Date de création: 1983
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Date de création: 2014
Domaine(s):

- oral traditions and expressions
- other
- Venetian language (literary, philologic, didactic, and linguistic) research, promotion, teaching, training; Venetian history and culture research, promotion, teaching, training

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- transmission, (non-)formal education
- other
- language standardization, corpus amplification

Pays principaux d'activité:

Brésil, Croatie, Italie

Objectifs:
The Academia de ła Bona Creansa aims at ensuring the broadest and most conscious inter-generational transmission of the Venetian language, and of the Venetian culture with it.
Activités:
The Academia de ła Bona Creansa, also known as Academia de ła Łengua Veneta, is a very active institution. As for its research and divulgation objectives, it organized the first two international conferences on the Venetian Language with several scholars and experts from a dozen of universities in the World, representatively reaching the venetophone communities and competent experts in the fields of language teaching, planning, and research.

Coopération:
The Academia de a Bona Creansa offers free language and (cultural-)content support to all those individuals asking for it, from the institutional representative bodies or persons, to associations (also of venetophone emigrants), schools, research institutions, and particularly individual practitioners on the Venetian language and culture. The Academia, in fact, is often asked by individual writers, teachers, students, artists, actors, playwriters, poets, copywriters, journalists, publishers, museum directors, painters, singers, etc., to confirm or correct their works or produce new texts or translations in the Venetian language or on the Venetian language, history, and culture that will be part or input for their cultural and intellectual works.

Date de création: 2003
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- other
- development - updating African culture and making it relevant for the modern world and globalisation, linking it with devepment issues.

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- editing - identifying negatives aspects and recommening appropriate action

Pays principaux d'activité:

Kenya

Objectifs:
African Cultural Regeneration Institute (ACRI), aims at promoting African culture by way of identifying relevant indigenous cultural values that Africa can use for her own development today as well as for lending to the emerging global family, by way of Basic Education
The observed reality of the world today appears to vindicate the following assumptions:
 The values ruling the international communities presently are dominated by the philosophy of materialism, which is essentially a western cultural element. This materialism does not seem adequate as a value for guiding the global international family.
 Some values based on the African heritage could be very useful in helping Africa find it's own way inside out and shape the emerging global family with inputs that are not necessarily materialistic.
 It is possible to study the various aspects of the African culture, extract relevant elements that may be useful in guiding Africa and the world. Then these values would be packaged by way of writing, filming, videotaping and other methods, including performance and cultural centres, then present them to the world for global enrichment.
 Africa's emerging generation will have what to fall back to when they realise the damage that may have been done on them by cultural alienation. This imperative is equally pertinent to the Africans lost in the Diaspora.

The efforts of ACRI are geared to highlighting the existence of the different facets of African culture and to go further on and recommend the retention and/or rejection of certain aspects of the negative culture.

The approach of ACRI envisions results that will benefit not only Africa, par excellence, but the world at large. We may say also that African cultures are automatically being integrated into the global civilisation through varied human interaction. A deliberate scientific extraction, to highlight and refine certain important values, philosophies, viewpoints, and visions, which characterised the soul of the traditional African societies, has not been done. This is what makes ACRI unique; it will establish African cultural mines for extracting cultural gems from traditional spiritual values
Activités:
#1Today a suitable location and piece of land (about 8 acres) is identified by ACRI to the North-East of Mount Kenya, adjacent to the traditional convention centre of the Meru people, a place rich with Meru African cultural history, since 1842 A.D., NCHIRU- Kunene, when the first Meru constitutional conference was made. The Ameru Cultural Centre (ACCAW) is planned to coordinate all cultural activities of the Ameru people, recognise them and promote them, making effort to marry the past and the present cultural history, manufacture traditional cultural instruments and create employment industries; building technologies in games, dances, foods, drinks, plants and traditional medicines; and promoting modern technology transfer in order to add value to traditional culture by way of printed materials, audio and video recordings, and film making.
#2NJURINCEKE (traditional council of elders) has been resurrected and uplifted as a cultural entity, outreaching all parts of Meru land; model for good governance and African democracy. NjuriNceke recently advised youths of Meru against misbehaviour during post election violence in Kenya at the beginning of 2008.
#3Local language Radio service, Muga-FM, was established 2005, transmitting cultural values to every corner of Meru. The communities appreciate KiMeru service because every member of community is thereby informed and entertained.
#4Cultural Festivals have been started: Songs, foods, Drinks and Traditional medicines promoted. Research into Ameru cultural traditional instruments is in progress.
#5Writing of books has been made on the Ameru culture, e.g., Miturire ya Ameru (Meru traditional lifestyles) by Gitobu Rinyiru, and translation of the work into English is in progress, by Prof F.X. Gichuru, making it accessible to global community; and Doctoral Thesis by Gaita Baikiao entitled “Towards Africanization of Christianity“.
#6Local language paper, BATWI AMERU, is now in circulation since December 2008, and will reach every corner of Meru land. Issue 2 is under preparation in March 2009. Paper treats actualities, Meru traditional lifestyles, language, and other aspects of Meru culture, including environment.
#7MERU UNIVERSITY OF SCIENCE & TECHNOLOGY (MUST) is being promoted by Njuri-Nceke, which spans 10 Districts; University was conceived in 1960 after Mau Mau War of Independence, and now it is materialising due to efforts of ACRI.
#8African Traditional Medicine is being promoted by ATDAM (Ameru Traditional Doctors of African Medicine).
#9Ka’Meru International Foundation programme is established to dig up cultural history, dynasties and relationships in Meru. There is an effort to rehabilitate orphaned and destitute children, including the disabled.
#10Nkirote cia Kiao Women Group in the spirit of African culture is organised to promote development perspectives and employment in food production, dairy animals, chicken, honey, in order to fight against HIV/AIDS, and to promote marketing.
#11Locating and studying of traditional resource materials as in Nkacii, Kunati, & Kaongo (for cooking pots & related earthenware) is underway.
#12Educating all on traditional foods, i.e. vegetables, bananas, cassava, millets and yams with 13 varieties, actively being promoted.
#13AMKA GROOVE AFRICA (2006) –Attempt to assist the youth and street children create jobs for themselves through organised dances based on globalised African culture .
The personel and executive members of ACRI include:
1. Prof. F.X. Gichuru, Ph.D. (1982) – Founder Chairman of ACRI. Has been professor of Education and Senior Research Fellow at Kenyatta University. Wrote "Etapes de l'education en Afrique traditionnelle" in Cahier de pedagogie africaine, 1977, Bordeaux II; Has worked relentlessly to see that ACRI comes to fruition.
2. Dr. Gaita Baikiao, Ph.D. – An ardent promoter of African culture. His Ph.D. thesis was entitled Towards Africanisation of Christianity (1977). Has been instrumental in revival of Njuri-Nceke, the traditional Council of Elders of Meru, which today acts as the moral authority of the Ameru; in the past it was the government. Baikiao has promoted activities in Meru aiming at making Africans proud of themselves. He taught Anthropology, History and Religion at the Kenya Methodist University.
3. Mr. Michael Gitobu Mwirichia, Director of Culture, Njuri-Ncheke Council of Elders, Meru. He was Civic leader in the Meru Municipal Council in the 1970s; has written a book on Meru history and lifestyles, Miturire na Mikarire ya Ameru Karaaja (2000). He believes that the African Culture has a lot to offer to the world.
4. Ms. Easter Kaimuri Ciombaine,(B.Ed.) 2004, A young graduate who believes in the revival of the best of the African Culture; has worked for the establishment of the African Cultural Regeneration Institute since 2003; represents the youthful generation who care about the values of the past
Coopération:
Njurinceke is the traditional Council of Elders, almost destroyed by colonialists but saved through the efforts Dr Gaita Baikiao, a director of ACRI. Other officials of ACRI belonging and guiding Njurinceke are Prof Francis Gichuru, an initiated Elder of Njurinceke, and Michael Rinyiru, Director of Culture of Njurinceke. The role of Njurinceke since the start of the Meru community was to preserve the cohesiveness of the people of Meru, the territorial integrity, ensure proper governance of the society with justice and fairness to all, protect the weak and vulnerable especially women and children, and act as guardians of culture and identity. With the coming of the colonialists, Njurinceke was suppressed and weakened so that the invader could alienate the land and the people.

When Gaita Baikiao finished his doctorate in 1977 at Universitas Urbaniana in Rome, having studied social anthropology among other studies, he came back to Kenya and found that Njurinceke was dying, and the meeting spaces reserved for the elders were about to be alienated by land-grabbers because the organisation had no certificate of registration. He quickly organised documentary registration for purposes of allocation of the traditional meeting spaces. He helped to organise a democratic alternation of leadership, and became eventually a mover, together with Prof Francis Gichuru, for the establishment of the African Cultural Regeneration Institute (ACRI) in 2003.

Michael Rinyiru is the elected Director of Culture of Njurinceke and is a key recruiter and initiator of new elders into the Council of Elders. The Intangible Cultural Heritage, which includes the values and secrets of the Njurinceke, are transmitted during initiation of new elders, and the secrets are not available to non initiates. Michael Rinyiru is currently the Chairman of the traditional land tribunal, recognised by the current government. Without this tribunal today some land disputes cannot be solved fairly by modern courts.

ACRI is therefore working with Njurinceke as mover and facilitator, with key members of ACRI being operational and key elders of the Council of Elders. Njurinceke aims at preserving the cultural integrity of the Meru people and making the people live with dignity and respect for one another. The organisation is respected both locally and in the nation of Kenya as a whole. During the Post Election Violence in Kenya in the beginning of 2008 Njurinceke simply issued guidance to the youth of Meru to respect other human beings and not cause any mayhem as it was the case in other parts of Kenya, and the youth complied. ACRI will continue to work with the Njurinceke and the people Meru, as well as with other cultural communities in Kenya, to promote good conduct and respect for human rights, in the promotion of respectable global human civilisation.
This project is at proposal stage. The African Cultural Regeneration Institute (ACRI) is providing the dream, inspiration and guidance. The Meru people had a very rich traditional heritage before the colonialist came at the turn of the 19th Century and slowly strangled and discouraged it. The weakening of the heritage has been exacerbated by modernisation. The proposed centre is intended to preserve the heritage in a conscious effort of safeguarding in one specified area, such as in a living museum. Bits and pieces of this heritage can be found here and there, but still under pressure of disappearance.
The Meru people need to be rejuvenated and revived in order that they know themselves and become proud of themselves. Many of their traditional crafts were ingenious and useful both for lifestyle and health in general. The ACCAW will gather these crafts and practices in one place for the purpose of training the youth and showing them how to make economic industries out of them. It will also serve as a centre to demonstrate to the world what the Meru culture was and will open the world to the Meru people. The Meru communities are desirous to rediscover themselves and to make value out of their traditions. Before the old folk die out the youth want the elders to teach them what they know of their past skills. This will best be done in a centralised place.
Therefore, the communities, in their search for their identity, will manufacture traditional cultural instruments and create employment industries. They will develop technologies in games, dances, foods, drinks, plants and traditional medicines. They will promote modern technology transfer in order to add value to traditional culture by way of printed materials, audio and video recordings, and film making. In all this, ACRI is providing guidance and inspiration, advising the people to tap into their history without being shy and create value from their traditions.
In that respect, a suitable piece of land (about 8 acres) has been identified for the construction of Ameru Cultural Centre for Africa and the World (ACCAW) for the purpose of planning and coordinating all cultural activities of the Ameru people, recognising them and promoting them, making effort to marry the past and present.
From efforts of ACRI, revival of 'Njurinceke' is important. Following colonial domination of Kenya since 1900's Njurinceke became dormant after 1950s. During Post election violence in Kenya at the beginning of 2008, NjuriNceke was very instrumental in calming the youths of Meru against misbehaviour.
Today, suitable location and piece of land (about 8 acres) is identified for construction of Ameru Cultural Centre for Africa and the World (ACCAW), planned to coordinate all cultural activities of the Ameru people, recognise them and promote them, making effort to marry past and present, manufacture traditional cultural instruments and create employment industries; building technologies in games, dances, foods, drinks, plants and traditional medicines; and promoting modern technology transfer in order to add value to traditional culture by way of printed materials, audio and video recordings, and film making.
Advising a local investor in MEDIA industry, a local language Radio, Muga-FM, was established since 2005 through leadership of ACRI. Though the NGO does not share in management or profits of the business, it is content with having cultural values transmitted to every corner of Meru.
Books on Ameru culture, e.g., Miturire ya Ameru (Meru traditional lifestyles) by Gitobu Rinyiru, and Doctoral Thesis “Towards Africanization of Christianity “by Gaita Baikiao have been popular with communities and researchers.
BATWI AMERU, a local language paper is now in circulation since Dec 2008.. This paper is helping the Meru communities find their culture and language, and makes them proud of themselves.
Many of the projects of ACRI have stalled due to lack of funding support, and what has been happening is volunteer work; sometimes proposals circulated soliciting funding, e.g. to establish Music and filming studio for recording and research into African music, are frustrated by dishonest potential sponsors that steal the proposals while the NGO is trying to work with the local community.
The staff and drivers of ACRI are very motivated, qualified and dedicated to safeguarding African culture. Much has been achieved with volunteer work. With collaboration from organisations sharing similar interests like UNESCO, the scope of work can be vast and of very high quality.

Date de création: 1985
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

France

Objectifs:
Cette association a pour but la promotion, la coordination et le soutien de diverses actions entreprises dans les champs des musiques traditionnelles et plus généralement du patrimoine culturel immatériel considérés comme ressources pour favoriser le développement des territoires en région Auvergne. A cette fin, l’association développe des actions de collecte et de conservation du patrimoine oral, de soutien à la création, à la diffusion et programmation du spectacle vivant, la formation, la recherche, l’animation, la documentation, l’initiation, etc., et l’information des acteurs concernés par ces secteurs.
Activités:
L'AMTA est un centre de ressources dédié au patrimoine culturel immatériel. Sa fonction est d'être un lien de référence, d'expertise, de conseils et d'appui pour les différents acteurs du territoire. Ses principales activités sont:

1/ Inventaire, sauvegarde et mise en accés
L'AMTA utilise le logiciel de base de données Alexandrie 7 qui est le logiciel utilisé par l'ensemble des centres documentaires du réseau national des musiques et danses traditionnelles (FAMDT) avec rien qu'en 2011 plus de 200 heures de bandes sonores (supports DAT) et vidéos et plus de 500 documents iconographiques. Pour le traitement des archives sonores, une fois inventoriées, elles sont numérisées, qualifiées, classées et mises en ligne sur un méta-portail mutualisé par 6 structures à l'échelle du Massif Central.
L'AMTA est un pôle associé à la BNF pour tous ce qui concerne l'inventaire et le catalogage de fonds sonores en Auvergne. Nous travaillons en partenariat avec les archives départementales où nous avons déposé plus de 4000 photos.

2/ Transmission et pédagogie
L'AMTA developpe l'intérêt du public pour le patrimoine immatériel à travers son exposition itinérante sur les musiques du paysage, des productions (livres, CD), des conférences et la réalisation filmés de personnages remarquables.
L'AMTA intervient auprès d'établissements scolaires dans la conception et la réalisation de programmes pédagogiques en lien avec le patrimoine culturel immatériel comme la réalisation de contes musicaux.

3/ Mise en réseau
L'AMTA, en tant que centre régional, s'attache à remplir une mission de coordination, de centre de ressources et d'informations pour l'ensemble des acteurs du patrimoine oral de l'Auvergne.

4/ Expertise et conseil
L'AMTA s'attache à valoriser les fonds en apportant un appui aux enseignants, étudiants, artistes et chercheurs des différentes disciplines concernées par le patrimoine immatériel.
L'AMTA apporte son expertise et accompagne les acteurs des territoires dans le cadre de projet de développement territorial.
L'AMTA construit et anime des projets de développement territorial par la valorisation du patrimoine culturel immatériel comme la création par les scolaires de contes musicaux qui réinventent l'origine de leur pays et la réalisation de portraits de personnages remarquables.
Coopération:
Réseau national: L'AMTA est membre de la FAMDT (organisme acrédité par l'UNESCO) et participe activement à la commission sur le patrimoine culturel immatériel avec d'autres membres acrédités (DASTUM, ANCT, MPO, etc.) L'AMTA est via la FAMDT un pôle associé à la Bibliothèque Nationale de France. Elle coordonne un projet inter-régional sur le Massif Central, regroupant six structures (ANCT, MPO, IEO Limousin, CRMTL, ADDA, Scènes Croisées) dans quatre régions (Bourgogne, Languedoc-Roussillon, Limousin et Auvergne), intitulé patrimoine "langues, musiques et danses".
Réseau régional: L'AMTA coordonne l'ensemble du réseau des musiques et danses traditionnelles en Auvergne qui regroupe quatre centres departementaux, 300 groupes de musiques et environ un milliers d'adhérents.

Date de création: 2007
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Mali

Objectifs:
Agence du Patrimoine Culture! du Mali/Mali Cultural Heritage Agency is a registered non-­governmental organization (NGO) that conducts applied research specialized in the areas of agricultural heritage, Cultural Resource Management (CRM), ethno archaeology, human ecology, the performance arts and Sociocultural anthropology. Mali Cultural Heritage Agency explores, mobilizes and deploys Sociocultural practices in support of sustainable development. The integration of material and symbolic culture is the backbone component of its innovative agenda.
Mali Cultural Heritage is working to help create a better world; a world in which poverty is reduced and livelihoods are more secure and meaningful. The agency's task is, by definition, ongoing and long-term. Its approach prioritizes the integration of grassroots communities, their Sociocultural practices, local knowledge and human geographies. The NGO members are committed to building a sustainable future with and for indigenous people and their cultural heritage.
The NGO mission ambitiously centers upon drafting a national register of cultural heritage, developing cultural park services, and revitalizing and sustaining valuable cultural practices throughout Mali.
All-encompassing goals:
Conceptualizing and creating a national register of cultural heritage in Mali
Conceptualizing and implementing cultural parks
Integrating participatory cultural heritage management, consultancy and the promotion of cultural services, cultural assets and developing money and non-money economies
Safeguarding, preserving, conserving, and promoting cultural heritage and non-governmental cultural action while moving with grassroots communities
Integrating local communities in the management and the conservation of the natural and sociocultural environment in the process of empowering cultural identity
Reducing poverty through the development of network connections between grassroots communities and the institutions that are active in the areas of cultural heritage and education
Enhancing local knowledge and local practices and integrating these practices in sustainable socioeconomic development work in Mali and particularly in the regions of Sikasso, Kayes, Koulikoro, Mopti and the Bamako District.
Activités:
Safeguarding activities speak to an ambitious nationwide project. Primarily, in the Bamako District and its backdrop country side and particularly in Sokonafin and Niamakoroni, the agency members are identifying, documenting, (recording) and conducting research in the areas of local traditional performing arts and masquerades, (Ciwara, Namanin-Kun, N'Tomo, Cɛblen-kɛ). The Niamakoroni Cultural House project mentioned earlier is an ambitious multi-functional center where local communities and villagers with the help of Mali Cultural Heritage Agency and partners are engaging in various sustainable socio-cultural and agricultural heritage activities. The NGO is building local capacities, empowering local (urban and rural) communities’ expertise in the areas of securing their masks and costumes of their masquerades and agricultural heritage. The NGO is also helping local communities digitizing their practices in the areas of performing arts and gender related knowledge relating to human ecology and biodiversity for future generation.
Coopération:
The organization is building an extensive socio-professional experience with public institutions and grassroots communities and villagers for over 08 years. The NGO procured and conducted a consultancy for the Malian Office of Tourism, Office Malien du Tourisme et de I'Hotellerie from 2008 to 2010. The consultancy was on the human geography of cultural and tourist practices in the Bamako District and its backdrop country side. At the level of grassroots communities, the organization is mentoring the safeguarding activities of their intangible cultural heritage. On a casual basis, it plans and conducts training activities that focus on traditional mapping activities that aim to locate and make the inventory of places where rituals, rites, and/or performing arts take place to best plan the safeguarding of the practices related to their intangible cultural heritage. The agency members help local communities document and or record their local practices relating to gender knowledge and their festive events. Besides, they are usually invited to attend local festive events by communities' elders and/or their leaders of opinion. Usually, each time the communities are facing a challenge and or a sad experience, they visit them to express their compassion.

Date de création: 2004
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Kirghizistan

Objectifs:
Aigine Cultural Research Center works in the field of traditional knowledge, education, humanities and social research. Founded in 2004, the Center set a goal of studying and preserving natural and cultural heritage and diversity in Kyrgyzstan. Having started with primarily academic projects such as study and documentation of the ancient tradition of pilgrimage to sacred sites, the Center adopted Participatory Action Research approach as the main working principle of the Center. The majority of Aigine’s projects are aimed at safeguarding biocultural heritage with focus on three domains a) sacred sites including its natural, spiritual, social components and dimensions, b) the great heroic epic “Manas.Semetey. Seitek” as well as small Kyrgyz epics, c) the folk music. All elements of biocultural heritage that Aigine aims to preserve comprise in themselves intangible cultural elements.
Over the course of its work Aigine came to realize that biocultural heritage can be best preserved when it is integrated in contemporary life and when stakeholders and rigthsholders manage to build meaningful collaboration. Thus, since 2007, Aigine identified two additional objectives:
 Preserving, developing and integrating traditional wisdom with contemporary life and aiming to incorporate the positive potential of traditional wisdom in decision-making at all levels of public and political life;
 Seeking points of rapprochement and interconnection among esoteric knowledge and science, nature and culture, traditions and innovations, West and East, and other experiences often seen as oppositions.
Designed to meet Center’s objectives, Aigine projects have directly contributed to safeguarding intangible cultural heritage in Kyrgyzstan. Aigine has been building effective connections with both traditional practitioners and state agencies, thus bridging important stakeholders and rightsholders involved in preservation of biocultural heritage. Since 2007, Aigine have been promoting inclusion of elements of traditional knowledge on sacred sites and revived folk musical systems into formal education. Some Aigine projects contributed to safeguarding intangible cultural heritage through exposing positive potential of traditional culture in preventing conflicts in the society and empowering vulnerable social groups (e.g. disabled youth). Thus, Aigine’s broader objectives aiming to preserve biocultural heritage at whole explicitly encompass an objective of preserving intangible cultural heritage.

Activités:
Since 2005 till present, Aigine CRC has been conducting a study on sacred sites in all provinces of Kyrgyzstan. The study includes identification, documentation and inventory of sacred sites throughout the country. Students of local universities, «village intellectuals» and practitioners have been involved in field research in each province. Findings of the study made it possible for Aigine to define an outline of Sacred Geography of Kyrgyzstan. It contains the inventory of 920 sacred sites, which includes locations and descriptions with pictures of the places, recognized by local people as sacred or holy. Besides the inventory, the study investigated intangible cultural elements such as historical and contemporary dimensions of sacred sites, as well as, beliefs, rituals and traditional practices. The study results suggest that sacred sites in Kyrgyzstan should be considered as both natural and cultural heritage, which represents local land and indigenous culture in unity.
Aigine has been working for safeguarding a tradition of reciting the Manas epic, which is considered to be unique element of intangible cultural heritage of Kyrgyzstan. Working in close cooperation with epic chanters, Aigine has helped to build strong nationwide network of epic narrators. In last three years, Aigine has pioneered creation of a video compilation of the entire Manas, Semetei, Seitek epic trilogy recited by the contemporary epic chanters. This 67 hour-long video compilation is the first and the only video version of the entire epic trilogy ever created in Kyrgyzstan and beyond. The video compilation meets standards of modern ‘digital age’ and serves as a documented baseline of the current state of the contemporary epic recitation. The video compilation of the epic trilogy has been distributed free of charge among all the educational intuitions throughout the country so that students and teachers can have better access to study materials on the epic heritage. Also, the video compilation was made available on local and international video-sharing websites to contribute to preservation and promotion of the epic heritage in the Kyrgyz Republic and abroad.
Aigine sees promoting diversity to be a key component of preserving epic heritage. Thus, Aigine has been working on studying and supporting newly emerging version of the epic presented by a female practitioner. This version evoked numerous debates in the society at large at Aigine has conducted a series of workshops on mitigating contention points between male and female practitioners.
Aigine’s another groundbreaking project aimed at safeguarding epic heritage was a School for Novice Manaschys conducted from 2010 to 2012. One of the main objectives of the School was to revitalize and enhance traditional mentor-apprentice system that has been lost. Over the course of the project, nine young epic reciters were recruited out of more than thirty applicants from all over Kyrgyzstan. This School gave the young manaschys a unique opportunity to meet with and learn from recognized epic chanters during few-day-long workshops three times a year. The School became a ground for sharing manaschys’ spiritual experiences and improving their recitation skills. Aigine’s projects contributed a great deal to a successful nomination of Manas. Semetei. Setek epic trilogy for the UNESCO ICH List.
In 2009-2014, Aigine implemented a project called En Belgi on promoting traditional musical heritage. En Belgi is music note system developed by a prominent traditional musician – Nurak Abdrakhmanov, which facilitates learning to play komuz, the folk musical instrument. The system builds on intangible traditional cultural elements such as traditional mentorship, values and practices. In 2011-2012, Aigine introduced the En Belgi system in formal education.
Senior researchers at Aigine hold advanced degrees in humanities and social sciences. Both senior and junior researchers constantly thrive to improve their research skills and expertise by combining academic research and education with applied projects. Dr.Gulnara Aitpaeva, Director and Founder of Aigine worked for a long time at the Department of Anthropology at American University of Central Asia and attended special courses on Methods in Ethnoecology at Duke University in 2007.
Coopération:
Since 2005, Aigine CRC has been using PAR – participatory action research in order to preserve and promote the phenomena of intangible cultural heritage related to Kyrgyz epics, folk music, sacred sites, practices related to weather and environment, and many others. By its essence PAR demands involvement of all stakeholders, but in the first turn it requires putting practitioners, bearers and custodians in the center of a problem solving process.
Aigne has been successful in building fruitful and meaningful cooperation with traditional practitioners and local communities. For instance, a series of national and international level gatherings with the epic chanters in 2010-2014 allowed conceiving and implementing the idea of creating a video compilation of the Manas. Semetey. Seitek trilogy. En Belgi project resulted in creating informal country-wide network of music teachers, while the research on sacred sites and consecutive workshops with traditional practitioners created a basis for establishing an informal network of sacred sites’ guardians.
Aigine thrives to build trust-based and long term cooperation with all its partners and prioritizes interests and needs of local communities, traditional practitioners and knowledge holders. This approach proved effectives since it fosters self-organization and strong horizontal ties among stakeholders. For example, the community of the epic reciters took a lead in identifying the list of core episodes for the video compilation and the epic chanters who were to recite each episode. The epic chanters were directly involved in video-shooting and editing of the final version.
Aigine constantly keeps communication with the members of the sacred site guardians’ network. Strong ties allow Aigine to update information on sacred sites on a regular basis. Aigine’s publications (more than 10 books in Kyrgyz, Russian and English) and electronic resources allow traditional practitioners to have their say. For example, trust-based and mutually respectful cooperation between Aigine and the informal network of the sacred site guardians resulted in joint attempts to lobby and advocate legal recognition of sacred sites and related intangible cultural elements

Date de création: 1959
Budget: U.S.$360000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement

Pays principaux d'activité:

Türkiye

Objectifs:
Notre association a pour but de sauvegarder le patrimoine culturel de Nasreddin Hodja, afin de donner à cet héritage culturel immatériel la place qui lui revient. Car Nasreddin Hodja n’a rien écrit de son vivant. Mais on écrit sur lui depuis le XVe siècle dans plusieurs endroits du monde. Il a donc une valeur nationale et universelle.
Il a vécu au XIIIe siècle (1208-1284).Sa renommée va des Balkan à la Mongolie et ses aventures sont célébrées dans des dizaines de langues, du serbo-croate au persan en passant par le turc, l'arabe, le grec, le russe et d'autres.
Les informations sur la vie de Nasreddin Hodja sont mêlées quelquefois à des dires en raison du grand amour que lui nourrissait le peuple et se sont aussi transformées parfois en événements extraordinaires.
La valeur de Nasreddin Hodja n’est pas mesurée avec les événements qu’il a vécus, mais avec la finesse de la conception, de la satire et des éléments de moquerie dans son humour et celui que le peuple raconte en son nom. D’après les études réalisées sur les plaisanteries, qui seraient les siennes, on comprend par la signification des mots qu’il n’a pas exprimé le mode de vie, et les éléments humoristiques et satiriques d’une époque précise, mais ceux du peuple d’Anatolie. La base des éléments qui forme ses plaisanteries sont l’amour, la satire, l’éloge et la moquerie. Il aime ridiculiser, il s’entraîne vers une contradiction avec lui-même. Nasdreddin Hodja apparaît comme un foyer humoristique diffusant les sentiments du peuple. Ainsi, le peuple fait entendre sa voix par le biais de Nasreddin Hodja.
Les Fondateurs de l’association et leurs successeurs avaient les objectifs suivants:
 Etudier Nasreddin Hodja, sa vraie Personnalité, son époque et ses anecdotes.
 Faire connaître son humour, sa philosophie, sa tradition de "Rire et Penser"
et sa ville Akchehir dans le Monde entier.
 Préserver le tombeau de Nasreddin Hodja, les autres bâtiments historiques et leurs environnement naturels
 Renforcer l’esprit de promouvoir notre héritage culturel au sein de la société, comme les expressions traditionnelles, rituels de naissance, de mariage et de funérailles, traditions culinaires,….


Activités:
En premier lieu, l'association de Nasreddin Hodja et du Tourisme organise le "Festival International de Nasreddin Hodja" avec la Municipalité, à Akchehir (Akchehir- Ville Blanche) du 5 au10 juillet, depuis 50 ans. D’ailleur, l'Unesco a déclaré l'année 1996, « Année de Nasreddin Hodja ».
Cela se passe tous les ans ainsi :
Quelques jours avant le festival, nous rendrons visite aux députés et aux ministres à l'Assemblée Nationale de Turquie (TBMM) avec le délégué de Nasreddin Hodja, pour les inviter au Festival.
À la veille du festival; un train spécial (Train d'Humour) part d'Istamboul pour Akchehir et amène nos invités: des artistes, des écrivains, des journalistes, des folkloristes, des universitaires et autres intellectuels. Au départ et à l'arrivée du train, il y a chaque fois une cérémonie truculente.
Du 5 au10 juillet, concernant le programme du Festival :
Dans la matinée du 5 juillet, nous commençons avec le rituel de la résurrection au tombeau. On appelle Nasreddin Hodja qui vient parmi nous. En effet, un acteur qui représente le Hodja sort du tombeau et fait son discours contenant le message de l'année.
Par la suite ; le Hodja, entourré de foule , va au bord du lac, ajoute un peu de yogourt à l’eau et les melange avec une louche. On lui demande « Que faites-vous Hodja ? » « Je fermente le yogourt ! » repond-il. Les entourages :« Mais c’est impossible dans un lac et jamais vu.. » Le hodja sourit et repond comme 8 siècles avant: « Je sais bien, mais si on y parvenait !»
Pendant le festival ;Il y a les spectacles de théâtre, de danse, concerts de musique (rock, pop, musique traditionnelle turque); des expositions de caricature, de dessin, de photographie, sculptures, articles céramiques; des débats, des conférences, des dialogues sur les thèmes de Nasreddin Hodja et de l'humour; les pratiques liées à la chasse, la pêche et la cueillette.
Les artistes et les experts qui participent aux activités du programme viennent de différentes villes de Turquie et de plusieurs pays.
Cette année, le comité du festival que nous représentons a décidé de distribuer les « Prix du Rire et de l’Ane d’Or de Nasreddin Hodja » à trois humoristes.
Notre association a aussi donné le « Prix de Chercheur du 50ème Année » à Dr. Mustafa DUMAN, qui est à la fois écrivain, documentaliste et collectionneur, sur le thème de Nasreddin Hodja.
D'autre part, notre association organise aussi le "Festival des Enfants de Nasreddin Hodja" avec l'aide de la Municipalité, chaque année, à Akchehir (Akchehir- Ville Blanche) le 23 avril pendant la Fête Nationale Turque de Souveraineté et des Enfants.
Nous organisons ainsi les concours de caricatures, d'histoires humoristiques, photographies, d'affiches de Festival. (Cette année nous n'avons pas pu les faire à cause de crise.)
Nous participons aux symposiums, festivals nationaux, internationaux et
également à des réunions de l'UNESCO sur le thème de patrimoine culturel immatériel (PCI), comme observateur. ( à Sofia, la 2ème session extraordinaire du Comité Intergouvernemental du 18 au 22 février 2008 et à Istanbul la 3ème session du Comité Intergouvernemental, du 4 au 8 novembre 2008)
Nous étions également à la réunion de travail sur le sujet de “ Patrimoine Culturel Immatériel et les ONG ”, le 4 juin 2009 ,à Ankara/Turquie. Celle-ci a été organisée par Commission de l’ UNESCO de Turquie, les Universités , TURKSOY et Centre National Turc de l’ UNIMA. Les cadres du ministère de la Culture et du Tourisme et du ministère de l’ Education étaient présents. On a eu un débat important sur les processus de l’ accréditation des ONG de Turquie par l’UNESCO.
Par ailleurs, nous avons une riche archive à notre siège. Elle comprend des bouquins, des revues, des bulletins, des affiches, des cassettes VHS, des CD, essentiellement sur Nasreddin Hodja, sur les festivals et sur les héritages culturels nationaux et internationaux
Notre association a également en son sein un groupe qui s'appelle les " Jeunes Bénévoles". Ce sont des élèves, des étudiants ou bien des artisans qui travaillent bénévolement pour l'association surtout pendant les Festivals comme représentants de leur ville et de leur culture et participent à nos activités culturelles et sociales durant toute l’année.
Quant au Conseil Consultatif de notre Association, il a été créé en novembre 2006. Ce conseil fonctionne comme un centre d'expertise dans ce domaine et regroupe des experts de différentes disciplines (histoire, sociologie, économie, folklore, archéologie), des artistes (acteurs, caricaturistes, peintres, photographes), écrivains et journalistes célèbres de Turquie.

Coopération:
Au sein de notre association; il y a un groupe traditionnelle qui s’appelle “Sıra Yarenleri” (Rang de Frère). L’une des institutions qui a aussi contribué à l’union culturelle de l’Anatolie est celle des Ahis (Frères) . Les Ahis, arrivés en Anatolie en même temps que les derviches de Ahmet Yesevi, 12. siécle, se sont installés surtout dans les régions urbaines plutôt que rurales en raison de leurs qualités professionnelles.
Bien que les Ahis constituent une organisation professionnelle ( surtout les artisans), qui avaient des us et coutumes ainsi que des secrets.
Le principe fondamental chez les Ahis est l’égalité absolue des membres de l’organisation. Tous les membres sont frères. Mais un respect infini existe du membre le plus jeune à l’égard du membre le plus âgé. Pour devenir membre de l’organisation, il faudra la recommandation de l’un de ses membres. Ceux qui ont commis des actes terribles, ont une mauvaise réputation et qui pourraient nuire à l’organisation ne peuvent devenir membre des Ahis. L’adhésion se fera lors d’une cérémonie spéciale . Le candidat Ahi se nouera une ceinture autour de la taille pour la cérémonie et il lui sera conseillé de nourrir de l’amour à l’égard de tous les humains, de les respecter et de ne pas dévier de la juste voie. Il lui sera aussi demandé de se soumettre éternellement à l’organisation. Les scélérats ne pourront absolument pas y adhérer tout comme les fanatiques d’ailleurs.
Comme les Bektaşi, les Ahis feront passer leurs membres par des phases qui leur donneront des particularités comme la connaissance, la patience, la purification de l’âme, la fidélité, l’amitié et la tolérance.
Parmi les “Frères” il y a les membres de notre association et nous organisons avec eux les spéctacles mélangés de jeu, de danse, de théatre. On distribue les cadeax par tirage au sort, etc, pendant toute la soirée . Le groupe joue leurs jeux avec l’ assistance .
Nous avons aussi de bon relation avec la population alévite d’Akchéhir qui sont souvent musiciens et artisans. On les nomme souvent par erreur les tziganes.

Date de création: 2013
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Suède

Date de création: 2012
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Zimbabwe

Objectifs:
Amagugu International Heritage Centre (AIHC) is located within the confines of the Matobo World Heritage Landscape. In partnership with local communities, AIHC researches on, documents and promotes tangible and intangible indigenous cultural heritage with a view to highlighting African thought, worldview and philosophy that live behind local cultural practices and rituals. Through participatory cultural activities, AIHC develops and enriches the consciousness of the people about their cultural heritage and fosters respect for cultural identities. Regular inter-cultural exchange programs by AIHC serve to cultivate cultural exchange and give indigenous culture international prominence. Through working bays for crafts production and a craft shop, AIHC develops skills and knowledge relating to traditional crafts and facilitates establishment of market linkages. Working through traditional leaders, AIHC researches and documents cultural elements in local communities for purposes of developing an inventory of cultural elements residing in the local communities and feed these into national inventory. AIHC has peformance spaces which serve as a platform for identification and nurturing of rural based performance artists. Through cultivating cultural exchanges, AIHC gives indigenous culture international prominence in a manner that supports sustainable development of rural communities in Zimbabwe. AIHC cooperates with public and private cultural institutions and interested bodies for the purpose of highlighting indigenous thought, worldview and philosophy. The organisation uses both traditional and new media to facilitate documentation and promotion of threteaned elements of intangible culural heritage. AIHC's vision is to be a centre of excellence in the documentation, preservation and promotion of Zimbabwe's cultural heritage.
Activités:
Revitalising Traditional Hut Painting - AIHC is facilitating the revitalisation of the art of traditional hut painting using natural pigments in Zimbabwe's Matobo District. An annual competition motivates women to paint their homesteads thus preserving the art form.
Resident Dance Group - AIHC has a resident dance group whose members are women, men and youths from the local community. The group specialises in performing the wosana traditional dance which is a rain making dance unique to Matobo District. Members of the local community and researchers use the group to understand the dance routine and dancers' black attire.
Community Inventorying - With technical support from AIHC, members of the local Matobo community are doing write ups about the nature, rationale and signifance of social practices such as lobola (pride price) and sacred spaces. Research output published through AIHC's Amagugu Publishers.
Cultural Policy and Strategy Formulation - AIHC is currently supporting four Rural District Councils in Zimbabwe to craft cultural policies and strategies so as to build local level institutional capacity to preserve and promote various elements of indigenous cultural heritage. Project mainstreams indigenous cultural heritage in service delivery. Project supported by UNESCO's International Fund for Cultural Diversity.
Botanical Garden - The botanical section of AIHC has various indigenous tree species supplied by members of the local community. Medicinal and nutritional value of the trees and shrubs is shared with visitors to the Centre.
Tour of Cave Paintings and Visits to Njelele Shrine - Tour guides at AIHC facilitate visits to rock art and the Njelele shrine for members of the local community. The spirituality of the paintings and the shrine is interpreted thus raising awareness on local traditional religion.
Promotion of Craftsmanship - AIHC supports communities in Matobo with training in basketry, pottery, leather tanning and wood carving. AIHC also has working space for craft persons and a craft shop to promote market linkages. Inter-generational transmission of craft skills is done through discussions and trainings between the elderly and the young at AIHC.
Traditional Food and Beverages Expo - The Expo is a platform for the local Matobo community to learn about traditional food and beverages. The role of Indigenous Knowledge Systems in the agriculture value chain is shared so as to enhance food security and household nutrition.
Tour of Murals - The perimeter wall at AIHC has murals which were conceptualised by members of the local community and depict the pre-colonial way of life of the local Ndebel people. The murals are used as learning aids when primary, secondary and tertiary institutions visit AIHC to learn about intangible cultural heritage such as beer brewing, corn threshing and interpreting of decorative motifs.
Book Publishing - AIHC has a book publishing unit, Amagugu Publishers, whose mandate is to publish texts that document various elements of local intangible cultural heritage. Over 12 texts have been published to date and these are being used by both teachers and students in primary and secondary schools.
Film Screenings - Film screenings are used as an informal method of learning particularly for members of the local Matobo community who have no access to national television. Film screenings often share information on Zimbabwe's social practices and rituals.
Storytelling sessions - Working with a network of elderly women, young children receive at AIHC invaluable social teachings through storytelling sessions.
Coopération:
AIHC is a self-contained multi-purpose institution strategically located within a communal land in the confines of the Matobo World Heritage Site.
Annual Traditional Food Expo empowers women to showcase their culinary skills and sell farm produce. Project on traditional hut painting using natural pigments works through a local committee made up of traditional leaders and villagers. Local committee does adjudication.
Two gazebos at AIHC provide local dance groups with access to free rehearsal space. Local groups also perform at events organised by AIHC. A music and dance exchange program was launched in 2015 and entails established groups sharing knowledge and skills with emerging youthful groups so as to foster intergenerational transmission of ICH.
In order to strengthen viability of traditional craftsmanship in Matobo, there are working bays at AIHC where local youths are taught by the elderly the skill of crafts making in the realms of basketry, pottery and leather tanning. AIHC also has a craft shop where locals deposit their artefacts which are sold to visitors. Matobo crafts are promoted to the public at fora such as the Zimbabwe International Trade Fair where selected craft persons have been supported to attend and exhibit. Workshops have also been conducted for craft persons with the view to initiate and sustain financial literacy.
An annual face painting competition for women is held and seeks to revitalise the waning art of face painting using natural pigments. Local elderly women are responsible for adjudication of this project.
Tour guides at AIHC are members of the Matobo community and this has ensured that intangible cultural heritage is shared in the most effective manner.
AIHC's ward and district level assemblies of creative practitioners are a systematic approach to ensuring ease of access to individuals and groups knowledgeable about the five domains of ICH. Assemblies are self-regulating and meet annually at AIHC.
Groups from the various schools in the locality visit AIHC where they are taught various elements of ICH as part of intergenerational transmission of knowledge and skills.
The Centre provides local children and adults with regular edutainment through film screenings that address chosen ICH themes.

Date de création: 1992
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Restauration et aménagement de monuments et de sites

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Restauration - conservation, veille, interpellation et sensibilisation

Pays principaux d'activité:

Madagascar

Objectifs:
Les APM constituent une association à but non lucratif, apolitique qui réunit tous les amis des arts et des techniques traditionnelles malgaches. Son but est d'entreprendre et d'appuyer toutes initiatives et actions ayant pour objet de promouvoir l'expression littéraire, scientifique et esthétique se rapportant à la valorisation du Patrimoine culturel et artistique malgache. Les APM assurent également un rôle de veille, d'interpellation et
de sensibilisation auprès des autorités et de la population locales malgaches dans le domaine de la conservation du Patrimoine national.
Activités:
- En 2009, les APM ont organisé une conférence-débat sur le thème de: "La cuisine traditionnelle en lmerina: son histoire, sa diversité, son avenir" qui visait donc la promotion et la remise en valeur de l'art culinaire traditionnel malgache.
- De 1998 à 1999, les APM ont constitué une documentation historique sur le Tranobe (Palais royal) du site d'Evato Vohipeno, un haut lieu de l'histoire qui abrite les reliques des "Sorabe" (culture arabico-malgache).
- Les APM participent également à de nombreux spectacles de musiques traditionnelles et folkloriques, d'expositions et de journées culturelles, et ont pris part au festival Madajazzcar en 2007 (jazz).
Membres de l'organisation et compétences:

- Désiré RAZAFINDRAZAKA, Président des APM: Président du festival Madajazzcar, Président de l'association culturelle Mada sur Seine - Titulaire d'un DEA en langues, littérature et sociétés (Option: Etudes malgaches) à l'Institut National des Langues et Civilisations Orientales de Paris.
- Daniel DARTIGUEPEYROU, Secrétaire Général: Historien Géographe retraité
- Jacques TRONCHON, Secrétaire Général Adjoint: Enseignant historien retraité - Histoire de Madagascar
- Dominique RAKOTOMALALA, Trésorier Général: Etudes supérieures en diplomatie et langues étrangères (Espagne, Autriche, Allemagne).
- Elyane RAHONINTSOA, Vice-Présidente: Formation aux métiers du Tourisme et de l'Hôtellerie (USA, Grande-Bretagne, Japon... ), stages linguistiques.
- En général, les APM sont consistués de membres écrivains et historiens, passionnées de culture et de développement.

Additional information:

Les activités récentes des APM décrivant nos activités récentes et notre expérience avérée en matière de sauvegarde du patrimoine culturel immatériel :

-2010-2011 : Promotion et valorisation de la richesse culturelle et patrimoniale malgache à travers la publication d’un ouvrage sur le patrimoine malgache tant sur le plan immatériel que matériel, en collaboration avec la Coopération Suisse à Madagascar.
Il s’agit d’un outil de plaidoyer, d’éducation, d’interpellation et de communication permettant aux APM de sensibiliser les décideurs, les jeunes et la population malgache en général en matière de préservation du patrimoine.
Plusieurs thématiques seront abordées dans ce recueil :
Le Hain-teny et le Kabary (discours traditionnel) ;
Les Arts martiaux malgaches comme le Diamanga ;
Le Sorabe (écriture arabico-malgache) ;
La cuisine traditionnelle ;
Les techniques paysannes ;
Les modes d’habillement et les arts de la coiffure traditionnelle ;
La vannerie ;
La culture du riz ;
Les archives nationales ;
La musique (tradition et jazz), etc.

-Janvier 2010, dans le cadre du Café littéraire, les APM ont participé à une conférence débat sur le thème : « Faut-il défendre le patrimoine ? »
Il s’agissait d’une campagne de communication et d’interpellation autour de la notion du patrimoine notamment du patrimoine naturel, de la faune et de la flore, de l’architecture, de la langue, de la culture, etc.

-En 2009, les APM ont organisé une conférence-débat sur le thème de: « La cuisine traditionnelle en Imerina: son histoire, sa diversité, son avenir » qui visait donc la promotion et la remise en valeur de l'art culinaire traditionnel malgache.

-Les APM ont également participé à de nombreux spectacles de musique traditionnelle et folklorique, d'expositions et de journées culturelles. Ces spectacles ont été organisés sur des sites historiques, ce qui a permis de valoriser en même temps le site, en lui-même, en tant que patrimoine culturel matériel et la musique traditionnelle malgache.
L’association a notamment organisé un concert mariant le jazz à la musique traditionnelle et a pris part au festival Madajazzcar en 2007 (jazz), ce dernier a été organisé au Palais de Justice d’Ambatondrafandrana, construit en 1881 sous le règne de Ranavalona II.

-La semaine de la « Valiha », avril 2001, en collaboration avec Univers Valiha Production et l’AFT
Festival organisé tous les ans depuis 1993 ayant pour objectif de populariser l’instrument à travers la Grande Ile. La Valiha est une variété de cithare tubulaire en bambou.

-Concours artistiques sur le thème de l’ « Unité Nationale »

-De 1998 à 1999, les APM ont constitué une documentation historique sur le Tranobe (Palais royal) du site d'Evato Vohipeno, un haut lieu de l'histoire qui abrite les reliques des « Sorabe » (écriture arabico-malgache) en vue de la revalorisation et de la protection de ces derniers.

-Colloque sur le « Langage et développement »
Coopération:
En partenariat avec l'Association des Journalistes du Patrimoine, les APM ont lancé avec l'Institut d'Etudes Supérieures des Arts (IESA) une formation sur "La communication du Patrimoine (2007).
- En partenariat avec l'Alliance française de Tananarive et l'ORTANA (Office Régional du Tourisme de la Région Analamanga), les APM ont organisé l'évènement Lire en fête sur le thème de: "Une ville, une oeuvre" (2007).

Additional information:

Les expériences concernant « la coopération, dans un esprit de respect mutuel, avec les communautés, les groupes et, le cas échéant, les individus créant, pratiquant et transmettant le patrimoine culturel immatériel »

-2010-2011, avec la Coopération Suisse : projet de promotion et de valorisation du patrimoine culturel malgache.

-En partenariat avec l'Association des Journalistes du Patrimoine, les APM ont lancé avec l'Institut d'Études Supérieures des Arts (IESA) une formation sur « La communication du Patrimoine » (2007).

-En partenariat avec l'Alliance française de Tananarive et l'ORTANA (Office Régional du Tourisme de la Région Analamanga), les APM ont organisé l'évènement Lire en fête autour du thème de: "Une ville, une œuvre" (2007).

-Partenariat avec le comité organisateur du festival Madajazzcar, 2007

-Collaboration avec Univers Valiha Production pour l’organisation de la semaine de la Valiha et l’Alliance Française d’Antananarivo, 2001.

Date de création: 2010
Domaine(s):

- traditional craftsmanship
- other
- Craft - Production

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Türkiye

Objectifs:
The purpose of our organization is to safeguard the intangible cultural heritage of Turkish traditional arts, which are known to live in Anatolia and are about to be forgotten, and to bring various arts and crafts to light, to keep them alive and to transmit them to future generations. At the same time, we are working to make and get all kinds of work, projects and projects required in national and international platforms to improve the arts.
Activités:
a) The association carries out various projects for the protection of intangible cultural heritage. It maintains and develops mutual interactions and cultural dialogue with national and international institutions and traditional arts communities. Academicians, experts and legal persons serve in the advisory committees.
b) ANELSANDER binds masters and craftspeople who still engage with traditional arts by creating associations, and trying to develop their vocational training, social solidarity and helping spirit. To this end, he initiated the «Masters Camp» Project and continues this in different cities and strengthens the shares.
Coopération:
ANELSANDER works in close collaboration with the Culture and Tourism Ministry od Turkish Republic, of the traditional arts section of the national university as their units, municipalities, museums (national and international), artisans and craftsmen with the students studying in the field of art schools, documentary programs that support handicrafts, media channels, etc., and relevant communities. International Projects are designed and carried out with the initiative of the local government, academic and art institutions with which the Association cooperates.

Date de création: 1995
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- transmission, (non-)formal education

Objectifs:
L'objectif de l'association est de connaître, transmettre et valoriser le patrimoine culturel de La Réunion, principalement le patrimoine vivant, contemporain et traditionnel inscrit dans cette histoire coloniale. Une culture créole avec ses langues, religions populaires, modes de guérison, savoirs et savoir-faire ethno-médicinaux, chants, musiques, danses, contes, cuisines, techniques et manières de vivre.
Les fondateurs de l'association voulaient, à partir de cette meilleure connaissance, contribuer à l'émancipation des Réunionnais-ses et valoriser le patrimoine par l'éducation et la diffusion culturelle (programme de transmission en atelier, concours, spectacle, centre de vacances culturel, échange culturel avec l'océan Indien et la France, commémorations, mémoires, éditions, organisation de festivals...). Il s'agit également d'encourager les jeunes dans la prise d'initiatives, la définition de projets collectifs en étant les concepteurs, réalisateurs, promoteurs et acteurs par la mise en place de programmes d'actions inspirés des principes de l'éducation populaire.

Date de création: 2001
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Colombie, Jordanie

Objectifs:
The mission of A.R.T. is to develop self-sustaining programming for refugees to equip them with the tools to rebuild and preserve their communities. A.R.T. aims to create self-sustaining training and education programs to ensure the transmission of cultural practices from one generation to the next, anchoring in a sense of generational continuity in the midst of changing and charged geographical borders.
Activités:
Art for Refugees in Transition (A.R.T.) is an international non-government, non-profit organization that promotes the preservation of indigenous art forms and cultural practices for displaced communities. A.R.T. recognizes the importance of cultural preservation and alliances with these groups to develop curricula to “re-establish the intergenerational relationships rooted in their own culture.”
Coopération:
Each of A.R.T.’s programs have involved buy-in and collaboration with local stakeholders, as the organization believes that locals are the experts. Empowerment should be promoted to facilitate sustainability and autonomy.

Date de création: 2002
Domaine(s):

- traditional craftsmanship

Mesure de sauvegarde:

- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
ArteSol started its works in 1998 and became a Civil Society Organization of Public Interest in 2002. Its institutional mission is to contribute to the safeguarding of traditional craftwork and to improve the living standards and self-esteem of their practitioners in areas of Brazil with low human development indices. The decision to prioritise families whose income often falls below the poverty line implies that ArteSol has contributed to safeguard several craftwork expressions at risk of disappearing.

Activités:
With the support of several partners, sponsors, volunteers and donors, ArteSol has developed 114 projects supporting traditional producers of pottery, weaving, lace and embroidery work, wooden and clay sculptures, musical instruments and toys, among other artefacts made primarily by women. These projects have benefited approximately 5,000 people, considering artisans and their family members, in 96 localities of various regions of the country, distributed as follows: two in the North, 61 in the Northeast, 1 in the South, 29 in the Southeast and 3 in the Midwest.
The actions developed by ArteSol set out from the principle that intangible cultural heritage in general, and traditional craftwork in particular, are resources of special significance in terms of the history, worldviews and ways of life of their practitioners. These resources are potentially available to most, if not all, members of cultural communities, allowing for differences in gender, age and other forms of social differentiation. They are often an important component of family income. For such economic and socio-psychological reasons, their safeguarding and development, when sustainable, can contribute decisively to improve their living conditions, boost their self-esteem and promote access to citizenship rights.
The social technology developed by ArteSol includes the identification of groups of traditional craft-workers living in poverty; the understanding of their activity as an integral part of social life, worldview and family budget; interpretation of the values attributed to their work and products by the wider public; elaboration of specific safeguarding plans, implementation and continuous evaluation of the project performance.
One of the first priorities of action plans are to contribute to the formation of associations; to understand consumer needs and tastes; to redesign products where necessary, respecting traditional taste and techniques; to help in price formation and in establishing as direct as possible relations with the market. A key objective has been to strengthen the autonomy of the artisans in the sale of their products and advise them on how to market in line with fair trade principles.
ArteSol has effectively contributed to safeguarding expressions of intangible cultural heritage at risk in Brazil. Examples of good practices are the support to lacemaking in Divina Pastora (Sergipe State), to the construction of viola de cocho guitars in Corumbá and Ladário (Mato Grosso do Sul State) and the making of earthenware cooking dishes in Goiabeiras (Espirito Santo State). IPHAN – Institute of National Historic and Artistic Heritage has registered these three cultural elements as Brazil’s Intangible Cultural Heritage
.
In addition, this approach contributes significantly to projects of regional sustainable development like those taking place in Polo Veredas < http://www.artesol.org.br/site/english/cases/ > (Minas Gerais State), for example.
Individuals and institutional partners have contributed a variety of financial, intellectual, technical and political resources, at various levels, to the continuity and development of the projects and actions developed by ArteSol.

Coopération:
ArteSol still implements this approach with communities included more recently its programs. However, its main goal since 2012 has been to build the ArteSol Network, focusing mainly on the communities that have participated in activities developed by ArteSol since 1998.
This network’s objective is to develop a specific website allowing direct contact with associations, cooperatives, masters, artisans and their commercial partners: i.e. agents belonging to the productive chain of traditional craftwork in Brazil.

Traditional craftwork supported by ArteSol registered as Brazilian Intangible Cultural Heritage (IPHAN):
Goiabeiras earthenware cooking dishes (Espirito Santo State), in 2002.
Viola de cocho guitar of Corumbá and Ladário (Mato Grosso do Sul State), in 2005.
Divina Pastora Irish Style Lacemaking, in 2008. It also received Indication of Origin by the National Institute of Industrial Property, under the geographic name of ‘Divina Pastora’ in 2012.
Eleven craftwork associations supported by ArteSol received the SEBRAE Top 100 award in 2009.
Mamulengo Project, World Bank’s Award for Innovative Social Enterprises in 2002
Esperança, the Agreste Doll Project, Banco do Brasil Foundation’s Social Technology Award in 2005.
In the near future, the Network aims to include gradually stores, support institutions and government support programs through a communication plan that provides ready access to information and contacts. Rede ArteSol is not a sales site. Its objectives is build relationships and become an effective networking tool for the development of traditional craftwork in Brazil.
This initiative has produced already very positive results, encouraging us to continue to work in this direction.

Date de création: 2010
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Azerbaïdjan

Objectifs:
The general objectives of the Ashiq Shamshir Public Union is the collection, research, study, publication, protection, promotion of Azerbaijani Ashiq Art and its transmission to the future generation.
Activités:
The Public Union has been involved in the following projects and events related to the safeguarding, promotion and transmission of intangible cultural heritage of Azerbaijan.

Projects:
1. The Public Union has started the implementation of a project named "Promotion of Nearly Forgotten Fork Art Genres" in March 2010. The project was sponsored by the Council on State Support to NGOs. The samples of the forgotten folk art genres, especially the family-domestic folk plays were gathered, filmed and the educational materials were prepared aiming promotion of these folk arts.
2. In June 2012, the Public Union has started the execution of the project of "Masterworks – Come to Read the Alphabet of Our National Values Together". The objective of the project is to outline the importance of the masterworks in the education of the young generation and to provide information to the young generation in this regard.
3. In October 2012, the Public Union has started the execution of a project named: The National Wealth of the Modern Azerbaijan - Ashiq Art" and has launched a scientific-research program at Caucasian University on 24 October 2012.
4. In April 2014, Dede Gorgud's Da, the Public Union has organized Saz workshops in Baku and Ganja for protection of the old Azerbaijani music instrument of Saz.

Events
1. The Public Union has organized and hosted a seminar for “Uzeyir Hajibayli and the Ashiq Art" in December 2010. The lecturers presented their works on subjects like the importance of folk arts in the Uzeyir Hacibayli's works and the role of Uzeyir Hajibayli in development of Ashiq Art.
2. In collaboration with the Ministry of Culture and Tourism, the Public Union organized the
"Ashiq Competitions between the Young Ashiqs of the Country - a Tribute to Ashiq Shamshir'' on 22 December 2010. 77 young Ashiqs from 33 districts throughout the country performed their works on this occasion.
3. The Public Union organized and hosted an event on 2 February 2011 named the “Role of young Ashiqs in Development of Ashiq Arts". The objective of the event was the safeguarding of traditions and folk arts and also emphasizing on the importance of continuation of all actions undertaken in line with this issue.
4. In collaboration with the Folklore Institute, the Public Union organized the scientific-practical conference on Folk Art of Azerbaijan in the Context of European Civilization on 21 December 2011.
5. On 24 March 24 2012, the Public Union has organized a concert program for the Azerbaijani people in Mainz, Germany within Novruz festival programme.
6. In collaboration with the Council on State Support to NGO, the Public Union implemented a project- conference on "Ashiq-Ozan, the Symbol of United Culture of Azerbaijan- Turkey" in June 2013. The objective of the conference was to contribute to cultural integration between the nations.
7. In collaboration with the Folklore Institute, the Public Union organized an international scientific conference on “The Historical Development Path of Ashiq Art and Ashiq Shamshir's Era" on 7 December 2013. The objective of the event was to investigate the role of the outstanding representative of Ashiq - Ozan Art of 20th century, Ashiq Shamshir in this art and its investigation from scientific and theoretical points of view.

Commemoration events
1. In collaboration with the Ministry of Culture and Tourism, the Public Union organized “The
Master Ashiqs are in People's Hearts" as a tribute to the master Ashiqs on 29 June 2011 which was a concert program of Azerbaijani Ashiqs.
2. In collaboration with the Institute of Eurasia International Investigations, the Public Union organized an event dedicated to the 150th anniversary of Master Poet Ashiq Gurbani in June 2012.
3. The Public Union organized an event on 21 December 2012 on the occasion of the 130th anniversary of Hoseyn Javid, an outstanding poet and drama writer. The winners of essay competition on “Hoseyn Javid and the Azerbaijan Literature” held between the students were declared on the event.
4. In collaboration with the Shahriyar" Society, the Public Union has organized an event dedicated to the master Ashiqs of the Republic of AzerbaiJan at House of Nations in Moscow on 3 June 2013.
5. In collaboration with the Baku State University, the Public Union organized an event dedicated to the 105th anniversary of Mir Jalal Pashayev, the outstanding scholar and writer, in December 2013.

Awards
The Public Union took part in a book festival on 28 May 2011. Ashiq Shamshir' Cultural Center Public Union was selected as the winner of the Outstanding Cultural Institution for the year 2010 at the 11th Book Festival. The prize was awarded to the Public Union for its role in development of cultural values, its efforts in line with the promotion of Ashiq art and its support provided to the field of culture.

The Public Union has participated in numerous international conferences, festivals and cultural events. It has as well supported many publications on Ashiq Shamshir.

Coopération:
The Public Union has established close relationships with folk experts, musicologists, poets, masters and performers of Ashiq Shamshir as well as with other persons involved or interested in the field of art.

Date de création: 1995
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- education

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Brésil, Espagne, Portugal

Objectifs:
The objectives for the creation of the Cultural and Educational Association PONTE…NAS ONDAS! included in its statutes are the following:
1. Spread the manifestations of the Galician-Portuguese Cultural Heritage.
2. Foster the conservation and respect for the Cultural Heritage of the Euroregion as an original cultural property in this territory with a presence throughout the world.
3. Foster the relationship among the Galician and Portuguese educational establishments as well as others from different countries in order to strengthen their mutual knowledge.
4. The promotion of cultural and educational activities in school environments and the spread of activities related to the school radio and the use of new technologies in school.
5. The spread and use of Galician language in relation with Portuguese, as well as the promotion of the common identity of the two territories through an overall perspective of the European integration and the Portuguese-speaking world.
6. Promote the collection and spread of the Intangible Heritage contents in order to be the link of the bearers of knowledge with new generations and, at the same time, enhance the potential of this heritage.
7. Defend before governments and organisations deemed appropriate, the creation of the Euroregion Living Human Treasures System.
8. Collaborate with other associations, as well as public and private bodies to carry out activities which help to revitalise and keep the expressions of the Galician-Portuguese Cultural Heritage alive.
Activités:
The cultural and pedagogical Association Ponte...nas Ondas! ( hereinafter "PNO!" ) is comprised of teachers from Galicia and the north of Portugal who come from different education levels, ranging from compulsory education to University. Its activities began in 1995 and continue up to present date. Galician and Portuguese specialists in pedagogy, philology, anthropology and ethnography collaborate on the Association's projects.
The first activities of the Association were focused on achieving, in both sides of the Galician-Portuguese border, a mutual recognition of the Galician-Portuguese Intangible Heritage ( hereinafter "GPIH" ).
• Inter-school Communication Days
PNO!'s activity started with a day of communication and dialogue via radio between educational institutions from Galicia and the north of Portugal, carried out entirely by students: this initiative was named "PONTE...NAS ONDAS! Inter-school communication day" ( the Association chose its name after this event ).
The subject matter of its 6th edition ( year 2000 ) was UNESCO's project "The Slave Route", in which schools of the UNESCO Associated Schools participated with a 24-hour radio broadcast from Europe, Africa and America.
Since the proclamation of the Masterpieces of the Oral and Intangible Heritage of Humanity in 2001, the Association decided to start a line of work on the Intangible Heritage.
The Inter-school Communication Day has had 20 editions, and saw the participation of more than 800 educational institutions from Spain and Portugal, as well as other educational institutions from America and Africa.
• Samples of the Galician-Portuguese oral tradition
Activity aimed to disseminate the GPIH all along the Galicia-North Portugal Euroregion. The Samples of the Galician-Portuguese Oral Tradition intend to make known, in a single event, examples of the oral Galician-Portuguese tradition by joining oral expression, theater and music together.
Since its first edition, 10 samples have taken place in locations in Galicia and the north of Portugal.
• Meeting of the Galician-Portuguese Intangible Heritage Bearers ( Melgaço 2005 )
Meeting aimed to give visibility to the Candidature of the Galician-Portuguese Intangible Heritage presented before the UNESCO. For three days, representative expressions of the Galician-Portuguese intangible heritage were shown.
• Galician-Portuguese Oral Tradiction Collection Contest (2006)
This activity was aimed to collect samples of the Galician-Portuguese intangible heritage from an educational point of view, so the students can find out their nearest heritage expressions. The collected samples came with the corresponding technical data sheet and transcription. This was the only contest aimed to the educational institutions of the Galicia-North Portugal Euroregion.
• Publication of books, CDs and DVDs related to the Galician-Portuguese intangible heritage.
Meniños Cantores ( 2005 ). CD-Book-DVD produced by 17 educational institutions from Galicia and the north of Portugal featuring traditional songs and a documentary about the GPIH. Published in Galician, Portuguese, Spanish and English.
Cores do Atlántico ( 2010 ). CD-Book about the cantigas de amigo ( Galician-Portuguese medieval lyric poetry ) from the Galician-Portuguese oral tradition carried out by brazilian artist Socorro Lira and Ria Lemaire, professor at the Université de Poitiers.
Na ponte ( 2013 ). CD-Book-DVD that collects works from teachers, anthropologists, journalists and artistic collaborators from PNO!
• International Congress “PONTES DE CULTURA, PONTES DE FUTURO” (2010)
Cross-border congress carried out on the occasion of the 15th anniversary of PNO! Teachers, anthropologists, journalists and artists particicipated as speakers and discussed the GPIH and PNO!'s role. The Congress's main subjects were education, the heritage, the ICTs and the media.
• Living treasures of the sea ( 2013 )
Project for the recovery of the maritime heritage of A Guarda`s town council ( Galicia ). Interviews and data related to heritage-bearers were collected. The initiative resulted in the creation of a website and the publication of a Book-DVD about the recognition of persons and groups belonging to maritime culture in A Guarda's town council.
• Galician-Portuguese Traditional Games Meetin
Aimed at educational institutions at both sides of the border, this activity intends to convey the traditional Galician-Portuguese games to the younger generations. It takes place in locations in Galicia or in the north of Portugal. XI annual meetings have already been held.
• Candidacy of the Galician-Portuguese Intangible Heritage
Presented by Spain and Portugal in 2004. It was the first candidature promoted by two educational institutions from two european countries. The process started in 2005 and the proposal was developed for two years by team of the Association.
• Recognitions
PNO!'s activities were awarded the seal “Buena práctica Iberoamérica” by Spain's Ministry of Education, culture and Sport; they also received the ONDAS award (Spain's most prestigious communications awards) in 2014 for the “best media coverage of the Galician-Portuguese intangible heritage”.
Coopération:
The PNO! ( Ponte…nas ondas! ) Association has been working since 2002 towards the documentation, gathering and recognition of several manifestations of the GPIH ( Galician-Portuguese Intangible Heritage ). This work was always carried out in direct contact with the communities bearing the said heritage. These groups collaborated in many of the Association's activities in order to revitalize this heritage and convey it to the younger generations.
During the elaboration of the proposal for the Candidature of the Galician-Portuguese Intangible Cultural Heritage, which began in 2002, the Association contacted the representative communities of the GPIH in both Galicia and the north of Portugal. These communities were representative of the heritage's fields featured in the Candidature: the oral tradition's popular literature, the oral tradition of rural and fishing areas, the artisanal knowledge and the celebrations throughout the year. The written consent and the Candidature's documentation were submitted together.
In all of the GPIH's fields, the bearing communities and gathering groups of this heritage in Galicia and North of Portugal collaborated with the Association, thus providing equipment and performing conveying activities in formal learning as well as in public events.
Once the Candidature was presented before the UNESCO in 2004, and as it was being assessed by the international jury, communities and bearers performed activities to spread the common heritage throughout the Galicia-North of Portugal Euroregion.
Due to its territorial involvement and the number of involved communities, we wish to highlight the role of the Galician Federation for Maritime and Fluvial Culture ( Galician initials: FGCMF ), which groups together with important bonds the maritime communities of the Galician and Portuguese coastline that protect the manifestations of the Galician-Portuguese maritime culture.
The forest or baldíos (communal property system of swabian origin) communities, wich are grouped together in several Federations along the whole Euroregion and perform communal agricultural and farming activities, also collaborated with the Association.
Other experiences with communities included their participation in some of the Association's activities such as the Samples of the Galician-Portuguese Oral Tradition, the Traditional Games Meetings or the Inter-School Communication Days "Ponte..nas ondas!".

Date de création: 1996
Budget: U.S.$60000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- Convivence interculturelle

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Argentine, Cuba, Espagne, Gambie, Grèce, Italie, Paraguay, Roumanie, Togo

Objectifs:
Promouvoir les hauts idéaux, principes et valeurs de l'UNESCO, tant en Espagne qu'aux divers régions de l'UNESCO (Europe, Amérique Latine et Caraïbes, etc.).
On peut concrétiser sur les suivants objectifs spécifiques:
- Développement durable, dans le cadre philosophique de l'UNESCO.
- Sauvegarde et mise en valeur du patrimoine culturel aussi bien matériel, dans ses volets historique-artistique et naturel, qu' intangible.
- Contribuer à la réussite des objectifs du millenium de l'ONU.
- Renforcer le modèle politique démocratique à travers la formation de la société civile.
Activités:
Nous énumérons brièvement les dernières activités réalisés:
- Participation à la deuxième réunion du Comité Intergouvernemental de la Convention PCI, à Tokyo (Japon) du 3 au 7 septembre 2007.
- Participation aux Premières Journées Nationales sur la Protection de l'Environnement et le Patrimoine Culturel, à Matalascañas - Huelva (Espagne) du 3 au 6 octobre 2007.
- Participation au V Congrès Ibéroaméricaine de Parcs et Jardins Publiques, à San Miguel de Tucumán (Argentine) du 2 au 13 novémbre 2007.
- Organisation et tenue de la Rencontre Euro-Arabe du Réseau Civil de l'UNESCO, à Melilla (Espagne) du 21 au 24 novembre 2007.
- Participation en tant que conseiller de la Délégation Oficielle Espagnole à la 34 Conférence Générale de l'UNESCO, à Paris (France) pendant les mois d'octobre et novémbre 2007.
- Participation aux évènements du 25º anniversaire de la déclaration du Centre Historique de Florence (Italie) comme Patrimoine de l'Humanité, à Florence du 16 au 20 décembre 2007.
- Projets de coopération internationale pour le développement dans les domaines de la démocratie et le développement durable en Maroc et en Gambie, pendant ces dernières années.
Si vous voulez plus d'information vous pouvez consulter notre site web:
http://www.ugr.es/~javera/2-5-memoria.htm
Coopération:
- Coopération pour favoriser la convivence interculturelle avec la population d'origine, culture et langue Tamazigth, dans la région du Rif, la population d'origine et culture juïve et la population d'origine et culture éuropéenne.
- Coopération avec la Fédération Nationale Gambienne sur l'origine et la route de l'esclavage.
- Coopération avec des groupes de recherche de la culture et la langue guaraní, en le Paraguay.

Date de création: 2005
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Colombie

Objectifs:
Since its creation in 2005, Teje Teje is committed through its field work to the strengthening of the cultural identity and traditional expressions of indigenous peoples and other groups too. Connected concerns for the achievement of this goal are the preservation of the environment, the fostering of sustainable development, and the support to children education and traditional leaders' capacity building. In this manner Teje Teje contributes in the safeguarding of tangible and intangible cultural heritage, the implementation of formal, informal and non-formal education processes.
lt provides services and consultancy for the implementation of projects that include the restauration of values such as solidarity and the respect for human dignity. As a consequence, it cares for the individual and collective cultural growth of the communities as well as for the preservation of the environment. lt fosters resilience in rural areas mostly.
Its work is focused in the restauration of traditional knowledge and production in land production, environmental management, sacred and ritual centers, gastronomy, healing, spirituality, artifact, looking at these various elements of individual and collective life with an holistic approach.
Teje Teje is convinced that social policies are essential for the definition and implementation of its mainly indigenous counterparts’ potentialities. lt draws from priority concerns such as: cultural and environmental conservation, community participation, respect for multiculturalism and equity in all levels of society, private-public cooperation.

Activités:
Travels around the sacred sites of the Ette Ennaka indigenous population for cultural strengthening (2016- current, Magdalena and Cesar) Beneficiaries: Directly: 10 traditional authorities. Indirectly: 2.238 Ette Ennaka people. Products: 1) Cultural cartography document that includes maps and inventory of sacred sites and medicinal plants. 2) Video, memory of the travels 3) Document that compiles discussions and conclusions on the sacred sites.
Workshops with the Zenu indigenous population on their intangible cultural heritage (2015- 2016, Cordoba and Sucre) Beneficiaries: Directly: 300 people that assisted to the workshops. Indirectly: 187.913 Zenu people. Products: 1) Special Safeguards Plan of the cultural expression: "Weaving of the Cariaflecha in Cordoba and Sucre". 2) Inclusion of the cultural expression in the national intangible cultural heritage list.
Historic, anthropologic and environmental research based on qualitative and quantitative methods (2014- 2015, Magdalena and Cesar) Beneficiaries: 2.238 Ette Ennaka People. Products: Document: Cultural Characterization of territorial affections of the Ette Ennaka People for land restitution process.
Travels around the sacred sites of the Black Line (boundaries of the ancestral Arhuaco, Wiwa, Kogi and Kankuamo territory) with the indigenous shamans for cultural strengthening (2008, 2010, 2014, Magdalena, Cesar Guajira, and Atlantico) Beneficiaries: 341.134 people fron indigenous communities of the 3 departments. Products: Documentary films: "Pagamento: Ritual Territory", "Ritual and Thought" distributed in indigenous schools for culture strengthening.
Compliling of Ette Ennaka's oral tradition on territory and settlement with the elders, for cultural strengthening (2014, Magdalena) Beneficiaries: 2.238 Ette Ennaka People. Products: Recordings as a contribution to the Ette Ennaka’s life plan and to the municipalities inventory on intangible cultural heritage.
Itinerant Exhibition that shows the Ette Ennaka's history of their travels and settlement in ancestral territory (2014, Magdalena) Beneficiaries: 2.238 Ette Ennaka People. Products: 6 photography panels (1x2 Mt).
Construction of the Nara Kajmanta's school kitchen and dining room with a traditional design and economic support for the Ette Taara's (languaje) teacher (2013- 2014, Santa Marta) Beneficiaries: Directly: 60 Ette Ennaka Children. Indirectly: 136 people. Products: Kitchen, dining room, Ette Taara lessons guaranteed.
Recuperation and construction of traditional home orchards (Kaaria) for food sustainability and cultural strengthening (2007 and 2010-2014, Magdalena and Cesar) Beneficiaries: 167 families. Products: 169 Traditional Home Orchards.
Workshops on traditional: weaving, handcrafts, music, dance, ethno medicine and self-government for the Ette Ennaka indigenous communities. (2011 - 2014, Magdalena and Cesar) Beneficiaries: 122 families. Result: recovery of material culture.
Advisory to the women weavers of the following indigenous communities: Wayuu, Arhuaco, Kogi and Kankuamo, on issues such as traditional design, quality and marketing. (2005, Guajira, Cesar, Magdalena). Beneficiaries: 10 women weavers. Result: Recovery of traditional designs and improvement of their income.
Publications:
March 2, 2014 Hoy Diario del Magdalena (Today Magdalena’s Newspaper, Macondo Sunday Magazine), «Teje Teje Association to the rescue of the Ette Ennaka culture".
December 2014 Iguana Magazine, "Chimila women and children preserve their ancestral culture".
June 30, 2013 Hoy Diario del Magdalena (Today Magdalena’s Newspaper), «Eight years working in the Department of Magdalena. Teje Teje seeks to preserve indigenous cultures".
December 2012 Iguana Magazine, «Compromised with tradition of the Chimila Indigenous population"
December 2009- January 2010 Gesti6n Social Caribe (Caribbean Social Management) Magazine,"Recovery and strengthening of traditional and cultural practices associated to the Ette Ennaka familiar and sustainable food production".

Coopération:
Since 2005 Teje Teje has made alliances with women weavers of the following indigenous peoples communities: Kankuamo in Atanquez, Wayuu in Manaure and Arhuaco in Jimain, aiming to support the preservation of their traditional handcrafts. In addition, Teje Teje promoted the creation of the Ette Ennakas Women Weavers Association in 2009 which today provides indigenous women with incomes to help support their families.
In 2007 and 2010 - 2014 Teje Teje worked in alliance with the Ette Ennakas "Cabildo" (Authorities) in the strengthening of their traditional practices associated to food production, political organization, and cultural heritage around issues such as weaving and handcrafts, music, dance, ethno medicine and self-government, benefitting 145 families. Since early 2016, Teje Teje has worked in association with the Ministry of Culture, with the accredited NGO to the 2003 Convention, Traditions for Tomorrow, and with the Ette Ennaka "cabildo" on a project that aims tore vitalize its cultural identity considering the conservation of sacred sites, knowledge of medicinal plants and the word of the elders.
With the Zenu Indigenous population, Teje Teje is currently working with the indigenous authorities to encourage the creation of a group of people (committee) that will manage cultural heritage based on the Special Safeguards Plan of the cultural expression "Handcrafts as the heart of Zenu Identity".

Date de création: 1996
Domaine(s):

- oral traditions and expressions

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement

Pays principaux d'activité:

Indonésie

Objectifs:
• To hold various activities involving researchers, observers, people interested in oral traditions, and those who support oral traditions, in order to develop their potentials.
• To appreciate and introduce the diversity of our cultural heritage, especially oral traditions, using three approaches, Le. science / education, documentation, and performance, including its publications.
• To organize accompanying programs (applied programs) preceded by research / deep observation in order to develop oral traditions and their supporting communities by means of conservation activities, reservation, preservation, and revitalization.
• To work on the re-functioning of certain oral traditions among communities, both in their original forms and in their modified or transformed forms.
• To assist the government and the general public by providing services in information, documentation, publication, research, and the advancement of oral traditions in order to create a network of information formed among various individuals and institutions.
Activités:
• Research in the various regions such as : oral tradition of Suku Anak Dalam in Jarnbi (Continuities and discontinuities), Mabissu (Buginese dance ritual), Makyong Performance in province of Kepulauan Riau, Bedalung: oral tradition of Suku Laut (the Sea Tribe) in Province of Bangka Belitung and the art of "Tenun Ikat Flobamora" in East Nusa Tenggara.
• In cooperation with the national education department provides scholarships namely study of oral traditions program (MoU for five years 2009-2010). This program prepares grants a scholarships especially for this programmed for M.A. students and PhD student in Indonesia. Participants are young lecturers
from various universities around Indonesia. After completing their studies are expected to return home to teach at various universities This program also to train and prepare a number of scholars for research and
fieldwork on endangered languages and cultural activities in different areas all over Indonesia. Primarily it is necessary to conduct a general survey to understand the present situation of intangible cultural heritage in Indonesia, and to plan a strategy of protecting the most endangered species.
• Besides that, ATL is preparing Internasional Seminar and Festival of oral tradition in Bangka on November 2010 (Lisan VII Festival).
Coopération:
As matter of fact, the "spearhead" of the ATL's success is the speakers or storytellers, the shamans, the syeh (teachers ofIslam), the datuk (the elders), and tribal elders from various regions in Indonesia. Nevertheless, we have to express our gratitude to the researchers and resource persons who helped ATL in designing and carrying out our revitalization and accompanying programs i.e. Drs. M. Hamidi, M. Hum (Jakarta), Dr. Tabir Sitepu (Medan), Prof. Dr. Suripan Sadi Hutomo (Surabaya), Dr. Aminuddin (Malang), Prof. Dr. Mursal Esten (Padang Panjang). In addition, we would like to express our most sincere gratitude to cultural experts and artists, such as the late B.M. Syamsuddin (Pekanbam), King Hamzah Yunus (Penyengat Island), and Tengku M. Atan Rahman (a Mak Yong artist from East Bintan).

Date de création: 1990
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Espagne

Objectifs:
The objective of the organization is mainly the study of the Fallas Festival, urban festival from Valencia and others cities through the region. It is linked to European Carnival festivities, has important components of popular satire, festive sociability, artistic expression, artisan practices and singular techniques. It is also felt by the community involved as an importart signal of its identity.
The Associació d'Estudis Fallers (ADEF) field of study is extended to other festivals including fire and ephemeral manifestations of art and its relevance and importance to the intangible cultural heritage of Valencia (Spain). Likewise, are also an important objective for the association to publicize and promote the heritage aspects of the festivities related to the use and rituals of fire, promote the research related to them and create opportunities for reflecting on the importance of heritage management in popular festivals.
Activités:
The activities of the association address in different ways to safeguard the tangible and intangible heritage generated by the festival of Las Fallas, as an example of a popular celebration of wide dissemination and social and identity implications. Without being exhaustive, we highlight the following activities:

Identification, documentation, research:
Call and organization for Jaume I Congress on Popular Cultures and Fire Festivals (Congreso Jaume I de Cultura Popular i Festes del Foc,1995)
The inventory and reasoned catalogue of Fallas Museum of Valencia, especially characterized by its unique collection and intangible cultural practices linked to it (2000-2004)
Issue of the Revista d'Estudis Fallers since 1995: annual scientific journal that publishes original research papers about Fallas Festivals and other celebrations of fire. Journal meets the scientific standards at the reception and approval of articles.
Design and implementation in 2005 of the Center for Documentation of Fallas festival with the City Council of Valencia for the collection of written, audiovisual and intangible documentation catalogue and archive for the free access and consult of researchers.
Participation in CARNVAL Project. Ephimeral Heritage on the European Carnival Rituals (carnval.blogs.upv.es), co-funded by Creative Europe Programme of the European Union to promote the variety of Europe’s historical and social realities by disseminating some of its most European Carnival rituals and the cultural and creative sectors associated with them.

Preservation and protection:
Design and development of thematic exhibitions on the creative and technical aspects of the Fallas ("Falles i art: 40 anys transitant per la frontera", 2008 and "La Falla: un artefacto tecnológico" 2011) and on the productions of Fallas "llibrets" (anual books published by Fallas Popular Comittees as a part of Cultural Heritage (El llibret de falla 1850-2014, 2014).

Promotion and improvement:
Organization of "Les falles a la Nau" discussion sessions, since 2005 in collaboration with University of Valencia, where different agents involved in the Festival come together to reflect on interesting issues, especially on heritage, promotion, protection and enhancement.
Since 2005 the association awards the best article of reflection and disclosure of Fallas festival: The Enric Soler i Godes Award.
Organization ot the Mostra de Llibrets de la Comunitat Valenciana to promote the Llibrets de falla, native publications edited by fallas comittes, to implement synergies between the different agents implied and to work in the consolidation of this cultural field.

Transmission and formal or non-formal education:
Organization, in collaboration with the Secretary of Tourism of the Generalitat Valenciana (regional government), of several editions of a training course on the Fallas festival and its intangible cultural heritage for official tour guides.
Realization of different divulgation talks and lectures on the history of the Fallas festival in collaboration with festive and cultural associations.
Participation in seminars and scientific meetings offering unpublished works on social and heritage importance of the different elements of the festival.

Revitalization:
Retrieval and update, in collaboration with the Valencia City Council, of ancient festive events like "Cavalcada del foc" a parade of fireworks that connects with the festive tradition of mediterranean fire and had ceased to be held in 1936.

The association is made up of sociologists, linguists, journalists, cultural managers, museum and tourism management professionals, art historians and artisans and artists, all of them with a personal and professional involvement with the cultural heritage. Thus, it is established as a multidisciplinary group working together on different projects of research and enhancement of the cultural aspects of festival. In addition to the specific training of each of the members, a continuous exchange of information that allows to extend the knowledge of the other members, so that skills and competeces in the field of cultural heritage immaterial are exponentially increased.
Coopération:
During regular activity, the association has been working with the following groups and individuals:
Valencian Museum of Ethnology in campaigns for the identification and enhancement of the documentary and cinematographic festivals-related heritage.
Valencia City Council in the inventory and cataloguing of the Fallas Museum, in the design and implementation of the Documentation Centre of the Fallas festival and the recovery of missing festive events.
Generalitat Valenciana (regional government), in the design and realization of exhibitions on intangible cultural values linked to the festive literature.
Junta Central Fallera (local festive committee) in works for developing new measures to promote cultural heritage linked to fire festivals.
Federations of Falla committees, associations and local committees, in organizing and conducting various activities to publicize the festival of Las Fallas and other popular festivals: Federación Benicalap-Campanar, Federación de Fallas de Gandia, Junta Local Fallera de Xàtiva, Junta Local Fallera de Dénia, Junta Local Fallera de Alzira, Junta Local Fallera de Paiporta, Federación de Fallas de Borriana, Falla La Malva de Alzira, Falla El Mocador de Sagunt, Falla Borrull-Socors, Falla Pere Cabanes-Joan XXIII, Falla Na Jordana, Falla Marqués de Montortal-Berni i Català, Falla Sant Roc de Torrent, Falla El Canet de Cullera, Falla Santa Anna de Cullera, etc.
Gremio Artesano de Artistas Falleros de Valencia, in the catalogue and enhancement of the Museum of the Fallas Artists and in the restoration of some of its pieces.
Universitat Politècnica de València, in the realization of exhibitions that have an impact on the research and promotion of intangible artistic elements of the festival of Las Fallas.
Universidad Cardenal Herrera-CEU, in organizing a conference on representation of science in the Fallas Festival.
Universitat de València, in organizing seminars and conferences on the festive heritage, its promotion, its protection and its enhancement.
Consell Valencià de Cultura and Acadèmia Valenciana de la Llengua, in the writing and publication of books and monographs on the Fallas Festival.

Date de création: 2015
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- food practices, world heritage, archaeology

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Espagne

Objectifs:
1. Contribute to the safeguarding of the intangible cultural heritage. 2. Promote the application of the Convention for the Safeguarding of the lntangible Cultural Heritage of UNESCO. 3. Promote the contribution of intangible cultural heritage in cultural diversity, creativity human rights and sustainable development. 4. Disseminate the intangible cultural heritage. 5. Promote scientific, technical and artistic studies, and research methodologies for the safeguarding of the intangible cultural heritage. 6. To advise institutions and public organisms for the elaborat¡on of safeguard policies of intangible cultural heritage. 7. Advise entities, public and private, regarding the adoption of the necessary measures for the safeguarding of intangible cultural heritage. B. Promote collaboration among institutions, experts, associations, bearers and any other interested social agent, for the application of the Convention for the Safeguard of the lntangible Cultural Heritage. 9. Advise the educational community on issues of knowledge, appreciation, respect and transmission of intangible cultural heritage. 10. Collaborate with other associations, entities and institutions that work and ensure conservation, study, dissemination and promotion of cultural heritage, and especially the intangible cultural heritage. 11. Collaborate with the communities, groups and individuals who are bearers, in safeguarding their intangible cultural heritage. 12. Work together with tourism agents in the promotion and preservation of intangible cultural heritage.
Activités:
IPACIM continues the work of the extincted Heritage Department of the UNESCO Centre of Catalonia, an accredited NGO from 2010 to 2014, whose former chief is today the Director General of the IPACIM.

Date de création: 2001
Domaine(s):

- oral traditions and expressions
- performing arts
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Date de création: 2001
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- traditional craftsmanship
- Anthropologie corporelle

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- Formation du public et des formateurs

Pays principaux d'activité:

Autriche, Belgique, Espagne, France, Irlande, Italie, Pays-Bas, Portugal, Royaume-Uni de Grande-Bretagne et d'Irlande du Nord, Suède

Objectifs:
L'AEJST est un réseau d'organisations locales, régionales ou nationales dont le but est la promotion et la défense des jeux et sports traditionnels, patrimoine immatériel de l'humanité. Le réseau est compose de confédérations, de fédérations, mais aussi d'universités, de musées et d'associations de formation.
Activités:
L'activité de base est la mise en réseau des organisations adhérentes pour créer des synergies et alimenter des projets communs : organisation de festivals culturels, de conférences sur la place et le rôle des jeux traditionnels dans la société, de colloques et séminaires, de travaux d'investigation orientes vers l'inventorisation, l'application éducative, récréative ou sociale des jeux et sports traditionnels. Le tout est produit en trois langues minimum: fran9ais, anglais et espagnol.

La mise en réseau est également utilisée pour le soutien à l'édition de revues, de livres, la mise en place d'expositions, mais aussi et surtout pour mutualiser les moyens, le matériel, et les expériences en rapport avec la formation et la pédagogie.

La dernière activité est la fonction représentative du réseau, pour sensibiliser les décideurs au niveau mondial du risque de voir la disparition d'une grande partie de ce patrimoine immatériel de l'humanité que constituent les jeux traditionnels.

Coopération:
Un inventaire des jeux traditionnels d'adultes de 11 régions d'Europe a été réalisé (projet "Play with your heart; share your culture" Jouez avec tout votre cœur, partagez votre culture), regroupant 21 coorganisateurs : fédérations, institutions, musées, universités. Tous les jeux ont été analyses et une présentation significative en a été faite sur notre site Internet. Une vidéo de synthèse a également été produite, en fran9ais, anglais et espagnol (ci-jointe).

Une base de donnée est actuellement en activité auprès des membres volontaires pour répertorier tous les jeux des territoires ou nos organisations sont actives (voir copie jointe d'un jeu).

De nombreuses monographies, souvent les seules en rapport avec ce domaine, ont été publiées par les organisations membres de I'AEJST. Leurs auteurs sont souvent des universitaires.

Date de création: 2014
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Jeux et sports traditionnels, pratiques alimentaires…

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement

Pays principaux d'activité:

France

Objectifs:
L’association France PCI réunit les organismes communautaires et les organismes compétents représentatifs des éléments inscrits sur les listes du patrimoine culturel immatériel de l’UNESCO ou porteuses des projets sélectionnés au Registre des meilleures pratiques de sauvegarde, pour la France. Elle agit en étroite collaboration avec les instances en charge de la coordination et du suivi de la mise en oeuvre de la Convention de 2003 sur le territoire national, en particulier le ministère français de la Culture mais aussi la Délégation permanente de la France auprès de l’UNESCO et la Commission nationale française pour l’UNESCO.
Activités:
Dans un but de sensibilisation des publics et de mise en réseau des acteurs, France PCI édite une lettre d’information trimestrielle et numérique sur un principe participatif pour informer de l’actualité de l’association et de celle de ses membres, c’est-à-dire des éléments inscrits sur les listes de l’UNESCO, et plus largement de l’actualité du patrimoine culturel immatériel en France comme au niveau international (nouvelles inscriptions à l’inventaire français, expositions, colloques, formations et publications dans le champ du PCI, réunions statutaires des organes de la Convention, nouvelles inscriptions sur les listes internationales…). L’association a adopté le principe d’une assemblée générale itinérante qui se déplace chaque année dans un lieu lié à une inscription, et adossée à un événement relatif à celle-ci (fête, spectacle, exposition…) permettant de faire connaître les différents éléments à l’ensemble des membres, et de promouvoir plus largement le PCI en bénéficiant ainsi d’une couverture médiatique.
Coopération:
Par sa raison d’être, France PCI, composée de représentants d’organismes compétents et de communautés actives dans la sauvegarde du patrimoine culturel immatériel, tous impliqués dans les candidatures et/ou la gestion et le suivi des éléments inscrits sur les listes de l’UNESCO, possède une solide expérience de coopération avec les groupes et les individus engagés dans sa pratique et dans sa transmission, et ce dans tous les domaines du PCI.

Date de création: 2012
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

France, Géorgie, Guinée, Mexique

Objectifs:
L’objectif principal de l’association île du Monde depuis sa création en 2012 est de sauvegarder le Patrimoine Culturel Immatériel (PCI) et plus particulièrement le PCI « trans-local », ainsi que les instruments, objets, artefacts et espaces culturels qui lui sont associés. Par PCI trans-local, on entend le PCI porté par les communautés issues des diasporas dans un pays d’accueil déterminé. Cette volonté de sauvegarde s'inscrit dans la conviction de cette ONG que cette sauvegarde permet la création de ponts entre les cultures, ouvrant ainsi un dialogue interculturel essentiel au sein d'une société où l'exclusion et les tensions entre les individus s'aggravent tandis que la cohésion sociale est nécessaire plus que jamais. Le territoire prioritaire d’action de l’association est la région Île-de-France. Les principaux destinataires de ce travail de sauvegarde, sont donc les communautés issues de la migration internationale qui résident dans ce territoire. Le travail de l'association se traduit à travers différentes actions : l'identification, à l’aide des communautés, des éléments de leur PCI ; la création d'un inventaire des éléments identifiés ; la promotion des activités des individus et collectifs porteurs de traditions, liées à ce PCI ; le soutien à la préservation de certains éléments de PCI qui risquent de disparaître, en capitalisant sur les possibilités de valorisation offertes par la métropole parisienne (en terme de marchés culturel, commercial et touristique) ; l’encouragement à la transmission des savoirs liés au PCI grâce à l’organisation de rencontres, événements et ateliers ; la valorisation de ce PCI à travers l'accompagnement à l’insertion professionnelle des porteurs de traditions, grâce à leurs savoir-faire traditionnels. Les projets soutenant ces objectifs sont actuellement menés en région parisienne, néanmoins ils pourront être proposés dans d’autres réalités urbaines multiculturelles. Aussi, le fait de travailler avec des communautés étrangères a porté l’association à tisser des liens au fil des années avec des organisations et des personnes opérant également dans leur pays d’origine. En effet, Île du Monde a également commencé à développer des projets de sauvegarde du PCI dans d’autres pays comme le Mexique, la Guyane Française, la Géorgie et la Guinée. Île du Monde se positionne alors comme un acteur engagé dans la mission de sauvegarde du PCI des communautés migrantes dans les villes cosmopolites, ainsi que comme une source d’expertise pour la proposition de projets liés à la sauvegarde du PCI dans les pays d’origine de certaines de ces communautés.
Activités:
Identification des porteurs de tradition et des éléments de PCI portés par les communautés issues de l’immigration.
Participation à l’Inventaire national du Patrimoine Culturel Immatériel de France depuis 2014, avec le projet Inventaire du Patrimoine Culturel Immatériel translocal francilien. Le projet est soutenu par le Ministère de la Culture. Travaux publiés : la Fête du Printemps asiatique ; les chants polyphoniques géorgiens ; le Lavage de la Madeleine brésilien ; la danse du lion asiatique ; la djèliya mandingue. Travaux en cours : le Vaisakhi des Sikhs ; la coiffure africaine ; les danses traditionnelles géorgiennes. Un autre projet dénommé Inventaire du Patrimoine Multiculturel Immatériel de Guyane française a débuté en 2016. Travail en cours : l’art tembé des Bushinengués.
Documentation, rédaction d’articles et réalisation de vidéo-documentaires au sujet des porteurs de tradition et des éléments de PCI identifiés.
Gestion d’un site web, une page Facebook, une chaîne Youtube dédiés aux activités de sauvegarde du PCI mises en place par l’association.
Agenda événementiel des activités culturelles concernant le PCI des diasporas en Île-de-France
Diagnostic des savoir-faire traditionnels présents dans les communautés migrantes en Île-de-France, en partenariat avec des acteurs publics et associatifs. Objectif : insertion sociale et professionnelle, transmission et préservation des savoir-faire traditionnels.
Projet Rencontres île du Monde. Rencontres île du Monde sont une série de dispositifs de rencontre interculturel autour de la découverte du patrimoine culturel immatériel porté par l'immigration. Les points communs de ces Rencontres sont la découverte réciproque des cultures, la recherche d'un cadre convivial pour la rencontre et la meilleure compréhension d'une culture grâce à l'apprentissage d'une pratique traditionnelle. Ces Rencontres peuvent se décliner de manière diverse : ateliers pédagogiques autour d'un savoir-faire spécifique ; repas chez l'habitant ; ateliers de découverte culturelle ; ateliers pour la préparation de voyage ; soirées ou journées culturelles ; rencontres entre communautés éloignées culturellement. Notre premier dispositif « Rencontres cuisine » (repas et ateliers chez l'habitant) est en opération depuis février 2016.
Projet île des savoirs. L’association a initié́ un volet Economie Sociale et Solidaire au sein duquel elle accompagne les porteurs de traditions dans la professionnalisation de leurs savoir-faire traditionnels : le dispositif a pour ambition de permettre à ces individus de capitaliser sur leur maitrise d’un savoir-faire traditionnel en leur permettant de le transformer en une activité́ économique durable. Dans le domaine de la gastronomie, île du Monde a également ouvert un incubateur culinaire, qui prend la forme d’un traiteur multiculturel.
Pilotage de la candidature de l’œuvre de la communauté géorgienne d’Île-de-France en faveur de la sauvegarde des chants polyphoniques en contexte migratoire, au Registre des bonnes pratiques de sauvegarde du PCI de l’UNESCO. L’association travaille depuis longtemps en collaboration avec la communauté des chanteurs franco-géorgiens présents en Île-de-France. Elle accompagne cette communauté dans le travail préalable à la candidature au Registre de l’UNESCO. Elle s’occupe des aspects administratifs, la rédaction du dossier, la mise en relation des acteurs concernées (communauté géorgienne d’Île-de-France, Ministère de la Culture Français et Géorgien).
Accompagnement de l’association A nous pour la mise en place de projet de co-développement à Dubreka en Guinée. Depuis deux ans, île du Monde est partenaire de l’association à Nous, qui réalise de projets socio-culturels dans la ville de Dubreka en Guinée. L’association propose et coréalise des projets liés à la sauvegarde de savoir-faire traditionnels dans la région de Dubreka.
Conception d’un projet de valorisation du PCI des communautés afro-descendantes du Mexique. Grâce à la présence de deux membres de l’équipe d’origine mexicaine, l’association a pris contact avec la communauté afro-descendante de la région de Oaxaca. L’association est en train de réfléchir à la réalisation d’un projet d’Inventaire du PCI de cette communauté.
Coopération:
L’un des principes fondamentaux du travail de l’association île du Monde est la participation des communautés. Cette participation commence par l’identification que les propres communautés font de leur patrimoine culturel immatériel. Le travail d’Inventaire mis en place par l’association, basé sur les méthodologies de la recherche ethnographique, ne peut pas se passer de leur participation. Par ailleurs, une démarche de recherche-action participative légitime notre travail de sauvegarde. C’est grâce à l’aide des membres des différentes communautés culturelles et des porteurs de tradition que nous arrivons à mieux comprendre les particularités et l'importance patrimoniale de chacune des pratiques traditionnelles que l'on valorise ; garantissant ainsi une approche éloignée des stéréotypes qui déforment la représentation d'une culture donnée. Grâce au travail mis en place depuis désormais cinq ans ainsi qu’à ses multiples activités, l’association a pu se rapprocher de différentes communautés issues de la migration dans le territoire francilien. Différents groupes et individus sont désormais des véritables partenaires de l’association. On peut citer le cas de la communauté franco-géorgienne, parmi d’autres : à partir d’une recherche sur les chants polyphoniques géorgiens, l’association a pu instaurer des rapports durables avec les cinq chorales présentes dans la région parisienne ; ces rapports ont ensuite amené à une collaboration pour d’autres projets, notamment en ce moment pour le projet de candidature au Registre des bonnes pratiques de sauvegarde de l’UNESCO. Dans le cadre de cette candidature, l’association a promu la formation d’un Comité pour la sauvegarde du chant polyphonique géorgien en Île-de-France. Ce Comité rassemble tous les acteurs concernés et il pourra représenter un outil pour la mise en place d’un plan d’action de sauvegarde. Par ailleurs, l’association a pu élargir ses contacts, ce qui nous a permis par exemple de solliciter les institutions en charge de la sauvegarde du PCI en Géorgie. La communauté franco-géorgienne reconnaît désormais île du Monde comme un partenaire fiable. Cet exemple vertueux illustre la forte coopération de l'association avec les communautés, ainsi que sa volonté de développer de tels échanges avec d'autres communautés, comme l’asiatique, la mexicaine, la ouest-africaine et d’autres encore.

Date de création: 1995
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- sites et monuments historiques

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- restauration de monuments historiques

Pays principaux d'activité:

France, Madagascar

Date de création: 2003
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
Sauvegarde du PCI en Mauritanie,
mise en place des listes nationales du PCI,
diffusion de la Convention 2003 sur le plan national,
recherche des solutions pour l'amélioration de niveau de vie des communautés,
valorisation et promotion de l'artisanat traditionnel,
promotion des savoir-faire transmis oralement

Date de création: 1965
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Bénin, Brésil, Burkina Faso, Côte d'Ivoire, Fédération de Russie, France, Irlande, Italie, Pérou, Pologne, Portugal, Sri Lanka

Objectifs:
- Conserver, utiliser et diffuser les cultures traditionnelles et populaires selon la définition
de l'Unesco

- Favoriser la recherche, la sauvegarde, la promotion du patrimoine immatériel

- Promouvoir l'expression vivante des cultures traditionnelles et populaires

- Favoriser les échanges sur le plan national entre les associations françaises de culture
traditionnelle et populaire

- Favoriser les échanges entre celles-ci et les partenaires internationaux et, plus
particulièrement les partenaires européens, afin de contribuer au rayonnement de la à
l'étranger et au développement des échanges culturels d'un pays à l'autre, dans un
esprit de culture et de paix.
Activités:
Après plus de 42 ans d'expérience dans le domaine des cultures traditionnelles, l'ANCT
est devenue aujourd'hui :

Un lieu de diffusion et de création avec une programmation annuelle : des concerts,
bals, et scènes ouvertes, « Massif, Musiques et Danses » : rencontre et concours des
musiques et danses traditionnelles du Massif Central (depuis 23 ans), des résidences
artistiques de création : des rencontres uniques entre artistes de différents horizons
culturels ou musicaux pour donner naissance à des créations originales, des stages et
ateliers : initiation ou approfondissement en danses et musiques traditionnelles d'ici et
du monde.

L'Ecole des Savoirs et des Arts Populaires : des ateliers et stages (masques, dinanderie,
vannerie, marionnettes, sculpture sur bois, un lieu de transmission entre générations),
des formations : organisation de stages BAFA sur le thème « Cultures d’ici et d’ailleurs",
les Rencontres Internationales de Jeunes (RIJ) : proposé à une quinzaine de jeunes du
monde entier, en partenariat avec le Ministère des Affaires Etrangères, il s’agit de
valoriser un territoire et la richesse de son patrimoine culturel matériel et immatériel, la «
Quinzaine des Marionnettes du Monde » : une programmation sur un territoire élargi,
présentant les marionnettes d’un pays invité : Chypre, Slovaquie, Sicile, Togo… avec
spectacles, ateliers, expositions. Un travail de sensibilisation important mené auprès des
scolaires.

Le Festival "Les Cultures du Monde" : Cette programmation est la manifestation phare
de l’association : vitrine du travail mené tout au long de l’année, elle est un produit
culturel reconnu, porteur des valeurs et du savoir faire de l’association en matière de
programmation internationale. Pour sa 35ème édition (2008), l’association a bénéficié du
patronage de l’UNESCO. De nombreux temps forts ponctuent cette manifestation,
permettant au public de découvrir les cultures du Monde sous toutes ses formes :
spectacles et concerts, soirées de cérémonies et rituels, ateliers, symposium
international et projections / débats expositions, repas typiques.

Des projets de coopération locaux et internationaux : (voir descriptif détaillé dans "Projet
Associatif") avec des projets tels que : Culture of Peace in the Land of Olonkho,
Masques et Mascarades, Eté des Cultures du Monde, le réseau Massif Central …
Une forte présence dans les réseaux et un rôle d’ingénierie culturelle :

Le rôle des réseaux est essentiel dans le travail de l’association, aussi est elle impliquée
dans des projets à diverses échelles : Réseau de structures culturelles Musiques et
danses traditionnelles du Massif Central, Réseau de Centre culturels de l’Union
Européenne, Extra ! (un réseau de 6 partenaires européens travaillant sur les
métissages de traditions), Forum Culturel Européen, CIOFF, FAMDT

Par ailleurs, l’association est impliquée dans le montage de projets locaux dans
différentes pays du Monde, en tant que conseil artistique ou technique : Rencontre des
peuples autochtones d’Amazonie (Brésil et Venezuela), Festival « Les cultures du
Monde » de Akko (Israël), Coopérations en Afrique de l’Ouest ..

Coopération:
- Trésors Humains Vivants : travail de collectage qui a permis de recenser 350 porteurs
de savoir-faire traditionnels locaux (métiers, artisanat, parlers, agriculture…)

- Ecole des Savoirs : issue du travail mené ci-dessus, elle permet de valoriser ces
savoir-faire menacés à travers stages et ateliers (dinanderie, vannerie, sculpture,
marionnettes, lutherie…)

- Projet Massif Central (en projet) : valorisation des musiques et danses traditionnelles
du Massif Central et mise en place d'une réseau inter-régional et national de diffusion et
de création

- Ingénierie culturelle : l’ANCT accompagne par du conseil ou de l’aide à la
programmation artistique des porteurs de projet locaux et nationaux : Fête des
Vendanges à Chareil-Cintrat (03), Carnaval de Nice (06), Carnaval de Loupian (34)
International (entre autres)

- Pologne : Jean ROCHE, Directeur Artistique de l’ANCT, accompagne depuis plusieurs
années le festival de Zakopane pour du conseil à l’organisation

- Israël (en projet) : appui à la création d’un festival des cultures du monde dans la vieille
ville d’AKKO – St Jean d’Acre

- Yakoutie (Russie) : Jean ROCHE est co-directeur artistique de « Culture of Peace in
the land of Olonkho », festival basé sur les pratiques du chamanisme

- Sri Lanka : suite au tsunami de 2004, l’ANCT accompagne la reconstruction du village
de Kosgoda ainsi que la création d’un centre culturel dédié aux cultures traditionnelles

- Amazonie (en projet) : mise en place d’une rencontre culturelle entre peuples
autochtones de la forêt amazonienne (Venezuela et Brésil) en partenariat avec le
gouvernement indigène

- Pérou : aide à la mise en place d'un Centre Culturel avec les natifs de l'Ile de Taquile
(Lac Titicaca)

- Burkina Faso : missions d’expertise auprès du Festival International de Masques et des
Arts de Dédougou (FESTIMA)

- Bénin : accord de coopération avec le Ministère de la Culture du Bénin : diffusion de
groupes Béninois en Europe et dans le monde (2008 : organisation d’une tournée en
Europe de l’Est pour la troupe Towara), formation de professionnels de la culture (2008 :
accueil d’une stagiaire, présidente d’une association de femmes) et coopération sur des
projets régionaux ou internationaux

- Afrique de l’Ouest (en projet ) : mise en réseau d’acteurs culturels du Bénin (Ministère
de la Culture et troupe Towara), de Côte d’Ivoire (MASA : Marché des Arts et des
Spectacles Africains) et du Burkina Faso (FESTIMA) en vue d’une valorisation des
traditions et rituels masqués en tant qu’outil de développement durable.

Date de création: 1995
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Bénin, Burkina Faso, Côte d'Ivoire, France, Mali

Objectifs:
• la revalorisation des valeurs positives endogènes en voie de disparition et la promotion des initiatives de développement durable
• le renforcement des capacités des villages à sociétés de masques pour un développement durable (patrimoine culturel, agriculture durable, sécurité alimentaire, environnement, mobilité rurale, formation, santé, etc);
• la promotion des échanges interculturels sur les sociétés de masques du Burkina Faso et d'ailleurs, en vue de la restauration des identités et de la valorisation de la contribution de ces villages à la civilisation de l'universel.
Activités:
Les principales activités de l'ASAMA sont: i) l'organisation d'un festival international des masques et des arts; ii) la préservation, protection et valorisation du patrimoine culturel matériel et immatériel, iii) la recherche, inventaire sur les sociétés de masques; iv) la diffusion des résultats de la recherche; v) la formation 1sensibilisation au développement; vi) la transmission et l'éducation. A travers ces activités, l'ASAMA s'est bâtie une solide expérience dont les points saillants sont:

a) Le Festival International des Masques et des Arts de Dédougou (FESTIMA) : Quatorze années de programmation biennale, ce festival est la manifestation phare de l'association. Sur le continent africain, le FESTIMA s'est positionné comme le principal cadre d'expression des communautés détentrices de masques. Le festival s'organise autour de i) spectacles de danses et d'exhibitions de masques, ii) exposition, iii) assises à palabre des sages, iv) symposiums internationaux, v) marché des communautés, vi) nuits au village (musiques et danses du terroir) ; vii) concours artistiques interscolaires (dessins, poèmes sur les masques).
b) Le Programme sécurité alimentaire et développement durable: Ce programme vise la diffusion d'un paquet technologique en matière d'agriculture durable en vue du renforcement des capacités des villages à sociétés de masque au Burkina Faso particulièrement dans la région de la Boucle du Mouhoun. Initié depuis 2004, le programme a permis de réaliser plus d'une trentaine d'ateliers de formation, de voyages
d'études et d'échanges d'expériences au profit de petits producteurs sur les thèmes couvrant l'amélioration de la productivité agricole et pastorale, la gestion durable des ressources naturelles, la promotion des activités génératrices de revenus (AGR) et le renforcement des capacités institutionnelles et l'organisation des communautés villageoises.
c) Les projets de coopération locaux et internationaux: dans ce cadre l'ASAMA a initié en 2004 en collaboration avec l'Association nationale culture et tradition (ANCT), France, une mission de coopération et de diffusion du FESTIMA au Festival « les cultures du Monde» à Gannat, en France et au Festival international du folklore en octodure (FIFO) à Martignie, en Suisse. En 2008, toujours en coopération avec ANCT, l'ASAMA a présenté lors du Festival « les cultures du monde », une exposition sur « les
richesses et les menaces du masque en Afrique de l'Ouest» et a participé au symposium international « traditions: de la vie à la scène ».
Plus récemment, en 2009, l'ASAMA a initié avec six partenaires de l'Afrique de l'Ouest, un projet de coopération pour la valorisation des masques en Afrique de l'Ouest. Ce projet est en cours d'exécution et est financé par le Fond Régional pour la Promotion de la Coopération et les Echanges Culturels en Afrique de l'Ouest de la CEDEAO, de l'UEMOA et de l'Union Européenne. 1/ devrait s'achever en novembre 2010. Il prévoit de réaliser: i) le recensement sous forme d'un inventaire d'au moins 200 villages à sociétés de masques dans quatre pays (Bénin, Burkina Faso, Côte d'Ivoire et Mali), ii) l'organisation d'un symposium sous régional sur le thème «Caricatures, dérives et détournements du masque», iii) la mise en place d'une base de données sur les sociétés de masque des quatre pays; iv) la publication du premier rapport biennal sur
les sociétés de masques vivantes de l'Afrique de l'Ouest; v) l'exposition itinérante dans les quatre pays sur les richesses et la fragilité de la tradition du masque en Afrique de l'Ouest; vi) la mise en place du Centre international d'interprétation sur les masques à Dédougou ; vii) la mobilité d'au moins 22 groupes de sociétés traditionnelles de masques provenant de huit pays (Bénin, Burkina Faso, Côte d'Ivoire, Guinée Conakry, Mali, Nigéria, Togo et Sénégal) pour les échanges ouest-africains, et iv) la détermination
de circuits touristiques relatifs aux masques.
d) Une présence dans les réseaux: L'ASAMA participe à des programmes de coopération en Afrique de l'Ouest à travers le programme du Conseil international des organisations de festivals de tradition et de folklore (CIOFF - Afrique) pour l'UNESCO. Il est également membre du réseau de Festival en Afrique. A travers, le projet valorisation des masques de l'Afrique de l'Ouest, l'ASAMA oeuvre à la mise en place de réseaux d'experts (chercheurs, et porteurs d'initiatives) sur le thème des masques. Ainsi, l'ASAMA est non seulement active au Burkina Faso, mais également ces actions s'étendent progressivement au Bénin, au Mali, en Côte d'Ivoire, au Togo, au Sénégal, en Guinée Conakry, en France (avec l'antenne ASAMA - France).
Coopération:
Au Burkina Faso
• Recensement de 180 villages à sociétés de masques
• Participation tous les deux ans d'une trentaine de sociétés de masques au
Festival international des masques et des arts de Dédougou
• Tenue de symposium, d'assises à palabres des sages pour échanger avec les acteurs et les chercheurs sur des thèmes divers « masque et environnement », «masques et tourisme », «masque, culture d'intégration ou culture de résistance », «masque et développement », « masque et coopération sud - sud », « masque et renaissance culturelle », « Caricatures, dérives et détournements du masque» ;
• Organisation d'expositions, de concours de dessin avec les écoles du primaire.

Au niveau sous régional et international
• En 2004, une mission de coopération et de diffusion du FESTIMA par et le Groupe du village de Boni, au Festival « les cultures du Monde» à Gannat, en France et au Festival international du folklore en octodure (FIFO) à Martignie, en Suisse.
• En 2008, une mission de coopération de M. Tankien DAYO, Secrétaire Exécutif avec ANeT, en tant que Commissaire pour l'exposition sur « les richesses et les menaces du masque en Afrique de l'Ouest» et communicateur au symposium international sur le thème « traditions: de la vie à la scène ».
• En 2009, coopération avec l'Association Towara Bénin, au Bénin, la Mutuelle pour le développement de Gbofia - Toumodi «Moayé», en Côte d'Ivoire, la Mission culturelle de Bandiagara, au Mali, l'Association Jeunesse Perspective Groupement (JPG- Bénin), Bénin, le Théâtre OSHUMARE, au Bénin, avec recensement de 123 villagessociétés de masques dans ces trois pays (Mali, Bénin et Côte d'Ivoire) ;
• Participation de sociétés de masques du Nigéria, de la Guinée Conakry, duSénégal, de la Côte d'Ivoire, du Mali, du Togo, du Bénin, de la Suisse, au FESTIMA (2002, 2004, 2006, 2008 et 2010).
• 2010, exposition au bénin sur le thème « les richesses et les menaces du
masque en Afrique de l'Ouest»

Date de création: 2016
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Gabon

Objectifs:
L'ADACO a pour objectifs de;
- Promouvoir et valoriser le patrimoine matériel et immatériel des autochtones; - Favoriser l'entraide et la solidarité entre ses membres ; - Susciter l'entente et les échanges multiformes pour le développement des activités socioculturelles et économiques ;
Défendre et représenter les intérêts de l'association.; - Permettre aux peuples autochtones de s'assumer eux-mêmes et de participer au développement de leur communauté.; - Développer des activités liées à rapproche genre (égalité homme/femme), à la jeunesse, au développement durable et proposer des solutions idoines à la problématique du changement climatique et à la dégradation de notre environnement.

Date de création: 1990
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Italie

Objectifs:
According to the item 3 of the statute, in its larger aim of solidarity and social and cultural promotion, the objectives for which the nCircolo" was established are:

a) gathering together all those wno would have interest in the development and promotion of the social, cultural, natural and touristic heritage of Scapoli village and surrounding area;
b) working together in making active the participation of the community to the best safeguard and improvement of the historical, cultural, artistic and natural common heritage;
c) safeguarding and promoting culture and traditions with special reference to the zampogna (the typical bagpipe of Southem Italy that has in Scapoli one of the places where making and playing this instrument is a tradition still particularly alive);
d) supporting and organizing festivities, competitions, expositions, fairs, festivals, meetings, public shows, cultural demonstrations, training courses;
e) assuming initiatives, also in cooperation with the municipality and other authorities and associations, to contribute to the touristic and rural development of the area;
f) publishing magazines and advertising and popular materials according to its aims.

Besides, according to the item 4 the Cireolo carries out its work and initiatives not only in Scapoli's area but also out of it with the aim to favour the exchange and the cooperation between communities and territories.
Activités:
When some inhabitants of Scapoli decided to establish the cultural association "Circolo della Zampogna", the tradition of making and playing this ancient instrument was still deely-rooted in the local community, but they felt the need to preserve this heritage and to transfer it to the new generations. For that, many and various activities have been carried out, involving not only the zampogna makers and players but the whole
community. The main actions can be summarized in the following:
- institution of a Permanent Exposition of Italian and Foreign Bagpipes and of a documentation centre called "Italian Centre of the Bagpipe";
- revitalization of the preceding zampogna Market through the integration with a musical Festival (the Intemational Bagpipes Festival) in which traditional music and new compositions and sounds could meet offering to the young people the opportunity to appreciate the vitality and the potentiality of a so ancient and topical instrument;
- organization of training courses for playing and making the zampogna and to train groups of young people to safeguarding activities;
- participation of the "Circolo della Zampogna" to several meetings, festivals and other initiatives at home and abroad;
- educational, awareness-raising and information activity aimed at the schools of the area;
- publishing of the magazine "Utriculus" (from the Latin name of the bagpipe), CD, DVD, videos and books;
- organization of meetings and other events in cooperation with the Molise University, the Ministry of Culture, the "Abruzzo, Lazio and Molise" National Park and other public institutions;
- promotion (and support to) studies and degree thesis conceming the zampogna and its traditional and present context;
- creation of a network of exchanges and links with Italian and foreign similar associations, cultural and musical institutions, museums, scholars, experts and enthusiast people;
- participation to the establishement of the ICHNet (Intangible Cultural Heritage Network).

Especially relevant, in safeguarding the zampogna cultural heritage has been the experience of the project "Living with the Bagpipe" devised and realized by the Circolo in the ambit of the European Programme "LEADER II". Besides all the other good results in terms of preservation, promotion and revitalization, the project let the Circolo to take the first census of the cultural heritage connected with the zampogna, to collect materials and documents for the Italian centre of the Bagpipe, to realize a transnational
cooperation project called "Common Sounds to the European Rural World" in cooperation with the Local Action Group "North Pennines" (Northumber1ad, UK) and above all to reinforce the link between the community and its heritage.

About the competence and the expertise in the domain of intangible cultural heritage, the personnel and the membership consist in: traditional zampogna makers and players, ethnomusicologists, anthropologists, musicians and musical groups, cultural associations, museums, libraries, researchers, scholars, university teachers, besides
simple enthusiasts.
Coopération:
The "Circolo della Zampogna" was bom from the will of a consistent part of the local community "to do something" to safeguard, to promote and to transfer to the new generations the typical cultural heritage represented by the zampogna. Since its foundation joined the Association several zampogna makers and players that, both as group and individuals, are those who traditionally create, maintain and transmit this kind
of heritage. Besides, most of the activities have been carried out wit the involvement and the participation of the whole community, from its younger to the older members. At this regard, a very important and successful role has been played by the LEADER project "Living with the bagpipe" with which it has been possible to reinforce the relationship between people and their cultural heritage.

Particularly significant is also the annuallntemational Bagpipe Festival in which. for some days, the whole village of Scapoli becomes like a big open-air stage where local people are proud to exhibit their instruments, music, foods, environment, meeting and exchanging experiences with musicians, craftsmen and visitors coming from
everywhere. The festival is organized in collaboration with the Commune and with the local turistic association. There are also involved all the economic and trade activities of the area, people give their help in the organization of the event, place rooms for visitors and musicians, sell gastronomic specialities, etc. In each edition of the Festival the musicians involved, traditional and not, come from all over Italy and each time from 2, 3 or more foreign countries. The event is very well attended (around 20.000 visitors, which is a very large audience for a very small village like Scapoli).

Every year, on the occasion of the Assembly of the members, the Circolo organizes also 2 "Bagpipers Meetings", in Spring an in Autumn, in which the participants analyse what has been done and propose what could better to do in terms of safeguard, research, transmission and promoting of the zampogna tradition.

Date de création: 2000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Italie

Objectifs:
The main objective of Musa Association is promoting and safeguarding the traditional material and spiritual culture of the "Four Provinces", the appenninic northwest area divided for administration purposes into four provinces and four regions: Alessandria (Piemonte), Genova (Liguria), Pavia (Lombardia), Piacenza (Emiia Romagna). In this area traditional music is still performed and orally transmitted and still represents a reference-point for the cultural horizons of population. Musa Association is also engaged in the diffusion of the knowledge of local tradition outside the area in order to create the opportunities of dialogue with different but similar traditional languages. Another objective of Musa Association is the safeguard and promotion of the typical agricultural production of "Four Provinces", including the well-known "Montebore" cheese, protected by the international Slow Food organization, and the "Quarantina" potatoes, typical product of Genua inland. At this aim, Musa is cooperating with farmers engaged in traditional production as well as with local, national and international organizations operating in the field of traditional and natural food preservation. Musa Association is also supporting the international organization "Emergency" aiming to a larger social commitment.
Activités:
From its foundation, Musa Association is engaged in the organization of traditional players and singers performances either on the occasion of regional festive and ritual events during the cycles of the year, or in the frame of folk festivals which take place in the "Four Provinces" area. Musa also cooperates with villages communities in the organization of events centered on traditional themes, both in material and spiritual culture, and promotes material and spiritual traditional culture by means of any kind of medias (newspapers, magazines, websites etc.), as well as carrying on activities addressed to local and national institutions in order to attract the attention towards cultural heritages of "Four Provinces".
Musa Association organizes research groups mainly composed by peoples living inside the Four Provinces area, in order to enhance the awareness of their own cultural heritage. An important field of Musa research is the collection and study of documentations of music-making activities both in past time and in the present, as well as any other traces of material and spiritual traditional culture of Four Provinces (old pictures, letters, recording, working and musical instruments etc.) The researches are aimed to the publication of Cd's and books centered on traditional culture.
All members of the Musa Association are born in Four Provinces or have very deep relationship with this region, so they have a deep aknowledgement of the characteristics of the area. They grew up among the living tradition absorbing directly from their ancestors dialects, music and songs, and conceptions of life of ancient mountaineers. On the other hand some of them are also engaged as journalists and researchers in the field of traditional music or in some very closed sectors.
From the very beginnig of its activity, the Musa Association has organized many events centered on traditional music of Four Provinces, among which we wish to lay stress on the big pipe players and poliphonic singers meeting called "Curmà di pinfri", celebrating the end of summer season as the most intense working period for players. This very important event attracts every years traditional players from many parts of Europe.
During its eight years of activities, the Musa Association has also published 1 CD of field recorded traditional songs (Vieni oi bella - Traditional songs of Borbera valley, 2003), 2 ethnographic books (Cosola - Environment, work, tradition in an Appenninic community of high Borbera Valley, 2005 ; Chi nasce mulo bisogna che tira calci - A journey through the traditional culture of Four Provinces), 1 Cd-book (Noi cantiamo con il verso bello - Liturgy, rite and religious traditions in Cosola, Borbera Valley)
Most recently, Musa Association has organized one show of traditional songs and musics of Four Provinces centered on the important theme of emigration from the Appenninic mountains to the America. The show was performed by traditional musicians playing piffero (a traditional pipe belonging to the family of hautboys) and accordion (the instrument that at beginning of ninteenth century took the place of the ancient local bagpipe).



Coopération:
As we said before, Musa Association's members are deeply rooted on the local reality, consequently they carry on their activities in a constant dialogue with peoples living in the area. The village community is the first collective subject with which the Musa Association get in touch every time it undertakes a new activity. All the events promoted by Musa Association resulte from the dialogue with all the organizations and the individualities someways engaged in traditional practices. For example, the publication of books and Cd is the result of a field-research in which many peoples of different ages were involved playing the role of witness of the past and holders of traditional knowledges. During the performances dedicated to the emigration towards America, many people which experienced emigration, as well as sons and relatives of emigrants, took part actively at the show speaking about their own experience. Of course, a particular attention is dedicated to the traditional musicians; some of them indeed are directly involved in the activitiy of Musa Association. In the organization of traditional musical performances Musa Association emphasizes the artistic abilities of all the musicians respecting the various performing characteristics of each one, with particular attention to young people at the beginning of their career.

Date de création: 1965
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- other
- Traditional puppet theatre

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- Organization of events such as Festival di Morgana (Morgana's Festival)

Pays principaux d'activité:

Italie

Objectifs:
After the crisis of Sicilian traditional puppetry, the Association was established and in 1975 it founded, and still manages, the ethno-anthropological Museo internazionale delle marionette Antonio Pasqualino (Antonio Pasqualino International Puppet Museum), which houses ab. 4.000 items used in traditional puppetry from different countries. It aims to safeguard and revitalize puppet traditions and the related craftsmanship, as well as local practices and productions in their different territorial, artistic and traditional expressions so as to save and expand the rich immaterial heritage connected to Sicilian folk traditions and to encourage the research focusing on their relation with their original context. It keeps a comparative attitude by relating Sicilian puppetry to other countries’ traditions.
This activity takes place by means of collecting; research; promotion; networking and cooperation; educational, didactic and theatrical activities, eg. Festival di Morgana (that promotes the cultural/professional exchange between Sicilian and foreign puppeteers), as follows:
-the socio-anthropological researches about traditional puppetry and practices;
-the organization and management of centres for multi-disciplinary documentary research; the foundation of libraries, film archives, and multimedia application centres focusing on identification, documentation and research (including inventorying)
-the realization of innovation projects by means of grants, research contracts and conventions;
-the organization of cultural events in the fields of literature, theatre and art involving local and foreign institutions
-the participation in national/international events to preserve, continue and expand Sicilian traditional practices in Italy and abroad;
-the publishing activity, to popularize the subjects connected to traditional puppetry and practices;
-the creation of networks including other institutions operating with the same aim and in the same field all over the world
-the promotion and realization of programs for the collaboration with public/private institutions, national and international, aiming to operate in the research field and promote the exchange of professionals with other Italian and foreign certified institutes;
-the counselling service to help the Regional government adopt the right strategies for the preservation/promotion of traditional practices, expand its collection about material/immaterial culture; the conservation and permanent exhibition of some of its ethno-anthropological collections;
-the organization of educational/didactic projects and activities in cooperation with private/public institutions concerning the Museum’s patrimony, local and foreign traditions.
Activités:
The Association’s managing board and its scientific committee are composed of high-brows mainly operating in the field of folk traditions, in collaboration with the anthropological faculty of Palermo’s University. Since the beginning they have undertaken important researches about local traditions and material culture collecting important testimony and recording, among others, religious festivals, puppet shows, interviews to puppeteers and traditional spectators. These researches led to the Congress “Museografia e folklore” (Museography and folklore), held in Palermo in 1967 and organized by the Association: it was to be the first step for the creation of a new demology and museography centred on a scientific approach in the study of folk traditions. Moreover, the Association prepared the nomination and supported the Opera dei Pupi to obtain the 2001 UNESCO’s declaration as a “Masterpiece of the oral and intangible heritage of Humanity”. Also, to safeguard the Opera dei pupi, the Association started to collect lots of items used to put on traditional shows creating the first core of the collection, which was to be exhibited at the Museo internazionale delle marionette (International Puppet Museum), founded in 1975: its collections include ab. 4,000 items concerning traditional puppetry, both Italian and foreign as well as contemporary puppet art.
Among the numerous activities of the Association:
• the organization of the annual Festival di Morgana, a review of traditional theatrical practices organized in collaboration international festivals and institutions. It gives the opportunity to increase the Museum’s collections, promotes the trans-national mobility of cultural operators and the trans-national circulation of artistic and cultural works. It encourages the intercultural dialogue by adopting an interdisciplinary approach and proposing programmes, which have always promoted an exchange between folk and cultivated theatre, art and music in relation to the field of performing arts, heritage and culture. In its latest five editions, it involved more than 500 artists (www.festivaldimorgana.it)
• the creation of a stable Opera dei pupi company involving the main traditional puppeteers from all over Sicily. This stable collaboration has allowed the organization of ab. 250 traditional Opera dei pupi shows in the last 2 years, and proved to be impressively effective for the promotion and revival of this local tradition
• the management of the Museum’s library “Giuseppe Leggio” which includes ab. 7,000 volumes on anthropology and folk traditions, the Opera dei pupi and puppetry
• the cataloguing of the Association library’s patrimony through SBN Unix C/S application of the Istituto Centrale per il Catalogo Unico (Central Institute for a Unique Catalogue); the cooperation for the creation of a Libr@rsi website: these activities aim to provide a free, wider and easier fruition of the uploaded on-line catalogue of the Association’s library
• the copying, digitalizing and inventorying of the Association’s audio-visual patrimony (including ab. 1,578 items), with particular reference to the bobbins dating back to the Sixties concerning the Opera dei pupi shows and interviews made by Antonio Pasqualino and Marianne Vibaek.
• the revision of the Museum’s photo archive which includes white and black photos of the Museum’s collections and the performances
• the restoring of the Museum’s oldest puppets and its recent promotion through the project “Adotta un pupo” (“Adopt a puppet” – www.adottaunpupo.it) which involves donors who can choose the puppet to restore and be informed about its state
• the restoring of the oldest advertising posters and backcloths of the Opera dei pupi
• the organization of seminars in collaboration with prestigious national/international institutions: eg. “Art and Anthropology”, (in Palermo), in collaboration with Paris “Musée du Quay Branly”; seminars centred on epic stories in the oral and written traditions such as those organized on the occasion of Morgana’s Festival (Palermo and other Sicilian towns) or “Storytelling”, a festival (in various Sicilian towns), in collaboration with the Sicilian Museum Casa museo Antonino Uccello, which was centred on the oral transmission of knowledge and the various expressive codes of traditional storytellers; the “Convivio musicale. Incontri con l’arte e la musica tradizionale” (The Musical Feast. Meetings with art and traditional music), held in various Sicilian towns and in collaboration with CIDIM (Italian National Committee for Music), which included performances of local story-singers concerning some famous stories of the poetico-musical repertoire. Performed according to the traditional executive techniques and staging codes; cunti, which are serialized stories publicly related by wandering storytellers and concerning chivalric epics stemmed from the ancient French Chansons de geste; concerts of folk songs; seminars about the Opera dei pupi and Unesco masterpieces of the oral and intangible heritage of humanity held in Palermo.
Coopération:
Since its foundation, the Association has cooperated with local puppeteers and craftsmen to help them survive the deep crisis, which since 1950s threatened the existence of this local tradition. This stable collaboration aims to increase their activity and expectations within a constant exchange and dialogue, which are at the basis of the important research activity carried on by the founding members of the Association. Moreover, their continuous presence at the Museum proved to be precious for the revision of the Museum’s inventories, which include important details about the items of its collections (origin, creator, character, etc.). The result of such relation and researches led to obtain the UNESCO’s declaration of the Opera dei pupi as a “Masterpiece of the Oral and Intangible Heritage of Humanity”. In addition, in order to revive, promote and popularize it, since the opening of the Museum, the Association organized an annual review of the Opera dei pupi and during the year it still schedules Sicilian puppet shows by inviting companies from all over Sicily and involving them in other didactic activities. Not only does the Association mediates in the relationship between puppeteers and national and international spectators and institutions, but it also creates contacts and cooperation with craftsmen, puppeteers and artists from other countries promoting the cultural and professional exchange between Sicilian traditional artists and foreigners operating in the same field. In fact, during the annual Festival di Morgana, the Association often invites companies from abroad, which perform or hold workshops in Palermo, and it has also promoted the production of innovative performances mixing traditional practices (ex. Chinese Opera and Sicilian Opera dei pupi), or various forms of art (contemporary dance, paintings and music): the result was the creation of artistic works which plays with the Opera dei pupi traditional codes which gave Sicilian artists the possibility to become more aware about their activity and to expand the range of their experience in the puppet field. Finally, this exchange has helped the development of a more general comparative study of traditional theatrical practices.

Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Italie

Objectifs:
The "Associazione Sant'Antuono & le Battuglie Pastellessa" carries out activities for the promotion and safeguarding of the intangible culture and tradition of the "Battuglia di Pastellessa" or "Carro di Sant'Antuono" of Macerata Campania (Caserta, Italy), which is unique for many aspects and has a long tradition.
The "Battuglia di Pastellessa" are ornamental wagons that are prepared to celebrate the religious feast of Saint Anthony, the Abbot, in January following a tradition that started 700 years ago in Macerata Campania. "Pastellessa" is the name of the special sound executed by the "Battuglia di Pastellessa", where "battuglia" stands for group and its members are called "bottari", or barrelbeaters, from the unusual rural instruments utilized consisting in barrels, vats and sickles.
The "Associazione Sant'Antuono & le Battuglie Pastellessa" is apolitical, non-partisan and a nonprofit
organization with the following aims:
- to organize the religious and civic celebration of Saint Anthony, the Abbot, in Macerata Campania (Caserta, Italy);
- to valorize and promote among the general public the arts of the ancient rural tradition of the "Battuglia di Pastellessa";
- to make concrete the values of solidarity and participation, through actions and initiatives aimed at solving social problems of all seqments of the population, with particular attention to those mostly affected by injustices and imbalances deriving from the present prevailing development model;
- to defend and promote the territory in all its aspects - ecological, urban, artistic, social and religious - and all its potential strength - in terms of tourism, sport, production and leisure management, against all forms of exploitation and deterioration;
- to translate the popular culture of the "Battuglia di Pastellessa" into research, studies, and events
of all kinds.
Membership to the Association is free, without any kind of discrimination with regard to race, citizenship, sex or religious belief. Other Associations, Committees, Institutions and Foundations, sharinq the same purposes of the Association, can apply for membership to the Association.
Activités:
Intangible Cultural Heritage: The "Associazione Sant'Antuono & le Battuglie Pastellessa" is actively engaged in the organization of the ancient Feast of Saint Anthony, the Abbot, in Macerata Campania, promoting and safeguarding the intangible cultural heritage of the "Battuglia di Pastellessa" of Macerata Campania. During such event the Association coordinates about 1.000 "bottari".

Event: "Festa di Sant'Antuono" (Feast of Saint Anthony, the Abbot), Macerata Campania, January.

On January 17 the old-town of Macerata Campania hosts every year the Feast of Saint Anthony, the Abbot. During the previous days concerts, tastings and religious liturgies warm up the atmosphere. The feast consists in: firing the "Cippo di Sant'Antuono" (Saint Anthony's piece of wood), parade of the ornamental wagons of the "Battuglia di Pastellessa", fireworks and a raffle. The band exhibition of the "bottari" is in the morning when they are carried on 16 meter-long wagons, with their instruments consisting of vats, barrels and sickles, realized by local artisans, around the town. "Pastellessa" is the name of the special sound made by the unusual rural percussion instruments, but it is also the name of a local recipe, typical dish of the feast: pasta with dried chestnuts. After the Mass fireworks are exploded as symbol of the purification and the struggle against the evil spirit. Figurative fireworks representing a woman, a pig, a donkey, enrich the symbolism and represent the protective force from the snares of the world. Traditional games as tug of war, the sack race and the raffle, when all donations collected during the procession are auctioned, mark the closure of the festivities. The event is organized by the Association with the sponsorship of the Municipality of Macerata Campania, the Province of Caserta, with the
Campania Region, and the participation of the "Comitato per la promozione del patrimonio immateriale".

Dissemination

Project Sant'Antuono Web 2.0:
With the aim of disseminating knowledge about the intangible heritage, the Association has created a net of Internet Web (Official website, YouTube channel, Facebook group, etc...) that allows to communicate and interact with the people from all over the world. The Association's Web community puts together more than 1.000 subscribers.

Event - Official Presentation of the "Associazione Sant'Antuono & le Battuglie Pastellessa" and the Feast of Saint Anthony, the Abbot, 2009 edition, Macerata Campania, October 26, 2008. The event was organized by the Association with the sponsorship of the Municipality of Macerata Campania.

Event - Official Presentation of the Feast of Saint Anthony, the Abbot, 2010 edition, Macerata Campania, October 25, 2009.The event was organized by Association with the sponsorship of the Municipality of Macerata Campania.

Event - "Pastellessa Folk Festival", Macerata Campania, September 25,2010 - Festival of musical culture to put together and analyze the intangible cultural heritage of the "Pastellessa" of Macerata Campania and ''8allo e Canto sui Tamburo" (Dance & Song on the Drum) of the Italian Region Campania. The event was co-organized by the Association and the "Associazione Radici" with the sponsorship of the Municipality of Macerata Campania, the "Ente Provinciale per il Turismo di Caserta" , by the Province of Caserta and the "Comitato per la promozione del patrimonio immateriale (ICHNet)".

Round Table - "11 Carnevale dei popoli - 11 ruolo delle comunita nella salvaguardia e nella valorizzazione sostenibile del Carnevale" (The Carnival of the Peoples Role of the Community in Safeguarding and Sustainable Valorisation of the Carnival), Montemarano, March 12, 2011 -

A one day workshop to analyze the intangible cultural heritage of the Carnival in Campania and other Italian Regions, with the participation of the "Associazione Sant'Antuono & le Battuglie Pastellessa" in order to illustrate the ancient rural tradition of the "Battuglia di Pastellessa" of Macerata Campania. The event was co-organized by the "Comitato Carnevale di Montemarano" and the "Comitato per la promozione del patrimonio immateriale (ICHNet)" with the sponsorship of the "Istituto Centrale per la Demoetnoantropologia" of the Italian Ministry of Culture.

Education

Cooperation agreements established with Primary and Secondary schools of Macerata Campania for the Project "Scuole Aperte" promoted by the Campania Region.

Establishment of the Study Centre "Historia Loci" in order to fulfil safeguarding activities for the intangible cultural heritage of Macerata Campania through research, studies, and events.

"La festa di Sant'Antuono, patrimonio culturale immateriale di Macerata Campania" (Feast of Saint Anthony, the Abbot, intangible cultural heritage of Macerata Campania) - A research study on the Feast of Saint Anthony, the Abbot, in Macerata Campania.
Coopération:
The "Associazione Sant'Antuono & le Battuglie Pastellessa" is tightly connected to and cooperates with the local community through a continuous relationship with young and elder people to maintain and transmit the tradition. Young people are invited to join in the practice of playing the various typical musical instruments used while elder people participate in the transmission of techniques and patterns of playing and singing.

The about 1.000 "bottari" split into twenty local groups, in order to create, maintain and transmit the intangible cultural heritage of the area.

In order to fulfil the safeguarding activities for the intangible cultural heritage of Macerata Campania, the Association collaborates with other Associations, Committees, Institutions and Foundations, of the territory such as the "Associazione Radici" of Marcianise, the "Comitato Carnevale di Montemarano" of Montemarano, the Province of Caserta, the Municipality of Macerata Campania. In order to strenghthen the knowledge of its local tradition and specific percussion techniques, it also collaborates with organizations from other parts of Italy including the "Comitato per la promozione del patrimonio immateriale (ICHNet - Intangible Cultural Heritage Network)" and the "Istituto Centrale per la Demoetnoantropologia" of the Italian Ministry of Culture.

Date de création: 2010
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Azerbaïdjan

Objectifs:
The purpose of the Azerbaijani Carpetmakers' Union is the safeguarding of the Azerbaijani national carpetmaking and handicrafts, their development and popularization in the world.
The Union helps to learn and form the public opinion about carpet-making art, legal rug products, and it also helps the stimulating of the raising of the creative work mastery of the physical persons, popularization of quality and special signs of our national culture and handicrafts to determine various examples of carpets and also helps theirs popularization and demonstation in Azerbaijan and the world. The NGO collaborates with local and international organizations of carpet-making art, including museums and also with legal and physical persons, as well as the state agencies.
The Unity organizes different trainings and workshops, round tables and meetings, exhibitions, charitable fundraising, conferences, other cultural and other mass measures; dissiminates information about purposes and activities, publishes print materials.
Activités:
In 2009-2010, the Azerbaijani Carpetmakers' Union participated in developing the nomination file of Azerbaijani carpetweaving for the UNESCO Representative List of Intangible Cultural Heritage of Humanity.
For preservation of a variety of the Azerbaijan carpet, weaver's communities together with the Association «The World of carpet» and Azerbaijani Carpetmakers' Union collect information about local features of carpets, popularisation of products of local weavers through exhibitions-sales, organising trainings. So, in August 2009, in Baku, the Azerbaijani Carpetmakers' Union uniting all carpet communities of the country and the Association «World of Carpet» organised the round table which was devoted to problems of activization of manufacture of pileless carpets in Azerbaijan. The Carpetmakers' Union organises regular trainings in technique of pileless carpets at the the Museum of the Azerbaijan carpet.
Communities of carpet weavers demonstrate the works at various exhibitions. So, in 2009 the national competition-festival of carpets in various zones of the country was organised. In 2009, works of national weavers were shown in one of the Days of the Azerbaijan culture in Basel.
Besides, the following national laws were adopted: in 1998 the Law on import-export of cultural objects, in 2003 - the Law about folklore, in 2007 - ratification of the Convention of UNESCO on Protection of intangible Cultural heritage.
In 1983, 1988, and 2003, three international symposiums of the Azerbaijan carpet were organised in Azerbaijan. The first two ones were passed under the aegis of UNESCO. In 2007 4th symposium devoted to the 100 anniversary of Ljatif Kerimov took place in UNESCO headquarters in Paris where the exhibition of artists works also was organised.
Among large publications of carpet protection for last decade: Roya Tagieva «The Azerbaijan carpet» 1999, presentation of which has taken place in 2000 in Louvre Museum, Azadi-Kerimov-Tsollinger «The Azerbaijan Caucasian carpets» 2001, and the two-volume book «The Azerbaijan carpet» 2006, devoted to L.Kerimov and Materials of 4th symposium about the Azerbaijan carpet.
Many last projects have been connected with efforts on revival of carpet art. Among of them:
• CD issues: 2004 - «The Virtual Museum of the Azerbaijan carpet and applied art» (UNESCO grant),
2005 - «Technologies of the Azerbaijan carpet»,
2006 - «The Azerbaijan carpets» (with financial assistance of the Moscow bureau of UNESCO);
• in 2008 was spent the exhibition of carpets «Azerbaijan – the country of fires and carpets» from a collection of the Kiev art museum of Boqdan and Barbarians Hanenko and the catalogue of the publication «The Azerbaijan carpet»;
• In 2009 Republican festival and an exhibition of modern carpets from various regions of the country;
• In July 2009 in Baku – exhibition «Dream of the master: a new life of ancient patterns» in which works of modern weavers have been exposed.
In 14th of September, 2009 has been spent the round table and a master class "Not varying values of varying time" with the assistance of carpet – wavers, artists on carpets, collectors and businessmen, and also fans of carpet art. It has been shown a collection of clothes with use of carpet patterns of young designer Minary Kulieva, works of the master on embroidery art with use of a carpet thread of Shahla Askerova, etc.
On 17th of November, 2009, on the day of birth of the great artist on carpets, masters, scientific Ljatif Kerimov has been opened the exhibition of professionals and masters is national-applied art "The art Bridge, the leader from the past in the future".
On 18th of May, 2010 has opened the exhibition of tapestries "Tapestries: yesterday and today", where have exposed the works of masters of Non-governmental organisation.
On 10th of May, 2010 has been opened the exhibition of the Union's member Mr.Eldar Mikailzade “Dedication to geniuses".
In February, 2011 has been opened the exhibition of felt products, a member of NGO Rauf Abdulgasanogly devoted to Hodzhali tragedy.
In March, 2011 has been opened the exhibition of masters on national-applied art was devoted to a holiday of Novruz.
Since 2010 the Carpetmakers' Union has started to carry on negotiations with similar international communities in Uzbekistan, Turkmenistan, in Russian Federations and in Islamic Republic of Iran. Result of negotiations was the opening of an exhibition of masters of people-applied art of Uzbekistan which has been opened together with "Fund-Forum of culture and art of Uzbekistan", Associations of Antiquaries of Uzbekistan "Meros" which will proceed in the autumn opening of an exhibition of the Azerbaijan masters in Tashkent, also opening of an exhibition of carpets on the basis of pictures of the National artist of Azerbaijan and Russia Tahir Salahov. Last exhibition has been shown for the first time in 2010 in Moscow, in the Museum Center of History of Musical Art named after M.Glinka, and also in 2011 which was organized by UNESCO in Paris.
Coopération:
The Carpetmakers' Union plays the main role of creating intangible cultural variety of the local communities, groups and various persons. In this way the Union supports to enrich cultural variety, protect non-material cultural heritage especially among young generation. It carries out monitorings for the learning cause and effect in the material and technical direction, prepare the activity program in the direction of restoration of the technologies defining on the basis of getting results of the sensible and forgotten kinds of the carpet-making art.
In 2010 in Guba, Khachmaz, Gusar, Shabran, Siyazan the Union carried out the survey about modern situation of the carpet-making art, in 2011 in the result of analysis of the surveys compile the plan of monitoring and in Guba unity have been organized the exhibition from the works of the carpet-makers and masters of applied art.
In 2010 there were surveys about carpet-making art in the west zone of Azerbaijan.
The same problem is connect with various kinds of art embroideries. It is about the propaganda the ancient kinds and names of embroideries art among the young generation. Once in a month the Union organize the meetings with craftsmans in the various handicrafts of people-applied art and investigate their problems. Carrying out the work among different adults (9-17, 18-28) the Union learns their interests to various kinds of applied art and organize different groups.

Date de création: 1902
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- other
- Tangible cultural heritage (architectural consultancy), cultural aspects of landscape

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Date de création: 1990
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Suède

Objectifs:
It was established to highlight the oral intangible cultural heritage from the region and to revitalize by stimulating oral storytelling, shedding knowledge of fairy tales, legends and folktales and to safeguard the narrative traditions of the Land of Legends (which is three municipalities in this region of Sweden).
Activités:
Activities for safeguarding: The storytelling network of Kronoberg runs; The Museum of Legends, The Land of Legends, The largest yearly storytelling festival in Scandinavia, Ljungby storytelling festival. These three parts have all the same goal, to highlight and safeguard our oral traditions, this is being done by:
Storytelling performances/guided tours; in the museum but also in the landscape of The Land of Legends and at the festival.
Educational activities: At the museum but also in schools. We are using the tales and the storytelling as a pedagogical method (following the Swedish curriculums) and working/teaching at all school levels, from kindergarten to university. We are holding courses for youths and adults who want to learn, and also have two university courses at the museum together with the Gotland University.
Festival: Since 1990, every year we have had a storytelling festival, which is local, national and international. At the festival we host a Nordic youth camp for the next generation of storytellers. We are trying to highlight different kind of storytelling traditions, 2013 we highlight the romany tradition.
The Land of Legends: We have marked 80 places in the landscape which has a particular story/tale connected to it. This has been done by; road signs, maps, story cabinets at the actual place (the cabinets consist of a story that the visitor can read in Swedish, English or German, a painting which is connected to the story), an app (you can listen to the story in your phone instead of reading if you like) geocaching, performances, activities and excursions. Every summer we do a summer program in The Land of Legends, with performances open for the public. Many of the legends we tell in the The Land of Legends är concted to knowledge and pratices concering nature and the universe.
Performing arts: Storytelling is a performing art, we do plenty storytelling from stages, at theathers and festivals.
Book publishing: Several books have been published with the old tales but also with the new stories that we have collected today.
Networking: As The Storytelling Network of Kronoberg is the first of its kind in Sweden, we have become a centre for storytellers in Sweden and help others to form networks/or connect with storytellers in Sweden and abroad.
Projects: We work with different kinds of projects: During 2012, 2013 we have/are working with projects such as: “Museum education for those with special needs” (for students with learning disabilities of different kinds) “Stories for memories” (working with elderly at care homes with or without dementia) “Meetings with stories” (working with “young” dementia patients and their relatives) “Land of Legend- an arena for stories and meetings” (an EU-project on how to develop the countryside and highlight the stories of it) “Storytreasure” (collecting stories of today from groups and individuals) “The Basket” ( a project that combines the making of baskets and the stories of this old traditional handicraft)

Implementing the Convention in Sweden: The network is active in the work that is now taking place in Sweden of implementing the Convention with the Institute for Language and Folklore. Which has resulted in the Regional Council’s consideration to give us a regional assignment regarding the safeguarding of oral traditions.
Coopération:
Examples of groups we are working together with:
Individuals – at our website everyone can download their own stories (done by calling a number and telling your story) At the festival we always have some telling of life narratives.
Minority groups – we have highlighted storytelling traditions belonging to groups that unfortunately have been overlooked in history, for example Romany and Sami.

The Swedish local heritage movement – the largest heritage NGO in Sweden. Together we have done many projects, and helped them at several places to highlight their legends and stories connected to places where they operate.
NGO for traditional handicraft – connected to the making of handicraft are several stories and tales. We work together with the traditional handicraft association to bring forward these stories.
ABF - Sweden’s largest adult liberal education association, we do study circles together and they are a partner in the Ljungby storytelling festival
Museums – Mainly local and regional museums but some national in different projects. We co-operate around storytelling, doing performances at the museums.
Universities -Mainly with Gotland University and Linnaeus University, teaching and research.
Municipalities – Land of Legends, consists of three municipalities (Ljungby, Älmhult, Alvesta), they help us in our work of revitalizing the places in the landscape. (The municipalities give founding to our work yearly)
Authorities – for instants: County Administrative Board (have supported our work for a long time), the Institute for Language and Folklore (implementation of the Convention), Regional Council South Småland, (gives us a yearly founding).

Date de création: 1904
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Allemagne

Date de création: 1989
Domaine(s):

- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Date de création: 1998
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- revival and rehabilitation of wawa igbo intangible resources,TK,Tces and Folklore; poverty reduction between among the indigenious peoples; re-establishment and modern application of indigenious conflict resolution systems

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- legal advocacy legislative draftsmanship

Pays principaux d'activité:

Côte d'Ivoire, Ghana, Nigéria, Sénégal

Objectifs:
... Main objectives of the Organization:
1. Rediscovery and promotion of the intellectual and traditional knowledge of the Igbos
relating to its traditional medical knowledge and practices;
2. Protection of the masquerade and oracular prophetic practices of the Igbos, Wawa
people as they extend in Nigeria, Ghana, Cote d'lvoire and Senegal;
3. Defense and sustenance of the natural and customary practices of the indigenous
African people under the context of foreign religion and globalization which exterminate
the
population's social and economic existence;
4. Sensitization of the intellectual class in Africa on the issues that border on African
intellectual property and folklore;
5. Research and publications on African intellectual and folklore history and issues by
collating end reports of conferences and workshops.
6. Poverty reduction programs to ensure environmental and economic sustainability for
the Wawas in 19boland spread through the four West African states;
7. Designing relevant programs that will impact positively and contextualize the
millennium development goals in the lives and customs of the Wawas in 19boland,
especially those in tension soaked Niger delta of Nigeria.

1. Rediscovery and promotion of the intellectual and traditional knowledge of the Igbos relating to its traditional medical knowledge and practices;

2. Protection of the masquerade and oracular prophetic practices of the Igbos, Wawa people as they extend in Nigeria, Ghana, Côte d’Ivoire and Senegal;

3. Defense and sustenance of the natural and customary practices of the indigenous African people under the context of foreign religion and globalization which exterminate the population’s social and economic existence;

4. Sensitization of the intellectual class in Africa on the issues that border on African intellectual property and folklore;
5. Research and publications on African intellectual and folklore history and issues by collating end reports of conferences and workshops.

6. Poverty reduction programs to ensure environmental and economic sustainability for the Wawas in Igboland spread through the four West African states;

7. Designing relevant programs that will impact positively and contextualize the millennium development goals in the lives and customs of the Wawas in Igboland, especially those in tension soaked Niger delta of Nigeria.

Activités:
1. We have embarked upon documentation and profiling of the intellectual properties and folklore of the Wawa people of West Africa with a view to seeking legislative and copyright protection of these activities, previously undocumented;
2. Publication of well researched articles and books on Wawa indigenous people that will itemize the various cultural properties and rights of the people to sensitize the world and national governments on the areas which are threatened with distinction.
3. Organizing workshops and attending global fora of world indigenous peoples to present the perceived areas of injustice and marginalization which have threatened them with extinction and permanent dislocation in the geography of their present locations in West Africa.
4. Collaboration with all other individuals and organizations which promote and defend the intellectual property and folklore of indigenous people worldwide with a view to exchanging information and visits from other parts of the world;
5. Making representation to governments in the four West African countries to recognize and adopt best practices and conventions on world indigenous intellectual rights and properties.
6. Policy advocacy on curriculum change, legal reform and cultural promotion of the intellectual property of the Wawas and Igbos in West Africa.

Date de création: 1968
Domaine(s):

- performing arts
- social practices, rituals and festive events

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- Publications: audio & vidao recordings, written publications

Objectifs:
Founded in 1968, the Center for Traditional Music and Dance, one of the US'premier traditional arts organizations, is dedicated to maintaing the vibrancy of the performing arts traditions of ethnic and imigrant communities through grass-roots community organizing, research-based educational programming and public performances.
Activités:
Since its founding in 1968, CTMD has produced over 900 major presentations including concerts, festivals, tours, CD and fim series, and lectures. Materials gathered by CTMD staff, folklorists, ethnomusicologists and community cultural sepcialists are the basis for subsequent articistic presentations and educational programming. CTMD-produced recordings, publications, and documentary films preserve and document cultural traditions and educate the public about the rich artistic heritage of New York's diverse immigrant/ethnic communities. Annually serving more than 100,000 artists, immigrant/ethnic community, and general audience members, CTMD's programs have a positive impact to ensure that the artistic traditions, which define a commuity, continue to exist and have contemporary meaning for successive generations. Activities include:

- Community Cultural Initiatives - multi-year field research and presentation projects which help community and cultural activists, artists and educators within targeted immigrant/ethnic communities to preserve their cultural traditions;

- An-Sky Institute for Jewish Culture -a partnership with New York University, the JCC in Manhattan, the Workmen's Circle and the Center for Jewish History to research and revitalize the practice of traditional East European Jewish performing arts;

- Masters on Stage -ongoing partnerships with major intitutions (i.e., Linclon Center, New York Historical Society, American Museum of Natural History, the Smithsonian Institution) that are designed to introduce leading practitioners of New York's rich immigrant expressive traditions to wider audiences;

- New York World Festival -a biannual event devoted each time to a different region of the worls. Celebrating New York as the most culturally diverse city in the world, the festival acknowledges the vitality of immigrant and ethnic performing arts and their contributions to the New York City landscape;

- Touring Artists -a fee-based program designated to promote community -based artists and assit these artists access mainstream performance venues and media;

- Archives/Dissemination -over the past thirty-five years, through extensive fieldwork and research, the Center has assembled one of the largest collections of urban immigrant and ethnic music anywhere in America. The collection includes audio and video recordings, photographic documentation and related ephemera on CTMD's presentations and programs. Sound and video recordings are published through CTMS's Ethnic Heritage Recording Series and the Global Beat of the Boroughs series in partnership with Smithsonian Folkways. A monthly eNewsletter provides news, events and informatin about NY's traditional music and dance scene.

CTMD's programs and intiatives help build the cultural infrastructure within immigrant/ethnic communities by bolstering immigrant/etchnic artistic traditions within the communituy and introducing these time-honored and continually evolving traditions to larger, more diverse audiences.

Coopération:
Through its innovative Community Cultural Initiatives (CCI) program, CTMD has worked in partnership with artists, educators and traditional arts advocates to conduct multi-year research, documentation and presentation programs in a number of New York City-based immigrant groups, including the Albanian, Arab, Dominican Irish, Indo-Caribbean, Central Asian, Chinese, Phillipino, Peruvian, Soviet Jewish, Ukrainian, Mexican and West African communities. While CCIs are deeply grassroots and NY-based, they produce ripples that can extend nationally and even internationally. In the 1970s, CTMD's project to document and present Jewish klezmer music helped spark a workd-wide revival. In the 1980s, CTMD helped form the renowned all-women's ensemble Cherish the Ladies which ispired huge interest amongs women across North America ane even Ireland in performing Irish music (previsously a male-dominated activity). In the 1990s, CTMD was the first organization to introduce Indian Bhangra music to the US. And, in the last five years, CCIs have generated the first Mariachi academy on the East Coast as well as the first Peruvian music and dance school for youth in the US.

Date de création: 1980
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Belgique

Objectifs:
Le Centre Albert Marinus (anciennement Fondation Albert Marinus) porte le nom et prolonge le travail d'Albert Marinus (1886-1979), l'illustre défenseur du patrimoine culturel immatériel de a Belgique. Celui-ci œuvra durant toute sa carrière, tant sur le plan national qu'international, pour une meilleure connaissance en ce domaine. II enseigna aussi Ia sociologie et l'économie politique à l'Institut pour journalistes de Belgique. II devint vice-président de Ia Commission internationale des arts populaires auprès de l’UNESCO de 1947 à 1964. II participa également à Ia création à Londres de I'International Folk Music Council dont il fut vice-président de 1947 à 1972. Auteur de nombreux ouvrages de référence, il recréa I'Ommegang bruxellois en 1930.
Le Centre a donc été créé en 1980, en l'honneur d'Albert Marinus, sociologue, folkloriste et humaniste de réputation internationale.

En tant qu'association sans but lucratif, il poursuit un triple but scientifique:

• Ia sauvegarde et Ia diffusion des écrits et des théories d'Albert Marinus ;
•Ia poursuite de Ia recherche en matière d'ethnologie et de sociologie en développant des études sur Ia vie et les traditions populaires, le patrimoine culturel oral et immatériel ainsi que les métiers d'art ;
• Ia sensibilisation du public aux arts et traditions populaires en tant que patrimoine culturel immatériel mais aussi en tant qu'outil de connaissance et de réflexion sur Ia vie sociale.
D'une manière générale, I' association veille à faire prendre conscience au public le plus large de son appartenance à Ia communauté de langue française de Belgique par Ia réalisation de ces objectifs.
Le Centre ne peut réaliser ces objectifs sans contacts permanents avec des organismes, des associations, des chercheurs qui partagent ses préoccupations, en Belgique et à l'étranger. Elle assure à cet égard le role de "plaque tournante de l’information entre théoriciens, chercheurs, praticiens, amateurs ou grand public.


Activités:
Les activités du Centre Albert Marinus comprennent plusieurs volets:
- un centre de documentation;
- des activités culturelles de sensibilisation;
- des activités de formation;
- des activités scientifiques et publications

Coopération:
Le Centre entretient des rapports fréquents avec les acteurs du patrimoine culturel immatériel de Bruxelles et notamment le Meyboom (reconnu par I'UNESCO), I'Ommegang (reconnu par Ia Communauté française), le théâtre de marionnettes de Toone, les différents serments d'arbalétriers. II organise également des échanges d'informations avec les universités belges
(Bruxelles, Liège, Gand, Louvain, Namur) ainsi qu'avec des associations nationales, tant flamandes (VIaamse Centrum voor Volkskultuur, Archief and Museum voor het Vlaams Leven in Brussel…) que wallonnes (Musée de Ia Vie wallonne, Musée en Picon rue, Maison des Géants d'Ath…). Sur le plan international, il communique avec diverses institutions auxquelles il envoie régulièrement ses publications (Sociedad de Ciencias Aranzadi de San Sebastian, Seminario Permanente de Estudios de Cultura Popular et Patrimonial de Ia Region de Murcia, Société française de Mythologie, Société d'Ethnologie française…).

Jean-Paul Heerbrant, directeur du Centre Marinus, siège dans les instances d'avis de Ia Communauté française de Belgique : Conseil d’ethnologie et Commission du Patrimoine oral et immatériel. Les séances régulières de ces associations sont I'occasion de rencontrer d'autres acteurs du terrain et d'échanger points de vue et nouvelles. Ces rencontres ont d'abord pour finalité de juger des candidatures de reconnaissance au titre de Patrimoine oral et immatériel introduites auprès de Ia Communauté française de Belgique et auprès de l’UNESCO, d'accorder des subventions aux praticiens et aux acteurs du patrimoine culturel immatériel ainsi que d’émettre des avis destinés à Ia Ministre de Ia Culture de Ia Communauté française de Belgique.

Date de création: 1977
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Canada

Objectifs:
Le mandat du Centre Marius-Barbeau est de sauvegarder le patrimoine immatériel et encourager la reconnaissance, la conservation, la transmission et la diffusion des arts et traditions populaires québecois et canadiens, incluant ceux des Premières Nations et de la diversité culturelle. Il privilégie, entre autres, l'acquisition et la conservation de collections patrimoniales, de publications et de documents oraux (musique, chansons, contes, légendes) ainsi que la conservation de costumes et autres artefacts relies au folklore et a la danse. Il encourage la recherche et la mise en valeur de sa documentation reliée a l'ethnologie et au folklore. Il met sur pied des expositions en lien avec ses collections.
Cela fait maintenant plusieurs décennies que le CMB ouvre ses partes et ses archives au public. Depuis aout 2014, le Centre Marius-Barbeau est reconnu, par le Ministère de la Culture et des Communications, comme organisme culture! du Répertoire de ressources culture-éducation. Il se consacre a diverses activités de médiation culturelle et propose notamment, depuis bientôt cinq ans, des cours d'initiation au fléché dans ses locaux.
Activités:
Au Centre Marius-Barbeau, la sauvegarde et la promotion du patrimoine culturel immatériel passent par l'organisation d'expositions itinérantes aux thèmes varies. L’interprétation scénique et la diversité culturelle sent les thèmes de l'exposition « Masques, cotillons et envoutement ». « Montréal, capitale de la fourrure » partage les coutumes des trappeurs et des Amérindiens au temps de la colonie. « Le fléché au bout des doigts » valorise cette ceinture emblématique qui est inscrite au Registre du patrimoine culture! du Québec a titre de patrimoine immatériel. Et finalement, « Marius Barbeau, un géant a découvrir » fait connaitre la vie et l’œuvre du père fondateur de l'anthropologie canadienne et québecoise. Ces réalisations sent possibles grâce a un assemblage de compétences de haut niveau réunies sous la gouverne du Centre Marius-Barbeau.
Dans les lieux mêmes du Centre Marius-Barbeau, plusieurs fends d'archives sent a la disposition du public et des chercheurs.
S'ajoutent les démonstrations de fléché de nos artisans et les formations sur l’art de la fabrication du fléché qui sent aussi des activités prisées.
On sollicite beaucoup l'expertise des employés du Centre Marius-Barbeau comme lors du dépôt du mémoire du directeur fondateur dans le cadre de la consultation sur le Projet de Politique de développement culturel 2017-2022 de la ville de Montréal. M. Di Genova y a présenté le mémoire « Reconnaissance a part entière du patrimoine vivant? ». De son cote, l'archiviste fut invite récemment a la table de concertation sur le patrimoine de la danse.
Comme dernier fleuron de nos activités, les conférences de Lola Chevreau sur le renouveau de l'art Salish et celles de Jimmy Di Genova, tiennent l'affiche pour un public attentif et avide de savoirs.
Coopération:
Notre coopération avec les communautés culturelles est constante de par la nature même de nos activités. Lors du montage de l'exposition « Masques, Cotillons et envoûtement », nous avons collaboré avec des membres de la communauté AyitiMakaya et de l'association Amitié Québec Kabylie pour l’élaboration de certains valets de l'exposition. Nous avons donc intégré ces sociétés dans notre processus décisionnel et ouvert notre champ d'action pour les intégrer pleinement.
Certains représentants de ces communautés sont présents au sein même de notre conseil d'administration et renforcent ainsi leur voix et la notre dans les choix qui sont adoptés.
Nous collaborons aussi avec le collège Montmorency, Le CEGEP Maisonneuve, l'association des artisans de ceinture fléchée de Lanaudière et le Musée canadien de l'histoire. Ces échanges bilatéraux sont bénéfiques pour tous et démontrent notre implication dans notre communauté. Plusieurs étudiants font ainsi leurs premiers pas dans le monde de la conservation et du partage du patrimoine d'ici et d'ailleurs grâce à ces ententes bénéfiques pour tous.

Date de création: 1981
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Canada

Objectifs:
Le Centre de la valorisation du patrimoine vivant (CVPV) est une corporation sans but lucratif qui œuvre à la préservation et à la mise en valeur de l'expression dynamique de l'héritage culturel du Québec. Fondé en 1981, le Centre s'est d'abord appelé "Les danseries de Québec". Comme son nom indiquait alors, il s'est consacré à la recherche, à l'enseignement et à la promotion de la danse et de la musique traditionnelle. Avec les années, ses préoccupations se sont élargies, recouvrant graduellement l'ensemble des arts et métiers et des expressions esthétiques traditionnelles, qu'elles soient musicales, gestuelles, orales ou plastiques. Depuis quelques années, l'organisme est connu sous le nom de ès TRAD. La petite particule ès signifiant une reconnaissance des savoirs du domaine de la tradition. Depuis plus de 30 ans, l'organisme est un acteur important de la vie culturelle dans la grande région du Québec.
La mission du Centre touche les volets de la recherche, de la conservation et de la formation, de la diffusion et de la mise en valeur du patrimoine vivant. Depuis ses débuts, le CVPV a travaillé dans la tradition scientifique des écrivains, historiens, folkloristes et ethnologues qui ont recueilli, conservé, et fait connaitre la littérature orale des Français d'Amérique et des autres collectivités qui composent le Québec. En collaboration avec des organismes universitaires et gouvernementaux, le Centre a procédé à des collectes ethnographiques et mené des recherches documentaires. Ces travaux ont permis de produire des documents audio et vidéo uniques et de qualité (quelques exemples : "Prenez-vous des Mi-Carême?", Ernest Fradette, conteur, "Le Miroir d'argent", Musiciens du Québec, accordéons diatoniques, André Alain violoneux de Portneuf et l'Irlande au Québec).
Le Centre a été l'instigateur des États généraux du patrimoine vivant qui ont eu lieu en 1922 à Québec. Cet événement a permis de faire le point sur la situation et de créer le Conseil québécois du patrimoine vivant, organisme chargé de représenter et de stimuler le milieu.
Activités:
Le Centre est basé à Québec, dans la capitale de la province de Québec, au Canada. C'est le seul organisme à travailler à la diffusion et à la médiation du patrimoine immatériel dans la région et ce, tout au long de l'année.
Depuis 1981, il organise une série de veillées de danse traditionnelle qui réunit une fois par mois musiciens, calleur et danseurs. Le Centre organise à chaque automne depuis 1991 son festival annuel. Maintenant connu sous l'appellation "les Rendez-vous ès TRAD de Québec", il a longtemps été connu sous le nom de Festival International des Arts Traditionnels (FIAT). Au fil du temps, le Centre a reçu es délégations de nombreuses régions de France. Depuis quelques années, avec son partenaire le PicNic festival de Namur, en Belgique, il procède à des échanges de groupes musicaux. Il présente également un atelier de démonstration artisanales estivales depuis 1995. À cette occasion, des artisanes et artisans de grands talents se réunissent et présentent les différentes étapes de confections de pièces ainsi que les techniques de base liées à leurs savoir-faire respectifs. Depuis 2006, le Centre a également mis en place une série de concerts acoustiques afin d'augmenter la visibilité et la diffusion de la musique traditionnelle dans la capitale et ce, à l'année.
Le Centra a aussi à son actif de nombreuses activités d'enseignement par des cours sur la musique et la danse traditionnelle et de sensibilisation du publique par des stages, des ateliers et par sa participation à des festivals et des colloques internationaux. Nous avons au cours des années délégué des artistes à plusieurs festivals en Amérique du Nord et en Europe.
Le CVPV a préparé des expositions thématiques sur l'accordéon et le violon, qui ont circulé au Québec et à l'extérieur de ses frontières. Il a également réalisé l'exposition "Corps à corps avec le patrimoine immatériel". En 1997 et 1998, il a été le producteur associé, choisi par la Société nationale des Québécoises et des Québécois de la capitale, afin d'organiser le spectacle de la Fête Nationale sur les Plaines d'Abraham et à Place d'Youville, plus de 100 000 spectateurs à chaque occasion. En outre, Expo-Cité a utilisé son expertise afin de mettre sur pied les Pavillons des arts d'expo-Québuec, qui a accueilli en 1998 et 199 plus de 200 000 visiteurs.
Coopération:
Les activités du CVPV sont basées sur la coopération avec les communautés, les groupes et les individus travaillant à la mise en valeur et à la transmission du patrimoine immatériel. Il a toujours travaillé afin de mettre en valeur l'expérience et les connaissances des porteurs de traditions avec qui il travaille. Il regroupe, sous son conseil d'administration, des représentants de quatre disciplines du patrimoine vivant: conte, musique, danse et savoir-faire artisanaux. Ses membres sont consultés une fois par an afin de leur présenter ses orientations et ses actions.

Date de création: 2005
Budget: U.S.$100000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Publication de livres et de disques, organisation de rencontres et manifestations

Pays principaux d'activité:

Canada, Cuba, Dominique, Jamaïque, République dominicaine, Sainte-Lucie, Venezuela (République bolivarienne du)

Objectifs:
Cette association a pour but la sauvegarde, le développement et la valorisation des musiques et danses traditionnelles, populaires et contemporaines en Guadeloupe, et en particulier:
- de mettre en oeuvre des actions de collecte, de recherche, d’étude et de mise en valeur du patrimoine musical et dansé en Guadeloupe ainsi que des autres formes apparentées des arts et traditions populaires,
- d’assurer un rôle d’information et de conseil des musiciens et danseurs guadeloupéens ainsi que la diffusion régulière d’information par tous les moyens mis à sa disposition,
- de contribuer au développement de toutes actions éducatives en faveur de la sensibilisation et de l’initiation des jeunes publics, en particulier, aux musiques et danses traditionnelles et populaires guadeloupéennes et caribéennes,
- de participer à l’élaboration et à la mise en oeuvre d’un programme de formation spécifique,
- de favoriser la diffusion, l’exportation et la promotion des musiques et danses actuelles et traditionnelles de la Guadeloupe dans la Caraïbe et dans les Amériques, en France, en Europe et dans le reste du Monde,
- d’assurer une mission de relais auprès des collectivités publiques en matière d’expertise et d’évaluation des actions mises en place dans les domaines des musiques traditionnelles et actuelles.
Activités:
1) Collectes des chants et traditions maritimes de la Désirade en collaboration avec Françoise URI-LANCREOT(Musicologue), Diana REY-HULMAN (ethnolinguiste), Robert BOUTHILLIER (Chercheur, ex-Directeur de DASTUM), ce travail est réalisé et se poursuit en collaboration avec l'association DASTUM et Michel COLLEU (spécialiste des chants marins)
2) Collectes des chants et traditions indo-créoles de Guadeloupe en collaboration avec l'anthropologue et danseur, Raghunath Manet
3) Travaux réalisés par Dominique CYRILLE, Ethnomusicologue martiniquaise, Doctorat es Musicologie à l'université Paris-IV-Sorbonne en 1996,chargée de cours au Lehman College, City University of New York. Collecte, étude, recherche et publication sur les Quadrilles de Guadeloupe et les chants de la terre (chants de labours, chants de travail)
4) Manifestations
*Rencontres guadeloupéennes du Quadrille en collaboration avec la Ville de Basse-Terre et la Maison du Patrimoine dans le cadre des Journées Européennes du Patrimoine (janvier 2007)
*Rencontres guadeloupéennes du GwoKa sur thème : Nouveaux enjeux, Nouvelles problématiques (juillet 2008)
*Séminaire d'ethnomusicologie de la Caraïbe : Patrimoine culturel immatériel de la Caraïbe : Sauvegarder et promouvoir les danses et musiques caribéennes, Nouveaux enjeux, nouvelles problématiques avec le concours de : Kwamé BOAFO (Directeur Unesco Caraïbe), Christian HOTIN et Jean-Pierre ESTIVAL (Ministère de la Culture - France), Michael BIRENBAUM QUINTERO (ethnomusicologue - Colombie), Katerine HAGEDORN - USA, Carlos ANDÙJAR Persinal - République Dominicaine, Kennedy SAMUEL - Sainte-Lucie, Thomas Mitchel SCRUGGS - Vénézuéla, et de nombreux chercheurs et artistes de Guadeloupe et de Martinique
5) Promotion, mis en valeur des tenants de la tradition
-Publication de trois disques CD
*Kadri Gwadloup n 1, avec l'accordéoniste Reynoir Casimir dit Négoce
*Kadri Gwadloup n 2, avec l'accordéoniste Jacques Danican et le groupe Flamme Abymienne
*La Tradition du Quadrille, en collaboration avec OCORA Radio France et France Musique (Prix France Musique des Musiques du Monde 2006)
Coopération:
- Coopération avec :
*les associations des marins de la Désirade - 7 et 8 juillet 2007 - Thème : Pourquoi et comment sauvegarder et promouvoir les chants et traditions maritimes ?
*Les associations de quadrilles de Guadeloupe et Marie-Galante - 28 janvier 2007 - Thème : Bokantaj asi Kadri Gwadloup (Rencontres guadeloupéennes du quadrille)
*Mouvement culturel de Grelin (Marie-Galante) - Tradition rurale des chants de labours
*Kozé-Bokantaj (Conférence-débats) avec la communauté guadeloupéenne du GwoKa - Thème : Faut-il inscrire le GwoKa sur la liste représentative du Patrimoine Culturel Immatériel de l'Humanité ?
*Homage rendu aux principaux tenants de la tradition

Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- other
- patrimoines musicaux, culturels et linguistiques issus de l'immigration

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

France

Objectifs:
Le CMTRA est une association régionale qui œuvre, depuis sa création en 1991, à la connaissance et à la valorisation des musiques traditionnelles et des cultures de l'oralité (danses, langues régionales, langues issues de l'immigration, contes, fêtes populaire ...) telles qu'elles sont pratiquées dans les territoires urbains et ruraux de la région Rhône-Alpes. Comme l'ensemble des structures composant les réseaux des Centres de Musiques Traditionnelles (FAMDT), le CMTRA est né de la volonté de l'État et des Régions d'apporter reconnaissance et soutient aux cultures populaires, singulières et minoritaires relevant de la transmission orale et des héritages régionaux. Structure pionnière dans la valorisation des "musiques du monde" et des patrimoines culturels, linguistiques et mémoriels issus de l'immigration, le CMTRA travaille dans le sens d'une articulation et d'une reconnaissance mutuelle entre les musiques de tradition orale historiquement ancrées dans le territoire rhônalpin, et l'ensemble des patrimoines issus des migrations, anciennes et récentes.
À la fois animateur d'un réseau régional d'acteurs, coordinateur de projets de recherche-action et centre de ressource, le CMTRA articule donc accompagnement des pratiques artistiques amateurs et professionnelles, recherche, documentation patrimoniale et action culturelle, aide à la création et à la diffusion du spectacle vivant. Son engagement en faveur des patrimoines culturels immatériels pluriels de la région Auvergne Rhône-Alpes repose sur un esprit de mobilisation et d'échange, de créativité collective et de démarche partagée qui prend corps dans les territoires, par l'appropriation et la réinvention du "bien commun" et le tissage de nouveaux liens entre milieu rural et milieu urbain, entre les générations, entre les cultures et le groupes sociaux.

Activités:
Les activités du CMTRA s'organisent autour de troit lignes de force:
1/la coordination d'un réseau régional d'acteurs vaste et hétérogène, composé d'associations (culturelles, communautaires, sociales, éducatives), d'artistes, d'enseignants, de chercheurs et d'institutions patrimoniales.
La réseau régional s'organise autour de trois commissions thématiques (pratiques amateurs / transmission / spectacle vivant) chargées de proposer des axes de réflexion et d'actions à développer collectivement, avec l'accompagnement opérationnel du CMTRA. Son animation repose sur la mise en œuvre d'initiatives de valorisation communes tels que les forums régionaux annuels, les festivals des Jeudis des Musiques du Monde ou de la Semaine des Patrimoines Vivants, les rencontres, pique-nique et apéros interprofessionnels, l'orchestre régional du "Grand Orphéon".
2/ la valorisation des patrimoines musicaux et linguistiques de la région, par la réalisation de projets de collectage sonore visant à questionner l'identité d'un quartier, d'une ville ou d'un territoire rural par le prisme des musiques qui y sont pratiquées et racontées.
Ces recherches de terrain font systématiquement l'objet d'événements de restitution (organisation de concerts, ateliers de transmission), de la réalisation de documentaires sonores, et/ou d'un travail d'édition de livres-CD ou de webdocumentaires. La collection des «Atlas Sonores » est aujourd'hui riche de 24 numéros, accessibles en ligne pour les adhérents du CMTRA. Le CMTRA a ainsi pu mettre en oeuvre depuis 25 ans de nombreux projets de recherche et de collectage qui ont amené une diversification croissante des terrains pris en compte, aussi bien que des dynamiques de partenariat- pour ne citer que certains d'entre eux : « Musiques ! Voyage sonore à Villeurbanne » depuis 2008 (avec le Rize à Villeurbanne), le projet « Place du Pont Production » de 2010 à 2014 (avec les Archives Municipales de Lyon, les éditeurs Frémeaux et Associés), le projet « Tutti bruitti » (avec le Conservatoire de Givors) ou plus récemment le projet « Comment sonne la ville? Musiques migrantes à Saint-Etienne» (avec le laboratoire du CIEREC à l’Université Jean Monnet, les Archives Municipales de Saint-Etienne, le Centre Max Weber).
Depuis 2015, le CMTRA coordonne en outre un réseau collaboratif dédié aux archives sonores en Auvergne Rhône-Alpes composé de 13 structures détentrices de fonds sonores (voir liste en annexe 8.a).
3/ La coordination d'un pôle de médiation scientifique dédié à la thématique « Musiques, Territoires, lnterculturalités ».
Grâce au label « Ethnopôle » alloué en 2016 par le Ministère de la Culture et de la Communication, le CMTRA joue un rôle d'interface entre les mondes de la recherche scientifique, de l'action culturelle, du patrimoine et du développement territorial sur l'ensemble du territoire de la nouvelle région Auvergne-Rhône-Alpes. A travers l'organisation de journées d'étude, de tables-rondes, de projets éditoriaux et de mise à disposition de documentation, d'actions culturelles locales, d'expositions plurimédia, le projet de I'Ethnopôle-CMTRA est d'ouvrir des espaces de dialogue, de ressources et de créativité collective dans le champ des patrimoines musicaux et de l'interculturalité. Il s'articule autour d'un programme scientifique et culturel intitulé "Musiques, Territoires et lnterculturalités" en annexe 8c_bis de ce dossier.

Coopération:
Depuis sa fondation en 1991, le CMTRA développe ses activités à la croisée de différents mondes professionnels (artistique, socio-culturel, institutionnel, patrimonial, scientifique) ayant pour engagement commun la connaissance, la reconnaissance et la valorisation de la pluralité des patrimoines musicaux et culturels régionaux. Les projets de recherche de terrain et de collectage, de documentation, d'action culturelle et de diffusion sont donc systématiquement menés en coopération étroite avec cette diversité d'acteurs. Notre démarche est ainsi très inspirée des méthodes de travail de l'économie sociale et solidaire et favorise les projets participatifs, la mutualisation des savoirs et des compétences, et les espaces de réflexion et de décision collectives.
Par ailleurs, le collectage constitue un outil de médiation essentiel pour venir à la rencontre d'habitants et de groupes sociaux peu représentés sur les scènes culturelles "officielles" des territoires urbains et ruraux de la région. Ces moments d'écoute attentive et de valorisation dans le cadre d'Atlas Sonores ou d'expositions de moments musicaux et de récits de vie captés dans le contexte intime et quotidien des habitants d'un territoire, permet la prise en compte de leurs propres définitions et de leurs propres pratiques des patrimoines musicaux, culturels et immatériels. Nous rejoignons en ce sens la dynamique de reconnaissance des droits culturels impliquant la de considérer toutes les expressions musicales (berceuses, musiques accompagnant des rituels religieux, des fêtes communautaires ou familiales) comme des patrimoines culturels aussi dignes d'intérêt que ceux que l'on retrouve plus communément dans les lieux institués de la culture.
L'édition d'Atlas Sonores (en livre-CD ou en projet multimédia), la réalisation de documentaires sonores, l'organisation de tables-rondes, d'émissions radiophoniques et de concerts avec les habitants rencontrés au fil de nos projets de recherche et de collectage, ou encore le montage d'expositions de portraits sonores, sont quelques-unes des initiatives que nous mettons en oeuvre dans le but de donner sens et résonance aux patrimoines culturels quotidiens et a priori « ordinaires » de nos territoires.

Date de création: 2009
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Allemagne, Éthiopie, France, Nigéria, Royaume-Uni de Grande-Bretagne et d'Irlande du Nord, Togo

Date de création: 2005
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Capacity building and institutional support for the conservation and management of movable and immovable cultural heritage in Africa

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Capacity building for African heritage institutions and professionals in all the above intangible cultural heritage undertakings

Pays principaux d'activité:

Afrique du Sud, Botswana, Burundi, Égypte, Érythrée, Eswatini, Éthiopie, Gambie, Ghana, Kenya, Lesotho, Malawi, Maroc, Maurice, Mozambique, Namibie, Nigéria, Ouganda, République démocratique du Congo, Rwanda, Seychelles, Sierra Leone, Soudan, Zambie, Zimbabwe

Objectifs:
CHDA is an international Non-Governmental Organization (NGO) dedicated to the reservation, management and promotion of cultural heritage in Africa through a programme of training and development support services. Its work is mainly with preservation of Immovable, Movable and Intangible Cultural Heritage in Africa.

CHDA started as a program (PMDA), dedicated to heritage resource management and development needs of Museums in Africa. However, from 2001 it increased her activities to encompass the conservation of both movable, immovable and intangible heritage assets. In recognition of these developments and for the organization to be recognized as a permanent institution as opposed to “a program,” PMDA was transformed into CHDA in 2005.

CHDA is mandated to Organize, co-ordinate and develop viable projects and activities for heritage and museum development in Africa, such as the post-graduate diploma course in the care and management of heritage and museum collections in sub-Saharan Africa, in collaboration with the University of Nairobi and University College London, and the Africa 2009 program.
• Provide advice and technical support to museums and heritage institutions
• Diffuse data and information about museums and heritage development
• Work with national institutions, individuals, community heritage projects and custodians of heritage resources to conceive, develop and implement special projects in the field of museum and heritage development
• Work with and complement other regional projects and programmes to ensure the successful implementation of their respective activities
• Contribute to raising the profile of African heritage institutions at local and International levels
• Consolidate the necessary financial and human resources for museums and heritage development.
Activités:
During the life of CHDA, from the year 2000 when it was PMDA (Program for Museum Development in Africa) until today, nearly 1000 heritage professionals on the African continent have gone through the CHDA training programs. In many programs, CHDA invites expert resource persons and also teaching assistants, who use the opportunity to understudy the expert trainer on their way to becoming expert trainers in their own right. These professionals, many of who went on and acquired further qualifications, became part of the CHDA network of heritage professionals, a pool of experts that CHDA draws on for its professional training needs, as resource persons, facilitators and program coordinators in case of need. It is important to note that the network has experts in most of the different aspects of heritage management, including tangible, intangible, movable and immovable heritage. They also have loyalty and commitment to CHDA, having come through it in the development of their professional careers.

A few of the programs CHDA has undertaken in the past and which had a direct bearing on intangible heritage management included:
1. Endangered Heritage Assets Program (EHAP)
This program was undertaken by CHDA in 2004-2005 successfully sought to identify, document and disseminate the tangible and intangible cultural heritage of the Mijikenda people of the Kenyan coast, especially those that are threatened with extinction.

2. The three-year en-compass project
The project began in October 2010 and is on-going. It brought together participants from China, England, Guyana, and Kenya (with the remit for Anglophone Africa)
The program looked at issues related to the dangers and challenges faced in the protection of intangible and tangible cultural heritage in all participating countries. The participants used these issues to develop a coherent programme which they used to mobilize people in their countries/regions by conducting awareness and dissemination campaigns, aimed at helping people become more aware of the dangers and challenges faced in terms of the promotion and safeguarding of cultural heritage, both tangible and intangible.The program activities also included a workshop to scope and audit key tangible and intangible heritage resources, including cultural expressions, products and services in each partner country.
These in-country workshops provided a focus and momentum for long-term on-going scoping and auditing activities post training. However, the information and material gathered through the scoping exercise was also fed onto a database, used to create the online and published catalogues- this process is still on-going. The project also intends to create an inventory of cultural heritage resources (Tangible and Intangible), including those at risk in the short-term from the scoping exercise undertaken in each of the three partner countries. The catalogue of cultural heritage assets (both tangible and intangible) collected will be researched and used to design and develop a travelling exhibition that will go around all the participating countries.
In the last year of the program, three practitioners from Africa (Kenya, Zimbabwe and Zambia) were admitted for a Master’s Degree Course in Heritage management at the Newcastle University, UK.

3. Post-Graduate Diploma Courses
CHDA held 2 nine-month Post-Graduate Diploma Courses in Heritage Management, in collaboration with the University of Nairobi and the University College, London. This course had a whole unit dedicated to "Indigenous knowledge systems and community involvement", which is basically training in intangible heritage of communities.

4. Africa 2009 Courses
CHDA hosted the 3-month Africa 2009 courses for 1999, 2002, 2003, 2005, 2007 and 2009
One of the issues Africa 2009 program addressed was the issue of insufficient human resources and capacity for management, conservation, and maintenance of immovable heritage properties on the continent, using traditional methods and materials. This means that traditional methods, knowledge and skills, which are basically intangible heritage assets, were being mainstreamed in the program, in a participatory approach involving local communities in the conservation planning and management processes. For example, the field projects aimed to establish self-confidence within the local custodians and to enhance their recognition as efficient professionals. The project also worked to integrate traditional techniques in conservation of monuments resulting not only in monuments that are responsive to local environments, but also to the sustenance and promotion of traditional skills - the intangible heritage within the local communities.

5. Workshop on Recording Intangible Heritage
In February 2005, CHDA organized and hosted a three-day workshop on Recording of Intangible Heritage. The aims of the course was to produce professionals who can record Intangible Heritage appropriately and to enable trainees effectively apply methodologies, standards, and equipment for recording Intangible Heritage. The main course objective was to enable participants to record Intangible Heritage using digital and video cameras in line with laid down standards and procedures as provided in the course.

6. Capacity Building in Universities
CHDA also undertook training on strengthening capacities of African Universities in intangible cultural heritage, on behalf of UNESCO/ICH section at the CHDA Centre in Mombasa between 18th and 22nd June 2012.
Coopération:
These are just a few of the courses that CHDA has implemented. It is important to note that apart from special trainings deliberately designed to inculcate knowledge and skills among heritage professionals on how to work with communities and stakeholders; how to involve them in all heritage management/conservation activities; how to ensure economic benefits for them, e.g. the training course on stakeholder participation, CHDA has always appreciated the fact that the communities are the ultimate custodians of heritage properties, managing and conserving them in their day-to-day actions. For this matter, community participation has always been incorporated into the programs CHDA offers its participants - either by making it part of the teaching learning content or by inviting community members as participants in training programs to exchange issues with professionals, learn from and teach them and to create networks for future exchange.
In the last training that CHDA held in Zimbabwe on Risk Preparedness for Heritage properties between 6th and 18th May 2013 for example, two community members were invited as participants to help build an understanding among professionals on the traditional approaches to risk management of the Great Zimbabwe, as well as to help us understand the community needs and expectations from the professionals in their professional work of management and conservation.

Date de création: 1993
Budget: U.S.$36300
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- patrimonio cultural gastronomía tradicional

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- desarrollo de instrumentos metodológicos para el registro y elaboración de inventarios aplicación de sistemas de información geográfica al inventario y promoción del patrimonio cultural

Pays principaux d'activité:

Mexique

Objectifs:
-To create a collection of documents, specialized in popular arts, crafts and traditional cuisine, which includes a library, archive, serial publication fund and photo library, to be used mainly by researchers, popular artists, artisans and culture promoters.
-To develop research intruments, such as: thesaurus, cartographies and specialized bibliographies, among other.
-To document current technology used in the craftwork production processes and its problems.
-To carry out research in the field of popular arts and crafts in collaboration with educational, promotion and cultural institutions.
-To support rescue and safeguarding actions and the study of cultural processes related
with popular arts, crafts and traditional cuisine.
-To promote the best expressions of popular arts and crafts by carrying out and
supporting contests and exhibitions.
-To participate in the registry and cataloguing of craftwork and traditional cuisine
expressions.
-To participate in the promotion, registry, documentation and preservation projects of
popular arts, craftwork and traditional cuisine.
Activités:
-Gives consultation services on its library, archive, photo library and serial publication funds.
-Carries out research in the field of cultural heritage with special emphasis on popular arts and crafts, traditional cuisine and cultural tourism.
-Develops research instruments, such as: thesaurus, specialized bibliographies and handicraft cartographies.
-Participates, together with public institutions and civil organizations, in the promotion, preservation and protection of the cultural heritage with special emphasis on popular arts, crafts and traditional cuisine.
-Gives workshops for social organizations at a community level to increase registry, protection and promotion of the cultural heritage.
-Participates in national and state competitions of popular arts and crafts to recognize masters and their works.
-Participates in the Specialist Committee, working on the development of the methodology and the survey for the inventory of intangible cultural heritage of Mexico.
- Organizes and participates in meetings, congresses and round tables in which reflect on Mexican and Latin American cultural heritage.
Coopération:
-It gives workshops on recognition, evaluation and registry for the communities to develop projects for strengthening, conservation and promotion of intangible cultural heritage.
-It is presently developing the digital atlas of popular Mexican art with the collaboration of artisans and popular artists.
-It participates in the Specialist Committee for the development of the methodology and the survey for the inventory of the intangible cultural heritage of Mexico, in which the communities will have a predominant role.

Date de création: 1979
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Practices and knowledge concerning territorial and territorial rights

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Brésil

Objectifs:
Our aim is to work alongside with indigenous groups so that they can assume effective
control over all interventions that occur in their territories, informing them about the
Brasilian State's role in the protection and guarantee of the indigenous peoples'
constitutional rights. The Centro de Trabalho lndigenista has as its mission and identity
trait the direct support that we offer to the indigenous groups with which we work,
assisting them with the resources and technical support that they need to accomplish
greater political and economic autonomy, always respecting the sociocultural universe
pertaining to each indigenous community. In other words, the projects developed by the
Centro de Trabalho lndigenistas are projects in which the indigenous peoples involved
are coauthors and collaborators and in which their traditional knowledge and practices
are respected and affirmed.
Our main objectives are:
- The promotion and circulation of community-organized projects in the areas of
agriculture, education, health and culture;
- Development of actions which contribute with the legal recognition of lands
traditionally occupied by indigenous people;
- Preservation and protection of the natural environment of the indigenous lands;
- Development of actions that promote and enhance the transmission of the indigenous
peoples' traditional knowledge and practices;
- Production of audio-visual material with the indigenous groups so that they may
circulate and preserve their traditional knowledge and practices;
- Promotion of occasions in which the indigenous groups may exchange experiences
and information with other communities, research centers and organizations;.
Activités:
The Centro de Trabalho Indigenista works with the promotion and protection of
indigenous peoples' rights. These include territory, health, education and cultural rights.
We understand that these domains are not segregated, eventhough the Brazilian State
frequently separates them in different policies and agencies. Therefore, in working with
the indigenous for the recognition of their land and the preservation of its natural
resources, we are better able to work towards the promotion, transmission and
protection of their cultural heritage. We have aquired experience in the domain of
intangible cultural heritage, working with various indigenous groups over the last thirty
years. Currently, we are working with the Guarani people in a large project of register
and safe-guard of their intangible heritage. The project is developled in cooperation with
the Brazilian official agency responsible for intangible state policies (Insituto do
Patrimonio Hist6rico e Artistico Nacional) and the Spanish International Cooperation
Agency (AECI). We are researching vast documentation concerning the Guarani in all
public archives in the south and southeast regions of Brazil, aiming at producing the
most complete reference material available, so that the indigenous people, researchers,
government workers and policy makers and other people interested in learning more
about the Guarani and their culture or in promoting actions in colaboration with the
Guarani can have access to this information. This reference material includes, books,
reports, academic research, maps, fotographs, and audio visual registers from the
nineteenth century to present day. We are also working with the Guarani to identify the
aspects of their intangible heritage which they endeavor to preserve, protect and
transmit to future generations and are creating the means for this to be accomplished in
a long-term plan. This endeavor to affirm Guarani culture also includes the awareness of
the non-indigenous people who surround their communities and non-indigenous society
in general. Through the production of materials which contribute with this awareness, we
are hoping to promote better relations and understanding among these groups.
Coopération:
The Centro de Trabalho Indigensita has worked with indigenous communities for the last
thirty years. We have worked in collaboration with the members of various indigenous
groups, so that the indigenous may assume greater control over interventions that affect
their communities and gain greater political and economic autonomy. We recognize that
for this to be accomplished it is necessary that the indigenous have a good understanding of their rights and the means by which they can guarantee respect for
these rights. On the other hand, it is of fundamental importance that we acknowledge
each indigenous group's specific forms of political, social and cultural organization and
help governmental and non-governmental agents to better understand these forms and
respect them. In recognizing these aspects, we are able to develop more effective
actions, in which the indigenous people are protagonists.

Date de création: 1982
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Date de création: 1992
Budget: U.S.$22598
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Burkina Faso, Équateur, Jamaïque, Madagascar, Maroc, Uruguay, Venezuela (République bolivarienne du)

Objectifs:
Le Centre UNESCO de Saint Sébastien s’attache de promouvoir la diffusion des idéaux de l’UNESCO à travers de la éducation internationale et l’encouragement de recherches éducatives importantes pour l’Organisation, visant à assurer la viabilité du patrimoine culturel immatériel, y compris la transmission, essentiellement par l'éducation non formelle et à distance. L’élaboration des matériaux didactiques pour l’éducation en matière de droits de l’homme et la promotion des valeurs universelles et de l’éducation interculturelle, surtout, à travers du Cours à Distance pour la Formation d’Animateurs UNESCO. Les buts sont :
- Fournir les instruments de base orientés à améliorer la qualité de l'intervention des professionnels Animateurs UNESCO Experts en Développement dans les communautés.
- Promouvoir des espaces pour se préparer dans l'analyse des problèmes internationaux, contribuant ainsi à l'enrichissement de la diversité culturelle.
- Aider à prendre conscience des nouvelles caractéristiques mondiales, de la diversité des communautés humaines et de l'interdépendance des pays ainsi que des relations entre les cultures.
- Sensibiliser envers les causes et les conséquences des phénomènes sociopolitiques.
- Analyser des méthodes pour faire face aux défis humains tels que la survivance, le développement, la pauvreté, l'environnement et le patrimoine culturel.
- Concevoir des plans et des activités tendant à l'amélioration intégrale d'une qualité de la vie modeste et prospère des communautés humaines en prenant en considération les desseins et directrices de l'ONU et l'UNESCO.
- Favoriser la création d'un profil professionnel reconnu à niveau international.
Activités:
Les principaux activités et expérience du Centre UNESCO de Saint Sébastien en matière de sauvegarde du patrimoine culturel immatériel, sont la capacitacion et formation à travers du Cours d’Animateurs UNESCO. Ce cours poursuit :
La diffusion et transmision des objectifs de la Convention pour la sauvegarde du patrimoine culturel immatériel à travers de la formation en éducation internationale, droits de l’homme, éducation pour la paix, diversité culturelle, développement soutenable et la mise en oeuvre de programmes d’éducation de base non formelle conçus comme un moyen d’aider au développement des compétences nécessaires dans la vie quotidienne, contribuant ainsi à l’amélioration de la qualité de vie des populations. Le Centre UNESCO de Saint Sébastien travaille dans deux domaines prioritaires :
- Enseignement: Depuis 1993, le Centre organise le Cours à Distance pour la Formation d’Animateurs UNESCO (CDFAUN). A l’heure actuelle, le CDFAUN est implanté dans 75 pays, où plus de 1000 élèves reçoivent une formation de haut niveau et ce, exclusivement en accord avec les idéaux et les directives de l’UNESCO, à travers une éducation non formelle et à distance, aussi, pour la diffusion des objectifs de la Convention pour la sauvegarde du patrimoine immatériel. La première promotion d’Animateurs UNESCO est sortie du CDFAUN en 1995, au cours d’un acte qui s’est tenu au siège de l’UNESCO. En 2008 sortira la 14ª promotion.
- Recherche: L’une des finalités statutaires du Centre UNESCO de Saint Sébastien est la recherche scientifique. Une bibliothèque permet de disposer de ressources documentaires de première main sur des thèmes en rapport avec l’UNESCO. Les archives et les bases de données du Centre reçoivent des informations de dernière
heure provenant des endroits les plus divers du monde entier où opèrent des Animateurs UNESCO, engagés dans l’implantation et la diffusion des buts de l’UNESCO. Le Centre a publié de nombreux ouvrages de recherche sur l’UNESCO et a été invité comme rapporteur à des congrès nationaux et internationaux.
Principales activités récentes et reconnaissances
- 1994-2000: Le Centre UNESCO de Saint Sébastien signe 5 Contrats d'Honoraires avec la Secretariat de l'UNESCO
- 2004: Le Cours d’Animateurs UNESCO est appuyé par et 36 Etats Membres.
- 2006-2007 : Le Centre UNESCO de Saint Sébastien signe 7 Protocoles de Colaboration pour la diffussion des objectives du patrimoine culturel immatériel à travers du Cours d’Animateurs UNESCO avec les Commissions Nationales pour l’UNESCO de Equateur, Venezuela, Maroc, Burkina Faso, Jamaica, Uruguay et Madagascar.
- 2007 : Le Centre UNESCO de Saint Sébastien signe un Protocole de Colaboration avec le Bureau Internationale de l’Éducation de l’UNESCO à Genève pour la élaboration des matériaux didactiques pour l’éducation en matière de droits de l’homme et la promotion des valeurs universelles et de l’éducation interculturelle et des projects de
développement curriculaire.
Le Centre dispose d’un bureau ouvert au public et d’un personnel fixe et spécialisé dans l’enseignement international et la recherche scientifique. Il compte également sur la participation de collaborateurs dans le monde entier.
Coopération:
Le Centre UNESCO de Saint Sébastien maintient des contacts réguliers avec le Siège de l’UNESCO, avec les Délégations permanentes auprès de l’UNESCO, avec les commissions nationales pour l’UNESCO, et avec les bureaux et organismes dépendant de l’organisation et situés hors du Siège.
L'orientation et le contenu mondial des activités du Centre concordent avec les objectifs stratégiques de l'Organisation. C’est ainsi qu’en 1997, le Centre UNESCO de Saint Sébastien commence à réaliser une évaluation complète de son projet qui obtient le rang de thèse doctorale, afin d’identifier la tâche éducative de cet institut à l’égard des idéaux et des objectifs de l’UNESCO. Cette recherche a été publiée en 2003 sous le titre
La UNESCO en San Sebastián, après une évaluation académique universitaire qualifiée summa cum laude.
Grâce au Cours à Distance pour la Formation d’Animateurs UNESCO (CDFAUN), le Centre UNESCO de Saint Sébastien a obtenu l’élargissement de l’accès à l’éducation dans 75 pays, grâce à l’élaboration de stratégies globales et intégratrices en faveur des exclus. Ce qui s’est traduit par la mise en oeuvre de programmes d’éducation de base non formelle conçus comme un moyen d’aider au développement des compétences
nécessaires dans la vie quotidienne, contribuant ainsi à l’amélioration de la qualité de vie des populations.
Le Centre UNESCO de Saint Sébastien élabore des matériaux didactiques pour l’éducation en matière de droits de l’homme et la promotion des valeurs universelles et de l’éducation interculturelle par la mise en réseau de l'Association Mondiale des Professionnels Animateurs UNESCO (AMUPRAUN) et l’Organisation Ibéro-Américaine
des Associations UNESCO (ORIBAUN), composée d’Animateurs UNESCO diplômés auprès du CDFAUN, des écoles et la collaboration avec les associations d’enseignants et les organisations de jeunesse.
Depuis 1992, le Centre UNESCO de Saint Sébastien a signé cinq accords de coopération avec différentes Divisions de l’UNESCO dans le but d’améliorer la connaissance des valeurs universelles au moyen de méthodes éducatives non formelles grâce à des ateliers et des séminaires nationaux, régionaux et mondiaux.

Date de création: 2001
Domaine(s):

- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- Agriculture, culinary traditions

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Belgique

Objectifs:
Le Centre d'Histoire Agraire (Centrum Agrarische Geschiedenis - CAG) souhaite, avec toutes les personnes intéressées, étudier le passé de l'agriculture et de l'alimentation , le préserver et le rendre accessible au grand public, afin de donner à cet héritage la place qui lui revient dans la société et sa réelle signification actuelle. Il se veut un point d' appui indépendant pour les initiatives visant la préservation, la valorisation et l'accesibilité de l'héritage en matière d'agriculture, développement rural, préservation du paysage et alimentation.
Le Centre d'Histoire Agraire souhaite informer, éduquer et animer le public plus large possible, en se basant généralement sur l'actualité.
Activités:
Le Centre fonctionne comme un centre d' expertise dans ce domaine et regroupe des scientifiques des différentes disciplines (histoire, géographie historique, agronomie, sociologie, économie, ...)
Coopération:
The Centre for Agrarian History is being supported by the Catholic University of Leuven (Belgium), Cera, Boerenbond, VLAM and the Flemish Community.

Date de création: 1980
Budget: U.S.$900000
Domaine(s):

- social practices, rituals and festive events
- traditional craftsmanship
- traditional games

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Allemagne, Belgique, Danemark, Espagne, France, Italie, Pays-Bas, Portugal, Royaume-Uni de Grande-Bretagne et d'Irlande du Nord

Objectifs:
The Centre for Sport Culture (CSC, formerly Vlaamse Volkssport Centrale) - a non profit organisation - was established for the study, promotion and safeguarding of traditional sports and games. The roots of the CSC lie in an extensive research programme (Katholieke Universtiteit Leuven) on the history and the current situation of traditional games in Flanders (the Dutch speaking part of Belgium), started by prof. R Renson in 1973. The unexpected richness and variety of traditional games lead to the foundation of the CSC in order to promote this (endangered) sporting heritage and to get people acquainted (again) with the traditional games.

The mission of the CSC states that the CSC must be a centre of expertise in safeguarding the intangible heritage of the traditional and modern movement culture in vivo and in situ via identification, documentation, research, protection, handing down, revitalizing … on a national and international level.
To achieve this objective the CSC took over, partially, the research from the university and developed a range of initiatives (publications, library & documentation centre, exhibitions, tourist routes, conferences, lending services, …).

Gradually the CSC broadened its scope to a European and even a worldwide scale. On a European level the CSC carried out a lot of demonstrations of traditional games abroad and invited traditional games practitioners from many countries to Belgium for demonstrations and exchanges. In line with these activities, the CSC was among the founding members of the European Traditional Sports and Games Association (2001). The activities worldwide concern mainly research, publications, the gathering of documentation and exchange of information.

From 2000 onwards, the CSC committed itself, together with Sportmuseum Vlaanderen (Sports Museum Flanders) to realise the Sportimonium-project, a museum about the sports history of Flanders in its national and international context. Especially as traditional games are concerned, both the tangible (artefacts) and intangible (loan service, games park –see further) aspect of the sporting heritage is taken into account.

Activités:
The Centre for Sport Culture (CSC) has launched a variety of initiatives for safeguarding the tangible and intangible heritage of traditional games and sports:

Research
- In collaboration with the Katholieke Universiteit Leuven, the CSC carries out research on traditional games (inventory, evolution, organisational structure, ..) and supervises, as co-promotor, papers and theses (bachelor and master degree). For enquiries the centre calls upon the traditional sports federations for collaboration.
- the CSC organized the ‘Second European Seminar on Traditional Games’ (Leuven, 1990) on behalf of the Council of Europe.
- the CSC organised a symposion (Leuven, 2004) to present and discuss the results of its research project on the evolution of traditional games in Flanders 1982-2002.

Publications
- CSC was the editor of a series of 8 publications on traditional games (history, specific language, rules, dissemination, social aspects, …), 1980-1988
- CSC is editor of the journal ‘Sportimonium’ (history of sport, traditional games), 1980–up to now
- Staff members contributed about one hundred articles to many (inter)national reviews and books, 1980–up to now.

Documentation centre and library (open to the general public)
- ca. 2000 books on traditional games (worldwide)
- a series of periodicals
- archives

Artefacts
The CSC has gathered hundreds of artefacts and thousands of audiovisual documents related to traditional games (playing equipment, garment, photographs, posters, songs, interviews with the practitioners, footage …). This collection has been handed over to the Sportimonium in 2000. In this museum one of the sections is entirely dedicated to traditional games worldwide.

Promotion
- a large travelling exhibition ‘Traditional games in Flanders’ has been set up in about 15 cities (1980-1990) and smaller travelling exhibitions are available for schools, cultural and sport centres. A travelling exhibition ‘Traditional games in Europe’ is also available,
- organizing demonstrations/festivals and initiations of traditional games (in close cooperation with the practitioners),
- the CSC manages within the Sportimonium-project a park of traditional games (since 2005). The action and interaction inherent in this sort of heritage cannot be ‘stowed’ in the museum depot nor can it be experienced in a static exhibition. Therefore the visitors can get acquainted with the skills of a variety of traditional games which are still practised (locally) in Flanders.
- in the same line the CSC runs a series of loan services all over the country for traditional games in order to provide people with the equipment for practising at festivals, family feasts, school and youth movement activities,
- the games equipment for the above mentioned loan service is produced, based on the authentic examples, in the CSC’s own workshop.The CSC provides assistance in building/restoring traditional sports infrastructure.
- the Sportimonium mainly focuses on school classes (10-14 year) to teach them about sports heritage. Another important target group are the students physical education/sports (bachelor and master degree). As the future teachers and sport administrators they are invited to the Sportimonium in order to sensitize them and to get them acquainted with traditional games. They are therefore able to hand this down to the next generations in schools or by supporting the practitioners of traditional games, the bearers of intangible heritage, on regional/municipal level.

Counselling and support
- supporting festivals organized by the traditional games players
- helping clubs, federation and their individual members in research matters
- counselling associations or federations for candidatures for the Belgian list of elements of intangible heritage
- participation in (governmental) assessment committees (cultural matters)
- collaboration with Unesco (project on traditional games 1990, platform for traditional games worldwide 2006-2009).

Personnel: manager (1), research/fieldworker (1), administrator (1), workshop (3), library (2).
The staff of the CSC has almost 30 years experience in safeguarding traditional games. The staff members (3) have university degrees and have followed in the course of years many courses related to the safeguarding of (intangible) heritage. The CSC is in close contact with other organisations in the country taking care of popular culture in order to exchange experience.
The same goes for engagement in the international network of the European Association for Traditional Sports and Games, of which the CSC has been among the pioneers. Due to these constant contacts, on the one hand with the practitioners of traditional games and at the other hand with professionals working in the fields of culture, sport and tourism the personnel of the CSC has acquainted its competences.
The composition of the supervising CSC-General Assembly – a mix of university professors (sports history, sports sociology, ethnography, literature, …), directors/chairmen of (traditional) sports organisations, museum collaborators, directors of cultural institutions … guarantees a high standard quality

Coopération:
The CSC has established over the years good contacts with many practitioners and their clubs and federations. The CSC has been instrumental in helping the clubs to get in contact with each other and to found (if appropriate) federations of their own. This resulted in 1988 in the foundation of a confederation for traditional games (Vlaamse Traditionele Sporten vzw, VlaS) with the CSC as one of the founding members. This confederation grew steadily from 500 to 12.000 members and acts now as an umbrella organisation for 23 types of traditional games.
The CSC is member of the board of directors of VlaS and vice versa, firstly in order to be well informed about each other activities and initiatives, secondly to collaborate where appropriate.
While constructing the traditional games park, there has been close cooperation with practitioners in testing and adapting the facilities in full respect with the games while using – if possible - modern materials. The latter being important to make the ‘old fashioned’ games a little more attractive to young(er) people.
One of the CSC objectives is to make the bearers of the intangible heritage, i.e. the players themselves, aware of the importance and richness of their activities. This must lead to an enhanced self-consciousness towards heritage in order to hand it down and to defend it.
Important for the CSC remains, furthermore, exchange and collaboration with other organisations experienced in the domain of popular culture and in safeguarding intangible heritage.

Date de création: 1990
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- other

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- presentation des resultats aux professionnels et au grand public

Pays principaux d'activité:

Tchéquie

Objectifs:
Société ethnologique tchèque est une association professionnelle de haut niveau de
l'ethnologie tchèque. Il s'agit d'un regroupement indépendant et bénévole de
chercheurs, d'enseignants-chercheurs et de professionnels, d’étudiants en ethnologie et
d' adeptes de cette discipline travaillant dans des disciplines assimilées.
La mission fondamentale de la société consiste, des sa création, en la promotion du
développement multifactoriel de I'ethnologie. Des les premières années de son
existence, cette société était à I'origine du musée ethnologique national, pendant de
longues années, ses activités concentraient en elles la grande majorité des
développements ethnologiques sur Ie territoire actuel de la République tchèque. Elle
développe ses activités actuelles dans Ie domaine de la documentation et de la
recherche systématique en matière de formes historiques et actuelles d' expressions
immatérielles et matérielles de la culture populaire traditionnelle dans I' espace central
européen.
Fait partie intégrante de I'activité de la société une présentation des connaissances
concernant Ie patrimoine culturel destinée aux specialistes et au grand public: par
I'intermediaire de periodiques et publications (Ia revue Narodopisny vestnik [Bulletin
ethnologique]; publications occasionnelles; livres), de sites Internet, de conferences et
de seminaires, de formations methodologiques destinees aux collaborateurs exterieurs
en regions (reseau de correspondants) etc.
Les riches archives de la Societe contiennent de nombreuses references aux differentes
expressions de la culture populaire en Republique tcheque, elles sont utilisees de
fayon systematique par des professionnels, mais egalement par des adeptes de la
revitalisation de certains phenomenes en regions. Les informations des archives de la
Societe ethnologique tcheque sont regulierement publiees.
Dans Ie domaine de la culture imrnaterielle, nne des composantes de la Societe
developpe nne activite particulierement intense: il s'agit de la Commission des us et
coutumes populaires qui organise tous les deux ans une conference particulierement
prisee sur des sujets choisis dans Ie domaine de la culture intelectuelle et sociale (tels
que: culte et elements; droit de coutume; phenomene du don; coutumes de groupes
socio-professionnels; verdure dans la culture populaire etc.).
La Societe participe de fayon active ala mise en ceuvre du document gouvememental:
Conception d'nne prise en charge plus efficace de la culture populaire traditionnelle.
Activités:
A l'heure actuelle, la Societe ethnologique tcheque developpe ses activites d'une
part par l'intermediaire de ses membres individuels: collaborateurs directs ou
emerites d'eminentes institutions specialises en Republique tcheque (musees
nationaux, regionaux et specialises, instituts de I'Academie des sciences de la RT,
universites), ou de membres collectifs (15 institutions: musees nationaux,
regionaux et specialises, instituts de l'Academie des sciences de la RT, universites,
antennes de l'Institut national du patrimoine); une activite apart est developpee par
les collaborateurs exterieurs qui appartiennent au groupe d'enqueteurs amateurs a
I' echelle regionale.
Ces demieres annees, la Societe developpe notamment, sur une base reguliere,
l'activite de publication: elle publie notamment la deuxieme revue ethnologique
tcheque la plus ancienne, asavoir Ie Bulletin ethnologique. Cette revue, dotee d'un
comite de relecture, est publiee par un conseil de redaction de composition
intemationale et SOUllet des etudes aussi bien que des contributions relatives au
domaine du patrimoine culture! immateriel (Ie contenu, y compris les abstracts en
anglais sont disponibles a !'adresse suivante:
http://www.narodopisnaspolecnost.czlvestnik08.php). A cote du Bulletin
ethnologique, la Societe publie occasionnellement des tires a part, qui sont dans
une large mesure consacres it la presentation des connaissances dans Ie domaine de
la culture immaterielle.
Les professionnels apprecient egalement beaucoup les recueils de documents issus
des conferences organisees par la Commission des us et coutumes populaires qui
developpe son activite dans Ie cadre de la Societe ethnologique tcheque. Ces textes
sont dedies, de fayon ciblee, aux themes relatifs au patrimoine culturel immateriel.
Au cours des annees precedentes, la Societe a realise plusieurs projets
subventionnes, dont Ie projet Documenlation de stereotypes dans Ie regime
journalier des femmes au XX" siixle qui a permis de decouvrir de nombreuses
informations precieuses.
La Societe compte parmi ses membres des chercheurs chevronnes qui realisent des
enquetes menees sur Ie terrain, mais egalement des personnalites qui participent a
l'evaluation des recherches de terrain et leur mise en valeur en tant qu' elements
precieux pouvant servir it la revitalisation ou au soutien apporte aux expressions
immaterielles du patrimoine culturel (textes, images et films). Par ailleurs, les
membres de la Societe participent egalement a I' elaboration de documents
conceptuels (tels que la Conception d'une prise en charge plus efficace de la
culture populaire traditionnelle) en vue de reunir les conditions pour
I'identification et Ie maintien d'expressions vivantes de la culture immaterielle sur
Ie territoire de la RT.

Coopération:
appliquees a son activite professionnelle sont les pre-requis essentiels pour une
bonne renommee de la Societe ethnologique tcheque parmi Ie grand public ainsi
qu'aupres des depositaire de la tradition vivante sur Ie territoire tcheque. Les
memhres de la Societe ne participent pas uniquement a la documentation et aux
recherches concernant ces phenomenes, mais egalement a leur preservation et a leur
transmission, par exemple sous forme de participation aux structures
organisationnelles de la Societe, a travers des consultations techniques, par Ie travail
redactionnel et d' autres fayons encore.
Une approche differenciee et Ie respect des traditions appliquees aux enquetes
menees sur Ie terrain sont egalement mis en ceuvre par la Societe vis-a-vis de ses
collaborateurs exterieurs, les «correspondants ». II s'agit d'arnateurs sans formation
particuliere qui travaillent dans les regions et qui se sont rapproches de la Societe en
raison de leur interet pour les expressions locales et regionales de la culture
traditionnelle. La Societe leur offre une gestion methodologique ainsi que la
possibilite de publier leurs contributions. Une collaboration rnutuellement
avantageuse entre la composante professionnelle et non professionnelle de la Societe
porte egalement ses fruits permettant d'approfondir la connaissance du contexte local
et de la tradition par la biais de ces collahorateurs exterieurs ce qui se repercute
ensuite sur la qualite et la quantite des connaissances recueillies, exploitables ensuite
pour les activites de recherche et de vulgarisation.

Date de création: 2002
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- other
- Folklore dancing, music and singing

Mesure de sauvegarde:

- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- Cultural exchange

Pays principaux d'activité:

Bulgarie

Objectifs:
National section of CIOFF Bulgaria works for the safeguarding and dissemination of traditional culture. Through its activities the organization aims for the following main objectives:
- Development of the cultural exchange between the nations and popularization of the Bulgarian folklore in our country and abroad
- Co-operation in organizing international folklore festivals in our country and abroad
- support the activities of its members and those of non-governmental organizations, working in the areas of folklore and cultural heritage
- promote the intangible heritage from all over the world, through forms of expression such as dance, music, games, rituals, customs and other arts
- enrich the knowledge of the nations for the folklore wealth
- support and create conditions for active cultural exchange
- serve the cause of peace and non-violence through the implementation of the above objectives
- serve the objectives of UNESCO
Activités:
The enumerated in point 5 objectives of the organization are realized by:
- Placing invitations for participating in International Folklore Festivals to different Bulgarian folklore ensembles. The invitations are on CIOFF’s side or from other organizations;
- Investigation of possibilities for Bulgarian ensembles to visit countries preferred by them;
- Insurance of possibilities for mutual visiting of Bulgarian collectives and foreign groups;
- Regular organization of national reviews where the presentation and the artistic qualities of the ensembles from the country are evaluated. In the reviews participate more than 200 ensembles, the best of which are specified as “Representative ensembles of the National section of CIOFF”;
- Popularization of the Bulgarian folklore art by all legally permitted forms and resources;
- Providing of information about organized festivals of CIOFF, symposiums, conferences, seminars and other activities related with folklore and traditional arts;
- Formation of own informational data base concerning the professional and unprofessional folklore formations in Bulgaria;
- Realization of partnership, organizational and methodical co-operation to the Folklore festivals in Bulgaria. NS CIOFF Bulgaria organizes the International Folklore Festivals in Veliko Tarnovo and Sofia, co-operates in the organizing of the CIOFF festivals in Varna, Plovdiv, Dorkovo
- Maintenance of a web page on Internet
- Organization of annual meetings of the choreographers in Bulgaria. At those meetings the award “Golden yoke” is bestowed for entire contribution to the development of Bulgarian folklore and its popularization;
- Participating in the celebrations of national feast with different projects.
Coopération:
All our work is related with different folklore ensembles, choreographers, musicologists and people who make efforts to revive Bulgarian traditions and folklore which nowadays are put aside.
At the National reviews our jury of specialists meets more than 200 collectives, evaluates their qualities and their art. The Section communicates with those groups as to organize participation for them in different Festivals and Folklore events all over the world. We assist concerts and presentations of those ensembles.
For better communication with all those collectives from different parts in Bulgaria the section collaborates with 24 choreographers who are responsible for particular regions of the country. Meetings with those coordinators are organized frequently and any needed and important information is given to them.
More than 150 choreographers from the country take part in the annually organized seminars of the choreographers in Bulgaria. At those events are discussed different problems related with the folklore and its popularization.
In many of our activities we co-operate with the Ministry of Culture, with the Union of the cultural clubs in Bulgaria, and with different organizations working in the cultural domain. During the organization of the Festivals in Sofia and Veliko Tarnovo we co-operate with a lot of people who have experience in the folklore sphere in order to choose groups of a great quality fot the Festivals and to present them our traditions in best way.

Date de création: 1954
Domaine(s):

- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

France

Objectifs:
Le Comité Colbert est une association dite "loi 1901" fondée en 1954 à l'initiative de
Jean-Jacques Guerlain afin de préserver et valoriser "l'art de vivre à la Française" en
France et sur la scène internationale. Il rassemble 69 maisons de luxe selon un
processus de cooptation selon trois critères:
- L'excellence de ses savoir-faire et leur caractère identitaires,les inscrivant dans un
patrimoine culturel national;
- Sa créativité, seul garant de la pérennité de ces savoir-faire par leur inscription dans la
modernité
- Sa notoriété internationale qui permet au luxe français de faire la démonstration l'ooportunité que constitue la sauvegarde du Patrimoine Culturel Immatériel en matière
de succès écoomique d'un pays.
La richesse du Comité Colbert tient à la .diversité des métiers qu'il rassemble, monde. Le Comité Colbert peut se flatter de réunir dix catégories de métiers différents,
qui rassemblent plus de cent trente métiers et comptent 65 Meilleurs Ouvriers 8 maîtres d'art. Cette diversité fait de lui le représentant par excellence la culture de l'identité françaises, un acteur majeur en France de la valorisation et de la
transmission du patrimoine immatériel de savoir-faire et le symbole de l'art de à française tant vanté à travers le monde.
Les maisons joaillières de la Vendôme acte par le biais du Comité Colbert qui les réunit. L'adhésion à ce Comité, créer un réseau actif, dépit des concurrences économiques, à la promotion de leur métier et de Cet implication de ces maisons défense leur immatériel. Fondée sur le
libre consentement avec la possibilité de se désengager, le Comité entreprises libres dont les présidents votent décision constituées à cette fin. Les membres de la commission Métiers Humaines et celle des Culturelles Internationales réunissent très régulièrement et mettent en place des actions autour du immatériel.

Depuis sa création le comité Colbert a eu à coeur, dans l'esprit de la Convention de l'UNESCO de préserver, transmettre et valoriser les savoir-faire exceptionnels des artisans de ses maisons. conscient que ce patrimoine immatériel français ne devait pas disparaître il a mené et mène de nombreuses actions de sensibilisation auprès des jeunes afin d'assurer une relève pour ces métiers d'art.

Date de création: 1966
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- ICH associated with natural and cultural landscapes and the spaces and places that may be essential for the inter-generational sustainability of intangible heritage domains

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- protection of places, sites or landscapes in order to ensure conservation of ICH values; recognition of traditional practices and systems of conservation (often in themselves important aspects of ICH)

Objectifs:
ICOMOS is an association of over 9 800 cultural heritage professionals present in over 100 countries throughout the world, working for the conservation and protection of monuments and sites – the only global non-government organisation of its kind. It benefits from the cross-disciplinary exchange of its members – architects, archaeologists, art historians, engineers, historians, planners, who foster improved heritage conservation standards and techniques for all forms of cultural properties: buildings, historic towns, cultural landscapes, archaeological sites, sites having intangible values, etc. ICOMOS is officially recognized as an advisory body to UNESCO, actively contributing to the World Heritage Committee and taking part in the implementation of the World Heritage Convention. It also runs 28 specialised International Scientific Committees on a variety of subjects.
One of these is the International Committee on Intangible Cultural Heritage which, within the mandate of ICOMOS as an organisation concerned with the conservation of monuments and sites, specialises in the protection of sites that have intangible values and in so doing the conservation of the intangible that gives value to certain monuments and sites.
ICOMOS has six principal objectives:
To bring together conservation specialists from around the world and serve as a forum for professional dialogue and exchange;
To collect, evaluate and diffuse information on conservation principles, techniques and policies;
To co-operate with national and international authorities on the establishment of documentation centres specialising in conservation;
To work for the adoption and implementation of international conventions on the conservation and enhancement of architectural heritage;
To participate in the organisation of training programs for conservation specialists on a world wide scale;
To put the expertise of qualified professionals and specialists at the service of the international community.

Activités:
ICOMOS’ activities in the area of Intangible Cultural Heritage (ICH) have been directly prompted by the preamble to the ICH Convention: "Considering the deep-seated interdependence between the intangible cultural heritage and the tangible cultural and natural heritage".
ICOMOS members, who are specialists in the management of sites with intangible cultural heritage associations, were part of their national delegations in the drafting process of the ICH Convention.
The core business of ICOMOS is the conservation of monuments and sites and the development of standards of professional practice and networks. ICH is an established area of professional specialisation within ICOMOS. Our focus is how appropriate and adequate protection of sites can strengthen intangible heritage practices; and how intangible values such as traditional knowledge systems, crafts and practices contribute to the sustainability of cultural places and landscapes.
Key activities in this area:
Debate around ICH and its associations with monuments and sites. ICH was the focus of the 2003 ICOMOS General Assembly Symposium at Victoria Falls on the theme, ‘Place Memory and Meaning’. In 2008, ICH was again the focus of the ICOMOS General Assembly Symposium in Quebec, under the theme ‘The Spirit of Place’.
ICOMOS Mexico and ICICH conference ‘Tangible and Intangible Heritage as Inseparable Categories of Cultural Heritage’ 1-4 October 2013 in Coatepec in Veracruz State. The ‘Carta Coatepec’ was issued with principles espousing intangible heritage considered in all heritage place activity.
ICOMOS-UK’s first ICH conference: ‘Intangible Cultural Heritage in UK: promoting and safeguarding our diverse living cultures’ 20 September 2014, London, UK
In 2014, ICICH hosted a colloquium in Florence in conjunction with the ICOMOS General Assembly in Florence which brought together members and researchers in ICH related fields.
In 2015, ICICH convened the ICOMOS Scientific Symposium held in Fukuoka, Japan: ‘Risks to Identity: Loss of Traditions and Collective Memory'.
ICICH members have been active in the Culture Nature Journey, a joint ICOMOS/IUCN improving practice initiative, bringing together researchers and practitioners from both organisations to explore and document the entanglement of Natural and Cultural Values. ICH features strongly in regards to the strengthening of traditional practices and the benefits for sustainability and indigenous practices associated with cultural landscapes.
Development of national and international standards of professional intangible cultural heritage practice in relation to sites and landscapes. The ‘Kimberley Declaration’ of 2003 was developed as an initial response and is followed by the development of an international charter on the conservation of sites with ICH value. Several ICOMOS National Committees have incorporated ICH into national charters for best practice in heritage conservation, e.g. ICOMOS Australia’s Burra Charter.
The establishment of a network of specialists in ICH values. In 2005, ICOMOS formed its International Committee on Intangible Cultural Heritage (ICICH). Members are actively involved in research and documentation activities under the 2003 Convention; they share expertise and activate to promote the convention. Several ICOMOS National Committees have established National Scientific Committees around this issue, e.g. UK, Australia and Mexico. Our members actively participate in national and international conferences and publish extensively on this subject through scholarly books and peer reviewed journals.
The evaluation of sites with ICH values both as part of ICOMOS’ duties to the World Heritage Committee and as a specialist body that is regularly consulted by governments and others concerned with such sites, at local, national or international level.

Coopération:
ICOMOS is an organisation made up principally of individual practitioners who work in heritage conservation. The members of its International Committee on Intangible Cultural Heritage work daily with community custodians and practitioners of ICH specifically around the following:
Documentation of ICH.
Perpetuation and transmission of the ICH aspects of a site.
Strengthening of ICH practices.
Identification of conservation measures needed on a site to ensure continuation of associated cultural practices
Recognition and strengthening of traditional land management systems as a means of conserving a site and associated ICH practices.
Recognition by national and conservation authorities of traditional and/or communal custodians as appropriate managers and protectors/conservators of sites
Management of outside impacts on sites and associated ICH practices and measures most appropriate to governing these.
Training of community members in conventional heritage conservation practice, tourism management, etc. in order to retain community control of valuable sites and/or ensure appropriate integration of contemporary conservation methods with traditional management systems.
ICOMOS members routinely work with issues associated with community heritage and international standards and governance systems for conservation of heritage, both tangible and intangible.
ICOMOS was an accredited NGO of the 2003 Convention (Ref NGO-90073) from 2008 (recommended for accreditation) until 2015 (accreditation was withdrawn due to the absence of a written quadrennial report). Throughout its accreditation, ICOMOS made a concerted effort to attend meetings of the General Assembly of States Parties and the Intergovernmental Committee, despite difficulties of financing attendance costs (our representatives must pay their own way as we are unable to financially support them): 4th General Assembly (2012, Paris) attended by Mr Toshiyuki Kono and 7th Intergovernmental Committee (2012, Paris) attended by Ms Celia Martinez Yanez and Mr Hervé Barré; 5th General Assembly (2014, Paris) attended by Ms Clara Arokiasamy and the 9th Intergovernmental Committee (2014, Paris) attended by Ms Ana Lucia Gonzales. The ICOMOS International Secretariat also responded rapidly on several occasions to the UNESCO Convention Secretariat when it requested names of experts.

Date de création: 1946
Domaine(s):

- other
- pratiques muséales qui concernent la promotion et la sauvegarde du Patrimoine culturel immatériel; réflexion sur le rôle que peuvent jouer les musées dans ce domaine

Mesure de sauvegarde:

- promotion, enhancement
- transmission, (non-)formal education
- other
- formation aux bonnes pratiques de promotion et de sauvegarde

Objectifs:
Le Conseil international des musées (ICOM) est une organisation créée par et pour les professionnels des musées. Son réseau unique rassemble plus de 36.000 musées et professionnels des musées qui incarnent la communauté muséale mondiale. C'est un forum diplomatique qui rassemble des experts issus de 138 pays afin de répondre de façon commune aux défis des musées dans le monde. L'ICOM occupe un rôle de premier plan en matière de déontologie, notamment grâce à son "Code de déontologie pour les musées" mondialement reconnu et diffusé. L'ICOM est aussi un des membres fondateurs du Comité International du Bouclier Bleu. Ses trois langues officielles de travail sont l'anglais, le français et l'espagnol.

Activités:
L'ICOM s'engage dans la protection du patrimoine immatériel, notamment par le biais de son Code de Déontologie pour les musées dans lequel (art 7.2) I'ICOM reconnait un certain nombre de législations internationales comme une base d'interprétation du Code, incluant la Convention pour la sauvegarde du patrimoine immatériel de 2003. Notion est aussi faite du PCI dans la définition du musée qui "expose et transmet le patrimoine matériel et immatériel de l'humanité". Selon les statuts de l’organisation, "toutes les personnes souhaitant devenir Membre de I'ICOM devront indiquer à I'ICOM qu'elles acceptent et respecteront les Codes de déontologie de I'ICOM pour les Musées".
En 2002, lors de la septième Assemblée régionale de l'Organisation Asie Pacifique de I'ICOM, la Charte de Shanghai est née, à la suite de l'atelier sur les musées et le patrimoine immatériel. Les musées y sont considérés comme des piliers de la protection du patrimoine de l'humanité, y compris immatériel dans la mesure où ils sont des "promoteurs de partenariats constructifs". La sauvegarde du PCI est vue comme un moteur de cohésion et de paix sociale.
L'engagement de I'ICOM dans la défense du Patrimoine Culturel lmmatériel trouve un écho particulièrement important et symbolique dans l'organisation de la vingt et unième Conférence générale à Séoul, ayant pour thème "Musées et patrimoine immatériel". Il existe une véritable volonté de la part de I'ICOM de promouvoir le rôle que peuvent et doivent avoir les musées dans le soutien à la sauvegarde de ce patrimoine intangible particulièrement fragile. La Conférence a été une occasion pour souligner le rôle du PCI dans la défense de la diversité culturelle. Elle a rassemblé 1462 participants venus de plus de 100 pays. Eveiller les consciences au sujet de l'importance du PCI et du rôle actif que I'ICOM peut avoir fut au cœur des différentes discussions. Des problématiques extrêmement importantes ont été abordée, notamment le rôle de la Convention de 2003, le lien possible entre PCI et musées, l'importance de ce patrimoine dans la sauvegarde de l'esprit humain en général.
Le journal "lnternational Journal of Intangible Cultural Heritage" est publié par le National Folk Museum of Korea depuis 2006. Il est le résultat d'une collaboration avec I'ICOM à la suite de la Conférence générale de Séoul. Il s'agit d'un journal universitaire et professionnel dédié à la promotion de la compréhension de tous les aspects du patrimoine culturel immatériel dans le monde. Le président de I'ICOM est membre du Comité Consultatif.
L'ICOM travaille actuellement à la formation d'un Groupe international pour le Patrimoine Culturel lmmatériel. La réflexion menée par le groupe aboutira à la rédaction d'orientations générales sur le rôle que peuvent avoir les musées dans ce domaine. Les musées ont une place dans la documentation de ce patrimoine, sa préservation, sa valorisation et sa transmission. La réflexion sur la muséologie relative au PCI est une des mutations fondamentales du débat au cours du dernier siècle. Les musées sont en mesure de faire usage de leur mandat, de leurs infrastructures et de leurs ressources pour contribuer à la sauvegarde de ce patrimoine. La création et diffusion d'un instrument officiel à la fois conceptuel et technique apparait comme une mission de première nécessité pour permettre d'avancer dans la collaboration entre les communautés détentrices du patrimoine et les musées.
L'ICOM est une organisation très active dans le domaine de la formation, et le PCI fait dorénavant partie des trois thèmes possibles pour ces activités de renforcement des compétences des professionnels des musées, venant s'ajouter aux formations en relation avec les compétences fondamentales en muséologie, et la protection du patrimoine culturel. Les formations sur le thème du PCI ont trait à l’implémentation de la Convention, les pratiques d'inventaires, le management muséal en lien avec les pratiques du PCI.
Depuis 2016, I'ICOM participe au projet EU-lAC-MUSEUMS, qui porte sur le rôle des musées communautaires dans le développement durable.

Coopération:
A travers les activités (conférences, ateliers, publications, formations, programmes) de ses 119 Comités nationaux et ses 30 Comités internationaux, mais aussi à travers celles de ses 36.000 membres institutionnels et individuels, I'ICOM communique et coopère de façon régulière avec les communautés, les groupes et les practiciens du patrimoine culture! immatériel. Dans certains cas, les communautés sont directement impliquées dans les activités quotidiennes du musée et dans les relations avec les publics. C'est particulièrement le cas pour les musées d'ethnographie, les musées d'arts décoratifs, ou encore dans les musées de la musique.
Certaines institutions membres de I'ICOM, comme le Te Papa Museum, sont internationalement reconnues pour leur savoir-faire et leurs expériences innovantes en termes d'inclusion et de collaboration avec les communautés et les praticiens du PCI.
Chaque année, le 18 mai, la journée internationale des musées, de nombreux musées hébergeant des collections issues ou liées au PCI et à ses communautés et praticiens organisent des évènements et opérations spéciales avec ces communautés et individus. Qu'il s'agisse de spectacles de théâtre ou d'opéra organisés dans le musée, de performances artistiques, ou encore d'ateliers d'artisanat, toutes ces activités sont organisées en coopération et en harmonie avec les communautés locales et les individus, et dans le respect des principes déontologiques de I'ICOM et de la Convention de 2003.
Par ailleurs, I'ICOM fait partie du think-tank du projet "Intangible cultural heritage & Museums Project (IMP)" coordonné par Tapis Plein, une ONG accréditée auprès du Comité. Le projet, qui regroupe plusieurs organisations européennes expertes des questions de PCI, vise notamment à aider au développement des capacités des professionnels et à développer les échanges interdisciplinaires à l'international entre les professionnels des musées et du PCI, dans l'esprit de la Convention de 2003.
Enfin, à travers sa participation au projet EU-LAC-MUSEUMS inaugure en Novembre 2016, le Secrétariat international de I'ICOM participe directement à un projet dont certaines des composantes sont menées en étroite collaboration avec les communautés en question.

Date de création: 1970
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- culinary traditions, traditional games

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
Par son action depuis 1970, le CIOFF vise les objectifs suivants:
- Promouvoir le patrimoine immatériel à travers les formes d'expression telles que la danse, la musique, les jeux, les rites, les coutumes, l'artisanat, les costumes et la cuisine traditionnelle,
- Servir les objectifs de l'UNESCO dans le domaine de la culture traditionnelle,
- Soutenir les activités de ses membres ainsi que celles des organisations nongouvernementales et toutes les autres institutions qui oeuvrent dans le domaine du patrimoine culturel,
- Oeuvrer, en réalisant ces objectifs au niveau international, pour une culture de la paix et de la non-violence.

Additional information:

Les objectifs de notre organisation sont contenus dans une charte relative à notre politique qui précise que le but est de promouvoir le patrimoine culturel immatériel en accord avec les recommandations de l'UNESCO
Objectifs généraux:
• promouvoir le patrimoine culturel immatériel dans les domaines suivants:
diffusion du patrimoine culturel immatériel dans ses formes d'expression comme:
• musique, danse, jeux, rites, coutumes et autres arts
Objectifs spécifiques
Les objectifs premiers du CIOFF sont:
a) la diffusion du patrimoine culturel immatériel par:
• l'encouragement à l'organisation d'événements
• l'encouragement à une plus large information au sujet du patrimoine culturel immatériel
• l'encouragement à l'utilisation des connaissances des folkloristes et des autres personnes ayant des compétences dans le domaine du patrimoine culturel immatériel
• le soutien aux services existants de production de matériaux éducatifs
• l'aide aux rencontres et aux échanges entre individus, groupes et institutions
b) la Coopération internationale par:
• la promotion du dialogue et du travail en réseaux entre les membres du CIOFF ;
• la coopération avec les associations internationales et régionales
• la coopération dans le domaine de la connaissance, la diffusion et la protection du patrimoine culturel immatériel;
• la coopération avec d'autres organisations pour établir un réseau international d'information
En complément le CIOFF apportera sa coopération dans les domaines suivants:
• Identification du patrimoine culturel immatériel
• Conservation du patrimoine culturel immatériel
• Préservation du patrimoine culturel immatériel
Activités:
Activités annuelles :
- plus de 300 festivals de folklore internationaux, dont 24 festivals d'enfants,
- échanges internationaux d'ensembles traditionnels représentant plus de 90.000 artistes du monde entier, .
-1500 expositions d'art et d'artisanat traditionnels,
- 5000 ateliers de danse, musique, chant et artis@nattraditionnels,
- séminaires, colloques et conférences,
- Folkloriada Mondiale du CIOFF (tous les 4 ans),
- Participation aux programmes de l'UNESCO,
- Publications: calendrier des manifestations, bulletin d'information, site, rapport annuel,
- Congrès Mondial et Assemblée Généra,l
- Collaboration avec les organismes nationaux, internationaux et autres organisations non-gouvernementales.
Rôle culturel: promotion du Patrimoine Culturel Immatériel, préservation des identités culturelles, transmission de l'héritage culturel aux enfants, collaboration culturelle internationale pour une culture de paix et de non-violence, création d'un répertoire des Folklore ...
Role educatif:
5000 ateliers organisés chaque année (2000 ateliers danses, 1000 ateliers musique, 2000 ateliers artisanat), chaque année ce sont plus de 320.000 pni':::ln't<:: LiJV.\.JVV jeulnes et 210.000 adultes qui bénéficient de ces ateliers de 9 d'Euros par an en billetterie, 17 millions d'Euros de financement international versé chaque année aux festivals folkloriques internationaux, 10,2 mililons d'Euros de contribution annuelle globale des parrainages et sponsors des festivals folkloriques internationaux...
Aspect touristique: 15 millions de spectateurs par an, 5,4 millions de personnes voyagent sur de longues distances, 3..000 groupes internationaux voyagent dans le monde entier (soit 90.000 artistes), voyages des représentants nationaux dans les conférences, séminaires, congrès...
Le mouvement des jeunes: en 2000, le GIOFF a commencé à faire participer des jeunes à son administration en créant un groupe de travail « jeunes ». Depuis, le nombre de jeunes participant aux travaux des différentes entités du CIOFF est en constante augmentation. Son but est le développement de programmes et d'activités
prenant en compte les besoins spécifiques des jeunes.. Depuis 2003, le Comité de Coordination Jeunes en tant que structure permanente a remplacé le groupe de travail.

Additional information

Par ses structures composées d'un Bureau exécutif, un conseil de 15 membres des commissions s'occupant de l'aspect légal, culturel et des festivals des comités de travail couvrant les activités du travail avec les enfants, d'éducation et enfin un groupe de travail sur l'évènement phare de notre organisation: les Folkloriada, le
CIOFF® rassemble les conditions pour être:
UN RESEAU DE DIFFUSION:
Grâce à un réseau de 250 festivals répartis dans les cinq continents, le CIOFF® contribue à une diffusion du patrimoine culturel immatériel dans plus de 90 pays.
Conformément au guide d'organisation établi, le respect des différences et des droits humains sont spécialement mis en valeur.
L'encouragement à l'organisation de tels évènements a fait l'objet d'une promotion particulière par l'établissement d'un calendrier annuel d'informations sur ces festivals.
UN RESEAU DE COMPETENCES:
L'organisation pyramidale du CIOFF® permet de réunir diverses catégories de membres. Tant les organisations de festivals que les ensembles de folklore et les instituts s'occupant de patrimoine culturel immatériel réunissent les compétences pour mener à bien des actions et des recherches dans les domaines de l'identification, la conservation et la préservation du patrimoine culturel immatériel.
UN RESEAU DE COOPERATION INTERNATIONALE:
En se basant sur les principes de : la valeur du patrimoine culturel, l'égalité entre les patrimoines, la compréhension entre les peuples et le respect du patrimoine, le CIOFF® est devenu une plate forme d'échange.
Il se fait le relais des programmes initiés para l'UNESCO et les Nations Unies. Par ce réseau de coopération, il est à même de travailler et de collaborer avec des ONG actives tant sur le plan du patrimoine culturel immatériel que de la diversité culturelle. Il diffuse les slogans et les actions dans le domaine de la culture de paix et l'action
pour les peuples autochtones auprès de l'audience des festivals et des sections nations qui réunissent des millions de personnes.

Additional information:

Les sections nationales du CIOFF® doivent être démocratiques, ouvertes et représentatives. Par ce fait les membres constituant une section nationale regroupent les associations et les institutions qui oeuvrent au niveau national pour le patrimoine culturel immatériel.

Nous noterons plus spécialement quelques actions qui ont été menées :

En Argentine : "la Banco de Memoria" :
Le but de ce programme étant d'établir un système de banque d'information qui permet de préserver, de conserver, d'enregistrer et de mettre à disposition du public la documentation sur le patrimoine culturel vivant du pays.

Au Paraguay : " Recherche sur le peuple Guarani"
La Section nationale du Paraguay par M. Mario Garcia Siani mène des enquêtes et des recherches pour sauvegarder et promouvoir le patrimoine culturel immatériel de cette minorité

En Suisse : "Répertoire des porteurs de traditions"

La Section nationale suisse a mis sur pied un répertoire afin de sauvegarder non seulement les traditions mais également les porteurs de ces traditions.

Ces quelques exemples montrent la diversité des travaux et des actions de coopération menées avec les communautés pratiquant le patrimoine culturel immatériel. Les 90 membres du CIOFF® récoltent une masse d'informations qui sont échangées entre les membres au niveau international.
Coopération:
Le CIOFF s'est impliqué massivement sur la préparation de la recommandation sur la sauvegarde de la culture traditionnelle et populaire, son évaluation, et plus récemment sur l'élaboration et la mise en oeuvre de la Convention pour la sauvegarde du Patrimoine Culturel Immatériel.
Présence du GIOFF à toutes les réunions du comité et Assemblée Générale UNESCO.
Implication de plusieurs de ses sections nationales au sein de leur Commission Nationale UNESCO.
De même, ,le CIOFF s'implique dans le cadre de la Convention pour la Diversité des Expressions Culturelles en participant comme observateur aux réunions du Comité et Assemblée Générale.
Le CIOFF s'est vu attribuer des Programmes de Participation en direction du Dialogue Interculturel : "La Route des Esclaves" : Afrique, Caraïbes et t\mérique Latine et en direction des jeunes (jeux traditionnels).
Le CIOFF apporte sa contribution!ors des consultations du Directeur Général.
Membre du Comité de Liaison des ONG, nous avons participé à toutes les conférences internationales des ONG.
CIOFF est également expert auprès du programme « Creative Cities Network».

Additional information

Le CIOFF®, ONG opérationnelle réalise à travers des activités les objectifs énoncés et par ce fait initie des coopérations et répond à des demandes de mise en commun des actions avec diverses institutions tant nationales qu'internationales:
SON RESEAU DE DIFFUSION:
L'organisation d'évènements, festivals, conférences et forum contribuent à une plus large information sur l'héritage culturel immatériel et amène le CIOFF® à faire appel aux connaissances des folkloristes et institutions qui sont membres des réseaux suivants:
• Réseau des sections nationales
• Réseau des festivals
• Réseau des ensembles folkloriques
• Réseau des relations culturelles
SON RESEAU DE COMPETENCES:
A l'occasion de chaque Congrès mondial le CIOFF® réalise depuis de nombres années une conférence culturelle et invite des institutions ou d'autres ONG à présenter leurs réflexions sur le sujet proposé. Durant ces dernières années le CIOFF® a fait appel aux personnes représentant les partenaires suivants:
2003 : La culture traditionnelle un moyen de Communication
M. Serge Monnier - Philosophe, Puy en Velay
M. Diégo Gradis - Tradition pour demain
2004 : La Convention pour la sauvegarde du patrimoine culturel immatériel
M. Gerard Cosane - l'Eco Musée idéal
M. John Gall
2005 : La sauvegarde de la culture traditionnelle des peuples indigènes
Dr Zirousile Fante - Centre for San people in Pretoria
M. Mario Garcia Sani - Institut pour le Peuple Guarani
2006 : De tradition à création
Mrs. Tsenka Ivanova and Dr. Svetlozar Vlaykov - Intern.Centre for Bulgarian Studies
2007 Le dialogue interculturel au sein du CIOFF®
Olga Najera-Ramirez - University of California Santa Cruz, CA
Miguel Velez Arceo - University of Veracruzana Mexico
2008 : Le CIOFF à la porte de l'Orient
Prof. Fikret Degerli - Folklore Conservatory of University of Istanbul
M. Ali Cevaz - Researcher at University of Istanbul
SON RESEAU DE COOPERATION INTERNATIONALE:
Le CIOFF® soit par des accords de coopération soit par le statut de relations formelles de consultation auprès de l'UNESCO entretien des relations continues ou réalise des travaux de coopération avec les institutions suivantes:
• Comité de liaison des ONG à l'UNESCO
• CIM Comité international de la Musique
• 10V - International Organisation of Folk Art
• Tradition pour demain
• Isca - International Sport and Culture Association
• ICTM - International Council for traditional music

additional information2:

Le CIOFF®, ONG opérationnelle initie des coopérations et répond à des demandes de mise en commun des actions avec diverses institutions tant nationales qu'internationales:

SON RESEAU DE DIFFUSION :
A travers ses activités, le CIOFF® fait appel et collabore avec :
•Réseau des sections nationales – 90 pays
•Réseau des festivals – 250 festivals
•Réseau des ensembles folkloriques – 3500 groupes
•Réseau des relations culturelles

SON RESEAU DE COMPETENCES : Le CIOFF® réalise chaque année une conférence culturelle en collaboration avec des institutions suivant les thèmes choisis :

2003 : Conférence : La culture traditionnelle un moyen de Communication
M. Serge Monnier Philosophe, Puly en Velay
M. Diégo Gradis ONG Tradition pour demain
2004 : Conférence : La Convention pour la sauvegarde du patrimoine culturel immatériel
M. Gerard Cosane l'Eco Musée idéal
M. John Gall
2005 : Conférence : La sauvegarde de la culture traditionnelle des peuples indigènes
Dr Zirousile Fante Centre for San people in Pretoria
M. Mario Garcia Sani Institut pour le Peuple Guarani
2006 : Conférence : De tradition à création
Mrs. Tsenka Ivanova and Dr. Svetlozar Vlaykov – Intern.Centre for Bulgarian Studies
2007 Conférence : Le dialogue interculturel au sein du CIOFF®
Olga Nájera-Ramirez University of California Santa Cruz, CA
Miguel Velez Arceo University of Veracruzana Mexico
2008 : Conférence : Le CIOFF à la porte de l'Orient
Prof. Fikret Degerli Folklore Conservatory of University of Istanbul
M. Ali Cevaz Researcher at University of Istanbul

SON RESEAU DE COOPERATION INTERNATIONALE :
•Comité de liaison des ONG à l'UNESCO
•CIM Comité international de la Musique
•IOV – International Organisation of Folk Art
•ONG Tradition pour demain
•Isca – International Sport and Culture Association
•ICTM – International Council for traditional music

Additional information 3:

Réseau des festivals :
Plus de 250 festivals de Folklore Internationaux et nationaux constituent le réseau CIOFF® des festivals. Par le biais de ces rencontres, le CIOFF® affecte la vie sociale des gens et des communautés de par le monde, en encourageant la fraternité, le respect mutuel et la paix entre les peuples. 15 millions d'artistes, de bénévoles et de spectateurs répartis dans le monde entier, participent chaque années aux activités des festivals.
Dans le monde entier, plus de 300 communautés locales s'investissent pour aider à organiser et gérer les festivals CIOFF®.
Au cours de ces festivals des ateliers de danse, de musique et d'artisanat sont organisés afin de transmettre à un cercle plus large de personnes les valeurs et les savoirs du patrimoine culturel immatériel.
Les festivals invitent et font la promotion des peuples minoritaires et autochtones. Cette année 2010 par exemple, une tournée européenne de trois mois a été organisée pour un ensemble de la minorité Peuhl du Niger.
Réseau des ensembles folkloriques :
3000 groupes internationaux de danse et de musique folkloriques s'activent au sein du CIOFF®.
Leurs rôles sont divers :
• éducation et transmission de la culture traditionnelle aux jeunes et aux enfants à
travers une activité artistique
• promotion et diffusion du patrimoine culturel immatériel dans les festivals de
folklore
• mise en application des programmes pour la paix et la non-violence à travers
leurs activités d'artistes
Exemples d'activités :
Revitalisation des jeux traditionnels :
Programme de participation de l'UNESCO organisé en Amérique latine dans les écoles et les cours para-scolaires et en Europe dans les festivals sous la forme d'échange entre les divers pays invités.
De l'artisanat à la Scène :
Coopération avec les Communautés de ""Tschäggätä" porteurs de masques de carnaval du Loetschental - Valais - Suisse : une collaboration entre la Commission culturelle du CIOFF®,les porteurs de masques, les artisans sculptant les masques et les danseurs du groupe Zachéos pour la transposition scéniques.
Séminaire bisannuel de danses traditionnelles :
Au FIFO - Festival International Folklorique d'Octodure à Martigny, diffusion, promotion et transmission du patrimoine culturel immatériel des danseurs invités aux participants du séminaires.

Date de création: 1993
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Rôle de regroupement national et rôle conseil auprès du gouvernement.

Pays principaux d'activité:

Canada

Objectifs:
Mission:
Le Conseil québécois du patrimoine vivant a pour mission de voir à la sauvegarde, à la promotion et à la transmission du patrimoine vivant (ou patrimoine culturel immatériel) de la collectivité. Il vise à regrouper et à représenter les personnes et les organismes préoccupés par la préservation, la recherche et la mise en valeur du patrimoine vivant et à favoriser l’appropriation de ce riche héritage par la communauté.

Objectifs:
• Regrouper les personnes et les organismes engagés dans la préservation, la recherche et la mise en valeur du patrimoine vivant;
• Favoriser la représentativité des différentes régions, cultures, disciplines et secteurs d’interventions au sein du Conseil québécois du patrimoine vivant;
• Promouvoir la richesse et la diversité des valeurs humaines, culturelles, artistiques, sociales et économiques du patrimoine vivant à l’échelle locale, nationale et internationale;
• Encourager un processus de développement du patrimoine vivant du Québec en suscitant des activités de sauvegarde, de conservation, de documentation, de recherche, d’information, de concertation, de formation, d’appropriation, de diffusion, de mise en valeur et de transmission;
• Représenter et défendre les intérêts des personnes et des organismes dans la sauvegarde, la préservation et la mise en valeur du patrimoine vivant au Québec.
Activités:
Le Conseil québécois du patrimoine vivant (CQPV) a récemment organisé le colloque international « Les mesures de soutien au patrimoine immatériel : gouvernements, institutions et municipalités », qui s'est tenu dans la ville de Québec du 14 au 17 avril 2011, avec le soutien du secteur de la Culture de l’UNESCO. L'événement s'est déroulé sous la présidence d'honneur de Madame Christine St-Pierre, ministre de la Culture du Québec, et Monsieur Koïchiro Matsuura, ancien Directeur général de l'UNESCO, y agissait en qualité de conférencier d'honneur. Mme Cécile Duvelle était également présente comme conférencière invitée.
Le colloque a réuni divers acteurs et décideurs dans le domaine du patrimoine culturel immatériel, avec l’objectif de favoriser l’échange d’expertise internationale. Il s’agissait pour les participants de s’inspirer des meilleures pratiques en la matière et d’évaluer en quoi l’expérience de certains États ou de certaines municipalités pourrait être applicable ailleurs. Il s’agissait également de s’inspirer de cas régionaux concrets pour réfléchir à l’ensemble du processus de promotion et de mise en valeur des arts et pratiques culturelles de tradition orale. Des responsables gouvernementaux, des représentants d’association et des chercheurs des quatre coins du globe ont été conviés à cette rencontre.
Depuis l’entrée en vigueur de la Convention pour la sauvegarde du patrimoine culturel immatériel à l’UNESCO, plusieurs expériences se sont déroulées à travers le monde à dessein de favoriser le développement du patrimoine vivant. Diverses initiatives se sont vues renforcées grâce entre autres à du soutien gouvernemental, institutionnel ou municipal. Ce soutien a pris plusieurs formes selon les pays : lois sur le patrimoine immatériel, stratégies de développement, programmes de soutien, reconnaissance par des prix ou par des statuts officiels, cursus pédagogiques nationaux, collaborations municipales ou régionales avec des associations, création d’institutions administratives, de diffusion ou éducatives, réalisation d’inventaires ou de collectes ethnologiques, etc. Parallèlement à ces actions nationales, l’UNESCO a mis en place certaines mesures afin de concourir à la sauvegarde de certains traits du patrimoine immatériel mondial, notamment par sa Liste représentative et sa Liste de sauvegarde urgente. L’événement a été l’occasion de partager ces expériences.
Au Québec (Canada), la ministre de la Culture a déposé en février 2010 le projet de Loi sur le patrimoine culturel devant l’Assemblée nationale, qui s’inspire de la Convention pour la sauvegarde du patrimoine culturel immatériel. Par cette loi, le gouvernement du Québec entend désigner officiellement certains éléments du patrimoine immatériel national et s’engagera à soutenir ce patrimoine spécifique transmis de génération en génération. Les municipalités se verront également confier le pouvoir d’octroyer un statut de reconnaissance à des éléments du patrimoine immatériel local. À titre de regroupement national en patrimoine immatériel, le Conseil québécois du patrimoine vivant incarnera un interlocuteur privilégié entre les forces vives du milieu culturel et les diverses instances élues.
Le colloque international sur « Les mesures de soutien au patrimoine immatériel » a été l’occasion de conférences et de tables-rondes à la fois inspirantes et instructives. Des conférenciers de renom en provenance d’une quinzaine de pays ont pris part à l’événement. Les actes du colloque seront disponibles dès cet automne.
Le Conseil québécois du patrimoine vivant a également rédigé en 2010 un mémoire pour l'Assemblée nationale du Québec intitulé "Le patrimoine immatériel dans la législation québécoise" (voir p.j.). Il a pris part par la suite à la consultation en commission parlementaire sur le projet de loi 82 - Loi sur le patrimoine culturel.
Le CQPV dispense de plus des formations professionnelles relatives aux arts traditionnels. De concert avec Emploi Québec et le Conseil québécois des ressources humaines en culture (CQRHC), il organise des formations annuelles en danse et en musique traditionnelles, qui s'adressent à des professionnels du secteur, dont des enseignants et des formateurs, qui souhaitent se perfectionner dans leur art ainsi que dans la pédagogie propre à la transmission orale. Des cahiers de stage sont ensuite produits pour les participants.
Une "Charte des compétences du médiateur du patrimoine vivant" a été élaborée en partenariat avec le CQRHC et rendue publique en 2010.
Les activités de regroupement du CQPV et de porte-parole au niveau national en patrimoine immatériel avaient conduit par ailleurs à la "Déclaration québécoise du patrimoine vivant" en 2008.

www.patrimoine-immateriel.qc.ca
Voir annexe point 8.a pour davantage d'information sur le personnel et les membres du conseil d'administration.
Coopération:
Le Conseil québécois du patrimoine vivant regroupe des individus et des organismes voués à la sauvegarde du patrimoine immatériel. Il coopère dans un esprit de respect mutuel avec les instances intéressées à cette sauvegarde, au niveau local, provincial, fédéral et international. Il tend à servir et représenter ses membres en leur offrant conseils, formations professionnelles, consultations, lieux de prise de parole, informations & promotion sous forme de bulletin web et événements des plus inclusifs. En plus de ses membres et des administrateurs au conseil d'administration, plusieurs partenaires sont associés au Conseil dans la mise en marche de ces activités. Parmi eux, on retrouve notamment: la Société pour la promotion de la danse traditionnelle au Québec, Danse traditionnelle Québec, l'Observatoire de la culture de l'Institut de la Statistique du Québec, le Conseil québécois des ressources humaines en culture, Emploi Québec, le ministère de la Culture du Québec, le ministère des Relations internationales du Québec, la Commission canadienne pour l'UNESCO, le Secteur de la Culture de l'UNESCO, l'Organisation des États américains et la Ville de Québec. Le Conseil québécois du patrimoine vivant est également à l'origine de la création du Regroupement du conte au Québec.

Date de création: 1999
Budget: U.S.$250000
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- sistemas alimentarios, ecogastronomia, alimentación y arte, ciencias de la alimentación

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- Creacion de redes regionales e internacionales para el rescate de las cocinas indígenas

Pays principaux d'activité:

Argentine, Bolivie (État plurinational de), Brésil, Chili, Colombie, Équateur, Mexique, Pérou, Venezuela (République bolivarienne du)

Objectifs:
Faciliter la sauvegarde des racines identitaires, des connaissances et des savoirs traditionnels autour d´une gastronomie millénaire appuyée sur une riche biodiversité dont la continuité historique peut être mise en péril par la mondialisation, la dégradation écologique et les transformations sociales portant atteinte à ces modèles culturels et agricoles.
Le Conservatoire suit aussi de près les expressions novatrices respectueuses du tronc culinaire commun qui assurent la continuité d´une gastronomie à forte identité. A cet effet, il stimule la recherche académique et travaille avec les structures d´enseignement dans la formulation des programmes pédagogiques recouvrant les disciplines liées aux systèmes alimentaires et aux cuisines traditionnelles.
Activités:
Identification des communautés, groupes et praticiens des métiers liés aux cultures alimentaires et gastronomiques autochtones traditionnelles. Organisation des Rencontres et Séminaires des spécialistes. Recherche académique et enseignement. Assistance technique aux Administrations. Projets pilotes. Promotion et diffusion des informations relatives au Patrimoine Gastronomique traditionnel, y compris site web en construction.
Coopération:
Identification et rencontres des cuisinières indigènes, des producteurs agricoles autochtones, des artisans traditionnels liés aux arts de la table, etc. Notre travail et collaboration avec la communauté est bien documenté avec le projet de récuperation de la cuisine indigène de Michoacán depuis 2004. Ce projet se développe en association avec les femmes et a pour but de préserver les traditions culinaires dans toute la région.
Les actions principales de ce projet, au-delà des importantes manifestations gastronomiques où elles transmettent leur savoir à de nombreuses professionnelles de la cuisine provenant de tout le pays et de l'étranger, consistent en l'organisation d'ateliers de formation dans le domaine de la manipulation hygienique des aliments et d'autres connaissances pour la gestion de leurs petites entreprises d'alimentation. Ces
activités se réalisent grâce à l'initiative des femmes cuisinières de l'Etat de Michoacán.

Date de création: 2002
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- social communication; community education; rural micro enterprise promotion

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- promoting culture for employment and growth; using culture for innovating new goods and services

Pays principaux d'activité:

Inde

Date de création: 1989
Domaine(s):

- performing arts
- social practices, rituals and festive events

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Espagne

Objectifs:
The Coordinadora de Colles Castelleres de Catalunya (CCCC) is the federation that gathers all the 'colles' (teams) that build human towers ('castells') in Catalonia (currently around 100). 'Castells', of course, were included by Unesco in the representative list for intangible cultural heritage in 2010.
The CCCC was created in 1989 and its main purposes, as stablished in its by-laws, are:
Promote human towers and its values, spread its knowledge, and to stimulate research on the topic, while looking after its good image and safeguarding.
Manage and defend the affiliates' common interests and goods. CCCC is currently in charge to hire insurance policies for all the 'colles'.
Represent the human towers collective before the administrations, media, etc.
Promote good practices on human towers, especially on safety.
Promote good understanding among its affiliates.
As you can see, the organization's first aim deals directly with the safeguarding of this cultural intangible heritage element.

Activités:
Some of the activities the CCCC has developed in recent years that deal with intangible cultural heritage safeguarding are:
Promotion: The CCCC has two websites that provide information regarding human towers. The first one (www.cccc.cat) includes a complete agenda of the performances that are going to be held during the season (around 1000 each year). The second one (www.castellscat.cat) is specially thought to give an introduction to the human towers universe to those who don't know it, and its translated into Spanish, English and French languages. Both websites also explain what the Intangible Heritage Convention from Unesco is.
Documentation: The www.cccc.cat website also includes a database where you can check on line all the performances results since 1926. New data is added each weekend, as new performances take place.
Promotion & enhancement: The CCCC has created a registered brand, "Castells. Catalan Human Towers", whose aim is to sanction official products and goods which give part of its profits to the "colles castelleres".
Promotion: The CCCC has developed several actions aimed to promote human towers among concrete collectives, such as immigrant population or children through schools. The last of these actions is an activity that promotes both human towers and reading through libraries.
Promotion: The CCCC offers information on human towers to the media. lt also manages the intellectual property rights of its affiliates to deal with local TV networks to provide live coverage of the most important performances.
Transmission & education: The CCCC organizes every year two formative meetings, free for all the "colles". The first one is dedicated to safety and technical issues regarding human towers. The second one deals with legal, financial and organizational matters.
Preservation & protection: The CCCC is the organization that contracts all the insurance policies that give coverage to human towers. The CCCC has also been responsible to develop several studies that have allowed human towers to become a safer activity, including the development of a special helmet used by children climbing on the towers.
Revitalization: As a federation that gathers all the "colles", the CCCC also works as a forum where all the different groups can debate and decide jointly the future path for the element.
Revitalization: The CCCC offers help to new "colles" when they are born, while at the same time checking that these new groups respect the human towers tradition and established values.
Preservation, protection and revitalization: The CCCC boosted in 2012 the document titled "The Social Values of Human Towers", approved by all members, in which the "colles" ratified their compromise with values such as amateurism, a sustainable and responsible management, inner pluralism and democratic functioning.
Most of these actions can be checked through our websites.

Coopération:
As explained before, the organization itself is the federation that unites all the different "colles" (teams) dedicated to human towers nowadays in Catalonia. This means that it is made up of groups that work the intangible cultural heritage. Again, as stated before, the board of directors itself is made up of intangible cultural heritage practitioners.
At the same time, it is alas important to acknowledge that CCCC works democratically. Key decisions have to be taken by the General Assembly, where every group is represented. The board of directors is also voted by the General Assembly.
All this means that the organization's tradition is to build consensus and negotiate between its members to find a position where everyone (or at least a huge majority) feels comfortable.

Date de création: 2016
Domaine(s):

- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- other
- Artistic and cultural residences

Pays principaux d'activité:

Colombie

Objectifs:
1.) To raise the visibility of local heritages and the voices of the local communities we work with, connecting them with each other and helping to promote engagement with Intangible Cultural Heritage through recognition and strengthening of identity and cultural diversity.
2.) To use innovative technology(including virtual reality) to reach and engage a greater audience, particularly children and youth, with cultural heritage. In particular, we aim to help individuals and communities strengthen the cultural, oral, and bodily narratives that form a spatial and temporal organization of their daily activities, drawing together day to day life with ICH
3.) To develop methodologies that safeguard Intangible Cultural Heritage and intercultural exploration through interactive narratives and role-playing games, storytelling, dance, song, and collective construction, creating immersive experiences – in both in-person and virtual technology.
4.) To develop and promote a reflexive, critical and inclusive education that spotlights less prominent perspectives, and respects the authorship and ownership of communities and individuals.
5.) To develop communities with strong strategies for intercultural dialogue, conflict resolution, and peace through understanding of cultural practices and awareness of bodily and societal memories.
6.) To contribute to the development of affective, assertive and creative leaders with a deep capacity for critical thinking, (cross-)cultural competency and flexibility through short programs that use emotional, physical, and mental exploration to develop the resources and capacity of individuals and communities.
Activités:
Embodying Reconciliation offers five services related with Intangible Cultural Heritage (ICH): (i) Ethnographic Research; (ii) Advising and Consulting; (iii) Trainings; (iv) Media production and communication; and (v) Artistic Residencies.
Coopération:
All of Embodying Reconciliation’s work starts from a philosophy of raising the voices of local leaders and foregrounding the voices and knowledge of the communities we work with. Our projects are developed in collaboration with community members to address the specific needs and issues faced.

Date de création: 1999
Domaine(s):

- oral traditions and expressions
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- revitalization
- Dissemination / Transmission

Pays principaux d'activité:

Bangladesh, Bhoutan, Maldives

Objectifs:
The Craft Revival Trust (CRT), established in 1999 is a registered non-profit organisation
which works with craft and craftspersons. Craft Revival Trust is endeavoring to build an
information and knowledge infrastructure for the craft sector in South and South-East
Asia. In Craft Revival Trust’s experience. the exchange of information and the
subsequent interaction often carries within it the solutions to many of the challenges that
the crafts sector faces. We believe that free and open access to information is the core
that empowers and strengthens individuals and societies and leads to development.
It is our belief that knowledge and access to knowledge forms the core of growth
societies. one of our key goals is to support endangered cultural, historical and artistic
resources that form the fundamentals of those who are increasingly being marginalized
within the established modern framework.
The objectives of the Craft Revival Trust are
• To research and document knowledge and skills of oral craft traditions and craft
communities that have been transmitted from generation to generation
• To safeguard by creating a knowledge bank
• To create a network of crafts and craftspersons
• To promote respect for craft creativity, craft communities and the hand skills.
• To create a rights based platform for advocacy for the craftspersons.
• To create programs that facilitate and generate interest in the crafts by the next
generation
Activités:
enclosed
Coopération:
• Weavers of the famed Benaras brocades are facing enormous threats as their
traditional products are copied and faked and sold thereby deriving traditional
craftspersons of their livelihood and creating immense hardships. A movement,
spearheaded by CRT has been initiated to consider what response might be possible for
the future of craft communities and their values.
• Through our various engagements with persons and organizations we realized
that the concerns in the traditional craft and other disappearing and endangered
traditions extends beyond artisans to all communities involved with traditional livelihoods.
Recognizing this, we have worked with wildlife conservationist Bahar Dutt, winner of the
Green Oscar, in the rehabilitation of the Snake charmers of India whose occupation has
been outlawed by the provisions of the Wildlife (Protection) Act, 1972. It is an attempt to
transfer their existing knowledge and skills to useful and sustainable methods of earning
a living CRT worked on livelihood rehabilitation program with the Jogi Nath Snake
Charmer community. The one year project culminated in a concert with a 100 snake
charmers. The Chief Guest was the Chief Minister of Delhi. Since then the snake
charmers have received many offers to play at musical events and festivals, giving them
a reasonable livelihood. 2006-2007
• We continue with our ongoing, major long term audience engagement program of
dialogue, debate and discussion that explores issues of cultural diversity, identity and
sustainable livelihoods in collaboration with India International Center.
Titled Putting Ideas First This interactive initiative has sought to encourage debate,
exchange of information and an airing of ideas and issues that exercise us. 2005
onwards
Hands On Craft Revival Trust, over the last few years had regular workshops at large
public venues and in schools where we trained young students to respect the hand
crafts. The crafts taught have included Natural Dying; Recycling and making paper from
waste; Tie dying; Sanjhi paper cutting and jewellery making. Since 1999.
• As a member of the Tuesday Collective have interacted with the Planning
Commission and the Prime Ministers Office on issues related to weavers and
craftspersons. Since 2006

Date de création: 2008
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Angola, Brésil, Canada, Chili, Espagne, France, Inde, Maroc, Mauritanie, Mozambique, Portugal, Sénégal, Timor-Leste

Objectifs:
The primary objective of CRIA is to promote the advancement of Portuguese anthropology and its internationalization through the development of theoretical and applied research projects, the promotion of events encouraging scientific debate and the diffusion of research (congresses, seminars and conferences), the edition of scientific publications (promoting the national and international diffusion of research project results), the organization of courses and connected activities of postgraduate teaching level, the encouragement of international network-based collaboration in research projects or groups, as well as in other international collaborations that promote scientific diffusion, the establishment and reinforcement of cooperative relationships with similar institutions, both national and international, the reception of undergraduate students, graduate students and PhDs, helping with their integration in the scientific community.
CRIA’s general objectives are framed by four main thematic research lines: 1.“Social Identities and Differentiation”; 2.“Culture: Practices, Politics, Displays“; 3.“Migrations, Ethnicity, Citizenship”; 4.“Power, Knowledges, Mediations”.
Although safeguarding intangible cultural heritage is not CRIA's primary objective, a majority of its researchers (working mostly, but not only, within two thematic lines: "Culture: Practices, Politics, Displays" and "Power, Knowledge, Mediations") deal directly or indirectly with this issue. They explore it from a theoretical and analytical standpoint, and they resort to it as a framework for applied research and for intervention on the field. Constantly tackling such concepts as “culture”, “knowledge”, “identities”, “ethnicity” or “differentiation”, CRIA’s members study very diverse social and cultural contexts. Their ethnographic activity provides the empirical basis and the cultural knowledge that are necessary for an objective assessment of the relevance, interest, urgency, viability and sustainability of safeguarding initiatives.

Additional information:
CRIA contributes in direct and indirect ways to safeguard Intangible Cultural Heritage (lCH) through the activities of its researchers, namely through:

Theoretical and reflexive examinations of the notion of ICH, thus contributing to its conceptual understanding and elucidation. This is especially the case in activities Iinked to CRIA's main research lines: Culture: Practices, Polities, Displays" and "Power, Knowiedge, Mediations".

The organization of conferences and public lectures which allow for the diffusion of this knowledge to society in general and particularly to cultural agents and mediators. Some examples: Maria Cardeira da Silva, 2008: Cultura fora - Conversa sobre a candidatura do FADO a património da Humanidade. With Pedro Félix (INET-FCSH) Jean-Yves Durand, 2003: conference "Ethnographic Heritage, museums and development", CEAS (CRIA)/NEA, Vila Verde Township, Universidade do Minho.

Consuiting activities requested by organizations and institutions dedicated to the survey, study and promotion of ICH. Some examples: Cláudia Sousa contribution to GRASP, Great Apes Survival Partnership, project of the United Nations Environment Programme (UNEP) and the United Nations Educational, Scientific and Cultural Organization (UNESCO) to lift the threat of imminent extinction faced by gorillas (Gorilla beringei, Gorilla gorilla), chimpanzees (Pan troglodytes), bonobos (Pan paniscus) and orangutans (Pongo abelii, Pongo pygmaeus) across their ranges in equatorial Africa and south-east Asia; Joäo Pedro Galhano, participation at "Projet de sauvegarde de la chasse à I'arc traditionnelle des Gourmantché." ONG BAIL (Niamey), Ministère de l'Environnement (Niger) et, possiblement, UNESCO.

The establishment of co-operation protocols and the joint organization of initiatives with the nationallnstitute for Museums and Preservation (IMC): Clara Saraiva, Museu da Luz, May 2008, joint conference with IMC, "Museus e Património Imaterial, agentes, fronteiras, identidades. Memória, Identidade, Projecto"; Maria Cardeira da Silva, 2008: Portuguese Fields: What do Anthropologists do? Museums and Intangible Heritage (Conference), CRIAlIMC/Ministério da Cultura.

The direct involvement of researchers and academies with local, national and international institutions developing projects aiming at the safeguard of Portuguese ICH, both in national territory and in different parts of the world: Clara Saraiva, 2008: Conference IDEMEC-CRIA "Rituels d'hiver avec masques. Réinvention culturelIe et performance: un cas portugais", IDEMEC, Maison Méditerranéenne des Sciences de I'Homme, Université d'Aix-en-Provence.
Activités:
The competence and expertise of CRIA researchers in the field of intangible cultural heritage come from their academic background as anthropologists and from the intense ethnographic activity that is inherent to their research. The scope of their research encompasses rural and urban settings. As a result of their lengthy presence in the field, they come to gain a deep cultural intimacy with the communities and groups they study and whose life they share. They are therefore often seen by these as valid contributors and partners in actions aimed at the safeguarding of local cultural heritage.
In order to be a full member of CRIA, an investigator must hold a PhD. Students can be associate members. The members listed below have recently worked on themes that are relevant for the promotion and protection of intangible cultural heritage:
-- Conceptions of, and interaction with “nature”: Amélia Frazão, Cláudia Sousa, João Galhano.
-- Craftmanship: João Leal, Jean-Yves Durand, Vera Alves, Denise Esteves, Clara Saraiva.
-- Cognition, scientific/lay knowledge: Amélia Frazão, Jean-Yves Durand, Maria Manuel Quintela, Manuela Ivone Cunha.
-- Culinary practices and traditional gastronomy: João Alpuim, Amélia Frazão.
-- Ethnobotany: Jean-Yves Durand, Amélia Frazão.
-- Ethnomusicology: Miguel Moniz (in migration contexts).
-- Festive events: João Leal, Miguel Vale de Almeida, Paulo Raposo, Luís Silva.
-- Life histories, social memory: Ana Lavado, Elsa Lechner (mostly among migrants), Humberto Martins, Luís Cunha, Antónia Lima, Emília Marques, Francisco Oneto Nunes, Inês Fonseca, Filipe Reis, Brian O’Neill.
-- Literature and oral literature: Margarida Fernandes, Filipe Reis.
-- Ludic activities, traditional games: Ana Lavado.
-- Maritime cultures: Francisco Oneto Nunes, Christine Escallier, João Alpuim.
-- Museum projects, ethnographic exhibitions: Jean-Yves Durand, Clara Saraiva, Nuno Porto, João Alpuim, Anthony Shelton.
-- Performing arts (popular theater, dance, audio-visual media, historical re-enactments): Luís Silva, Maria José Fazenda, Teresa Fradique, Paulo Raposo, Sófia Sampaio.
-- Popular art: João Alpuim, Vera Alves, Sónia Vespeira de Almeida.
-- Rituals: João Leal, Clara Saraiva, Miguel Vale de Almeida, Paulo Raposo.
-- Rural/urban popular culture: Paulo Raposo, Sónia Vespeira de Almeida, Teresa Fradique, Vera Alves, António Medeiros.
-- Social uses of Space and landscape: Sandra Xavier, Jean-Yves Durand, Luís Cunha, Rosa Maria Perez, Filomena Silvano.
-- Therapeutic practices, healing: Clara Saraiva, Jean-Yves Durand, Maria Manuel Qunitela.
-- Traditional costume: João Alpuim, António Medeiros.
-- Traditional techniques, social uses of technology: Christine Escallier, Jean-Yves Durand, Emília Marques, Francisco Oneto Nunes, Jorge de Freitas Branco.
-- Vernacular architecture: Jean-Yves Durand, João Alpuim, Clara Saraiva.
Many CRIA researchers conceive of their research as visual anthropology (among whom chiefly Catarina Alves Costa, an internationally renowned documentary film-maker).
CRIA members also necessarily carry out an epistemological and methodological reflection in such fields as museum studies, tourism, conservation, heritage: Maria Cardeira da Silva, Anthony Shelton, Nuno

Additional information:

The competence and expertise of CRIA's researchers in the field of ICH come from their academie background as anthropologists and from the intense ethnographic activity inherent to their research, carried out both in rural and urban settings, in Portugal and abroad.

As a result of their lengthy presence in the field, anthropologists come to gain a deep cultural intimacy with the communities and groups they study and whose Iife they share. Therefore, they are often seen by the latter as valid contributors and partners in actions aimed at the safeguard of local cultural heritage.

Our researchers have worked on themes that are relevant for the promotion and protection of ICH and their work stimulated processes that contributed to actions regarding the safeguard and revitalization of cultural heritage by the communities involved. Some examples:

Amélia Frazäo-Moreira worked c10sely with the Polytechnic Institute in Bragança, Fragua Association and "Ecomuseu de Picote-Miranda do Douro" on the joint development of dissemination and training activities in the management and conservation of local plants genetic resources, particularly for the collection and retention of knowledge and specimens in the area of Parque Natural do Douro Internacional.

Paulo Raposo conducted a funded research project on the processes of folk culture objectification in Portugal which has led to a privileged relationship with local communities and cultural organizations in Northern Portugal, resulting in his being
requested to provide information and support to the conception and establishment of an on-site local museum in Podence.

Jean-Yves Durand is involved in an international network (France, Italy, Spain, Canada, Mexico) dedicated to the investigation and promotion of handierafts and was recently appointed Director of the Museu da Terra de Miranda (Portugal), where he has launched a study of homing-pigeons races, a controversial local tradition.

Joäo Leal led a funded comparative research on the processes of transnationalization of Azorean cultural elements in Brazil and the USA. As a result of this project, the anthropologist was invited to work as a consultant (2001-2005) for the Mapping of Azorean-Based Culture, promoted by a research center in Santa Catarina, Brazil, an initiative involving thousands of activists representing the communities of Azorean-based culture in that state. Leal is currently (sinee 2005) a member of the Scientific Board of the Azorean Communities Portal, which aims at spreading the Azorean culture along the
diaspora. He is also a member (sinee 2008) of the network of activists and academies who have been organizing the International Congresses on the Holy Spirit (2008, 3rd edition).

Emllia Margarida Marques has worked for the township of Marinha Grande (Portugal) creating an archive and documentation database (1996-1997) now available at the local public historical archive - also created in part as a result of the project. Work included the inventory and organization of local archive documentation (in parish councils, associations, and schools); providing support to schools and teachers on matters of local history; talks/lectures on the local history by invitation of the local institutions (municipality, schools) and organizations (social clubs, glass workers' union). The
anthropologist was further invited by the municipality to conduct two studies on the local glass industry, published during the commemorations of its 250th anniversary.

Cláudia Sousa and Amélia Frazäo Moreira have been studying the chimpanzee distribution and relation with local human communities in the coastal area of GuineaBissau. This project is intended to provide a better understanding of the relationship between a) local human populations, b) other animais, namely chimpanzees, c) the forests surrounding these African villages. It contributes to the development of a national strategy for the preservation of the species, taking into account the needs of the local human population. Studies about the cultural perceptions of animals in general and chimpanzees in particular were undertaken by the researchers. The results have been incorporated in the discourse of tourism guidebooks, thus encouraging its conservation. Claudia Sousa collaborated in the training of rangers of IBAP (Institute for Biodiversity and Protected Areas, Guinea-Bissau) and eco-guides (tour guides in a project of the NGO AD - Action for Development), on issues related to the behavior and ecology of primate species in the country, the techniques used for monitoring these species and special care that people should have when they move into the forest.
Coopération:
Conceived and funded (generally by Fundação para a Ciência e a Tecnologia), as academic research, many projects and events promoted by CRIA (or the research centers that preceded it) meet the needs and expectations of local groups and grassroots organizations.
Research: (title; coordinator; funding; date)
-- Portuguese Castles aboard II. Heritage, Tourism and Portuguese cultural cooperation in African contexts; Maria Cardeira da Silva; FCT; 2006.
--“Lenços de namorados”: study and certification of traditional embroideries from Northern Portugal; Jean-Yves Durand; CCDRN; 2005-2006.
-- Ethnobotany of Northeastern Portugal: local knowledge, plants and uses; Amélia Frazão; FCT; 2004.
-- Aldeia da Luz: ethnography and museography of a drowned village; Clara Saraiva; EDIA; 2005.
-- Modernization and change in Portuguese hydrotherapy; Cristiana Bastos; FCT; 2002.
-- Colonial Logics. Space and Society in Goa; Rosa Maria Perez; FCT; 2001.
-- (Re) Encountering the Past: An Anthropological Study of the East Timorese
Community; Brian O’Neill; FCT; 2001.
-- USA and Brazil: Processes of Transnationalization of "Açorianidade"; João Leal; FCT; 1999/2000.
-- Objectification Processes of Popular Culture: two complementary approaches; João Leal; FCT; 1998.
Scientific Meetings/events
2009:
-- CRIA was official partner of the ONG Memoria Media for the International Day of Life Histories, http://www.historias.memoriamedia.net/vida/
-- D. Afonso®: contemporary appropriations of a national hero (ethnographic and iconographic exhibition); Jean-Yves Durand; Guimarães City Council.
2008:
-- Portuguese Fields: What do Anthropologists do? Museums and Intangible Heritage (Conferences), CRIA/IMC/Ministério da Cultura.
-- Cultura fora – Talking about Laws, Institutions and Intangible Heritage, CRIA & IMC.
-- Rituels d'hiver avec masques. Réinvention culturelle et performance: un cas portugais, CRIA/IDEMEC, Aix-en-Provence.
-- 7th Séminaire d'Ethnobotanique Européenne, CRIA/Musée Ethnologique de Salagon.
-- Animal Fights: History and Ethnography of a “tradition”, anthropology of the constitution of the “intolerable”, CRIA/Ecomuseu do Barroso.
2004:
-- Life Histories: New theoretical and methodological challenges, CEAS.
-- The Politics of Folk Culture: Reflections from the Lusophone World; CEAS/UMass Dartmouth (USA); proceedings: Etnográfica (9)1: http://ceas.iscte.pt/etnografica/2005_09_01.php
2003:
-- Anthropology, Art and Museums; CIA/University of British Columbia, U.Lisbon/Fundação
Calouste Gulbenkian.
-- Ethnographic Heritage, museums and development; CEAS/NEA, Vila Verde Township, Universidade do Minho.

Additional information:

CRIA's anthropologists partake in projects always implying close and intense relationships with communities and groups based on mutual respect: deontology of ethnography-making requires in all cases the researchers' respect for the individuals,
groups and institutions they work with. Examples of co-operation contributing to ICH's safeguard:

Jean-Yves Durand led a multidisciplinary research on lenços de namorados (a form of embroidery) involving different townships, organizations of embroiderers, national agencies for the promotion of crafts. Results were published and allowed for the definition of norms of certification, as forgeries of this product had started to be imported, jeopardizing the income of hundreds of women who had gained social autonomy thanks to their work. Risks of fossilization and reification of the product were avoided by introducing a specific certification category for "Innovations".

Durand also co-organized, with alocal ecomuseum, an international conference on "Animal fights". The controversial tradition of bull-baiting (and, on alesser scale, of cockfighting) is strong in a small region of Northern Portugal. lts practitioners now reformulate it as "Iocal heritage" and clash with animal rights activists. Observing the dynamics of this controversy, the anthropologist can act as a go-between. Appointed Director of a local museum, Durand launched a study on homing-pigeons races which raise similar issues.

Clara Saraiva coordinated a multidisciplinary team working in Aldeia da Luz, a rural community in Portugal forced to abandon their old village to relocate when a government-sponsored dam was built which would leave their homes underwater. Fieldwork with the population was done to create an ethnographic record of the community before relocation and to document their resettiement not far away. Results were used to form the local museum, generating a living memory of the village and its recreation.

Joäo Leal studies cultural and festive practices of Azorean migrants in North America, participating personally in transnational networks of cultural and intellectual agents. Leal's observation and reflection about the transformation undergone by these cultural practices when they shift from the original context to migratory ones, and the impact of
that transformation back on the Islands, is relevant to the documentation and registry of this process.

Date de création: 1972
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Afrique du Sud, Brésil, Canada, Guatemala, Mexique, Népal, Nicaragua, Panama

Objectifs:
Cultural Survival is an Indigenous-led NGO and U.S. registered non-profit that advocates for Indigenous Peoples' rights and supports Indigenous communities’ self-determination, cultures, and political resilience, since 1972. For almost 50 years, Cultural Survival has partnered with Indigenous communities to advance Indigenous Peoples' rights and cultures worldwide. We envision a future that respects and honors Indigenous Peoples' inherent rights and dynamic cultures, deeply and richly interwoven in lands, languages, spiritual traditions, and artistic expression, rooted in self-determination and self-governance. The core of our efforts rest on the principles of supporting, amplifying efforts and raising awareness of self-determination for Indigenous communities. Cultural Survival has curated a robust network of partnerships with Indigenous communities spanning over 70 countries on 6 continents.
Activités:
Our work on the front lines of advocacy with international Indigenous communities is predicated on the United Nations Declaration on the Rights of Indigenous Peoples and our programming works to inform Indigenous people of their rights, issues and threats affecting their communities. Cultural Survival believes that vibrant and durable communities rest on the principles of self-determination, human rights, informed citizenry and access to information, the freedom of expression, and the right to organize and shape the future in a way consistent with one’s tradition, language, culture and community – and we believe Indigenous Peoples have the power and solutions to solve many of today's problems when respected and empowered to do so.
Coopération:
Cultural Survival works cooperatively with hundreds of Indigenous organizations across the globe in the countries we serve. We have MOUs with over 30 partner organizations and work informally with many others.

Date de création: 2012
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Industries culturelles et créatives

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Date de création: 1972
Budget: U.S.$876000
Domaine(s):

- oral traditions and expressions
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement

Pays principaux d'activité:

France

Objectifs:
Collecter, sauvegarder, transmettre le patrimoine culturel oral de la Bretagne historique. Aider et coordonner les groupements culturels et associations qui oeuvrent dans le même but.

Activités:
1-COLLECTER:
Le contenu s'est d'abord centré sur l'aspect musique, chants et contes pour s'ouvrir aux différentes croyances, proverbes et dictons pour s'intéresser récemment aux histoires de vie des « porteurs de tradition ». Dastum doit donc tisser un véritable réseau avec les différents collecteurs, privés ou associatifs, afin de leur expliquer ses missions et arguer des intérêts réciproques à ce que leurs collectes soient mises à disposition du plus grand nombre en échange d'une pérennisation des supports. Chaque déposant signe un « contrat de dépôt» dans lequel est stipulé les différents droits et devoirs des deux parties (droit de reproduction, de communication, d'édition)
Moyen humain: Dastum a d'abord sollicité son réseau proche (les fondateurs) pour alimenter son fonds. Depuis peu nous avons le projet d'avoir deux «Conservateur du patrimoine oral» l'un en Haute Bretagne l'autre en Basse Bretagne, pour remplir cette fonction d'animateur de réseau tout aussi bien capable d'aller chercher des collectes que de répondre à des questions précises sur ce domaine. (cf profil de poste en 8 -C). Celui que nous avons embauché pour la Haute Bretagne a un master d'Histoire, est l'auteur d'une importante collecte en Haute Bretagne, est titulaire d'un DE de Musiques Traditionnelles et est par ailleurs un militant associatif responsable d'un festival de Chants traditionnels

2- SAUVEGARDER :
Ces supports sont ensuite numérisés, chantier débuté en 1999, documentés, item par item, puis mis en consultation sur Internet. La base de donnée documentaire est accessible chez tout un chacun. Le logiciel accueillant cette base de donnée est sur Alexandrie-6 ce qui permet des interrogations à différents niveaux (collection, fonds, enquête, collecteur, item).Un document sur le traitement documentaire des archives sonores a
été élaboré avec la BNF et la FNAS, qui fait référence actuellement. Les autres documents (photos, cahiers de chansons sont aussi en cours de numérisation et de documentation
Moyen humain: un documentaliste, une aide documentaliste chargées de rendre l'information accessible à tous. Deux techniciens de numérisation, issus d'emplois aidés qui se sont formés sur place à la numérisation. Notre protocole de numérisation est reconnu par la BNF, dont nous sommes pôle associé par 1biais de la FAMDT, et l'INA.

3- TRANSMETTRE:
L'association a toujours cherché à rendre public ce qui avait été collecté Cependant le son n'est pas disponible, principalement pour des raisons de droit, sur Internet; le site existe depuis 1999, et il nous faut donc multiplier notre présence sur le territoire. Des points consultation existent actuellement dans nos Pôles associés. D'autres se mettent en place depuis deux ans dans les écoles de musique, les Archives Départementales et les écomusées.. Nous sommes régulièrement sollicités pour des demandes de documentation très diverses allant de l'aide à la création d'une exposition thématique à des demandes personnelles (répertoire familial par exemple).
Moyen humain: informaticien, conservateur du patrimoine oral, documentaliste, directeur

- Éditions: Depuis sa création Dastum mène une politique éditoriale afin de valoriser ses archives. C'est aussi le moment privilégié pour effectuer un travail documentaire de fond sur un domaine précis ( ex : les métiers en Bretagne, le style d'un chanteur, la danse d'un pays, la biographie d'un musicien etc..)Moyen humain: un responsable des éditions
Nous éditons une revue bimensuelle (musique bretonne, l'actualité du patrimoine oral de Bretagne) qui fait le point tant sur les dernières recherches que sur l'évolutions des pratiques liées au patrimoine oral en Bretagne
Moyen humain: une assistante de publication

- Formation : Nous intervenons régulièrement dans des formations sur la collecte, la numérisation, la documentation, le patrimoine oral, l'oralité. Nous organisons cette année, avec l'IRPa, deux jours de
rencontres sur le Patrimoine Culturel Immatériel à Rennes avec le patronage de l'UNESCO à
l'adresse des acteurs culturels, individuels ou associatifs, de Bretagne

4-PERSPECTIVES :
Continuer de développer le réseau de Points de Consultation ( Bretagne et ailleurs)
Travailler en lien avec l'éducation nationale à la diffusion de ce patrimoine vers les écoles en lien avec la notion de patrimoine culturel immatériel et de diversité culturelle
Favoriser la transmission de ce patrimoine en multipliant les formes d'intervention. Et toutes les rencontres avec d'autres formes d'expressions.
Notre activité se déplace u fil des années du pôle collecter au pôle transmettre. L'importance de celui-ci devenant primordial au fil des années il conviendra de tout mettre en place pour le développer.
Coopération:
RESEAU DASTUM : l'ensemble de nos activités concourt donc à la création d'un réseau Dastum qui nous maintient en lien permanent avec les informateurs, les collecteurs, les pratiques actuelles (musicales, contées, documentaires)sans oublier les chercheurs. A noter que les Pôles associés, associations indépendantes qui oeuvrent à des missions similaires en étant notamment plus présentes sur le terrain en termes d'enquêtes et
d'animations locales, avec qui nous avons passé une convention et qui adhèrent à la Charte de Dastum sont présents de droit dans notre conseil d'administration. Ces pôles, au nombre de neuf, sont tous actifs dans la vie musicale bretonne et sont des relais importants de nos actions.
Les consultants (répertoriés) sont ceux qui viennent consulter dans nos locaux et sont en grande majorité des jeunes musiciens en quête de répertoire. Nos conventions « Points de consultation» avec les écoles de musique permettent un accès direct à nos archives. Ces consultants ne sont pas comptabilisés. Les liens se font avec un
professeur responsable.
Nous avons récemment mis en place une convention chercheur-associé pour permettre un accès facilité à nos archives en échange de la possibilité d'utiliser d'une manière ou d'une autre leurs travaux. Le lien avec les praticiens se fait aussi par notre revue Musique Bretonne qui demeure la seule revue à aborder la vie musicale, professionnelle ou amateur, en Bretagne et de s'en faire l'écho. Un agenda fait aussi état des principales manifestations programmées. Il faut noter que nous étions le correspondant de l'IRMA et de l'EPCC Spectacle Vivant en Bretagne pour la mise à jour des annuaires de la musique. Nous ne pouvons plus, faute de moyens, assurer cette mission. Nous gardons cependant un rôle d'expertise dans ce domaine
Nous venons de mettre en place une commission danse afin que les principaux acteurs se rencontrent et fassent état de leurs demandes vis-à-vis de Dastum Une mise à jour des fiches de danse présentes sur notre site (Panorama de la musique bretonne) et une meilleure visibilité de celles-ci est en cours.

Date de création: 2008
Domaine(s):

- other
- collection, processing, digitization and publication of materials on ICH; make the elements of the ICH visible

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Bosnie-Herzégovine

Objectifs:
The Society for Digitization of Traditional Cultural Heritage (abbreviated: Society for DTCH) seeks to make visible elements of intangible cultural heritage (abbreviated: ICH), its heirs, events at which it is regularly presented, the environment of its origin and residence to the general population, especially young generations, and an interesting way of following the guidelines of the profession.
Activités:
The Society for DTCH's work is based on the collection, processing, promotion of materials on ICH as well as the organization of education and events related to ICH through several different activities.

Date de création: 1999
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- Youth

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Ouganda

Objectifs:
Preserve development and promote cultura heritage as a resource for social economic development.

Establish and mantain infrastructure and facilities for preservation and development of cultural heritage and youth talents and skills development.

Develop talents and skills of the youth for self - reliance.


Additional information:

The Memorandum and articles of association provide eight general objectives. Each objective can be operationalised by a big programme. This was intended to give unlimited scope and alternative programme areas but impossible to be all implemented. The organisation eventually developed a round five of the eight objectives all curved by the theme CULTURE AND DEVELOPMENT.

OBJECTIVE C
Empower youth to exploit their talents, skills development and promote creativity and self reliance. Culture become the instrument of the empowerment of the youth to build confidence and creativity for self-reliance. Skills and talents are developed in cultural and indigenous expression, like music, dance, drama and folklore. Youths and women entrepreneurial skills were developed in safeguarding, preservation and promotion of indigenous knowledge and entreprises.

OBJECTIVE D
To promote organisational discipline and effective leadership. Cultural values and indigenous knowledge was re-claimed to promote leadership and society organisation. Thus positive traditions, customs and philosophy in proverbs and sayings are used to promote good leadership practices.

OBJECTIVE F
To enhance partnership and networking with development organisations and progressive intelligentsia.
The target for partnership and networking are cultural clubs and associations in the target society who are also targets for membership and beneficiaries to the programme. At external level, the target for partnership are organizations that support culture or cultural approach to development, protection and promotion of indigenous or traditional knowledge. Hence the organisations with which we have networking and partnership relationship include
-Cross Cultural Foundation of Uganda which documents and publishes our innovative cultural approaches.
-Common Wealth Foundation department of culture and diversity which gives grants to some of our cultural projects.
-Arterial Network which networks us as one of the cultural organizations in Africa
-UNESCO which funds capacity building for our Koogere Community Museum through Cross Cultural
Foundation of Uganda.
-WIPO which accredited us to participate in the sessions of intergovernmental committee on Intellectual Property and genetic resources, Traditional Knowledge and Folklore.
-Prince Claus Fund for Culture and development which funds some of our projects.
-HIVOS which funded some of the projects.
-International federation of Arts councils and cultures Agencies (IFACCA) which invites us to participate in the biannual world summits on arts and culture
-National Indigenous knowledge systems office NIKSO
- South Africa with which we have learning exchange relationship to enable us build capacity for traditional knowledge) reserach and documentation as a means of protection of indigenous knowledge.
-Traditional Knowledge Digital Library TKDL - India with which we have learning exchange relationship to enable us build capacity for traditional knowledge reserach) documentation and digital database development as a means of traditional knowledge protection.
-Engabu Za Tooro is finalising arrangements to either partnership with the Ministry of Gender) Labour and Social Development - Government of Uganda through a memorandum of understanding. This is the ministry incharge of culture and heritage.

OBJECTIVE G
To promote the vitality of culture as a basis of individuals confidence and self realisation. This objective gave raise to the overall theme of the organisation as a culture and development which is operationalised into an overall cultural approach to development.

It should be however noted that the organisation is in need of rephase the objectives in the memorandum and articles of association to be directed to this theme.
Activités:
Engabu Za Tooro researches, documents and reproduces the traditional folklore and promote it to modern stage through community perfomances, festivals and competitions.

Engabu Za Tooro identifies critical indigenous knowledge in the in the traditions revitalises it and reconstructs it into modern social development using music, publications and media.

Engabu Za Tooro develops cultural enterprises and services and professionalises service providers through training and market development.

Engabu Za Tooro collects and preserves traditional materials into community museum.

Engabu Za Tooro mobilises, trains and coordinates cultural consultants and practioners who constitutes its membership, personnel and programme beneficiaries. Engabu Za Tooro currently benefits from UNESCO funded capacity building country programme for community museum operators. It also benefits from international training workshops and exposure as a result of its accreditation to World Intellectual Property organisation (WIPO) intergovernmental committee on Intellectual Property and Genetic Resources, Traditional knowledge and folklore (accreditation certificate attached).


Additional information:

Engabu Za Tooro currently has two major programme areas
1. Youth Talent Development
This programme mobilises and trains the youth to develop their talents and skills in their indigenous cultural expression in perfoming art and folklore so the programme researches, documents, publishes and promotes peoples cultural heritage in form of folklore and music.

The programme re-invests the people's indigenous wisdom in proverbs, sayings and oral traditions, promote and intergrate it in the mainstream development thought and practice. This old wisdom is promoted by research and re-producing it in music, dance which is popularised through festivals and competitions.

Art pieces produced around the old traditions of indigenous communities has won national and international music and video awards. The Cultural Troupe which packages this traditional wisdom perfoms at national and international venues and events. In September and October 2010, this troupe will lead
cultural education and entertainment in several convention/conferences in several cities of USA (see attached invitation letters).

2. Culture in Development Programme
This programme researches, documents and promotes indigenous knowledge in production. Thus it promotes cultural enterprises and services and uses traditional knowledge in peoples traditions to inspire and stimulate economic activity. Specific activities involve research, training and market development of indigenous enterprises and collection and preservation od cultural materiall in community museum.

Koogere women empowerment project which uses the old tradition of a heroine to stimulate grasroot women participation has been recorgnised as a model case study in re-constructing people's traditions in today's development practice.

The organisation currently is using experience of participating in the WIPO's sessions of Intergovernmental committee on intellectual property and genetic resources) traditional knowledge and folklore to develop a programme of protection of traditional knowledge through research and documentation. The organisation is networking with traditional knowledge digital library of India and national indigenous knowledge systems office South Africa to develop the programme of protection of indigenous knowledge.

Yes, we are also registered with the NGO board. The certificate is attached. These certificates are renewed periodically and in most cases processes of renewal are delayed. The organisation is also finalising a process of entering a amemorandum of understanding for partnership with government through the Uganda ministry in charge of culture i.e ministry of gender, labour and social development
Coopération:
The organisation run training sessions called cultural school where cultural practitioners come together to share experience, skills, build knowledge through documentation, coordination and networking.

The organisation links and facilitates cultural groups to exhibition festival and training oppotunities.

The organisation holds an annual cultural festival called "Koogere Week" where heritage practitioners come together to compete, debate, exhibit, demonstrate and celebrate.

Date de création: 1992
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Bénin, France

Objectifs:
- Valoriser les savoirs et savoir faire traditionnels et modernes, comme tremplin de tout développement culturel et durable,
- promouvoir et renforcer la participation de la société civile à l'animation de la vie culturelle sociale et humanitaire,
- renforcer la contribution du Bénin dans le partenariat culturel régional et international,
- assurer la mobilité des cultures endogènes du Bénin à travers les festivals internationaux,
Activités:
- Pratique et diffusion des danses traditionnelles béninoises,
- Festival International des Rituels et Danses Masquées (FERIDAMA)
- Préservation, protection et valorisation du patrimoine culturel matériel et immatériel
- Documentaires ethnographiques
- Sensibilisation au développement, formation
- Présence dans des réseaux
Coopération:
Au niveau national (Bénin):

Fonds d'Aide à la Culture du Bénin,
Ministère de la Culture, de l'Alphabétisation, de l'Artisanat et du Tourisme du Bénin, Participation tous les ans de quinze de sociétés de masques au Festival international des rituels et
des danses masquées (FERIDAMA), organisation d'expositions sur les masques, recensement de
54 villages à sociétés de masques

1993 : festival mondial du culte vodoun (Ouidah 92 au Bénin)

Au niveau régional (Afrique Occidentale): ASAMA (Burkina Faso), accréditée PCI

Participation au festival des masques de Dédougou

1997: Masa festival à Abidjan; 1999: Masa festival à Abidjan et obtention du prix UNESCO pour la meilleure création en danse en Afrique. 1er prix de danse au Retheb au Bénin et tournée artistique dans plusieurs villes de Ghana (par alliance française d'Accra); 2000 : Nuits Atypiques de Koudougou au Bénin; 2001 :Participation au Retheb à Cotonou et obtention du 1er Prix de danses et participation au festival de Lagos au Nigéria « Symphonie of Fire »; 2002 : Tournée nationale et régionale (Afrique de l'Ouest); 2004 : Participation à la coupe d'Afrique des Nations en Tunisie (Animation culturelle pour le soutien) 2006 : Participation à cérémonie d'ouverture du Festival International du Théâtre du Bénin (FITHEB) des Ecureuils du Bénin); 2009 : Burkina Faso, Mali;
2010 : Première édition du Festival des Rituels et des Danses Masquées lancé par Towara; 2012 : Participation à de nombreuses manifestations au Bénin (FITHEB....)


Au niveau international :

Association Nationale Cultures et Traditions- (Gannat-France), en relations officielles avec
Unesco et accréditée PCI EUROPE
1996: festivals au Danemark, Russie, France, Suisse, Italie); 2003: festivals au Centre et Nord­ Ouest de la France Festival international d'Alençon en Normandie Festival international « Les Cultures du Monde » Plusieurs manifestations estivales à Montluçon, à Vichy, à Cusset et à Clermont Ferrand; 2007 : festivals et manifestations culturelles dans 20 communes en France;
2008 : festivals en Slovaquie, Tchèquie, Allemagne, Italie et France; 2011: tournée en France de
Towara Junior; 2013 : France et en Suisse

ASIE

1997 : festival de Gagawa dans le Shikoku au Japon; 1998 : manifestations estivales à Tokushima au Japon; 2000 : Tournée artistique à Tokyo et à Nagasaki au Japon; 2009 : festivals en France, Allemagne, Espagne

AMERIQUE

2000 : festival de Wémiléré au Cuba; 2005 : manifestations culturelles à Cuba; 2011 : tournée artistique d'un mois au Brésil

MOYEN ORIENT

2013 : Tournée à Dubaï

Participation aux congrès mondial du CIOFF, réunion du CIOFF Afrique-Europe du Sud

Date de création: 2012
Domaine(s):

- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other

Pays principaux d'activité:

Allemagne, Belgique, Espagne, France, Italie, Pays-Bas, Roumanie, Royaume-Uni de Grande-Bretagne et d'Irlande du Nord

Objectifs:
The European Federation for Architectural Heritage Skills (FEMP) is a non-governmental, nonprofit association of continuing vocational education and training (CVET) centres specialised in the training of heritage skills as well as professional organisations promoting vocational education and training of heritage craft skills. FEMP aims to promote the understanding of the role of craft skills and craft conservation for the preservation of monuments and cultural objects. FEMP also seeks to improve the strategic framework for international training in order to develop and expand heritage craft skills. To this end, FEMP is engaged both in political advocacy and in the exchange, dissemination and expansion of expertise at international level.
FEMP pursues a range of activities such as:
Setting up initiatives to increase awareness of the traditional know-how and techniques associated with the preservation and restoration of architectural heritage sites and moveable and other material cultural heritage (craft conservation and restoration);
Establishing a network connecting the various heritage skills CVET centres to facilitate training mobility and to develop and expand heritage craft knowledge and heritage craft skills;
Creating a communication platform and expert database for heritage craft skills to serve training centres, practitioners, heritage institutions and the public at large;
Taking on the role of central point of contact with a view to defining common objectives, and of monitoring and advisory body for all matters involving the safeguarding, management and further development of heritage skills;
Organising and encouraging activities involving publications, conferences, meetings, events and training programmes in the field of heritage skills inside and outside Europe; advocating measures to assist in the free circulation of services provided by craft trades heritage professionals;
In European countries, nowadays, the effect of academisation broadly endangers the transfer of traditional craft skills. This is due to a declining number of apprentices on the one hand, who are channelled, through assymetric education policies, into higher education with VET left underdevelped. On the other hand, biased conservation regulations, standards and procurement practices have detrimental effects to craft trades businesses and their day-to-day work endangering the constant reproduction of their skills sets. By keeping up an expert dialogue and informing on these problems as well as by teaching, researching on and promoting traditional craftsmanship and heritage skills, FEMP seeks to foster the general understanding for crafts people and their issues in order to improve the strategic framework for traditional craftsmanship in heritage preservation.

Activités:
Knowledge Transfer
Through its members engaged in the research on and training of heritage skills, FEMP supplies vast specialist knowledge on the intangible cultural heritage of traditional crafts. Its eldest member, the European Center for Heritage Crafts and Professions has extensive experience in conducting international courses, going back to 1978. The European Centre provides CVET courses specifically for heritage preservation in theory and practice, as well as special Italian preservation and restoration techniques. This course targets painters and decorators, stucco plasterers, metalworkers, carpenters and joiners, stone masons and sculptors, gilders and bricklayers. The European Centre is the only institution in Europe offering such specialised courses not just on national scale, but also for participants from other countries. The apprentices are given the opportunity to apply what they have learnt under the supervision of the Centre's instructors.
The craftsmen participating are expected to deepen and extend their knowledge and skills in restoration and heritage preservation. In addition, they will get to know specific Italian techniques, swap "tricks of the trade" with craftsmen from other countries in the classrooms and workshops, and - once back in their home countries - pass on what they have learnt to their colleagues and other apprentices. The aim of the interaction with craftsmen from other countries is to reflect on
one's own ways of working and to boost one's self-confidence. Demonstrating, imitating, correcting and joint practicing skills improve the practitioners' command of handwork as a world language. The know-how acquired benefits the material heritage and its preservation. Through learning, working and living together, the mutual respect and understanding for cultural commonality and diversity is fostered. Moreover, participants develop a feeling for a transnational craft trades identity- with regard to both the perpetual exchange, throughout history, of knowledge and skills between the peoples and the common intangible cultural heritage.
A longer-term aim of FEMP is bringing together specialist and expert knowledge and training expertise from CVET centres for heritage preservation from inside and outside Europe, to coordinate and network their activities, and to develop an ECVET-based curriculum for skilled craftsmen working in the field of heritage preservation and craft conservation and restoration.
For example, one of the FEMP member Fondazione Villa Fabris was pastly named as the European Centre for Heritage Crafts and Professions created in 1977 on a Council of Europe initiative with the support of UNESCO, the European Community Commission, the Italian Government and International Bodies and Organizations- was established on San Servolo Island in Venice.
lt implemented the principles of modern International Conservation Charters: an international environment, heritage conservation works, reviving the traditional craft professions, and training courses with multidisciplinary programs covering both theoretical and practical subjects.
In 2007, the spirit of this centre has now resurfaced in Villa Fabris in Thiene. The Centre's activities started being promoted by the Villa Fabris Foundation, in a 18th century architectural complex in the centre of Thiene.
The Foundation immediately invested in technologically advanced tools, making the Centre a place where people can exchange not only ideas and objects, but also methods, technologies and know-how.
In 2017, forty years after its establishment, the Centre attracts thousands of European and non-European participants as an international reference both in the debate on conservation and in the application.
Le Centre des métiers du Patrimoine "La Paix-Dieu" was created in 1997. Its management was taken over by the Walloon Heritage Institute in 1999. The IPW is a public interest corporation which performs various functions in parallel to the Heritage Administration: assistance to owners of listed properties at risk, the valuation of certain properties belonging to the listed Walloon heritage and the public sensitization through different activities such as publications, Heritage Days, etc.
Among those missions, the most beautiful one is the preservation and transmission of knowledge in the field of architectural heritage.
The Centre of la Paix-Dieu has the chance to develop its activities of training courses on a historic site quite exceptional, ideal teaching aid, of a former Cistercian abbey located in Wallonia, South of Belgium.
In the framework for international cooperation on the UNESCO heritage, la Paix-Dieu exports the Walloon know-how through training operations in St. Louis (Senegal), in Old Havana (Cuba), in Ramallah (Palestine), in a village in the province of Hue in Vietnam and in Port-au-Prince in Haiti.
On the European scale, the Centre of la Paix-Dieu collaborates with a lot of institutions as the association of Compagnons du Devoir in France, Association of cultural centres, Cistercian abbeys networks, ...

Coopération:
Though carrying out regular heritage classes, FEMP training centres have gained extensive experience both in teaching craftspeople and in co-operating with them as instructors. Classes cover a wide age range from European qualification level 4 to 6.
FEMP shares and promotes the views and values of craftspeople, namely the respect of practice, tacit knowledge and experience gained through a professional, non-academic approach towards self-perfection.
The Center of la Paix-Dieu and the Villa Fabris Foundation pursues the following general objectives:
- to culturally enhance the preservation and heritage trades;
- to train young apprentices and craftsmen who are technically and culturally prepared in order to stimulate technical development in the field of restoration, combining the use of the latest technology with respect to the tradition, the history and the culture of the area;
- to hold specialization courses and updating courses for experts in restoration transferring experience and skills to new generations of craftspeople.
Also, two of the members, the Center of la Paix-Dieu and the Banffy Castle benefit the European recognition of the Cultural Heritage awarded by Europa Nostra (Federations of the European Associations of the Heritage) for the awakening classes organised for teenagers from 12 to 15 years old.

Date de création: 1999
Budget: U.S.$2500000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Foodways, traditional sports and games, information technology for heritage, cyberculture, heritage education.

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- other
- Impact analysis and policy evaluation, surveys, promoting sustainable development, use of information technology, participation methods and cultural brokerage.

Pays principaux d'activité:

Afrique du Sud, Belgique, France, Pays-Bas

Objectifs:
The Non-Governmental Organization FARO functions as a support center to make interesting policy instruments like the 2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage, the 2005 Council of Europe Framework Convention on the Value of Cultural Heritage for Society and in particular the (new) cultural heritage decree of the Flemish Community (23 May 2008), work in practice and to explore their full potential. FARO acts as an interface between local, provincial, regional and national governments, international networks, local and national heritage organizations and institutions, the academic world and civil society. Cultivating open collaboration and win-win-situations is a preferred method, next to stimulating communities of practice, reflexivity and working towards milestones and good practices in heritage projects. FARO assists heritage networks and organizations to develop strategies and helps to put these plans in practice. FARO is a professional interdisciplinary organization doing and facilitating research, exploring and distributing information about new working methods and good practices, cultivating innovation in safeguarding programs. Raising awareness and promoting dialogue about and through cultural heritage and enhancing visibility of safeguarding practices in the field of intangible and tangible heritage, are main objectives. Studying the effects and impact of cultural heritage policy and practices and giving feedback to policy makers and organizations are also an important challenge. Facilitating international cooperation and exchange and stimulating organisations in Flanders and Brussels to participate in international debates and projects is a crucial objective. For more information see www.faronet.be.
Activités:
FARO is the interface for cultural heritage in Flanders/Belgium, providing practical support and other services for museums, archives, popular culture organisations,heritage NGOs and intangible cultural heritage practioners. This includes organizing courses, workshops and training programs, coaching and training field specialists and cultural brokers, publishing books, journals, DVDs and making websites about cultural heritage, developing a documentation and information center, conducting surveys and systematic research, sensitizing and envolving civil society for cultural heritage issues. The interdisciplinary team uses methods and theories of cultural anthropology, ethnology, cultural and social history, public history, art history, linguistics, information science, cultural studies, museology, archivistics and heritage studies. FARO has a specialized library focussed on heritage studies, popular culture and methodology. Special efforts are devoted to ICT and digitization programs, in particular webbased applications and multimedia projects. Programs are being developed for sustainable development, deontology and ethics in heritage safeguarding practices and intercultural exchange. FARO provides expert assistance in safeguarding intangible cultural heritage to groups and communities requesting help. FARO also coordinates recurrent national events, like the cultural heritage day or the week of taste. Implementing and combining international conventions is crucial in the strategy of FARO.
FARO has a staff of (on average) 30 full-time employees (21 staff members and, on average, 9 temporary project managers or collaborators) , of which 80% has an academic degree (Ph.D. or master) in heritage studies, history, art history, linguistics, anthropology, information and computer sciences or other disciplines. FARO is the result of the fusion in 2007/2008 of the VCV (NGO founded in 1999, for safeguarding intangible cultural heritage) and CBV (NGO for museums, archives and heritage consultants). The staff of both organizations (VCV en CBV) is now active in the new network organisation FARO, cultivating interdisciplinary collaboration and working. The annual budget ranges between 2 and 3 million euros.
Marc Jacobs, Ph. D., director of FARO, has participated as an official expert in all phases of the drafting process of the 2003 UNESCO convention and was the expert representing Belgium in the Intergovernmental Committee in 2006-2008. This illustrates how active VCV, now FARO, has been involved in the whole process of preparing and then implementing the 2003 UNESCO-convention for the safeguarding of ICH.

Coopération:
FARO is the official national support organization in Flanders (including Brussels) for heritage networks, volunteer organisations, local communities, tangible and intangible heritage specialist and practioners.(see www.faronet.be). It is subsidized by the Flemish government to develop and implement methods, training programs and platforms for empowering groups and practitioners to participate in heritage work and policy issues. The Flemish Center for the study of Popular Culture (VCV) now FARO, has since 1999 succesfully managed (in helping) to include volunteer networks and NGOs as full participants in heritage policy and debates, resulting in the official recognition in the 23-5-2008 decree on cultural heritage in Flanders. VCV/FARO has set up dozens of projects with heritage communities and groups (see www.faronet.be). Intercultural contacts, cultural diversity and working with migrant groups is a specific focus of FARO. FARO is also participating in projects establishing international networks of NGOs and stimulating communication (see for instance http://www.heritage-organisations.eu/).

Date de création: 1977
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Allemagne, Belgique, Brésil, Canada, France, Luxembourg, Portugal, Suisse

Date de création: 2016
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
La Fédération des Coopératives des Pays de Mayoko, FECOPAM, a pour objectifs: - Améliorer les conditions de vie des populations, - Favoriser l'Entraide, la Solidarité, la Coopération, les Echanges d'idées et d'expériences entres les autres organisations qui interviennent dans le même domaine et bien d'autres domaines de développement durable, - Promouvoir le développement agricole au Congo, culturel, valoriser les traditions locales - Renforcer et Intensifier des échanges culturels et pastoraux, - Lutter contre la famine et les carences alimentaires par la promotion de l'agriculture, - Promouvoir les Objectifs de Développement Durable d’ici à 2030, - Organiser et participer à des conférences débats, des colloques et séminaires sur le plan national et international dans la recherche d'autres solutions à la situation de pauvreté dans le pays,

Date de création: 1978
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Albanie, Allemagne, Autriche, Belgique, Bosnie-Herzégovine, Bulgarie, Chypre, Croatie, Danemark, Espagne, Estonie, Finlande, France, Grèce, Hongrie, Irlande, Italie, Lettonie, Lituanie, Luxembourg, Malte, Monténégro, Norvège, Pays-Bas, Pologne, Portugal, République de Moldova, Roumanie, Royaume-Uni de Grande-Bretagne et d'Irlande du Nord, Serbie, Slovaquie, Suède, Suisse, Tchéquie, Türkiye

Objectifs:
FACE's main objectives are to promote hunting, in accordance with the principle of wise and sustainable use of natural resources, as a tool for rural development and conservation of our wildlife and biodiversity, as well as to preserve hunting as a cultural heritage together with the hunters' communities by allowing hunting traditions and shared knowledge to be passed on. As part of this FACE, representing 7,000,000 hunters and recognising the rich cultural traditions associated with hunting and hunters, works to safeguarding the undeniable, rich and varied cultural aspects that sustainable hunting traditions have added to and have helped to enriched Europe’s common heritage, as reflected over the centuries in our art, gastronomy, music and literature.

Additional information:
1) To promote and defend hunting, in accordance with the principles of sustainable use of natural ressources. Hunting has long and deep traditions spanning over thousands of years. Hunting as such (i.e. different hunting methods, such as hunting with hounds, falconry, stalking, calling etc.) as well as the traditions associated with hunting (like music, art, festive events, literature, knowledge about nature, gastronomy, hunting artefacts) constitute a rich and multiMfaceted intangible cultural heritage. In promoting and defending hunting, FACE seeks to safeguard a cultural heritage together with hunters' communities by allowing hunting traditions and shared knowledge to be passed on.
2) To establish and maintain permanent relations and exchanges between hunting associations, supporting their efforts and taking part in their work.
3) To defend the moral and physical interests of members of Member Associations, taking joint decisions on subjects of common interest and implementing those decisions.
This along with the promotion of hunting (as mentioned in point 1) implies to develop, maintain and amend national and international laws, treaties and conventions to permit the pursuit and perpetuation of hunting traditions, hunters' interaction with nature and their history, which provide our members with a sense of identity and continuity.
4) To contribute towards enlightening the public at large as to the principles of sustainable hunting, their value in the management and wise use of game and its habitats, as well as to the important role the public can play in the conservation of game and its habitats. This includes to uphold a positive public image of hunting and respect for hunting culture and traditions.
5) To promote all forms of activity, research and contacts associated with game and habitats, in particular with all national and international organisations which have similar concerns or would help in achieving the Federation's goal.
6) To raise and manage funds to contribute financially to projects of scientific research, of technical work, of conservation and management of wildlife and its habitats, of information and awareness raising and to any other initiative aiming to promote biodiversity conservation through the sustainable use of renewable natural resources.
Activités:
As a Federation much of the direct activities related to safeguarding cultural heritage is conducted by our Members who in many cases have persons dedicated to managing cultural heritage activities (e.g. horn blowing, different hunting methods, gastronomy, etc.) and regularly organise training and events to keep the traditions alive. (See section 7)
We have also organised events at a European level to showcase hunting's rich cultural heritage, including a high level event at the European Parliament called “Hunting & Culture”.

Additional information:
FACE is a non-profit international organisation, which represents national Member Associations from 36 European countries whose total membership is 7,000,000 individuals. FACE is ensuring an active membership community to pursue the objectives for which it was established. It regularly convenes the Member Associations in various Working Groups, such as the ones on 'hunting with hounds', 'bow hunting', 'ethics', 'how to communicate hunting' and others. It organises an Annual General Meeting to discuss matters of the Federation. It provides a platform for contacts between its Members and
European decision-makers, inter alia in the framework of the Intergroup "Sustainable Hunting, Biodiversity & Rural Activities", which meets regularly in the European Parliament and for which FACE is providing the Secretariat. In addition FACE is organising events showcasing huntings' rich cultural heritage, such as the recent on "Hunting and Culture" in the European Parliament, held on 22 April 2009, where participants had a gastronomic experience of game meat traditions from Austria and France, could listen to German and French hornblowers and met wildlife painters displaying their art.

Representatives of FACE in our Member Associations are organising numerous activities related to the safeguarding of hunting as a cultural heritage and are dedicated to managing cultural heritage activities (e.g. different hunting methods - such as stalking, calling, hunting with hounds, falconry, hornblowing, gastronomy, festive events, etc.). They regularly organise training (hunting courses, courses in taxidermy and the making of hunting artefacts) and events to keep the traditions alive. A part of showing hunting to
the greater public is the organising of hunters' festivals: e.g. the annual Mednieku festivals Minhauzens in Latvia (the 12th being organised by FACE's Latvian Association in 2010), bringing together hunters and non-hunters to share knowledge about hunting. FACE's Slovak Association organised the annual Hunting Days in Levice (this year for the 15th time), where representatives from the State and Town Council, and a large
number of visistors could admire exhibitions about nature and animals and the presentation and science on hunting trophies. Seminars are organised to promote and inform about specific traditions in the domain of hunting, like the one on hunting with hounds in Chambourg, France, in June 2009, or the one on game-meat in Stockholm, Sweden, in July 2009. In Italy and France and other Mediterranean countries hunters
organisations hold bird regular calling competitions.

Hunting as a intangible cultural heritage is being described by FACE and its Members in Ibooks and films: e.g. the role of hunters as holders of certain cultural values in society is described by our Swedish Association in the short film "Ett satt att leva" - "A way of living". Similar actions are carried out by most FACE Members.
Coopération:
As mentioned above our Members, who are the representative hunting associations of 36 European countries, contribute to safeguarding the intangible cultural heritage of hunting. As a Federation we recognise four broad social cultures of hunting in Europe as follows:
1. Anglo-saxon
2. Germanic
3. Nordic
4. Mediterranean

We as a Federation maintain dialogue and exchanges between these different hunting cultures and also with other rural stakeholders. Individually our Members maintain cultural practices in their countries in line with the standards and ethics of hunting. In particular they maintain traditions and practices through training and organisation of events - e.g. horn blowing, singing, story telling, bird calling, hunting terms/language and cooking.

It should also be recognised that hunters being both urban and rural based bridge the growing urban-rural divide and actively participate in important local cultural activities e.g. The Baltic Song and Dance Celebrations & the Slovácko Verbuňk, Recruit Dances.

Additional information:
Since its foundation in 1978, FACE, through various Members, has promoted and defended the practice, tradition and heritage of hunting where it has existed for centuries. As a Federation, our Members undertake to maintain aspects of their national hunting culture together with other rural stakeholders. FACE Members organise national exhibitions, contests and educational events related to their hunting culture. Where regions share similar cultures (Anglo-Saxon, Nordic, Central European & Mediterranean)
their Membership to FACE facilitates cooperation in promoting and safeguarding their hunting culture. At European and international levels FACE promotes this rich hunting heritage as shown in our Manifesto for the period 2009-2014. This is done through various means, but in all cases through drawing on the expertise and knowledge from within our Membership. Where the cultural elements relate directly to the taking of wildlife we work to ensure that these traditional socio-cultural practices are in line with
the provisions of the Convention on Biological Diversity (Articles 8j & 10c). We are aware that there is a need to cooperate in a spirit of mutual respect especially on heritage issues related to hunting, which can on occasion be divisive. In this regard we are engaging in proactive consultation to overcome conflicts, where they exist.

As a Secretariat we intervene when required to protect or promote the practice tradition and heritage of hunting. We regularly attend and lend support to national hunting events,most of which include significant elements related to the tradition and heritage of hunting.

Date de création: 2014
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Canada, France, Guyana

Objectifs:
Dans une volonté et une nécessité d’encourager le rétablissement des liens entre l’Afrique et ses Diasporas, ayant une vision de rassemblement interculturel et intergénérationnel Femmes & traditions fédèrent les femmes africaines et d’ascendance africaine, de différentes cultures autour de l’identité dans la réappropriation de leur passé, de la patrimonialisation de l’histoire de leur histoire et la transmission.

Date de création: 1989
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde

Objectifs:
Folkland stands for the promotion of folklore with an aim to protect the intangible cultural
heritage falls in the genres such as folksongs, folk theatre, folk dance and other oral
practices along with traditional performances which are in the verge of extinction.lt
seeks to document, conserve and disseminate to the larger audience. Folkland's main
areas are conservation,documentation and transmission of intangible cultural heritage,
research on folklore.lt organises seminars, workshops and festivals to preserve and
promote the traditional art and culture.lt publishes reserch papers, books and
magazines.it btrings together people from India and abroad for artistic engagement. It
also organises dialogues between communities and peoples of different cultural
traditions.Folklad provides forum for artists,scholars in furtherance of the intangible
cultural heritage.Folkland engages in the work that enhances universal values of
multicultrism.Folkland learns inorder to teach the traditional art and cultural practices
and thereby pass on to the coming generation.

Activités:
INSTITUTION PROFILE
Folkland, International Centre for folklore and Culture is an institution registered on
20.12.1989 under the Societies Registration Act of 1860 vide the No 406189.During the
last 16 years it has passed through various stages of growth especially in the field of
performance, production, documentation and research besides the preservation of folkart
and culture.Folkland functions as
(l) An international Centre for folklore and culture
(2) As a Cultural Organization with clearly defined objectives and targets for
research and promotion of folk arts.
Folkland has branched and reached far and wide into almost every nook and corner of
the world. It has strived hard and treads the untrodden path with a clear motto of
preservation and inculcation of old folk and cultural values in our society.Folkland has a
credit of organizing many a festival on folkarts, workshop on folklore, culture, linguistics
etc.Seminars, discussions and symposia are also conducted and thus contributed in the
process of re-kindling the folk lamps, which has shed streaks of light into our past
treasure of knowledge.
Folkland has revitalized the old and extinct art forms like
Chimmanakkali,MangalamKali,Vannankoothu,Kurathiyattam etc with the assistance of
Dept of Culture,Govt of India and Sangeeth Natak Academy, Mew Delhi.Folkland has
veritable collection in the field of folksongs, Folk Art forms,riddles,fables myths etc which
are in the verge of extinction recorder and kept in the archives for scholastic endeavors
and posterity.
Folkland has already conducted workshops on Theyyam Costumes, myths, literature,
tribal arts, Poorakkali, Ethnomusic, folk handicrafts etc.Besides its annual festivals,
Folkland has a credit of hosting 17th Indian Folklore Congress at Trivandrum 23rd to
27th December 1996.
The main activities of Foikland falls under the performance, study and research on
folklore.Folkland has more than 600 Artistes in our roll comprised of Theyyam
,ThidanmpuNirtham, Poorakkali Velakali, Kolkali, Mangalamkali ,Oppana ,Daphu muttu,
Kalaripayattu etc.
Performance
Being the premier organization in the field of performance in the traditional art
forms,Folkland has been invited by several organizations and Departments like Zonal
Cultural Centres of Dept of Culture,Govt oflndia,Dept of Tourism,Sangeetha Nataka
Academy,Tourism Promotion Council and various other organizations
Research
Folkland has initiated several research projects during the last 16 years.Major among
them are Surwey, Documentation and Research on Kerala folklore, Art forms related to
floor-al drawings, fertility cult of Kerala,Different aspects of Theyyam,poorakkali etc.
Museum
Folkland has a museum of Theyyam with major Theyyam forms made in terracotta with
full costumes and ornaments. It has around 100 different facials drawn on the clay pots
and pulp effigies and kept in the museum. Apart from that, it has calendar of events and
a directory of artistes.
Honours
Three of our artistes were awarded for their best performance in the field of folklore by
the Kerala folklore Academy,Govt of Kerala during 2001-2002.
Website
Folkiand has launched a website on Kerala folklore under the domain name
.folkland.org.website was launched by Sri G.Karthikeyan, Hon.Minister for Culture,
Govt of Merala on 18th January 2003.
Award
Folkland has been selected for the State Award for the Best Performing Centre by the
Govt Of Kerala, Dept of Tourism for the year 2001-2002.
Training to the students
Folkland is extending training to 50 students in the field of poorakkali,kolkali,velakali and
Kalampattu.Out of the above students l 1 are getting scholarships from CCRT,Govt Of
India.
Documentation
Documentation of folk music and art forms,rare ritual arts is one of the major objectives
of Folkland. It has more than 3500 hours of folk songs and about 2600 hours of rare art
forms in the audio and video formats. Apart from that 8000 paper clippings and 4300
rare photographs in the archives. Considering the vast work in the field of
documentation,Folkland is made a member of reputed organization, Archive Resource
Community housed at Delhi.
Recognitions and Affiliations
Folkland has been recognized as an eminent Institution by the Dept of Culture,Govt of
India since 1999 and 17 of its artistes and one Guru1 Director have been given salary
by the Dept of Culture.lt has been affiliated to Dept of Handicrafts, Ministry of
Textiles,GOl. Besides that ,Folkland has been affiliated to the Kerala sangeetha Nataka
academy since 1995 and Nehru Yuvak Kendra since 2000.Folkland has become an
Associate Member of ClOFF in the year 2000 and has become the member of ARC in
the year 2000.Folkland has also been recognized by the Department of Anthropology
Norway University for their research pursuits.
Source of Funding
Folkland has been recognized by the Dept of Culture, Govt of lndia and has been
giving salary grants and production grants by the Ministry of Tourism and Culture.
Folkland has also been considered for grants by Govt of Kerala for several projects.
Performance charges and public contributions are our other sources of finance.
Administration
Folkland has governing body consists of a Chairman and Chief Executive Officer as its
head. There are five directors and a secretary to lead the team. Dr V.Jayarajan (Vice President Indian Folklore Congress and Advisor to Sangeeth Natak Academy, New
Delhi) is the chairman of the Governing body and Mr K.Suresh is the Secretary.Folkland
has an advisory board consists of eminent scholars and artistes of international
reputation. Sri Kavalam Marayana Panikker ( Vice Chairman,SNA) Dr. H.K.Bhat (Mysore
University), Dr Jawaharlal Handoo, (President I FC) are the present advisory board
members.
Chapters and Liaison Officers
Folkland has several Chapters in India apart from its regional office in
Karnataka(Mysore) Rajasthan, Assam,Meghalaya,Chatishgarh,Gujarath,
Tamilnadu,New Delhi,Goa,Punjab,Madhypradesh Chapters are functioning well.
Foljkland has Chapters in Saarc countries such as Nepal, Malesia, Bengladesh and
Pakisthan. Folkland has liaison officers working in countries like
France,Germany,Peru,USA.Swedan,Japan,Holland,USSR,UK and UAE
Coopération:
Folkland has woprked with several communities such as Mavilan, Vannan, Malayan,
Pulayan who are the Teyyam performers and practionioners of Magic, ethno music,
ethnomedicine and crafts.Mangalam kali , a unique pradce performed by a hill
tribe(indigenous community) was revitalised and its artist, a lady performer was given
distinguished membership by folkland when she appears on the media at her age
of100years.Folkland has also conducted her performances at different stages and
became instrumental to bring her state award instituted by Kerala folklore academy.
Folkland has documented around 3000 hours of folkpractces.another work in which
folkland has involved is the screwpine craft. It was undertaken by the women folk of
Pulaya community. Folkland has inspired them to revitalise the traditional crafts and
given training and also extended the insurance coverage to them.Another field in which
folkland involves is the manuscripts.Folkland has surveyed around 200000 palmleaf
manuscripts and started digitization process in order to protect the same. most of the
manuscripts are community based knowledges.

Date de création: 1998
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Date de création: 2006
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- la littérature, protection de l'environnement, evènements intellectuels, eco-tourismes, ect.

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Cameroun

Objectifs:
- Sauvegarde du PCI au Cameroun
- Promouvoir la Culture Bamoune et Camerounaise
- Plaidoyer pour Ia mise en place de listes nationales PCI
- Vulgariser Ia convention de 2003 sur le plan local et national
- Accompagner les communautes, les groupes et les individus detenteurs des savoirs et savoir-faire sur le PCI
- Sensibiliser l'ensemble des parties prénantes pour la sauvegarde du PCI à savoir : l'Etat, Ia societe civile, les partenaires, les communautes pour Ia prise en compte du PCI dans leurs activites des developpements.
- Trouver des voies et moyens pour I'amelioration du niveau de vie des communautes
- Valoriser le génie culturel et traditionnel
- Promouvoir l'artisanat, l'art et la culture dans sa globalité
- Promouvoir les savoirs faires transmis oralement
Coopération:
Des experiences de consultation et de sensibilisation avec les communautes notamment les seances d'information et de formation en vue de préparer le dossier d'inscription du festival NGUON sur la liste du patrimoine Culturel Immatériel de l'Humanité organisees par notre Fondation ont permis de contacter les communautés, les goupes ainsi que les individus detenteurs de differents élements de Patrimoine Culturellmmateriel (PCI).

Date de création: 1979
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Norvège

Objectifs:
The Norwegian Coastal Federation (Forbundet KYSTEN) is an organisation dedicated to the preservation of Norwegian coastal and maritime cultural heritage. Refering to the mission statement from the bylaws in the organisation the main objectives is: Promoting preservation of the general use of traditional vessels, buildings, facilities and the coastal environment in general, conducting informational activities to boost understanding of the value of human and cultural traditions for Norway’s coastal history, maintaining and developing traditions in industry and craftsmanship, seamanship and ways of life, and raising the professional standard of maintenance and safety in the use of vessels and facilities.
The motto of the Norwegian Coastal Federation (Forbundet KYSTEN) is “preservation through use”. This means that the focus on the safeguarding programs and activities is the intangible elements of the coastal and maritime cultural heritage
The federation Forbundet KYSTEN was founded in 1979. At the end of 2014, the Association have about
10 000 members througout Norway and 126 local branches along the whole coast of Norway.
Forbundet KYSTEN is the main voluntary organisation in Norway within the field of preservation of coastal and maritime cultural heritage.
The head quarter of the federation is located in Oslo wich give us the possibility to make close contact with politicians at a national level as well as promoting actions and program in collaboration with institutions like the Ministry of culture, associations for adult education, cultural and educational programs for museums, traditional craft associations and educational institutions.
The main activities is carried out by our local branches and is based on voluntary work wich is the foundation for almost all the work and activties. The local branches objectives is to preserve local maritime and coastal cultural heritage. They aim to create social network and communities around local maritime heritage. The local organisations work on local and regional assignments in accordance with the Federation’s statutory objectives. The local branches themselves determine their areas of focus, providing this is in accordance with the federation’s mission statement.
Activités:
The Norwegian Coastal Federation (Forbundet KYSTEN) is made up of 126 local branches that are based all along the Norwegian coast. Its activities are primarily concerned with local traditions and cultural heritage.
There are two classes of membership in our organisation: full members and youth members (up to 26 years of age). Most full members are individuals, but our list of full members also includes museums, schools and other associations. Approximately 90 per cent of our membership is accounted for by members of our 126 local branches, which are spread out along the entire coast of Norway. The remaining 10 per cent are direct members of the central federation. The total number of members is 10012. Both the number of local branches and the total membership have increased steadily year-on-year since the federation was established in 1979.
The Norwegian Coastal Federation (Forbundet KYSTEN) is a democratic membership organisation. The national congress is the executive body, consisting of delegates from all of the local branches. The national congress elects the national executive. Each of the local branches can send one delegate to the national congress. Decisions are also made at the national congress regarding strategy, action plans and budgets.
Our Magazine ”KYSTEN” (”The Coast”) is published with 5 copies per year and goes automatically to all members as well as to a large number of museums, schools, craft producers and others.
The local branches are responsible for most of our activities. These are wide and varied in nature, though with an emphasis on maintaining, transferring and developing knowledge and skills within the fields of coastal culture and maritime intangible cultural heritage. Here are some examples: preservation and use of historical boats (from small rowing and sailing boats to historically significant sailing ships and steamers); documentation and recording of both tangible cultural monuments and procedural knowledge about maritime cultural heritage; the practice and passing on of traditional handicrafts and skills such as boatbuilding, sail making, rope making and rope work and textile traditions; antiquarian (both practical and theoretical) knowledge about the restoration, maintenance and construction of vessels and buildings (such as lighthouse stations, harbour buildings, boathouses and historically significant shipyards and boatyards); traditional seamanship and navigation; sailing; rowing; knowledge about coastal waterways and landmarks; songs and musical traditions from the coast; rituals and social gatherings (e.g. when launching and landing boats); the oral storytelling tradition along the coast (both collection and presentation); care and maintenance of old steam-powered engineering; practical knowledge about the operation of larger vessels; rigging of sailing ships; food traditions at sea, etc.
Many of these activities are organised as courses in partnership with our own study association (Studieforbundet kultur og tradisjon), in compliance with the regulations and guidelines contained in the Norwegian Act on adult education. This also means that the courses are prepared in accordance with the methods and practice of Nordic adult-education tradition, which emphasises non-formal education, participant-led and democratic access to learning. Our courses emphasise the procedural transfer of action-borne knowledge as their central method. According to the strategy we have adopted, the main objective of the study association is that “it should be possible for everyone living in Norway to become familiar with and learn about cultural expressions and folk traditions in a constructive and secure environment of fellowship”.
The organisation has six employees at central level: five who make up the administrative office, based in Oslo, plus the editor of our periodical, KYSTEN. These employees possess specific technical knowledge relating to their areas of responsibility, including history, ethnology, anthropology, journalism and communication. However, the most important technical expertise is found at local level. In many coastal communities, our local branches are the only remaining groups that possess and are passing on knowledge and skills within the field of intangible maritime cultural heritage.
The local branches arrange regular trips, expeditions, gatherings and festivals in partnership with the municipalities and other local organisations working to preserve cultural heritage.
The central organisation of the Norwegian Coastal Federation arranges regional and national courses, conferences and specialist gatherings, often in partnership with regional and national cultural authorities, experts and craftspeople.
The Federation’s national convention, organised as a maritime festival, takes place annually over four days in July. This event gathers together traditional boats and ships from all along the Norwegian coast, as well as visiting vessels from other countries. At the convention, there are technical lectures and seminars, and practitioners of traditional maritime handicrafts meet to exchange information and hold workshops.
Coopération:
The local branches bring together members and active specialists who possess important knowledge and skills relating to local maritime intangible cultural heritage. The activities can be described as learning in local practising communities, with the local tradition bearers and practitioners of traditional handicrafts playing an important role in the transfer of knowledge. Almost all of the local branches include key local tradition bearers and practitioners of traditional handicrafts. Many of the tradition bearers represent traditional knowledge that has been passed down through many generations. In the case of some of the specialised fields, such as boatbuilding, this traditional knowledge may go back as far as 300 or even 500 years.
Many of our local branches work together with local coastal and maritime museums around the coast, with members taking an active part in work to preserve their boat collections and buildings. We have developed a collaboration model under which our members take care of the practical knowledge relating to these cultural monuments, with an emphasis on sailing, rowing, active use, communication and knowledge transfer. We now have an opportunity to further develop this collaboration model, as the Norwegian Ministry of Culture has recently given the museums administrative responsibility for the intangible aspects of cultural heritage within their fields.
Last year, the Norwegian Coastal Federation and UiT, The Arctic University of Norway in Tromsø, took the initiative to develop the “Centre for Outstanding Boatbuilding”. For almost 20 years, the University has employed a traditional boatbuilder, who has worked to pass on traditional knowledge about boats from northern Norway. Now the intention is to set up a centre with national responsibility for transferring traditional knowledge relating to the most important local and regional boat types in Norway. The centre has created affiliations with traditional boatbuilders within the various boatbuilding traditions, and emphasis will be placed on the practice of traditional boatbuilding, as well as the documentation and recording of local handicraft techniques. The University acknowledges the high level of expertise and the complex knowledge represented by traditional boatbuilding.

Date de création: 2000
Budget: U.S.$632
Domaine(s):

- oral traditions and expressions
- performing arts
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement

Objectifs:
Mongolia is the birthplace of nomadic culture and civilization that has the history of thousands of years. We have been engaging our activities with the purpose to protect, recreate study and introduce the historical and cultural prides of Mongolia, and to train human resources in the cultural heritage sector within the framework of activities of the Mongolian government and diverse projects of various stakeholders to protect historical and cultural heritages. Our slogan is “Let’s protect the historical and cultural valuable heritages of our nation and transmit them to our next generations”
Since unique and rare materials and intellectual heritages created by the Mongolians are great pride of Mongolia and also part of the worldwide cultural heritages, we aim to promote our heritages in the world.
One of our most important goals is to organize various kinds of activities and events to raise public awareness on the cultural and historical valuable heritages of Asian countries and worldwide.
Objectives of our Foundation include:
- To protect, recreate, introduce and study the unique, rare, materials, intangible and intellectual heritages on the basis of scientific researches,
- To publicize and promote historical and cultural sites among international and domestic organizations
- To contact and engage cooperative activities with the same kind of international organizations for extending our foreign relations in the field of cultural and historical heritage
- To qualify and propagate the intellectual creations made by children and young people in cultural heritage field

Activités:
We engaged in the activity to register the cultural and historical sites in the Orkhon valley to the World Heritage List, and our foundation and “Foundation for Promotion of the World Heritage” of Germany jointly organized the national seminar “Management issues on the cultural and historical sites in the Orkhon valley” in 2003.
Our Foundation and “Foundation for Promotion of the World Heritage” of Germany have jointly implemented the project to recreate and signpost the tourist/guest path to the Tuvkhun monastery, established by Undur Gegeen Zanabazar in 17th century. Tuvkhun Monastery is located in a natural scenic place, which is historic and cultural site and part of the world heritage as well.
Our Foundation and Japanese Clubs/Associations of the UNESCO have successfully organized the “Picture Festival for the Asian Children” among the children of 24 Asian countries, twice through the years of 2000 – 2002, 2003 – 2005 in Mongolia with the support of the Mitsubishi Corporation.
Japanese Association of the World Heritage and our Foundation successfully conducted the “World heritage of Asia”, the ten-days Mongolian and Japanese Forum Trip in the cultural sites of the world heritage in the Orkhon valley, and in the Great Gobi desert in June 2005.
Since 2005, we have been playing an active role in the procession and implementation of the projects for identifying, safeguarding and transmitting the intangible cultural heritage and its bearers. For instance, we elaborated the project proposal for the inventory making of the intangible cultural heritage of Mongolia in cooperation with the Mongolian National Commission for UNESCO.
We have members who become a shining example for the young generations of our foundation with their excellent skills and experiences possessed as a result of efficiently working in the various sectors of cultural heritage field for a long period of time (from 30 to 44 years). For example, Dr. Urtnasan.N, President of Association of Mongolian Long Song, and Mr. Yundenbat.S, Executive Director of Mongolian National Center for the Intangible Cultural Heritage. Mr. Urtnasan.N is an author and co-author of “Historical and cultural monuments and sites in the territory of Mongolia” (1999), “Conservation of immovable historical and cultural heritage in Mongolia” (2006), “Cultural history of Mongolia” (2002) and “History and culture of the Mongols” (2004), “Orkhon Valley Cultural Landscape: World Heritage site” and “Sacred Sites in Mongolia and biodiversity conservation” (2007). Mr. Yundenbat has written number of articles, books and is a producer of the following documentaries: Mongolian Traditional Music Instrument: Morin Khuur (2003), Mongolian Traditional Song: Urtiin Duu (2005), Chingges Tengeriin Toin (1999), Melody of Galbinga (2001), Melody of Tsuur (2006).
Currently, we are taking measures to create a database of the Mongolian long song-singers and develop their repertory in cooperation with the Association of Mongolian Long Song.
Executive Director of Mongolian National Center for the Intangible Cultural Heritage. Mr. Urtnasan.N is an author and co-author of “Historical and cultural monuments and sites in the territory of Mongolia” (1999), “Conservation of immovable historical and cultural heritage in Mongolia” (2006), “Cultural history of Mongolia” (2002) and “History and culture of the Mongols” (2004), “Orkhon Valley Cultural Landscape: World Heritage site” and “Sacred Sites in Mongolia and biodiversity conservation” (2007). Mr. Yundenbat has written number of articles, books and is a producer of the following documentaries: Mongolian Traditional Music Instrument: Morin Khuur (2003), Mongolian Traditional Song: Urtiin Duu (2005), Chingges Tengeriin Toin (1999), Melody of Galbinga (2001), Melody of Tsuur (2006).
Currently, we are taking measures to create a database of the Mongolian long song-singers and develop their repertory in cooperation with the Association of Mongolian Long Song.


Coopération:
The Foundation for Protection of Historical and Cultural Heritage has close cooperation with the bearers of the intangible cultural heritage, such as long song-singers, throat singing-singers, and epic singers and so on. We conducted case studies on the bearers of intangible cultural heritage in 2006-2007 and published the report book 'Mongolian rituals, manners and festivals'.
There are number of governmental and non-governmental organizations we cooperate with, such as the Ministry of Education, Culture and Science of Mongolia, Mongolian National Commission for UNESCO, Mongolian National Centre for the Intangible Cultural Heritage, Association of Mongolian Long Song, Mongolian Cultural Studies Association, and etc.
We are engaged in the activities (such as identifying the bearers of intangible cultural heritage and creating inventories) being implemented by the Mongolian National Commission for UNESCO within the framework of the project 'Implementation of UNESCO 'Living Human Treasures' System in Mongolia' with the support of Intangible Cultural Heritage Center for Asia and the Pacific. Moreover, we got engaged in the elaboration of the 'List of Types and Forms of Intangible Cultural Heritage in Mongolia' with the relevant bodies and submitted to the Ministry of Education, Culture and Science of Mongolia for further approval. We also cooperated with he Mongolian National Commission for UNESCO on the elaboration of the nomination file for 'Mongol Tuuli: Mongolian Epic’ for the inscription on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding.
Furthermore, we aim to continue our active involvements and efforts for compiling and publishing the inventories on the protection of historical and cultural heritages in Mongolia, preparing the nomination files to register petrography of Mongolia in the World Heritage List, compiling data on the Mongolian sacred mountains, and publishing manuals and instructions on survey to safeguard the Mongolian intellectual heritages.

Date de création: 1935
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
La Fondation INATEL est gouvernée par ses Statuts et en accord avec son article 5 :
« La Fondation a comme buts essentiels la promotion des meilleurs conditions pour
l'occupation du temps libre et du loisir des travailleurs, en activité de service et retraités,
en développant et en valorisant le tourisme social, la création et la jouissance culturelle,
l'activité physique et sportive, l'inclusion et la solidarité sociale ».
Et d'après le Decret-Loi nO 106/2008, du 25 Juin qui a institué la Fondation INATEL :
« Tout en préservant sa nature originelle, la Fondation INATEL développe son activité
dans tout le territoire nacional, elle est chargée de l'administration d'un important
patrimoine, constitué essenciellment par des équipements hôteliers, culturels et sportifs,
consacrés à la prestation d'un vaste leque de services dans les domaines de l'hôtellerie
et du tourisme social, du termalisme social, et senior. La Fondation appuie également la
promotion de la culture traditionnelle (groupes folkloriques, sociétés philharmoniques,
orphéons, groupes chorales et de théatre amateur), le développement du sport amateur
et ses mouvements associatifs, la concrétisation du droit au repos et loisir des
travailleurs et la promotion de programmes et initiatives d'inclusion et de solidarité
sociale qui concernent surtout les jeunes et les plus âgés »
Activités:
Dans le domaine de la culture nous allons enumérer les activités qui traduisent la
politique culturelle de la Fondation INATEL et démontrent ce qui est fait dans le domaine
de la sauvegarde du patrimoine culturel immatériel. Ces activités sont annuellement
inscrites dans le Plan d'Activités, Budget et Investissement.
La politique de la culture, dont la Fondation INATEL est chargée, se développe em 6
aires thématiques:
1. Formation d'Associés et membres de CCD (Centres de Culture et Sport) ;
2. Concours de Créativité;
3. Plans Nacionaux d'Appui aux CCD ;
4. Editions de Livres;
5. Grands Événements;
6. Relations Internationales.
1. Dans le domaine de la Formation, des actions de formation sont développées, dans
les aires comme l'Etnographie et Folklore, la Musique et Théatre.
En ce qui concerne l'Etnographie, un Cours d'Instruments Populaires a lieu. Nous avons
également des actions de Formation Regionale d'Etnographie et Folklore.
En ce qui concerne la musique nous avons plusieurs cours:
Le Cours National de Direction Chorale et Technique Vocale; Des Masterclasses
d'Instruments Régionaux de Flute, Clarinette et Saxophone, sont aussi développés; Un
Cours Regional de Réparation et Maintien d'Instruments.
Dans le domaine du théatre, des actions de formation qui sont indispensables à la
valorisation des groupes de théatre amateur sont développés.
2) Dans le domaine des Concours de Créativité, nous avons de nombreux concours, qui
sont les suivants:
Le Concours de Vidéo; Le Concours Nacional d'Etnographie ; Le Concours de
Composition; Le Concours de la Fondation INATEL! Théatre - Nouveaux Textes.
3) La Fondation INATEL développe reguliérement et depuis plusieurs années un Plan
Structuré d'Appui qui englobe l'Etnographie, les Editions, la Musique et le Théatre
amateur et autres évenements culturels comme par exemple le folklore. Ce Plan National d'Appui constitu un élement essentiel dans la relation directe avec les Centres
de Culture et Sport (CCD's), qui sont actuellement environ 1.300 dans l'aire de la
culture, et englobent les syndicats, les associations de travailleurs, les personnes
morales de droit publique, les maisons du peuple, les associations humanitaires, et ce
Plan, dirigé exclusivement à ces derniers, leur permet l'obtention de moyens essentiels
à leurs activités culturelles, comme appuis financiers pour l'acquisition de costumes et
chaussures, instruments musicaux ou équipement nécessaire pour la production de
piéces théatrales. Ces relations startégiques de la Fondation 1NATEL avec les CCD
permet, non seulement le développement régional, mais aussi le développement
d'activités traditionnelles, dans le domaine de la culture populaire et de la préservation
de traditions.
Nous avons par exemple, plusieurs projets de niveau national qui visent appuyer les
groupes etnographiques en ce qui concerne les costumes, les chaussures et
instruments musicaux.
4) En ce qui concerne les Editions de livres, la Fondation INATEL a des editions
historiques dans le domaine de l 'Etnographie que nous allons enumérer :
- "Traditions Populaires 1 et Il''
-«Colloque sur la Musique Populaire Portugaise»
-«Étude sur le Chant de la Région de Alentejo»
-«Le Costume Regional au Portugal »- Auteur : Tomaz Ribas (edition Difel)
- «L'Art du filet de pêche» - Paradigme Ecologiquel Travaill Techniques de Navigation 1
Jet -par Professeur Universitaire Manuel Fidalgo
- «La culture Traditionnelle de 1 État Nouveau»- Auteur: Professeur Universitaire Joao
Lopes Filho
-"Chansonnier de la Région de Cova da Beira"- volumel et IV- Auteur: Ma da Ascençao
Gonçalves Carvalho Rodrigues).
5) La Fondation INATEL réalise également les Grands Évenements qui sont, par
exemple, les suivants:
- Les Promenades Culturelles; Les Rencontres et Expositions Etnographiques.
Il y aussi des representations de Traditions Populaires, comme par exemple, les «
Cantares de Janeiras e de Reis» (Pour célébrer le nouvel an) ; les Fêtes de Carnaval.
6) Dans le domaine des Relations Internationales, la Fondation INATEL, integre le
Conseil International des Organisations de Festivals de Folklore et d'Arts Traditionnels
(CIOFF) comme Organisation Non Gouvernementale auprés de l'UNESCO.
Dans le cadre de la musique, la Fondation INATEL, intègre la Confédération
Internationale des Sociétés Musicales et la Union européenne des Musiciens
(CISM/UEM).
Dans le domaine du théatre, la Fondation INATEL posséde le Théatre de la Trindade qui constitu depuis 45 ans, l'offerte culturelle permanente de la grande Lisbonne, dans les
domaines, non seulement du Théatre, de l'Opéra, de l'Opérette, de la Zarzuela, du
Cinema, du Chant, de la Danse, du Fado, des Spectacles Populaires, de l'Etnographie,
du Folklore. Lie théatre est actuellement le siége de la Compagnie Portugaise d'Opéra.
Coopération:
La préservation du patrimoine culturel immatériel et l'encouragement de nouvelles
habitudes de satisfaction des biens culturels constituent les objectifs de la Fondation
INATEL.
Si, d'une part, la Fondation INATEL assume la responsabilité sociale de promotrice
d'une tradition culturelle centrée en deux vecteurs fondamentaux - formation et appuis
structurés aux Centres de Culture et Sport (CCD's) - d'autre part, elle s'assume aussi
comme agent dynamisant de nouvelles pratiques, qui accompagne une société de plus
en plus exigente et médiatique.
Dans cette perspective, la Fondation INATEL, prétend continuer sa politique culturelle
de préservation et constante adaptation à une société en changement, et qui exige
diversité et multiplicité en ce qui est de plus en plus important dans la formation de la
personne humaine - l'immatériel, qui nous donne de la joie, nous amuse et transmet
des connaissances, et nous aide à donner un sens à notre existence.
Dans ce sens la coopération, dans un esprit de respect mutuel avec les communautés,
les groupes, les individus, qui atravers leurs actions ont une pratique de défence de la
culture immatérielle, est une constante, d'où ressortent les CCD- Centres de Culture et
Sport- qui dans le cadre de la Fondation INATEL font un recueil et des représentations
etnographiques, des enregistrements des traditions populaires et des rituels, et dans
l'époque technologique dont nous traversons, la préservation de traditions orales

Date de création: 2002
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Date de création: 2007
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- Congo dance and music

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Panama

Objectifs:
Dedicated to the rescue and conservation of Historical Heritage, to promote musical education and artistic training through the establishment of a music school in the city of Portobelo so that it will contribute directly to the cultural and environmental development of Portobelo. Promote, enhance, and disseminate knowledge of the history of Portobelo, complying with the legal guidelines that regulate the matter of Historical Heritage of the Nation
Activités:
The Portobelo Bay Foundation (FBP) has played an increasingly important role in the socioeconomic development of the Portobelo population through the promotion of art, culture and social and environmental sustainability. Committed to improving the quality of life of the community with programmes that seek – in particular – community development (economic, social and environmental) through culture and creative industries currently provides two main services: 1. The Little Rhythm School (LER) 2. The House of Congo Culture

Date de création: 1991
Domaine(s):

- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectifs:
• Contribute to solving the problems of cultural, social and ecological environments in the
country, through the promotion of integral processes in the student, academic and
community fields.
• Promote and advance scientific and technological research, especially in the
archaeological, architectural, biological, geographical, historical and social areas.
• Provide advice and cooperation in scientific or technological research advanced or
promoted by other persons or entities.
• Disseminate and manage knowledge on cultural heritage, in its archaeological,
architectural, ecological, histroical and social aspects, through written publications,
databases, audio or visual media, exhibitions and lectures open to the public.
• Provide advice and cooperation for the maintenance, preservation, restoration,
building, managing and safeguarding of the intangible and material cultural heritage in its
archaeological, architectural, ecological, natural, historical and social aspects.
With these objectives, the foundation has developed a framework for working towards
the safeguarding of the intangible heritage which is expected to contribute specifically to
the identification, documentation, research, preservation, protection and enhancement of the intangible heritage. Similarly, the efforts to promote solutions to the problems of the
country and the scientific and technological research in various areas have been
expanded to examine these areas from the issue of intangible heritage, serving also to
support its preservation.
Activités:
Monika Therrien. Director. Anthropologist and Master in History. Professor of the
Master's degree of Cultural Heritage and Territory and of the Specialization in
Conservation of Architectural Heritage. Project manager of the Erigaie Foundation. At
the moment she coordinates research on the impact of the policies of intangible heritage
for the MIA Cultural Heritage Observatory, on industrial heritage with the project 'Fábrica
de Loza Bogotana' and the relation between heritage and tourism in Villa de Leyva.
Germán Ferro. Investigator. He has work with the communities of the Department of
Huila in the development of research projects on cultural heritage in which he involves
the Colombian histrorical and regional context, using the assessment of local cultural
processes as main teaching tool, involving the communities as watchers and managers
of their own resources. Director of projects as "cultural inventory of Huila"; "travel to the
holy places of Huila".
Carlos del Cairo and Catalina García. Researchers. Coordinators of the research area
related to maritime and underwater cultural heritage in which framework have been
carried out projects such as "The Plan for awareness for the protection of underwater
cultural heritage, phases I and", the international Seminar on "Maritime Tierra Bomba"
and memory places in the township of Tierrabomba", focused on working with the
coastal and island communities and the recovery of the fishing traditions of the island.
Alvaro Santoyo and Mónica Hernández. Investigators. Alvaro Santoyo has worked since
1999 in the analysis of what the Colombian elite thinks about the Amazon area, and
since 2003, in issues related to memory, mithology, social organization and education in
Amerinidian societies of Vaupés. Mónica Hernández for her part, has developed projects
on spatial and territorial configuration in the Colombian Pacific. They both work on the
project "MIA (Material, Intangible and Archaeological) Cultural Heritage Observatory, in
the first phase of which they analize the impact of the heritage declarations in the case
of two populations, both, at the community level and the process of formulation of public
policies for these populations.
Coopération:
In developing projects for the protection of cultural heritage, the Foundation has
supported the creation of local NGOs "ALCAESPO" and "Buceadores de la historia de
los cañones (Divers of the history of the cannons)" made up of mothers who are heads
of families and groups of fishermen from the island of Tierra Bomba, for the local
management of the maritime resources of the island. Through the signing of agreements
with these organizations, the Foundation ensures cooperation between the institutional,
the local and the academic sectors for the implementation of initiatives for the study,
protection and dissemination of the Intangible Cultural Heritage in coastal areas and
islands.
The development of joint projects with the Terra Firme NGO, formed by researchers
supported by the Erigaie Foundation, has allowed the generation of opportunities for
dissemination of the projects related to the Intangible Cultural Heritage at national and
international levels, by young researchers and professionals working in the field.
The development of the Seminar on Intangible Heritage "management, participation and
action" held in April, 2009, was conceived as a space for theoretical debate, analysis
and work methodologies on the Intangible Cultural Heritage. This is done with the
participation of Colombian and foreign researchers who presented their case studies and
perspectives from which they have been addressed. Additionally, in four days were
presented experiences of managers, public officials and leaders of organizations to
identify and understand local contexts and the problems and challenges faced in the
formulation of public policies and action plans relating to cultural heritage and its
implementation and impact on local and regional authorities.
Through the implementation of valuation and empowerment methodologies of local
cultural resources it has been possible to involve communities from some municipalities
of the Department of Huila, as watchers and managers of the material and intangible
heritage.
The MIA (Material, Intangible and Archaeological) Cultural Heritage Observatory, has
been formed as a line of research devoted to the study of the discursive construction of
heritage and the production of relevant knowledge to act as a consultative body in the
formulation of public policies related to the indicated topic.

Date de création: 2011
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Panama

Objectifs:
FUNDACIÓN INDICRI is a non-profit organization which objectives are to benefit students, professionals and communities, getting them interested in the safeguarding of the natural and cultural heritage of Panama, Ibero-America and the world.
Activités:
Most of the foundation activities are related to ACAMPADOC DOCUMENTARY SCHOOL and ACAMPADOC INTERNATIONAL FILM FESTIVAL. Both programs have involved and benefited for ten consecutive years hundreds of students, professionals and rural communities who have a vital interest in the rescue of the Intangible Cultural Heritage (ICH) throughout the teaching-learning process of documentary filmmaking.
The organization has facilitated the safeguarding of the ICH through documentary cinema as a sustainable factor that replicates itself in the host town and anywhere its graduated students arrive. Together with this community, the safeguarding of the built heritage is understood as a vital substrate for the existence, safeguarding and sustainability of its intangible cultural heritage.
Coopération:
The organization works together with various national and international institutions and organizations that join each year as promoters of this thriving project for the formation and growth of the Panamanian diversity, its cultural heritage and its international projection.

Date de création: 2007
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Colombie

Objectifs:
Based on the statues of the “Mundo Espiral” Foundation the following objectives are related with the safeguarding of cultural heritage, and the spirit of the Convention:
5. To Contribute to the regional culture improvement, through the formation of cultural processes and groups as well as the dissemination and promotion of artistic and cultural events.
6. To promote directly or indirectly the scientific, social, technical, and cultural progress of the country, contribute to scientific research in terms of progress and development, as well a scientific, technical, and cultural exchange with national or foreign institutions.
11. To promote the associative work with the establishment of cultural, social, and environmental programs, with the technical and economic support of public and private entities without the spirit of profit, of a municipal, departmental, national, and international character. Likewise, to raise the level of participation and organization in social, economic, cultural, political, and environmental matters in urban and rural communities.
13. To develop intervention strategies to different programs and projects in the region, to optimize the use of resources and the results of projects, through the monitoring, evaluation, and constant control, where the community also participates through supervision.
Activités:
The experience about "Mundo Espiral" Foundation related with studies, analysis, recognition, safeguarding, and diffusion of Cultural Heritage on the local, regional and national level, starts with The National Grant awarded by the Ministry of Culture in Colombia, within the framework of the 2008 Incentives named: "Recognize and value your cultural heritage", with the project: "Inventory of religious cultural heritage in San Juan de Pasto - Nariño". Next, the entity joined the "Vigías" Cultural Heritage Program of the Ministry of Culture, with the “Holy Week and religious associations. Tangible and inmaterial cultural heritage of San Juan de Pasto, Colombia”, in 2009.
Coopération:
Mutual respect with communities, groups, and individuals is one of the characteristics of "Mundo Espiral" Foundation, as the processes of investigation, inventory, registration, training, safeguarding, dissemination, transmission, and responsible enjoyment of intangible cultural heritage, they take into account the traditional norms and the national and international legality that is specified from the signing of the following documents with the bearers: copyright, endorsement consents to participate, permission for the dissemination of images and acts of commitment, among others.

Date de création: 2010
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Date de création: 2007
Domaine(s):

- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Türkiye

Objectifs:
Traditional Arts Association was established initially to safeguard intangible cultural heritage of the Turkish traditional arts as well as raising heritage awareness to the viability of various arts and crafts through periodical and/or temporary programmes, projects and activities. The Association also aims to support the cultural community of the traditional arts in order to maintain the transmission of the tradition.
The mission of the Traditional Arts Association is to introduce, revitalize, sustain and safeguard the Turkish traditional arts and crafts.
The vision of the Association is to become a pioneer NGO and a consultative body in safeguarding the intangible cultural heritage in Turkey.
The Association's activities can be grouped under seven sections:
Projects: The Association conducts various projects for safeguarding the intangible cultural heritage; to maintain and develop mutual interactions and cultural dialogue with national and international institutions and communities of traditional arts.
Inventories: The Association ceaselessly works on documenting the traditional arts and crafts and their artists in order to safeguard the intangible cultural heritage by preparing a complete inventory of the arts and artists. The inventory is regularly updated with new information as well as additional oral expressions.
Competitions: The Association designs, organizes and supports traditional arts and crafts competitions on national and international level. The general scheme of the competitions is to provide opportunity for young artists who will become the masters of the future.
Academic Events: The Association organizes academic events such as congresses, symposia, panels, and conferences. The events combine theoretical studies as well as artistic productions, usually enhanced with exhibitions.
Publications: The Association makes wide range of publications within an annual schedule. The publications vary from academic research on traditional arts, to monographs, Festschrifts,
Proceedings and catalogues.
Awards and Fellowships: The Association presents senior and junior awards to the artists and scholars active in the field.
Exhibitions: Periodical and permanent exhibitions are designed and conducted by the Association.
International Relations: Aiming to become a known executive body of the traditional arts and crafts internationally, the Association develops projects in conjunction with the national and international institutions.

Activités:
Since its establishment in 2007, Traditional Arts Association has been the leading NGO of Turkey in the field of intangible cultural heritage. The Association conducts research, makes academic publications, promotes traditional arts and crafts, supports conservation projects, records oral tradition and masters, organizes exhibitions and competitions to support the young practitioners as well as safeguarding the artistic production. The Association's experience in various areas displays devotion to its mission and vision in safeguarding the intangible cultural heritage.
Activities of Traditional Arts Association are given in chronological order:
Silver Tulip Award (since 2006): This is the first award in the category of traditional arts which is presented to individuals who dedicated their lives to the traditional arts, contributed in its development, promotion, and safeguarding. The winners of the award are determined based upon their artistic productions or scientific contributions.
Academic and Artistic Events (since 2007): International Turkish Calligraphy (Hüsn-ü Hat), Manuscript Painting (Miniature), Binding symposia and national Turkish Art of Marbling (Ebru) and Illumination symposia are hold, all of which combine academic and artistic activities such as panels, exhibitions and workshops.
International Events: "Two Cultures One Art: lstanbul-Tahran" (2008). A symposium and an exhibition were organized bringing miniature artists from Turkey and Iran, accompanied by a book.
"Masters of Istanbul" inventory (2010): The inventory of arts and crafts workshops in Istanbul was started and completed in 2010. The project was supported by a printed map, a booklet, a documentary (eleven episodes) and a regularly updated web site both in Turkish and English. The project is expanded to "Masters of Turkey" which is in the making.
"Fidelity to the Tradition" (since 201 0): Various programmes are hold in order to introduce and commemorate the deceased masters and academics to the younger generation and transmit the tradition to the posterity. The individual programmes are supported by a web site.
A project was conducted to introduce the traditional arts in the Balkan States in 2011.
"Masters of Future" Competition (since 2013): The competition was designed in 2012 to promote and encourage the young artists in the field of traditional arts. The annually organized competition supervised 1200 national I international participants since the beginning and the grant budget was 150.000 TL (Turkish Liras). There are separate web sites dedicated to each contest in Turkish, English, and Arabic.
"Contemporary Young Artists, Tomorrow's Masters" (2016): This project was organized to support and promote the young artists of the traditional arts which was enriched with a panel, a catalogue and an exhibition. The panel was the first of its kind where the principal issues of the traditional arts in Turkey were discussed in detail.
Education Workshop on Copyright Issues (2016): The workshop was organized to raise awareness to the fundamental copyright issues in traditional arts. The Association also gives pro bono legal counselling service to its members in copyright and royalty matters.
Publications (since 2007): Almost all the projects, competitions, gatherings and proceedings have been published. The recent publications include Festschrifs in honour of emeritus professors; monographs on Ottoman Flower and Flowerists (200), Karagöz (Turkish Shadow Theater, inscribed on the representative list of ICH 2014), Ebru (Turkish Art of Marbling, inscribed on the representative list of ICH 2014), Hat (Turkish Calligraphy), Miras (Heritage).
Ongoing Projects (2017): Kirkyama (Patchwork) competition and panel.

Coopération:
The Association works closely with related communities such as the traditional arts departments of the universities, municipalities, museums (national and international), master's workshops, craftsmen and craftswomen, students, legal art courses and private art schools nationally.
The projects are designed and conducted with the initiative of academic and artistic bodies that the Association has cooperation with. Therefore the projects are designed according to the needs of the field as they provide the Association with the recent intangible cultural heritage issues. Mimar Sinan Fine Arts University, Presidency of the Turkish Manuscripts Institution, Chester Beatty Library in Dublin, Istanbul Metropolitan Municipality and other district municipalities of Istanbul, Classical Turkish Arts Foundation were among the co-organizers.
The experts and legal bodies act in the organizing committee, scientific advisory board, advisory committees.

Date de création: 1999
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

Congo

Objectifs:
Etant une organisation autochtone de droits de l'homme, l'aspect culturel est partie intégrante de l'univers autochtone BATWA qui englobe les traditions et pratique BATWA, le savoir traditionnel et les connaissances et expressions lingustiques. C'est pourquoi notre objectif bine qu'humanitaire, mais est au delà culturel en vue de promouvoir cette culture brisée par le poids de la civilisation occidentale (modernism), en vue de la sauvegarde, la transmission et la révalorisation de ce patrimoine culturel moyennant de larges moyens de diffusion.

Date de création: 1981
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- traditional craftsmanship
- other

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

France

Objectifs:
L'Ethnopôle Garae se donne les buts suivants:
Fonder et développer un centre de documentation ethnographique portant sur les techniques, les modes de vie, les représentations collectives existant ou ayant existé dans les pays audois et pius généralement, dans les pays languedociens et occitans.
Constituer avec l'aide des divers chercheurs et groupes un fichier nominal et thématique de la recherche sur l'Aude et les régions voisines.
Diffuser largement la recherche, ses objectifs et ses résultats dans le but premier de restituer aux
populations les "fruits de la collecte et de l'étude", afin de favoriser une réappropriation culturelle dans un exprit d'échange, excluant tous les rapports hiérarchiques.
Présenter des expositions thématiques à partir des collectes effectuées. Ces expositions pourront être itinérantes, dans le département et au-delà.
Promouvoir l'édition et la réédition des travaux intéressant les cultures populaires audoises, languedociennes et occitanes. Créer au besoin une collection d'ouvrages dans ce but.
Organiser des actions de formation (conférences, colloques, stages de formation théorique et pratiques) favorisant la recherche et l'animation ethnologique.
L'association doit, dans ce but, établir une collaboration suivie avec toutes les personnes intéressées par le recherche anthropologique, sans exclusive discilplinaire.
Activités:
L'Etnopôle-Garae, labellisé en 1991 par le Ministére de la Culture, a une longue histoire dans le domaine de la sauvegarde du patrimoine culturel immatériel. Il est en effet issu de Folklore. Revue d'ethnographie méridionale, qui, de 1938 à 1988, fut un instrument de connaissance, de conseil et d'animation de première importance dans le domaine du patrimoine immatériel avant la lettre. Si la revue concernait les régions du sud de la France l'Ethnopôle a, depuis, noué de nombreux liens avec les autres pays de la zone méditerranéenne. Dans toutes ses missions et dans les divers champs qu'il a explorés il s'est toujours fixé une position d'observateur et d'acteur, analysant dans un premier temps avant de prendre une position de conseil et/ou de participer directement à l'action étudiée sur le terrain. Il nous a semblé bon de retenir quatre des opérations initiées: la littérature orale, les fêtes populaires, les regards naturalistes, et l'approche des arts modestes.
1. La littérature orale traditionnelle.
Dans les décennies 1970-2000, ont été menées, dans les Pyrénées audoises et ariégeoises, des collectes de fond sur la tradition orale. Plusieurs centaines de contes ont été recueillis sur un territoire dépeint comme un désert stérile en ce qui concerne la tradition orale. Ces enquêtes ont aussi permis de révéler un conteur exceptionnel, Pierre Pous, détenteur d'un répertoire traditionnel couvrant tous les cycles du genre. C'est auprès de lui qu'a été enregistrée une des seules versions orales du thème de Polyphème, directement inspiré de L'Odyssée. Parallèlement la collecte de chants et chansons traditionnelles, par sa richesse, a ouvert de nouvelles voies pour la connaissance de ce domaine.
La mise à disposition sous forme de publications, disques ou Dvd, a revitalisé la tradition avec l'apparition de chorales, de rencontres avec les conteurs traditionnels et les « néo-conteurs », dynamisant fortement les rapports sociaux et culturels de ces communautés montagnardes.
2. Les fêtes populaires et carnavalesques.
Après une grande étude sur La fête en Languedoc, l'Ethnopôle a réalisé plusieurs études sur les fêtes populaires, dont le Carnaval. Ce faisant il a été appelé comme consultant sur plusieurs films et émissions de télévision concernant les manifestations festives traditionnelles. Il a ainsi été conduit à analyser des cérémonies originales, à tonalité carnavalesque, organisée autour du mariage, des cours coculaires et des charivaris, regroupées sous le nom générique de « tour de l'âne », la victime, fiancé ou marié, étant exhibé sur un âne lors de ces rituels. Il est apparu très vite que la position de simple observateur n'était pas tenable et qu'il était obligatoire de participer à ces fêtes en tant qu'acteur à part entière pour en saisir pleinement le sens. L'ethnologue est donc devenu participant au point que ce sont ses études qui servent de caution à certaines cérémonies, voire qui les font survivre ou renaître comme à la Cité de
Carcassonne. Là, la fête du « tour de l'âne », remontant au Moyen Age, a retrouvé sa légitimité et sa force à la suite de sa lecture et de sa mise en valeur par l'approche ethnologique.
3. Le regard naturaliste.
Encore qu'elle soit emblématique d'une civilisation, la mise en perspective d'une production culturale est le plus souvent susceptible d'appréciations techniques, qui ne s'intéressent que peu aux constructions idéologiques ou imaginaires qui entourent sa production. Il en va ainsi de la vigne, élément essentiel de l'économie méditerranéenne, la plupart du temps réduite à quelques stéréotypes. Nous avons choisi de déchiffrer l'infime, le quotidien pour mieux saisir, à travers la trivialité des gestes du quotidien, les rapports complexes qui unissent tous les acteurs du monde végétal et la mythologie qu'ils génèrent. Entre cueillettes et culture, entre oiseaux et renards comme entre plantes qui se partagent le domaine du cultivé et du sauvage, se tissent des liens qui, à leur tour, sont à l'origine de pratiques puis de traditions.
4. Les arts modestes, à l'orée des marginalités.
Considérées avec condescendance, un certain nombre de pratiques et de créations artistiques nous ont semblé dignes d'attention dans la mesure où elles sont tantôt témoins d'une durée qui leur assure un caractère traditionnel, tantôt d'un événement exceptionnel qui en fait de fertiles marqueurs de mémoire. Dans ce domaine ont été approchés les créations singulières, faisant dès lors apparaître que, bien au delà de la personnalité de leur auteur, les réalisations des facteurs Cheval du quotidien s'inscrivaient dans le temps de la répétition et généraient des archétypes qu'il importe de préserver.
Coopération:
L'Ethnopôle s'est donné pour règle de fonctionner avec la panoplie des acteurs territoriaux susceptibles d'intervenir dans le champ du patrimoine immatériel, comme l'illustre ce projet en cours.
En liaison avec un parc Naturel Régional (La Narbonnaise en Méditerranée) a été mise en place une étude sur les différentes activités liées au monde lagunaire et l'univers symbolique de la pêche dans les étangs. Moins que les techniques de pêche (embarcations, filets, matériel de capture ... ) ce qui est retenu ici ce sont les discours sur l'espace naturel, la topographie imaginaire, la cartographie populaire, la saga mythologique et !es périodes édéniques des grandes époques de pêche. Toute l'action a été construite en partenariat étroit avec les acteurs locaux en veillant à respecter leur diversité: les pêcheurs en activité, les anciens, les prud'hommes en charge des usages locaux, les maires des communes concernées, la population vivant de manière directe ou détournée de ces activités. Il s'agissait à la fois de recueillir la mémoire d'un savoir, mais aussi tous les discours liés au monde des étangs dans le domaine naturaliste comme dans celui des croyances, des coutumes juridiques, souvent orales, et des gestes qui fondent sa spiritualité et ses codes. Par ailleurs la réflexion, en cours, porte sur la réutilisation des connaissances rassemblées. Avec quel réseau, enseignants, animateurs, élus locaux, spécialistes, est-il possible de faire
partager le savoir et permettre aux acteurs indigènes de valoriser leur culture? Jusqu'à présent la démarche a déjà donné lieu à publications et un DVD consacré à la mémoire d'un village de pêcheurs situé sur une île au milieu des étangs. Cette recherche se double d'une approche de la chasse au gibier d'eau organisée selon des formes originales (battues rituelles, embarcations, huttes temporaines... ) en liaison constante avec le monde de la pêche et qui lui reste complémentaire. Elle est à l'origine de nombreux échanges avec les structures organisées comme les syndicats de chasse ou des assocaition dedéfense de l'environnement qui mettent tous en évidence la synergie entre les deux mondes et soulignent la richesse et la complexité du monde lagunaire.

Date de création: 1997
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- knowledge of traditional dishes, preparation processes, storage techniques and production of synopsis for all the intangible cultural heritages of Acholi where these synopsis act as the measuring yards in the documentation processes.

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Ouganda

Objectifs:
To establish cultural Resource Centre for entertainment, information centre and trainning groud that would enable the new generations adapt the authentic skills and values of a particular Acholi cultural heritage.

To acquire all sorts of traditional costumes and props relevant to express the importance of culture maintenance. the intention is to safeguard the twenty two (22) Acholi traditional dances that have values to that society and forge unity. All these dances are performed to express the important of a particular ritual/ceremony accordingly. Namely; (Bwola, Otole, Larakaraka, Apiti, Ajere, Dingi-dingi, Acut, Okwil, Lamuya, Lacuku-cuku, Okojo, Aguma, Akel, Lyel, Rut, Jok, Nanga, Konge, Obet, Oling, Oyiny and kwero-merok
dance). And one of the documentaion processes would be producing synopsis for all these cultural dances to serve as a measuring yard in safeguarding the tangible and intangible cultural heritages involved.

To promote co-operation among the youth spiritually, morally and physically through cultural sharing.ln this process, the youngone shall copy and learn the cultural values from the elderly people and the chain continues. In the long run, the desirable cultural trait would have been instilled into these young generations through which they can use them in other cultural exchange.

To establish simple museum for Acholi culture in the long run where all historical events, costumes/props, relics and other important Acholi instruments and craftmanship are kept.

To built better office with all the office equipments, acqusition of the relevant gazates for effective documentations, store and training ground in the long run.

To promote culture of peace through non -violence means in the youth.and this would only be possible by the use of;
(i) Folk-tales which have virtues such as commonial unity, hard work, conformity, honesty, love for the clan and many others.
(ii) Drama that handle the peaceful resolution to land disputes, educate the audiance/community the importance of safe water supply and good sanitation, environmental protection and its related desieases, rights of all citizens in regardless of sex, addressing gender based violence and any outstanding problems which demands intervention for possitive transformation.
(iii) Dances and folk songs with the emphasis of the importance of being together and in harmony.
Activités:
1. Under the directorship of seven (07)competence directors and one hundrend fifty (150) active participants, GUTA is able to carry out Community sensitization through enter- educare

2. Safeguarding the intangible cultural heritages that are almost dying off through Oraginsing cultural gala. This is one of the activities aim at restoring the beautiful culture of Acholi which were destroyed due to the long war in the northern part of Uganda. our main points of interest capture the following classes that were educative, entertaining and affordable to the community of the Acholi;
1. restoring knowledge about traditional dishes which includes preparation processes, food values, storage techniques of such traditional dishes and other importance of such dishes toward our health.
2. Folk-tales narrative which includes narrative skills, audiance participation, didactic and moralistic nature, entertainment and the musical accompaniment.
3. Traditional folk songs and original composition based on the specific theme.
4. Solo performance (vocal I instrumental for individual expression of opinion.
5.Participating in civic education targeting the various roles played by an individual genders to create harmony in the society.
6.Through music dance and drama, participate in fighting water born related health diseases and other contigious diseases and addressing the importance of good sanitation.
7. Participation in the reseltlement of the community from the camp to their original home land and harminizing the immediate problem of land disputes.
8..Addressing the problem of gender based violence through music dance and drama where the audiance attending the shows get involved automatically.
9. Sensitization on universal education and its importance using the local language for the entire community consumption.
10. Engagement in traditional folk dances purely to revitalise our culture.

BOARD OF DIRECTORS.
Name - Proffesion - Expertise - Acquisition
1.Yeko George H. - Teacher Secondary and - Literature in English - learning instn. - Instructor(folk-tales) -Oraturel dances - Royal family, MDD - UDTA/Indere
2. Okello Quinto - Teacher (SNE) - Cultural practioner - Royal family, MDD consultant - UDTA/Indere, Creativity in composition - Royal family, Scripts writting - Learning instn.
3. Okot Janani N. - National examiner - MDD - Learning instn., Cultural practioner - He is an elder, Instructor - Folk-tales narratives - Inherited.
4. LakerJolly O. - Social worker/ educationist - Culture promoters - Inherited.
5. Langol Rino - Teacher (secondary) - Cultural lovers - Inherited.
6. Lakony Joe - Social worker - Culture promoters - working with NGO.
7. Ochora Ochitti - Social worker/educationist - National adjudicator - Learning instn.

Additional information:

Mr. Lakony Joe is a Ugandan by nationality, 31 years old by now, a social worker by profession, a project officer with War Child Holland and his area of jurisdiction is in Gulu, Amuru and Nwoya districts.
Lakony previously worked with Gulu Support the children organization (GUSCO) and the work dates back from 2003 when he started with GUSCO.
In as far as his cultural background is concerned; he had worked with formerly abducted children to teach them traditional songs, dances, and practices. He had been working tirelessly to coordinate cultural ceremonies for cultural healing for the returnees. He had been at forefront for organizing cultural galas within the communities where he works.
Also in their activities they help conduct intergenerational activities where children and parents come together show case different activities. Lakony is one of the initiators of Wang-oo program as informal educational activity and avenue to teach culture to the children around fire place.
Culture is part and parcel of all the activities they do and normally they consult the traditional leaders in their work.

Mzee Janani is now 72 years old, a national examiner, graduated in tutoring, specialized in music dance and drama (MDD) and more importantly he is one of the characters in the war dance contributing toward Primary teacher’s College (PTC) and National Teacher’s College (NTC) music choir.

George is now 47 years old, a Ugandan by nationality, a secondary teacher by profession and heading music dance and drama department in his School.

Beside those,
-He is the regional co-ordinator for Uganda Development Theatre Association (UDTA) from 2003 to date.
-He is the district chairperson- UDTA for Kitgum and Lamwo districts since 1998 to date
-He is a drama scripts writer and actor.

SEMINAR/WORKSHOP OR ANY DEVELOPMENTAL ACTIVITY ATTENDED
Civic education - From C.A to referendum - Civic educator.
Business planning - Organized by Gusby Trust MUK - Member.
Business management - Organized by N.U.M.A - Member.
HIV /AIDS/STDs Awareness - Organized by Lacor AIDs project - Participant.
Uganda German youth camp - Organized by PCY-GTZ - Participant.
Disabilities census workshop - Organized by AVSI - Enumerator.
UDTA planning workshop - Organized by UDTA - National executive.
Composed drama on civic education - Organized by NDI - Director of Gulu Theatre Artists
Land disputes resolution through MDD - Contracted by NRC - Director of Gulu Theatre Artists
Composed drama on domestic violence - Requested by ARC - Director of Gulu Theatre Artists
Composed drama about back to school - Invisible children - Patron MDD department.
Developed syllabus for MDD secondary - Invisible children - Patron MDD department.
Composed drama on right of citizen - Women in democracy (FOWODE) - Drama consultant.
Produced drama on water & sanitation - District water office & health dept. - Drama consultant/ director.
Participated in cultural revival festival - War child Holland - MDD consultant.

HOBBIES:
1. Cultural activities since I am promoting, preserving and appreciating my cultural values.
2. Developmental activities as I am working toward community positive transformation and restoring hope to the disadvantaged generations.
3. Music dance and drama as I am the chairperson of all the cultural groups under Uganda development Theatre Association in Acholi sub-zone and using MDD as one ofthe most effective communication tools for sensitization.
4. Touring as I have been monitoring all the cultural groups within the region and taking them for national festival.
5. Peace as I am absolutely involved in the peace building process through theatrical activities.

I Mr. Okello Quinto hereby declare that the information given above is true, correct and complete.
Referees
-National chairperson UDTA/Director Ndere centre. contact; 0772-200104
-Country director for invisible children Uganda. (Contact- office line) 0471432583
- District water office, district health office, district engineering office- Gulu district.
- Norwegian refugee council (NRC- ICLA- Wang-oo department Gulu main office
Coopération:
Working in partnership with Uganda Development Theatre Association since 1997 and very many local groups were developed in northern part of ugnada which are affiliated to UOTA. to perform arts that addressed the societical problems and provide the workable solutions to those problems.

(Those activities listed from number 1 to 10 in sub-section 6.c above are the driving tools for the community participation in the safeguarding measures).

Date de création: 2009
Domaine(s):

- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Royaume-Uni de Grande-Bretagne et d'Irlande du Nord

Objectifs:
The Heritage Crafts Association is the advocacy body for traditional heritage crafts in the United Kingdom. The HCA members are largely practicing craftspeople, and acts as their representatives. Working in partnership with Government and key agencies it provides a focus for craftspeople, groups, societies and guilds, as well as individuals who care about the loss of traditional crafts skills. The HCA works towards a healthy and sustainable framework for the future. The HCA is unique in the UK in believing that craft skills should be protected, promoted and recorded as part our living heritage in their own right, not merely in terms of the artefacts they produce or their conservation value. The HCA received charitable status in January 2010 for this purpose.
Coopération:
The majority of the members of the Heritage Crafts Association are craftspeople, or organisations of craftspeople. The organisation is led by craftspeople and people with other skills. All the work, therefore, is undertaken by intangible cultural heritage practitioners, groups of such practitioners, or under their direction.
The NGO regularly works with, and consult, non-members to ensure that the full breadth of experience and opinion of craftspeople is taken into account both in our own work, and in that of policy makers. For example, its work includes surveys and focus groups (e.g. Mapping Heritage Crafts), co-creation (Manifesto for Making) and consultation (e.g. consultation on new craft apprenticeship framework).

Date de création: 1984
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Canada

Objectifs:
The Heritage Foundation of Newfoundland and Labrador (HFNL) was established in 1984 to preserve the heritage of the province. Originally established to conserve built heritage, the Foundation's scope has expanded to include the safeguarding of intangible cultural heritage. Our mission in that regard is to safeguard and sustain the Intangible Cultural Heritage of Newfoundland and Labrador for present and future generations
everywhere, as a vital part of the identities of Newfoundlanders and Labradorians, and as a valuable collection of unique knowledge and customs. This will be achieved through policies that support initiatives that will celebrate, record, disseminate and promote our living heritage and help to build bridges between diverse cultural groups within and outside Newfoundland and Labrador.
Activités:
The Heritage Foundation of Newfoundland and Labrador's strategy for safeguarding intangible cultural heritage is based on local communities, and on the continuing activities of those with specific knowledge of traditions, skills and customs within these communities. The strategy attempts to articulate a vision and to develop practical steps to ensure that the Province's rich traditions are passed down to future generations. Developed in consultation with community heritage, culture and arts groups, the Foundation's ICH strategy has the following goals:
1. To document and preserve ICH information and traditions, including the development and dissemination of "best practices".
2. To promote the celebration of ICH at local, provincial, national and international levels, and the recognition of individuals, groups and communities who carry on ICH traditions.
3. To work with existing organizations and educational institutions to encourage and support the transmission and dissemination of traditional skills, knowledge and practices across the province and around the world.
4. To use ICH in building cultural enterprise, and encouraging the responsible use of ICH traditions and practices in a variety of economic development efforts.
5. To monitor and evaluate the implementation of the strategy in an effective manner.
6. To identify and establish a mechanism-including active stakeholder participation, staffing resources and an advisory board-to coordinate and implement preservation activities.

HFNL has created a website devoted to our ICH activities, and are continually adding new material. We have started an inventory of provincial traditions, with all materials housed in Memorial University's Digital Archive Initiative, accessible throughout the province (and the world) through our website. We offer support for community groups to preserve their ICH online through this inventory initiative. The ICH office also maintains a
web blog, twitter feed, facebook group, and monthly e-newsletter to better connect rural communities involved in safeguarding ICH.

Our ICH Provincial Advisory Group has three specialized committees that are working on a number of initiatives. The Training Committee has sponsored a series of workshops across the province for heritage workers to learn the skills required to document ICH. Throughout 2009 and 2010, for example, the ICH office developed a series of
community workshops on cultural documentation, oral history, and fieldwork methods. These course were presented in various locations and times across the province. These courses included Project Planning for Cultural Documentation, Interviewing Techniques, New Media and Place-Based Narrative, Introduction to ICH, Documentation of Boatbuilding Techniques, Planning for Folklife Festivals, Digital Audio Recording, and
Google Maps for Community Folklore Projects.

Our Inventory Committee continues to work with grassroots organizations to develop ways to foster a "grassroots" (i.e., bottom-up) inventory of the province, shaped by the priorities of community. Our Celebration Committee is working on a province-wide system to spotlight ordinary tradition-bearers and their knowledge. Besides the work of these committees, we are pursuing specific initiatives. In 2010, the ICH program
organized the first folklife festival for the province, focusing on the Christmas-time house visiting traditions (mummering).

HFNL recognizes, as a guiding principle, that the inclusion of multiple voices, including those of youth, is important in all work relating to Intangible Cultural Heritage.
Coopération:
The forging of partnerships is critical for the safeguarding and enhancement of the province's Intangible Cultural Heritage, and as such, HFNL works to ensure the meaningful participation of individuals, groups and communities concerned with Intangible Cultural Heritage in decision-making processes at all levels. HFNL has worked with numerous groups, including:
The Town of Bay Roberts to help plan ICH projects;
Northern Peninsula Heritage groups to provide introductory training for members;
The Rooms Provincial Museum on programming related to ICH;
Tablelands Rug Hookers to promote knowledge of traditional craftways;
NL Rug Hooking Guild to digitize the provincial hooked mat database and include it in the provincial ICH inventory;
Winterton Boat Building Museum to run workshops on documenting boats and boat building traditions;
Town of Torbay Museum and Archives to digitize oral history collections;
Memorial University of Newfoundland to co-sponsor a year-long rotating ICH internship;
Southern Avalon Development Association to host a workshop and public lecture on safeguarding ICH;
Labrador Metis Association to train fieldworkers in folklore interview techniques;
SmartLabrador to provide training for local researchers on oral history, ICH and community knowledge mapping;
Conne River Mi'qkmaw Band to provide instruction for student fieldworker documenting canoe building traditions; and,

Museum Association of Newfoundland and Labrador to assist in the planning of the ICHthemed Canadian Museums Association Conference.

It is the one of the goals of HFNL that its programs and initiatives to safeguard Intangible Cultural Heritage will recognize and support individual tradition-bearers and communities who take part in the various aspects of Intangible Cultural Heritage. The particular role of women in the preservation and dissemination of Intangible Cultural Heritage is recognized and supported, and the connection between Intangible Cultural Heritage and
the social and economic well-being of individuals and communities is recognized.

Date de création: 2009
Domaine(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Research connecting heritage to health and well being; citizenship and social cohesion; education and employment

Pays principaux d'activité:

Canada

Date de création: 1998
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde

Objectifs:
•To revitalize unique and fundamental cultural values through developing and promoting cultural values of human society.
•To function all its activities in line with traditional Naga Morung institute model (philanthropic institute concerns in lessons of community living, leadership, discipline, hard work and spirit of services, sports, art, music and health etc.).
•Undertake survey, research and evaluation of socio-economic, culture and religious problems and to publish documentary sources, books, periodical journals, monographs, pamphlets, souvenirs, film, videotapes, audio visual aid and CDs etc. to educate the general public.
•Provide relief and rehabilitation.
•Take up various health programme; family welfare, child welfare and help the destitute, handicapped, victims of unexpected circumstances and calamities, and economically backward people.
•Take up integrated development programme; plantation, poultry, piggery, duckery, cattle, rearing bee keeping, goat, sheep etc. for rural and village upliftment to enhance their income with proper guidance and as per geographically and climatically suitable places
•Run scale industries (small) such as food processing, yarning, dying, and handloom.
•Impart training such as cutting, weaving and knitting, handicrafts, carpentry, computer, mechanical and technical, typing and shorthand, in suitable places i.e. rural, backward and tribal areas.
•Empower women in order to bring them to the level of men-folks and to share equal privilege.
•Take up environment and ecological development activities.
•Promote games and sports among the tribals and others to provide recreational facilities and to bring about social integration.
•Open schools, colleges of different streams, Arts, Agricultural Science, Commerce, Theology and Language and cross-cultural college including adult literacy for the illiterates.
•Open care center and training centers for de-addiction cum rehabilitation, counseling, awareness center, HIV/AIDS, population control, orphan, aged and uncared by providing accommodation for such people.
•Have ecumenical set up in concept and nature in all its endeavors through networking, unity, cooperation, collaboration, and ministry.
•Advocate Human Rights for social justice, through training and motivation of the poor, and to support the cause of the poor before the government and the world community.
•Promote Right of information Act to the masses.
Activités:
I. Language, Literacy and literary programme:
Sümi Naga language course in association with Sümi literature Board, six months basic Certificate and one year advance diploma course is offered. This course is targeted to promote cross culture married couples, children, students, youth, research scholars and masses. So far ninety students in Advance and eighty students in Basic have successfully completed course and serving at different institute. At present 25 students are undergoing Advance course.

II. Cultural Research Programme
Focuses are on: Oral literature; folklore, myths, legend, wisdom sayings. Indigenous Culture: Customs & traditions, agricultural life & activities, festivity and festivals, rituals & rites, habits & diets, indigenous industries and economy.

Cross Cultural Research on Naga customs and traditions is being carried out at selected villages/places for empirical studies. Documentary and tribe affinity analysis programme has begun with seminars and workshop in collaboration with government agencies (NECC). So far two days seminar on Naga Folklores was conducted in Nov. 2007 in collaboration with NEZCC in which 12 Naga tribe participated.

Another research programme on ‘Sümi Naga folksongs documentary’, was conducted ‘at Lazami Sümi Naga ancestral village in February 2008, sponsored by NEZCC. This project has become an eye opener for awareness and promotion of cultural values.
Under this project research on oral narrative is given more importance. Networking with reputed agencies such as Sahitya Akedamy and other regional universities has developed to the level of resource person and participation at research seminars and workshops.
At present research on agricultural activities, festivity and festival are under the process.

III. Documentary & Publication work:
For documentation of oral tradition and promotion of cultural research work the society is also involved in publication work. At present the society has two research booklets in its credit, Sümi Naga work Folksong Songs book and video CD and Sümi Naga folksongs book, and video CD.

Along with the documentation work the society is also engaged in literary work for further promotional work. Thus, publish translation work as well, currently revising Sümi Naga folksongs book and video CD and English version of Naga Folklores. Apart from culture information with a view to promote vernacular literature a book entitled ‘Apostolmi chighi kini shiküka (Didache)’ was also published in 2007.

IV. Religious (Indigenous Theological) Studies:
Nagaland state is the only Christian dominated states in India with 98% of population. Whereby influence of this group of people matters a lot for the growth of the societal life. On examining such contribution and effect ICS felt responsible to initiate some avenue to check such measure. This idea leads us to realize that laypersons are untapped resource of Church and social ministry that weights special concentration. Seeing the growing need of layperson in Church ministry equipping them Biblical and Theological knowledge is encouraged. Hence, to promote built indigenous Church ICS is offering Laity Bible courses in collaboration with TESPRO International UK.: Diploma and Bachelor of Ministry course (in English & Sümi vernacular medium).

V. Human Resource Development Programme
•Personality Development: counseling, career guidance to children and youth.
•Imparting indigenous workable skill training to the unemployed youth, woman and self help groups; Handicrafts: card making, decorative items, wooden, bamboo & Cane crafts etc. Indigenous Arts, yarning, dying and weaving etc.
•Organize different training programme, workshop and seminars on different life issues and impart leadership training to leaders, woman, and youth.
•Act as consultant agency, facilitates technical and non technical trainings to national reputed Institutes for the underprivileged citizens; B.Tech. Biotechnology, B.Tech. Biochemistry, B.Tech molecular, B.Tech (food processing).B.Tech Agri. Bsc Agri., B.Sc Forestry.,Bsc. Nursing, Public Health, GNM. First aid & practical Nursing, Medical Lab tech., MCA, MA folklore studies, and Theological Studies etc. All together 78 students have been facilitated through youth empowerment programme.
•Music & arts: to the underprivileged children.
Western: Piano, Drum & drum.
Indigenous: Flute & mouth organ, Folksong and Folkdance

VI. Traditional hospitality:
1. Public Health: Care and support to HIV & AIDS victims; Mother and Child care; Aged and differently abled person.

VII Social welfare & service;
•Library cum mini cultural museum at present there are 400 members comprising of underprivileged students, researchers, scholars and general masses.
•Tobacco control in collaboration with state Government and National tobacco control Programme.
•Family counseling, technical and faith based moulding.
•Human Rights for deprived, woman and indigenous people, associated with world mountain people’s organization.
•Environment awareness & pollution control
•Asylum
a. Conference Hall (120 seat capacity)
b. Guest room (Double bed)
c. Meditation hall.
Coopération:
The project begins with a humble beginning. No state or central government nor any private agencies came forward to help neither encouraged. However, with all humility the society began the work. The method adopted for the safeguarding of cultural heritage is fourfold; research, documentation, coding and implementation. This process began with identifying the village community through survey report and analyzing the findings.

Lazami village which is believed to be the first ancestral village of Sümi Naga tribe was then selected for the said project. This village is not only the First Sümi Naga village, but also said to have been where many other Naga tribes ie: Lachepumi and Nethophumi village of Angami tribe, Zülhami and Khutsami village of Chekhasang, Longkumer clan of Ao, Kent clan of Rengma, Lotha, Sangtam, and Yimchungrü tribe are said to be immigrated from this ancestral village.

Their Language spoken is the original unpolluted language of Sümi soil, unlike any immigrant Sümis. Lazami language also has affinity with Chekhasang, Mao, Zeliang, and Rongmei. 80 percent of Sümi Cultural life is still intact, which is comparatively higher and better than any other Sümi villages or Nagas in general. Those integral characters are; language, folksong, folklore, diet, agricultural practices, household items, and furniture etc.

Largest village of Sümi tribe, of 950 household (present 2008 record). Lazami village is rightly a ‘cultural village’. Be it Naga migratory history, village topography, villager’s nature, beauty and scientific art of Sümi language, folksongs, jhum cultivation method, product of agricultural crops and dietary habits of the people, and monument of ritualistic stone platform at Iyinu khel etc. all speaks volume of the same truth. If dreamed of having such an idol Naga cultural village, Lazami village should be the model.

Their cooperation and response to our action plan is immensely contributing a lot. Reciprocal participation is a source of encouragement and growth for our project. Such impact of restoration is even better outside the community people. Their natural goodness instead of being good is the key factor of influencing others to assimilate and restore lost cultural values.

Date de création: 2010
Domaine(s):

- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- transmission, (non-)formal education

Pays principaux d'activité:

France

Objectifs:
L’Institut National des Métiers d’Art est une association à but non lucratif reconnue d’intérêt général et d’utilité publique dont les missions consistent à répertorier, documenter, promouvoir et sauvegarder les métiers d’art et du patrimoine vivant. Il représente le domaine des métiers d’art et du patrimoine vivant dans toute sa diversité et s’intéresse tant aux questions économiques, qu’aux problématiques d’accès à la formation ou aux enjeux de diffusion de la connaissance au plus grand nombre.
Ses actions bénéficient aux professionnels des métiers d’art et du patrimoine vivant, mais aussi au grand public et à la jeunesse. Elles s’appuient sur une connaissance du terrain et un échange permanent avec les praticiens, leurs représentants et les organismes qui mènent des actions complémentaires en faveur du secteur.
Ses trois principaux objectifs sont :
- Encourager les vocations, contribuer à la transmission des savoir-faire et accompagner les choix de formation des nouvelles générations ou des personnes en reconversion ; - Fédérer les acteurs des métiers d’art et du patrimoine vivant et les accompagner dans leurs projets de développement ; - Informer le grand public sur les savoirs et les savoir- faire qui s’inscrivent dans le patrimoine culturel immatériel et contribuent à la vie économique.

Date de création: 1978
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Education et sauvegarde de l'innu (langue autochtone)

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- Développement de matériel pédagogique en langue innue, documentation en langue innue

Date de création: 1994
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- nécessité d'existence de patrimoine culturel materiel approprié

Pays principaux d'activité:

Madagascar

Objectifs:
Ce sont des us et coutumes trditionnels marquant l'identité spécifique des tribus SAKALAVA NJOATY BETSIMISARAKA avec des variantes suivant les régions du pays (Madagascar) mais gardant l'identité de fonds
Activités:
Les activités sont traditionnelles, continues, mensuelles, annuelles, publiques, solonnelles, communautaires, dirigées par des personnes responsables, suivies par toute la communauté concernée groupée en familles. (pères, mères, enfants, parents, amis, avec des notables)
Coopération:
Il y a une veritable coopération, dans un esprit de respect mutuel avec les communautés environnantes ou éloignées, car ce sont des pratiques rituelles, officielles où tout le monde est invité, moyennant ou sans participation symbolique

Date de création: 1964
Budget: U.S.$60000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- traditional craftsmanship
- other
- Flemish folk music, flag waving, traditional costumes

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Belgique

Objectifs:
PEOPLE
IVV is a partner to all active participants, organisations and people interested in Flemish Folk Art. Up to now all publications have been made in Flemish (Dutch), but in the near future cooperation will be sought on an international level for publishing.
The members of the IVV are experienced practitioners of folk dance, folk music, flag waving and traditional fashions. IVV is an open organisation with no restriction as to people, politics or geographical boundaries.
PRODUCT
Folk art includes every culturally precious ‘product’ from a living ethnic community. It can also be considered as all kind of art emerging from a community. Flemish folk art belongs to Flemish Folklore within the immaterial cultural heritage of Flanders. ‘Flemish’ refers to what has been traceable within the larger Flemish historical communities (= within the Belgian, French and Dutch context). IVV concentrates on traditional (= at least 50 years existence) and contemporary folkdances, folk music, flag waving and traditional fashions.
PROCESS
IVV consists of four working parties dealing with:
(1) the study of dances and dancing music;
(2) the study flag waving
(3) the study of traditional fashions
(4) communication: a.o; editing the quarterly journal.
All working parties are meeting at least 6 times a year and their members are working on publications in the field.
IVV is a non profit organisation. It has a general committee and a general assemblee.
IVV is officially recognized by the Flemish Government and receives a annual budget of
40,000 euro. IVV has one part-time staff member.
Activités:
Main activities of IVV are concentrating on collecting, archiving, studying, translating,
reworking, publishing and teaching about folkdances, flag waving sequences, songs and
description of traditional fashions. Study is based on oral and written sources in Flanders
as well as abroad. IVV is co-operating with partner organizations within the field for study
and organizing courses and interactive workshops and for enabling the exploration of
archives.
FOLK DANCE
From 1964 until now 18 books were published. They cover 160 traditional Flemish
dances. Another 10 editions have been made with dances recently designed in folk
dance groups. One edition deals with terminology and vocabulary used to describe the
dances. All editions instruct the reader with historical background, description, music and
figures or drawings of dances. The working party on Flemish folk dances is also involved
in courses and interactive workshops.
Activities are actually focused on historical elements and dances within the traditional
archery guilds, study and visualization of variations on basic dances like polka, scottish,
mazurka, walzer and quadrille and editing newly created dances. The main challenge for
the working party is to keep folk dance attractive and to guarantee quality in performing.
FLAG WAVING
A basic handbook about the historical background and the technique of flag waving was
published in 1974. Six other editions cover specific flag waving sequences, a part is
historically based, another part comprise newly created combinations. This working party
made an edition with vocabulary and terminology of flag waving and another edition
about drum playing when accompanying the flag waving.
Actually new creations are noticed and recorded. The working party on flag waving has
its annual instructive course and is co-operating with partner organizations to spread the
culture and technique of flag waving within these organizations.
TRADITIONAL FASHIONS
A first standard work on local fashions in Flanders was published in 1994, the subject
being part of the ‘submerged cultural heritage’. It deals with local traditional costumes, a
fashion that’s always 50 years behind. A great deal of information on the development of
this clothing was obtained from paintings, drawings, description of people from the
recent past. In this book attention is devoted mainly to the period between 1750 and
1950, with an occasional glance back at the 16th and 17th centuries. A second edition
will appear in 2009. It will deal with thematic aspects (particular clothing elements),
geographical differences in clothing and the social role of clothing with special attention
to multicultural influences.
COMMUNICATION
The working party started its activities officially in 2008. It deals with diverse aspects of communication. Challenges for this working party are the content of the quarterly journal and renewal of its lay-out. By optimizing the opportunities of the website and translating the texts disseminated in at least four languages this medium must enable IVV to spread its information across Europe.
Coopération:
The number of groups dealing with intangible cultural heritage is high in Flanders, due to individual, historical and political reasons. From its origin IVV has co-operated with different federations and organisations without any restriction. There is a large representation of these bodies within the working parties of IVV and within its
membership. Up to now there are no structural or ideological conflicts hampering cooperation of IVV with partners in the sector.
In July 2008, IVV presented a feasibility study to the Flemish Government about the role it could fulfil as intangible cultural heritage organisation in the Flemish community. A structural interview was carried out with 16 partner organisations. These interviews were written down verbatim, analysed on keywords grouped in a code book and clustered.
Additionally an inquiry was sent to 34 other partner organisations of which 62% responded. These inquiries were also analysed and the results qualitatively studied. This feasibility study gives us a clear view on the tasks and the responsibilities of IVV within the sector of intangible cultural heritage. According to the interviewees and the
inquired partner organisations IVV is regarded as a centre of excellence with regard to the study of traditional and contemporary Flemish folkdance (+ related songs and music), flag waving and fashions. It is expected that IVV collaborates within the sector for its research and that it will continue to spread the findings through the partner
organisations by publications, visualising, courses and interactive working parties.
Several partners offered to mediate in the multicultural approach of comparatively studying symbols and rites as well as outing of dance, song, music and fashions on the national and European level. The challenge of making the collaboration structurally visible within the sector of intangible cultural heritage can be met if IVV succeeds to get more staff and budget. As a direct consequence of the feasibility study, the above mentioned findings were translated into strategic and operational objectives and submitted to the Cultural Department of the Flemish Government.

Date de création: 2008
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- 1) to promote the importance of local governments and their relationships with their communities as a fundamental tool in safeguarding and promoting ICH, 2) to formulate the cultural policies of local governments for sustainable development through safeguarding and promoting of ICH

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- As the core membership of the ICCN is comprised of local governments, the ICCN can play a leading role in implementing cultural policies within legislation to safeguard and promote ICH.

Pays principaux d'activité:

Afrique du Sud, Algérie, Cambodge, Canada, Égypte, Espagne, France, Grèce, Hongrie, Italie, Jamaïque, Nouvelle-Zélande, Philippines, République de Corée, Tchéquie

Objectifs:
The ICCN (Inter-City Intangible Cultural Cooperation Network) is committed to actionoriented policies concerning for the safeguarding of the intangible cultural heritage, and agrees to:
1) promote the ICCN as a platform for the world-wide collaboration of mayors and local government units for the safeguarding of intangible cultural heritage, as envisioned in the Gangneung Declaration of 2004;
2) use the ICCN in formulating and implementing informed and balanced developmental and cultural strategies and policies in which sustainable development and the safeguarding of intangible heritage rank as priorities among local governments;
3) abide and implement in its role the UNESCO Convention for the safeguarding of the Intangible Cultural Heritage;
4) promote the relationship between local communities and local governments in regards
to the safeguarding of intangible cultural heritage, and to improve awareness as to why such relationships are fundamentally necessary;
5) utilize the ICCN as a means to meet the challenges of globalisation as then affect cultural diversity, and to preserve the cultural diversity of communities consisting of unique and invaluable local traditional cultures.

Based on these objectives, ICCN stipulates the following undertakings in the Statute:
1) to hold regular meetings to facilitate practical discussion, action plans, policies, and combined progress towards the safeguarding of intangible cultural heritage;
2) to gather and share information concerning safeguarding activities;
3) to train local government administrators, professionals, and custodians to build safeguarding capacity;
4) to hold joint activities, such as the World Intangible Cultural Heritage Festival (with the first to be held in Gangneung, Korea in 2012) that aims at promoting the multiple aspects of education, transmission, and revitalization of the intangible cultural heritage, and sustainable local development.
5) to facilitate policies and action plans between local governments and their communities in relation to the safeguarding of intangible cultural heritage.
Activités:
1) International meetings
The ICCN organizes the bi-annual Round Table of Mayors, the bi-annual Thematic Workshop, and the annual meeting of the Board of Directors to encourage and facilitate practical discussion on ways to improve the work carried out in the member localities to safeguard and promote intangible cultural heritage. Through these meetings, members share experiences, formulate ideas, and adopt new policies relating to the safeguarding
and promotion of ICH.

- Round Table of Mayors
.2004 (1 sI session, Korea): .Agreed on the need of an international organization for safeguarding ICH by local govenments at the global level
.2008 (2nd session, Egypt): .Discussion on "The role of women in safeguarding of traditional cultural heritage"
.Official declaration of the ICCN founding
.Adoption of the ICCN Statute (based on 2005 Charter)
.2010 (3ro session, Czech Republic ): Discussion on "State/Local Government's approach to ICH and the cultural policies of countries around the world"
.1 st ICCN Youth Forum, along with Mayor's meeting to involve youth in the safeguarding activities
.2012 (4th session, Korea): .1 st Joint Festival(World Intangible Cultural Heritage Festival with the participation of members, NGOs, practicioners, youth, communities among member cities around the world

- Thematic Workshop of Local Government Administrators
.2005 (1 st session, Korea): .Draft of the Charter containing the creation of the ICCN
.Discussion on "Sustainable development, safeguarding the ICH, and promoting Inter-City Network"
.2006 (2nd session, Korea): .Discussion on "Safeguarding of ICH and participation of young people"
.2007 (3rd session, Hungary): .Discussion on "Safeguarding of the ICH by building the network"
.2009 (4th session, Jamaica): Discussion on "Local government at the forefront of preserving our ICHlThe definition of community and its capacity building by local governments"
.2011 (5th session, France): .Strengthening of associate members in the ICCN
.Detailed plan will be follow in due course.
.2013 (6th session, Italy): .Joint activities with the city of Naples for the Universal Forum of Cultures, which is the international festival aiming at city revival through the use of cultural assets

- Meeting of the Board of Directors
This will be held on an annual basis to work as a driving force by deciding major plans for the ICCN, support mutual exchange of experience and best practices of individual Member States and municipalities in the care of cultural property and its promotion, transfer of local intangible cultural heritage to the younger generation, and cooperation
with local communities and individuals-bearers of such heritage.

- International Advisory Committee meeting
Through the composition in the ICCN Round Table of Mayors to be held in the Czech Republic in 2010, this committee will function as a consultation with members, and will provide expert advice to assist the ICCN in achieving its objectives. Its membership will be comprised of internationally and nationally recognized experts. It also will provide, on request, advice to members on drafting local cultural policy focused on safeguarding intangible cultural heritage.

- Youth Forum
It is an important task and the responsibility of local governments to nuture within young people an appreciation for, and an understanding of, the values associated with ICH.
Along with the Mayors' Meeting, the ICCN will organize a youth forum in cooperation with ICCN members in the Czech meeting in 2010. The Youth Forum will encourage local leaders to devise a legal and institutional framework for youth involvement in local contexts. This will contribute to the realization of the UNESCO Convention by building a greater awareness among the younger generation of the importance of ICH, and its need of safeguarding.

2) Cultural exchanges among members
The ICCN has been encouraging the exchange of folklore festivals and other cultural events among its members. The exchanges have been sucessfully accomplished among ICCN members. The Gannat Festival of France invited performers from Vlcnov of the Czech Republic, and Ifugao of the Philippines. The city of Gangneung of Korea invited cultural performers from the Philippines and Egypt during their annual festival.

The ICCN also encourages personal exchanges for sharing experiences relating to cultural policies in the development and safeguarding the ICH. As an example, Santa Fe (USA), one of the ICCN core members and a member of the Creative Cities
Network of UNESCO, participated in the international meeting hosted by Naples, another ICCN core member, to share their experiences in developing the city and its cultural heritage.

The ICCN considers such exchanges to be an important form of popularisation of the intangible cultural heritage of various communities and of learning about other nations. It is also believed that such exchanges contribute to the greater promotion of cultural diversity.

- Joint festival among members
The ICCN will hold a Joint Festival on a bi-annual basis, which aims at promoting education, transmission, and revitalization of intangible cultural heritage. The first one will be hosted by Gangneung, Korea in 2012.

3) Cooperation with international organizations/institutes
- Korean National Commission for UNESCO
The Korean Natcom has been a full partner with the ICCN since 2004, when the 1st Mayors' Meeting was oganized. It has continually played a crucial role in providing its expertise on the direction, policies of the ICCN. ICCN was a cooperative partner in the "International Forum on Common Intangible Cultural Heritage in East Asia" which was held in Korea in 2009. The ICCN meeting in the Czech Republic is under the auspieces of the Korean National Commission for UNESCO.
The ICCN organized an internation forum on the theme of "The Role of Culture, Administration and Business in Safeguarding and Promoting Intangible Cultural Heritage" in 2009, in Gangneung, Korea.

-Czech National Commission for UNESCO
The ICCN meeting in the Czech Republic is taking place under the auspices of the Czech National Commission for UNESCO. This Commission plays a key role in the implementation of the Convention on the Safeguarding of Intangible Cultural Property.

-Intangible Cultural Heritage Centre for Asia and the Pacific in Korea (Category 2 Center of UNESCO)
ICCN and ICHCAP in Korea signed a MOU agreement in July 2008 for mutual cooperation for the safeguarding and promotion of intangible cultural heritage.

-COPPEM (Standing Committee of the Partnership of the Euro-Mediterranean Local and Regional Authorities)
COPPEM and ICCN signed a MOU agreement in the ICCN Round Table of Mayors in Egypt, 2008. COPPEM, an international organization with 106 members including local authorities in the Euro-Mediterranean region, has been cooperating in
disseminating the importance of ICH among its members and encouraging participation in the ICCN meetings. ICCN and COPPEM are the partners for organizing the Youth Forum and the ICCN Joint Festival.

The ICCN was a cooperative partner of COPPEM in 2009 in the "Intercultural Dialogue Night" which aimed at promoting an intercultural dialogue between traditional and modern cultures among Euro-mediterranean cities.

4) Publications
- Meeting reports
After each meeting, the ICCN issues booklets containing the presentation materials, speeches, and useful information to share with members, partners, and various institutes around the world.

- Newsletter
The Secretariat has been issuing newletters on a quarterly basis to share information among members, partners, and networks around the world.

- Promotional material
As a means of promoting cultural heritage of members, the ICCN produces various materials such as calendar, and post-cards.

5) The website can be found at www.iccn.or.kr

Additional information:

1) International meetings
ICCN organizes bi-annual Round Table of Mayors, bi-annual Thematic Workshop to encourage practical discussion on how to improve the work of the member localities to safeguard and promote ICH. Through the meetings, members share experiences, formulate ideas, and adopt new policies at the local context relating to ICH. It contributes to the promotion of ICH at the global level.

- Round Table of Mayors
.2004 (Korea): .Agreed on the need of an international organization for safeguarding ICH by local governments at the global level
.2008 (Egypt):
-Discussion on "The role of women in safeguarding of traditional cultural heritage"
-Official declaration of ICCN founding
-Adoption of the ICCN Statute
.2010 (3rd session, Czech Republic ): Discussion on "State/Local Government's approach to ICH and the cultural policies of countries around the world".
- Thematic Workshop of Local Government Administrators

.2005 (Korea):
-Draft of the Charter containing the creation of ICCN
-Discussion on "Sustainable development, safeguarding ICH, and promoting Inter-City Network"
.2006 (Korea): .Discussion on "Safeguarding of ICH and participation of young people"
.2007 (Hungary): .Discussion on "Safeguarding of ICH by building the network"
.2009 (Jamaica): Discussion on "Local government at the forefront of preserving our ICH/the definition of community and its capacity building by local governments"

- Youth Forum
The first Youth Forum was held with the participation of students from Canada, Czech, Algeria, Korea along with 2010 ICCN Round Table of Mayors in Czech Republic. After the 1st presentation of the youth forum to ICCN members, the forum was adopted as a regular program of ICCN. The 2nd Youth Forum will be held in Gannat, France in 2011. It is an important task and responsibility of local governments to raise within young people an appreciation for, and an understanding of, the values associated with ICH. The Youth Forum will encourage local leaders to devise a legal and institutional framework for youth involvement in local contexts. This will contribute to the realization of the UNESCO Convention by building a greater awareness among the younger generation of the importance of ICH, and its need of safeguarding.

2) Cultural exchanges among members
ICCN has been encouraging the exchange of folklore festivals and cultural events among members. ICCN considers such exchanges to be an important form of popularisation of intangible cultural heritage of various communities and of learning about other nations, and to contribute to the greater promotion of cultural diversity.
The Gannat Festival of France invited performers from Vlcnov of the Czech Republic, and Ifugao of Philippines. The city of Gangneung of Korea invited cultural performers from Philippines and Egypt during their annual festival.
ICCN also encourages personal exchanges for sharing experiences relating to cultural policies in the development and safeguarding ICH. Santa Fe (USA), the ICCN core member participated in the international meeting hosted by Naples to share their experiences in developing the city and its cultural heritage.

3) Cooperation with international organizations
- Korean National Commission for UNESCO
The Korean Natcom has been a full partner with ICCN since 2004, when the 1st Mayors' Meeting was organized. It has played a crucial role in providing its expertise on the direction, policies of the ICCN. ICCN was a cooperative partner in the "International Forum on Common Intangible Cultural Heritage in East Asia" that held in Gangneung, Korea in 2009. The 2010 ICCN meeting in the Czech Republic was under the auspices of the Korean Natcom.

-Czech National Commission for UNESCO
The ICCN meeting in the Czech Republic in 2010 took place under the auspices of the Czech National Commission for UNESCO.

-Intangible Cultural Heritage Centre for Asia and the Pacific in Korea(Category 2 Center of UNESCO)
ICCN and ICHCAP in Korea signed a MOU agreement in July 2008 for mutual cooperation for the safeguarding and promotion of intangible cultural heritage.

-COPPEM
As an international organization with 106 members including local authorities in the Euro-Mediterranean region, COPPEM is in full cooperation with ICCN in disseminating the importance of ICH among its members. ICCN was a cooperative partner in the "Intercultural Dialogue Night" that aimed at promoting an intercultural dialogue between traditional and modern cultures among Euro-mediterranean cities.

4) Publications
- Meeting reports
After each meeting, the ICCN issues a booklet that includes the policies of local governments, and this could be a guiding book for the local authorities to implement cultural policies at the local context.

- Newsletter
The Secretariat has been issuing a newsletter on a quarterly basis to share information among members, partners, and networks around the world.

5) The website can be found at www.iccn.or.kr
Coopération:
ICCN members are closely linked to their communities and can provide the legislative direction, financial aid, and human resources needed to safeguard and promote ICH. The members also provide local communities with logistic and moral support in their effors to safeguard intangible cultural heritage.

The ICCN aids in facilitating bridges between local governments and their communities, thus establishing a mutual cooperation in the safeguarding of ICH at the local level.

ICCN members have at their disposal an enormous wealth of experience in the field of care of local intangible cultural heritage and relations with the communities that are its bearers. This means that the ICCN offers expert assistance in this regard to the Intergovernmental Committee for Intangible Cultural Heritage.

Additional information:

ICCN members have at their disposal an enormous wealth of experience in the field of care of local intangible cultural heritage and relations with the communities that are its bearers. ICCN members are closely linked to their communities and can provide the legislative direction, financial aid, and human resources, logistic and moral support in the efforts to safeguard intangible cultural heritage. Here are some cases of member cities of ICCN;

1) Case of Ifugao, Philippines
As an UNESCO Representative List, the Hudhud chant shows an excellent example that reflects the cooperation between the local government, and communities. To transmit the hudhud to the younger generation, the government provides funds for a teaching program so that the old professional chanters can train the volunteer teachers who will be the one to teach young children. The local government is in close coordination especially with the chanters to document their hudhud chanters. These documentation projects are used to make teaching modules for children in the elementary and high school.

2) Case of Gangneung, Korea
As an UNESCO Representative List, Gangneung Danoje festival has been transmitted in cooperation between the local government, and communities. The Gangneung municipality provides administrative support, and partly financial resources to the communities. Also more than 80 communities participate in the organization of the festival. In this process, there is a NGO committee that coordinate the smooth communication and cooperation between the two parties. This cooperation could be dated back to 500 years ago, and has been kept up to now.

3) Case of Generalitat Valencia, Spain
The School Museum of Pusol was selected on the Register of safeguarding programmes, project and activities of UNESCO in 2009. In the process of the project into one of the most representative ICH activities in the region, the Regional Government , Generalitat Valencia, has played a key role in supporting the institution. Since 1992, its Department of Culture has granted subventions to cover particular museum program and projects, including inventory, equipment, restoration, and research. Since 1998, the Education Department has provided teachers, duplicating the school staff, to meet the challenges posed by the success and development of the pedagogic project.