambek Abdullaev

76 Viet Nam Quan Ho Băc Ninh folk songs © 2007, by Vietnam Institute of Culture and Arts Studies. ‘


IntangibleHeritage of HumanityRepresentative List of the Intangible CulturalHeritage of Humanity

The Representative List, established under Article 16 ofthe Convention, aims at ensuring better visibility of theintangible cultural heritage and raising awareness of itsimportance while encouraging dialogue that respectscultural diversity.

UNESCOSector for Culture1, rue Miollis – 75732 Paris Cedex 15, FranceTel. : +33 1 45 68 43 95Fax : +33 1 45 68 57 52www.unesco.org/culture/ich

2009D

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