Intangible cultural heritage

The purpose of the study was to document the pastora, a song-dance performance during Christmas season that calls to celebrate the birth of Jesus Christ in two towns of Camarines Sur, Philippines. Specifically, it focused on its production aspect. The categories include: the handing down of oral traditions which influenced the trainers' casting, choreography, costumes, props, musical accompaniment, and performances. The researcher made use of real time data: videotaped pastora dances, observer's notes, ex post facto data: stimulated recall and interviews. There were similarities and differences in the production of these pastora. Both of the trainers were exposed to this activity at a young age. At present, their granddaughters are members of their respective pastora groups-one way of handing down the oral tradition to the younger generations. Both groups have dresses made of silks and laces. With regard to the choice of colors, Mimay prefers to use light colors such as white, light blue, and pink while Rita favors loud colors such as red, green, and golden yellow. At present they use only one kind of musical instrument in their pastora. Pastora Baao uses a saxophone while pastora Bombon uses a guitar. The trainers also differ in standards for recruiting members. Mimay prefers to invite girls with good singing voice, good dancing ability, and good physical appearance, while Rita believes that willingness is the most important quality of a pastora. The similarities in the production of these pastora reveal the possibility that pastora in Camarines Sur came from one source. The similarities also revealed the impact of pastora in maintaining religiosity and the socio-cultural environment. The differences are influenced by the tradition handed down to trainers, the trainers' personal outlook, geographical locations, and economic condition.

A significant, but relatively under-reported feature of the 1992-1995Bosnian War has been the destruction caused to national cultural heritage. Reporting has tended to focus on the loss of buildings of high symbolic stature, notably sacral buildings such as churches and mosques, but also public buildings such as the National Library in Sarajevo. This distracts attention from buildings perceived to be of lower value and interest which may, nevertheless, be important. This paper draws attention to the destruction and reconstruction of lesser-known forms of cultural heritage, including uncontested classes of buildings which have suffered collateral damage or incidental harm, and have been neglected by the diversion of attention and funds towards symbolic markers.

Helsingin ja Oulun yliopistojen Lapin synkkä kulttuuriperintö -projektissa on tutkittu saksalaisten toisen maailmansodan aikaisia materiaalisia jäänteitä ja niiden monia merkityksiä Lapissa. Saksalaisten läsnäolo jatkosodan aikana liittolaisina ja Lapin sodassa vihollisina on ollut sodanjälkeisinä vuosikymmeninä poliittisesti vaikea ja vähätelty aihe. Myös heidän jättämiin materiaalisiin jäänteisiin on suhtauduttu ristiriitaisesti. Niitä on esimerkiksi nimitetty ”sotaromuksi”, joka sotkee Lapin ”koskemattoman” luonnon, ja materiaalia on korjattu maastosta satoja tonneja.

Dr. Patricia Jean Flanagan and Dr. Angelo Fraietta. 2019. Tracing the Intangible: The Curious Gestures of Crafts’ Cultural Heritage. In Adjunct Proceedings of the
2019 ACM International Joint Conference on Pervasive and Ubiquitous Computing and the 2019 International Symposium on Wearable Computing (UbiComp/ISWC’19
Adjunct), September 9--13, 2019, London, United Kingdom 4 pages. ACM New York, NY, USA, 4 pages. https://doi.org//10.1145/3341162.3343799

This article describes the methodology and technology for data collection of hand gestures of master craftspeople, with a case study tracing the Intangible Cultural Heritage practice of Horse Tail Embroiderers of Shui ethnic minority in collaboration with GYPEC 1 in Guiyang, Southwestern China. We describe unique technological design solutions to enable mobility to remote villages, and freedom of movement to capture the hand gestures of master craftspeople. The significance of this work is vitally important, as it outlines a technique to digitally record, analyse and archive the intricate dynamics of craft practices.We contextualise the research within a contemporary context, and describe the aims and objectives of the research for an interactive media museum interface to provide new insights into traditional practices. Finally, we propose future potential to investigate embodied knowledge and alternative pedagogical applications for innovative contemporary design.

El proyecto Formación de formadores, Maestros de la Alquimia II da continuidad a un proceso de participación desarrollado por el Mevibo durante el año 2015 en pro del reconocimiento de los saberes y oficios del trabajo en vidrio que, a través del desarrollo de sesiones de formación técnica y recorridos patrimoniales, gestó vínculos entre maestros artesanos y público joven como parte de una iniciativa para conservar y salvaguardar parte del patrimonio inmaterial de la localidad de San Cristóbal en Bogotá.

Publicación realizada por Estefanía Sánchez Vivas para el Mevibo durante la ejecución del estímulo otorgado por el Programa Nacional de Concertación Cultural del Ministerio de Cultura Colombia,  para el desarrollo de "Programas de formación artística, cultural y de la economía naranja" 2019.

The research was aimed at stipulating the study among Hadiya society to offer a better idea of their social anthropological practices bearing on their social structure and the concept of kinship relations. Moreover, birth, initiation, marriage, and death rituals have been assessed. In addition, their socio-cosmological understanding of this world, political, religious practices and economic activities have been dealt. Within this context, the scientific theories of Catherine Bell (2009) ritual practice, ritual theory, Robert Hertz (1960) death and right hand and others are incorporated in the analysis of the data. In the process of subsequent analysis, it has become evident that Hadiya society of south Ethiopia have their own way of conception of this world. Primarily they conceive this world around them from the parameter of their lands in the villages, the spiritual connections with their ancestors and the rituals enacted under different circumstances. Hence, these aspects have become the foundation of Hadiya society occupying a particular geographic location in space and time. In conclusion, the findings of the research suggest that the modern political, religious and international organizations which are interacting with the society should be aware of the society’s different conception of the world-view. Because it is that element maintained the identity of the society until today. Therefore, the contemporary institutions should implement their policies with adequate consideration of the social fabric of Hadiya people.

Vijayan Gurumurthy Iyer (2019), “Environmental Impact Assessment (EIA) Process for the Cultural    Environment  in Context to Tangible and Intangible Heritages of India towards Sustainable development”. In Program Book of  6 th Global Conference
on Contemporary Issues in Education held in Session-III 9-10.30 am Friday Session 3 at Hall I GLOBE EDU during 30 August 2019 at Christian University, St. Petersburg, 29-31, August, 2019. www.globe.edu.org, pp.12.

This research is concerned with the 2003 UNESCO Convention on Intangible Cultural Heritage, which allows the inscription of activities such as performing arts, skills and traditions into the UNESCO world cultural heritage lists. One practice potentially worthy of consideration for such recognition is raqs sharqi (‘oriental dance’ in Arabic; a style of bellydance), originating in Egypt in the 1920s and now practised worldwide.
Egyptian raqs sharqi, in this thesis, is examined in a way that centralises the question of how such forms of heritage are embodied and transmitted by people (within and across cultures) via their practices, experiences and traditions. The aim is to identify the cultural heritage characteristics of Egyptian raqs sharqi and evaluate if it can be considered heritage and how it locates itself within the field of ICH. In pursuing this aim, this thesis explores the challenges involved in safeguarding Egyptian raqs sharqi as transcultural, living and embodied heritage, whilst critically examining the suitability of separating cultural heritage into tangible and intangible forms.
A multidisciplinary, dialogical and holistic framework for dance/heritage is constructed, connecting dance theory, philosophically influenced sociology (particularly the nondualistic theories of Merleau-Ponty, Bourdieu and Giddens) and cultural heritage studies. An ethnochoreological approach and a qualitative methodology are adopted, analysing formal aspects of dance (including movements and artefacts) and its socio-cultural context, using: analysis of online videos of dance and textual sources; online ethnography and one-to-one interviews.
The result is a reconstruction of Egyptian raqs sharqi history and the current discourse around it. What emerges is a holistic, ever-evolving phenomenon that develops through the interaction of transculturality, tangible and intangible elements and dialectic between individual agency and social structures, change and tradition. These elements influence the authenticity discourse, heritage transmission, threats and opportunities for its safeguarding.
Subsequently, a dynamic approach, with four interdependent stages (heritage identification, curation, sharing and promotion) is suggested for its safeguarding. As people are central to this type of heritage, the involvement of members of the public is strongly encouraged, at every stage, through public engagement initiatives.

This article considers the ways in which displaced artists represent the experience of displacement, their cultural traditions and the longing for home through paintings and how, by doing so, they become the visual interpreters of the current refugee crisis. The starting point of this article is that little attention has been paid towards the visual narratives of artworks produced by refugee artists and shared on online open platforms like, for example, Facebook. Through the visual semiotics analysis of 150 images of paintings (exhibited on the Facebook page Syria.Art) and through a number of individual interviews with the artists who produced such artworks, the article identifies three emerging visual narratives. These are concerned pri- marily with reminiscences about people, places and cultural practices lost (or in danger of being lost) because of forced journeys and displacement. Within this context, these visual discourses become part of an open reposi- tory, which mediates, re-organizes and preserves memories, both personal and collective, as a form of emotional survival and resilience. It is argued that these visual narratives and representations nurture empathy for the human condition of the refugees and universalize the migrant experience.

Ta historyczna kraina wschodniej Chorwacji położona w międzyrzeczu Sawy i Drawy już od czasów rzymskich nazywana jest Złotą Doliną. Szerokie, nieogarnione wzrokiem złote równiny niezwykle urodzajnej Panonii od ostatnich ośmiu tysięcy lat z pieczołowitością i niebywałym szacunkiem uszlachetniane są ręką miejscowego człowieka. 
/  Tomuto historickému území východního Chorvatska, které se nachází mezi řekami Sávou a Drávou, se už od dob říše římské říká Zlaté údolí. Široká zlatá pláň výjimečně úrodné Panonie je během posledních osmi tisíc let zušlechťována rukama místních lidí s nebývalou péčí a respektem.

ABSTRACT: The goal of this paper is to suggest that unique heritage values of Historical Urban Landscapes combine both built heritage and intangible heritage values. These include the physical urban spaces, cultural properties of architectural, aesthetic, historical as well as cultural characteristics of the population living within them. This paper presents examples of intangible heritage in Historical Urban Landscapes in Israel and shows that this links the residents to their city, gives special meanings to their life, a unique local identity and a diverse collective memory. Successful scientific research methods, documentation and safeguarding procedures for these values are still developing. Recognition of this heritage has the power to join national development organizations and the local communities. Proper and careful management of these aspects can develop new sources of income for residents and integrate them into new industries in their city.

Amongst the personal papers of Alvin Ailey preserved at the Black Archives of Mid-America, is a dossier of materials pertaining to Afro-Brazilian culture and performance, including the typescript of an unedited play, dated c. 1962, on the life of the Afro-Brazilian maroon leader, Zumbi. Where did Alvin Ailey get these materials, and why did they interest him? We demonstrate that this play, and its accompanying materials, were a gift from Afro-Brazilian activist and dramaturge, Solano Trindade, to the young Ailey visiting Brazil for the first time in 1963. What were the lessons of this gift, particularly in view of Ailey’s ambition to run an economically and emotionally sustainable, American, dance company showcasing Black history through performance? Through our answers, we open new pathways of research on this exciting primary material that returns us to hemispheric questions about African diasporic art and its relationship to the culture industry.

本次会议由中国人民大学历史学院考古文博系与剑桥大学社会人类学系蒙古与内亚研究所（MIASU）联合举办，由中国人民大学国际交流处和中国人民大学汉语国际推广研究所协办。会议为期两天，由讲座和讨论两部分构成。第一天的讲座从地域性出发，着重强调内亚草原和古代中国的“边界”，比较地域文化考古学与人类学的研究成果，在方法和理论层面探讨“非物质”（intangible）概念。第二天根据当下博物馆研究、宗教研究和创意实践中正在进行的项目，围绕真实性、宗教场所和感知三个主题，探索中国文化遗产中“物质”和“非物质”之间的界限。

目前，中国在全面建立文化遗产保护体系（包括“物质”以及“非物质”文化）方面取得了长足进步，也在努力融入国际文化遗产保护话语及文化遗产保护制度之中。尽管中国还是通过国际公认的保护规范对中国的文化遗产进行保护，中国的独特历史和国情也使人们在文化遗产和遗产保护方面形成了自己独特的看法。因此，中国对物质与非物质文化遗产保护的理念与世界其他国家和地区大不相同。具体言之，国外的非遗保护基于基层百姓对文化遗产自发自觉的保护意识，他们主动去获得国家政策和IGO/NGO（非政府组织）的支持，通过自发行动来保护、发展、传承、传播他们认为很珍贵且正在消失的古老文明和文化遗产。而中国对非遗的保护存在着至少两种情况：一种是国家主动出台政策，要求地方政府挖掘具有本地特色的非物质文化遗产并进而对之进行保护、传承和传播；另一种则是由基层群众自发提出需要保护的非物质文化遗产，再由政府层面予以认可。这两种模式的存在，已经在某些方面使我们对“遗产”的理解产生了差异，而且这种差异现象至今尚未得到合理的解释和表述。本次会议旨在从理论层面探讨中国文化遗产中的“物质”和“非物质”概念，为世界了解中国物质和非物质文化遗产的独特性奠定基础。

Parecer sobre o Registro do Virado à Paulista como Patrimônio Imaterial Paulista São Paulo Outubro-Novembro de 2017

O MANDATO DESTE PARECER

Este documento, centrado na avaliação do Virado à Paulista, teve por origem convite encaminhado ao autor pela Secretaria de Estado da Cultura do Estado de São Paulo (SEC-SP), no sentido de calçar e detalhar o debate pertinente à titulação deste prato tradicional da culinária do Estado de São Paulo na categoria de patrimônio cultural imaterial paulista.

Institucionalmente, a participação do autor foi referendada em reunião travada na SEC-SP aos 5 de Setembro de 2017, ocasião em que a equipe da Secretaria repassou-lhe cópia da Citação de Tombamento nº. 01087, de 25-10-2011, sob os auspícios do CONDEPHAAT (Conselho de Defesa do Patrimônio Histórico, Arqueológico, Artístico e Turístico, da Secretaria de Estado da Cultura), referente à inscrição do Virado à Paulista como patrimônio imaterial.

Este documento foi passado às mãos do responsável pelo laudo com o intuito de familiarizá-lo com o histórico da Citação de Tombamento, que inclui o andamento administrativo e o estado da arte da argumentação concernente ao Virado à Paulista (ou simplesmente Virado), até aquele momento amealhada no contexto da SEC-SP.

O autor comprometeu-se em afinar a avaliação de modo a fornecer dados e sopesar a informação disponível de modo a reforçar o elenco de considerações indexadas à Citação, desenvolvendo material específico com foco no Virado à Paulista.

Requereu-se um estudo em profundidade, cujo caráter precípuo, reconhecidamente de molde cultural, foi aceito pelo autor em vista de apresentar formação e histórico de pesquisa em antropologia, bem como trajetória acadêmica em pesquisa científica e produção de texto.

As considerações e comentários presentes neste laudo foram o desdobramento direto deste compromisso.

MARCO INSTITUCIONAL

O Parecer Final do Virado à Paulista resultou em um minucioso documento com 164.932 caracteres e 6 Figuras, postado em Academia.edu aos 19-07-2019.

Entregue em Outubro de 2017 à SEC-SP, esta de pronto, manifestou grande satisfação pelo teor do material, que na sequência, foi encaminhado para ser avaliado pelo CONDEPHAAT(Conselho de Defesa do Patrimônio Histórico, Arqueológico, Artístico e Turístico, da Secretaria de Estado da Cultura).

O Parecer do Virado à Paulista , foi aprovado por unanimidade
pela totalidade do corpo de membros do CONDEPHAAT, granjeando muitos elogios na Sessão de Janeiro de 2018, momento em que o Virado à Paulista
tornou-se oficialmente Patrimônio Imaterial do Estado.

Neste senso, tão logo a decisão oficial ganhou as páginas dos jornais, muitos restaurantes, de griffe ou populares, da capital e do interior, reintroduziram o prato no cardápio regular oferecido aos clientes e mais ainda, é voz corrente que nunca o Virado à Paulista foi tão solicitado como passou a ser.

REPERCUSSÃO

ENTREVISTA DE MAURÍCIO WALDMAN PARA O Programa MAIS VOCÊ, DA REDE GLOBO DE TELEVISÃO, APRESENTADO POR ANA MARIA BRAGA (3:32 MINUTOS), 24-08-2018:
https://www.youtube.com/watch?v=nS9h68AoVOs

ENTREVISTA PARA CAMPINAS.COM.BR, 12-06-2018
http://mw.pro.br/mw/entrevista_campinas_com_br.pdf

ENTREVISTA PARA A REVISTA DO JORNAL AGORA SÃO PAULO, 25-02-1028
http://mw.pro.br/mw/virado_a_paulista_patrimonio_imaterial_paulista.pdf

Two days of interventions and discussion are hosted by the Department of Archaeology and Museum Studies, School of History, in Renmin University of China, in collaboration with the University of Cambridge Mongolian and Inner Asian Studies Unit (MIASU), through the generous sponsorship of the Institute for the Promotion of Chinese Language and Culture, Renmin University of China. The first day, with a strong regional emphasis on the Inner Asian steppe and the historical Chinese ‘frontier’, confronts archaeological and anthropological research on the culture of the area, questioning the notion of ‘intangible’ in its methodological and theoretical dimensions. The second day gathers on-going projects in the fields of Museum Studies, Creative Practices and Religious Studies questioning the boundaries between ‘material’ and ‘immaterial’ in Chinese cultural heritage around the themes of authenticity, religious sites and perception.

To present day, China has made great strides in developing a comprehensive cultural heritage preservation regime—including ‘material’ heritage, ‘intangible’ heritage, etc.—. In recent years China has attempted to both incorporate and integrate its cultural protection mechanisms into global discourses of cultural preservation regimes. China’s unique history, national circumstance, and special considerations all contribute to an equally unique outlook on cultural heritage and heritage protection, yet nevertheless done through an internationally recognized vocabulary of preservation norms.  It is precisely due to this unique history and development process that Chinese cultural heritage preservation concepts differ from other regions and countries.  Particularly in the case of ‘intangible’ cultural heritage, international preservation regimes are understood to begin at the ‘grassroots’ where local recognition of cultural heritage protection leads to locals seeking out support from governments or IGOs/NGOs so as to preserve, develop, transmit, and even promote heritage that they themselves perceive as valuable and endangered.  Yet in China, the process is quite the opposite.  Chinese conceptualizations of heritage protection begin with Party and central government institutions, which are then filtered down to regional and local governments, and finally to the common people.  That is to say, the state formulates policies which require lower levels of government to seek out and identify local cultural heritage to be protection, transmitted, and promoted.  To be sure, neither worldview is more correct than the other, where each has its merits.  Nevertheless, this alternative outlook and system of practice has developed a radically different understanding of ‘heritage’—and has yet to be properly theorized.