标题: 46 new elements added to Representative List of the Intangible Cultural Heritage [打印本页]

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作者: 放牛班的课堂    时间: 2010-12-1 00:14     标题: 46 new elements added to Representative List of the Intangible Cultural Heritage

Forty-six new elements added to Representative List of the Intangible Cultural Heritage
The Aalst Carnival in Belgium, the Peking Opera, Spanish Flamenco, the Wayuu normative system in Colombia, the traditional skills of carpet weaving in Kashan in Iran, and falconry, presented by 11 countries, are among the 46 elements inscribed today on the Representative List of the Intangible Cultural Heritage of Humanity. A UNESCO Intergovernmental Committee, chaired by Jacob Ole Miaron from Kenya and meeting in Nairobi until 19 November, examined and inscribed 46 of the 47 nominations presented.

The new inscriptions are:

Azerbaijan - The traditional art of Azerbaijani carpet weaving in the Republic of Azerbaijan - The Azerbaijani carpet is a traditional handmade textile of various sizes, with dense texture and a pile or pile-less surface, whose patterns are characteristic of Azerbaijan’s many carpet-making regions.  Carpet making is a family tradition transferred orally and through practice. Men shear sheep in spring and autumn, while women collect dyestuffs and spin and dye yarn in the spring, summer and autumn. The weaving is undertaken during winter by the female members of the extended family, girls learning from their mothers and grandmothers and wives assisting their mothers-in-law. The carpet is made on horizontal or vertical looms using multi-coloured wool, cotton or silk yarn coloured with natural dyes. Applying special techniques to create pile carpets, weavers knot the pile yarn around threads of the warp; pile-less carpets are variously made with interlacing structural warps, wefts, and patterning wefts. The cutting of a finished carpet from the loom is an unusually solemn celebration. Carpet weaving is closely connected with the daily life and customs of the communities involved, its role reflected in the meaning of the designs and their applications. Thus, girls seated on carpets tell fortunes and sing traditional songs at Novruz (the regional New Year). The carpet is widely used for home furniture and decoration, and special carpets are woven for medical treatment, for wedding ceremonies, the birth of a child, mourning rituals and prayer.

Belgium - Aalst carnival - When the three-day Aalst Carnaval begins each year on the Sunday before the Christian Lent, it is the culmination of a year of preparation by the inhabitants of this city in East Flanders in northern Belgium. Exuberant and satirical, the celebration features a Prince Carnaval, who symbolically becomes mayor and receives the key to the city in a ceremony marked by ridicule of the city’s actual politicians; a procession of effigies of giants and ’Bayard’, the horse from the Charlemagne legends; a broom dance in the central market to chase away the ghosts of winter; a parade of young men dressed as women with corsets, prams and broken umbrellas and a ritual burning of the carnival effigy – accompanied by shouts insisting that the feast will go on for another night. In addition to the carefully-prepared floats of official entrants, informal groups join the festivities to offer mocking interpretations of local and world events of the past year. The 600-year-old ritual, drawing up to 100,000 spectators, is a collective effort of all social classes and a symbol of the town’s identity in the region. Constantly recreated by new generations, the ancient carnival’s collective laughter and slightly subversive atmosphere celebrate the unity of Aalst.

Belgium - Houtem Jaarmarkt, annual winter fair and livestock market at Sint-Lievens-Houtem - Houtem Jaarmarkt is an annual trading fair taking place in the village of Sint-Lievens-Houtem in the south-eastern Belgian province of East Flanders. Every year, on 11 and 12 November, the village becomes the site of the country’s last substantial open-air market for trading cattle and purebred horses. Hundreds of dealers proudly display their animals before judges, fellow traders, farmers and thousands of enthusiastic visitors. People travel from across the country to visit the five hundred stallholders and other traders: experiencing, seeing, touching and buying agricultural machinery or animals, and witnessing transactions that still retain old negotiating techniques such as handclapping. With more than six hundred horses and twice as many cows up for sale, the fair is a crucial date in the calendar and identity of professionals in the livestock trade. Each year a different foreign region is invited to present its attractions, regional products and craftsmanship at the fair, enabling the livestock breeders, farmers and artisans of different nations to meet and interact. The fair and market have a huge impact on the local community with private houses turned into public venues where one can enjoy music, drinks and food. For these two days the whole village is transformed into one open, welcoming space.

Belgium - Krakelingen and Tonnekensbrand, end-of-winter bread and fire feast at Geraardsbergen - The city of Geraardsbergen holds its annual market on the first Monday in March and celebrates the end of winter on Sunday eight days earlier, with the festival of Krakelingen and Tonnekensbrad. In the days before, shopkeepers decorate their windows, bakers bake special ring-shaped breads called krakelingen, and schoolteachers recount a tale explaining the origins of the ritual. On the day of the feast, a thousand-strong parade leaves the church of Hunnegem, led by the church dean and city councillors in historical costume. Carrying bread, wine, fish and fire, the participants make their way to Oudenberg Hill, climbing to the Holy Mary Chapel on the hilltop. Inside, the dean blesses the krakelingen and recites a prayer. The religious and secular authorities then drink wine from a sixteenth-century silver goblet containing tiny live fish, which has recently become a controversial custom. They then throw ten thousand krakelingen into the crowd, one containing a winning ticket. The prize is a golden jewel, especially created for the event. At night people gather again on the hill to light a wooden barrel, the Tonnekensbrand, to celebrate the arrival of spring. Spectators carry burning torches back down the hill to bring light to the city. The festive ritual yields a strong sense of continuity and historical awareness for its participants, evoking historical events and legends passed on from generation to generation.

China - Acupuncture and moxibustion of traditional Chinese medicine - Acupuncture and moxibustion are forms of traditional Chinese medicine widely practised in China and also found in regions of south-east Asia, Europe and the Americas. The theories of acupuncture and moxibustion hold that the human body acts as a small universe connected by channels, and that by physically stimulating these channels the practitioner can promote the human body’s self-regulating functions and bring health to the patient. This stimulation involves the burning of moxa (mugwort) or the insertion of needles into points on these channels, with the aim to restore the body’s balance and prevent and treat disease. In acupuncture, needles are selected according to the individual condition and used to puncture and stimulate the chosen points. Moxibustion is usually divided into direct and indirect moxibustion, in which either moxa cones are placed directly on points or moxa sticks are held and kept at some distance from the body surface to warm the chosen area. Moxa cones and sticks are made of dried mugwort leaves. Acupuncture and moxibustion are taught through verbal instruction and demonstration, transmitted through master-disciple relations or through members of a clan. Currently, acupuncture and moxibustion are also transmitted through formal academic education.
China - Peking opera - Peking opera is a performance art incorporating singing, reciting, acting, martial arts. Although widely practised throughout China, its performance centres on Beijing, Tianjin and Shanghai. Peking opera is sung and recited using primarily Beijing dialect, and its librettos are composed according to a strict set of rules that prize form and rhyme. They tell stories of history, politics, society and daily life and aspire to inform as they entertain. The music of Peking opera plays a key role in setting the pace of the show, creating a particular atmosphere, shaping the characters, and guiding the progress of the stories. ‘Civilian plays’ emphasize string and wind instruments such as the thin, high-pitched jinghu and the flute dizi, while ‘military plays’ feature percussion instruments like the bangu or daluo. Performance is characterized by a formulaic and symbolic style with actors and actresses following established choreography for movements of hands, eyes, torsos, and feet. Traditionally, stage settings and props are kept to a minimum. Costumes are flamboyant and the exaggerated facial make-up uses concise symbols, colours and patterns to portray characters’ personalities and social identities. Peking opera is transmitted largely through master-student training with trainees learning basic skills through oral instruction, observation and imitation. It is regarded as an expression of the aesthetic ideal of opera in traditional Chinese society and remains a widely recognized element of the country’s cultural heritage.

Colombia - Marimba music and traditional chants from Colombia’s South Pacific - Marimba music and traditional chants of Colombia’s South Pacific region are the heritage of Afro-Colombian groups in the departments of Valle del Cauca, Cauca and Nariño. Chanting by women and men (cantadoras and chureadores) blends with acoustic instruments, handcrafted using local materials: palm-wood Marimbas, wooden and leather bass and hand drums, and bamboo and seed rattles. This music is performed principally during four rituals: Arrullo, Currulao, Chigualo and Alabao. Arrullo is a saint worship ritual led by women, who prepare the saints, candles and altars and perform chants accompanied by drums and, on occasion, Marimbas. The Currulao (or Marimba Dance) is a festive occasion. Men play the Marimba and perform profane chants while people sing, dance, eat and drink, and recount stories. The Chigualo is a wake following the death of a young child. The body is covered with flowers and a cappella chants are performed around it. The Alabao is a wake following the death of an adult, where extremely sad chants are sung, also a cappella. Musical knowledge of these traditions is passed on orally from generation to generation with younger performers guided by more experienced musicians. With a large proportion of the Afro-Colombian population of the region having moved to urban areas in recent decades, their musical heritage remains an important source of community identity, whether in their home villages or in town.

Colombia -The Wayuu normative system, applied by the Pütchipü’üi (palabrero) - The Wayuu community inhabits the Guajira Peninsula straddling Colombia and Venezuela. Its legislative system comprises a body of principles, procedures and rites that govern the social and spiritual conduct of the community. The system, inspired by principles of reparation and compensation, is applied by the local moral authorities, the Pütchipü’üi or palabreros (orators), who are experts in resolving conflicts and disputes between the local matrilineal clans. When problems arise, the authority of the Pütchipü’üi is sought by both parties in a dispute, the offender and those offended against. After analysing the situation, the Pütchipü’üi informs the authorities concerned of his intention to resolve the conflict peacefully. In the event that the word – Pütchikalü – is accepted, dialogue is established, wherein the Pütchipü’üi acts with diplomacy, caution and intelligence. The compensation system employs symbolism, represented primarily by the offering of necklaces made of precious stones or sacrifices of cattle, sheep and goats. Even the most serious crimes are compensated, compensations being offered at special events to which the disputing families are invited to re-establish social harmony through reconciliation. The Pütchipü’üi acquires his role by virtue of being a maternal uncle – an honoured role in the Wayuu system of matrilineal clans – and by possessing a character grounded in ethics and morals.

Croatia - Gingerbread craft from Northern Croatia - The tradition of gingerbread making appeared in certain European monasteries during the Middle Ages and came to Croatia where it became a craft. Gingerbread craftspeople, who also made honey and candles, worked in the area of Northern Croatia. The process of making gingerbread requires skill and speed. The recipe is the same for all makers, utilizing flour, sugar, water and baking soda – plus the obligatory spices. The gingerbread is shaped into moulds, baked, dried and painted with edible colours. Each craftsperson decorates gingerbread in a specific way, often with pictures, small mirrors and verses or messages. The gingerbread heart is the most common motif, and is frequently prepared for marriages, decorated with the newlyweds’ names and wedding date. Each gingerbread maker operates within a certain area without interfering with that of another craftsperson. The craft has been passed on from one generation to another for centuries, initially to men, but now to both men and women. Gingerbread has become one of the most recognizable symbols of Croatian identity. Today, gingerbread makers are essential participants in local festivities, events and gatherings, providing the local people with a sense of identity and continuity.

Croatia - The Sinjska Alka, a knights’ tournament in Sinj - The Sinjska Alka is a chivalric tournament that takes place annually, as it has since the eighteenth century in the town of Sinj, in the Cetinska krajina region. During the contest, knights ride horses at full gallop along a main street, aiming lances at an iron ring hanging on a rope. The name of the tournament derives from this alka or ring, a word whose Turkish origin reflects the historical co-existence and cultural exchange between two different civilizations. The tournament rules, codified in a 1833 statute, promote ethics and fair play, and stress the importance of participation in community life. Participants must be members of local families of Sinj and the Cetinska krajina region. The whole community helps to make, conserve, restore and reconstruct weapons, clothes and accessories to support the continuation of the tradition. The tournament is also entwined with local religious practices, social gatherings, family visits and festivities at home and in the open air. The Sinjska Alka is the only remaining example of the medieval knightly competitions that were regularly held in the Croatian coastal towns until the nineteenth century. It has become a marker of local history and a medium for transferring collective memory from one generation to another.

Czech Republic - Shrovetide door-to-door processions and masks in the villages of the Hlinecko area  - The Shrovetide processions take place in the town of Hlinsko and six nearby villages in the Hlinecko area of Eastern Bohemia in the Czech Republic. This popular carnival custom takes place at the end of winter, during Shrovetide – the period just before the Christian Lent. Village men and boys, disguised in masks that depict traditional characters (red masks for boys and black for married men), go from door to door around the village, accompanied by a brass band. The procession stops at each house and four of the men perform a ritual dance, with the householder’s permission, to secure a rich harvest and prosperity for the family. In return, the masked men receive treats and collect a fee. A symbolic ‘Killing of the Mare’ ritual takes place after the last house has been visited, during which a mare is condemned for its alleged sins and a humorous and topical testament is read out. Following the ‘execution’ the mare is revived with alcohol, signalling the commencement of a dance as the masks frolic with onlookers. The Shrovetide processions – banned in turn by the Catholic Church in the eighteenth and nineteenth centuries and by the socialist government in the twentieth century – play an important role in securing cohesion within the village community. Young people and children help with the preparations and parents make copies of traditional masks for their sons.

France - Compagnonnage, network for on-the-job transmission of knowledge and identities - The French Compagnonnage system is a unique way of conveying knowledge and know-how linked to the trades that work with stone, wood, metal, leather, textiles and food. Its originality lies in its synthesis of varied methods and processes of transmitting knowledge: national and international educational travel (known as the ‘Tour de France’ period), initiation rituals, school-based teaching, customary learning and technical apprenticeship. The Compagnonnage movement involves almost 45,000 people, who belong to one of three groups of compagnons. Those aged 16 years or over who wish to learn and/or develop their skills in a given profession can apply to join a Compagnonnage community. Training lasts on average five years, during which apprentices regularly move from town to town, both in France and internationally, to discover types of knowledge and ways of passing them on. To be eligible to transmit this knowledge the apprentice must produce a ‘masterwork’, examined and assessed by the compagnons. Compagnonnage is popularly perceived as the last movement to practice and teach certain ancient craft techniques, to deliver true excellence in craft training, to closely integrate the development of the person and the training of the worker, and the last to perform trade initiation rites.

France - The craftsmanship of Alençon needle lace-making - The technique of point d’Alençon is a rare technique of needle lace-making, practised in the town of Alençon in Normandy in north-west France. Alençon needle lace is unusual because of the high level of craftsmanship required and the very long time that it takes to produce (seven hours per square centimetre). The pieces of openwork textile using the technique are used for decorative purposes in civil and religious life. The piece is made up of design elements held together by a finely stitched net. Its process comprises a number of successive stages: drawing and pricking of the design on parchment, creating the outline of the design and the background netting, then the typical stitching of the patterns, shading with filling stitches, decorating with designs, and embroidering to create relief. Then the lace is removed from the parchment with a razor blade; trimmed and, finally, the filling stitches are polished with a lobster claw. Each Alençon lace-maker knows how to complete all the stages of the process – knowledge that can only be transmitted through a practical apprenticeship. To fully master Alençon needle lace-making requires seven to ten years of training. The learning method relies on a close relationship between the specialized lace-maker and the apprentice, and is exclusively based on oral transmission and practical teaching.

France - The gastronomic meal of the French - The gastronomic meal of the French is a customary social practice for celebrating important moments in the lives of individuals and groups, such as births, weddings, birthdays, anniversaries, achievements and reunions. It is a festive meal bringing people together for an occasion to enjoy the art of good eating and drinking. The gastronomic meal emphasizes togetherness, the pleasure of taste, and the balance between human beings and the products of nature. Important elements include the careful selection of dishes from a constantly growing repertoire of recipes; the purchase of good, preferably local products whose flavours go well together; the pairing of food with wine; the setting of a beautiful table; and specific actions during consumption, such as smelling and tasting items at the table. The gastronomic meal should respect a fixed structure, commencing with an apéritif (drinks before the meal) and ending with liqueurs, containing in between at least four successive courses, namely a starter, fish and/or meat with vegetables, cheese and dessert. Individuals called gastronomes who possess deep knowledge of the tradition and preserve its memory watch over the living practice of the rites, thus contributing to their oral and/or written transmission, in particular to younger generations. The gastronomic meal draws circles of family and friends closer together and, more generally, strengthens social ties.

India - Chhau dance - Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Its three distinct styles hail from the regions of Seraikella, Purulia and Mayurbhanj, the first two using masks. Chhau dance is intimately connected to regional festivals, notably the spring festival Chaitra Parva. Its origin is traceable to indigenous forms of dance and martial practices. Its vocabulary of movement includes mock combat techniques, stylized gaits of birds and animals and movements modelled on the chores of village housewives. Chhau is taught to male dancers from families of traditional artists or from local communities. The dance is performed at night in an open space to traditional and folk melodies, played on the reed pipes mohuri and shehnai. The reverberating drumbeats of a variety of drums dominate the accompanying music ensemble. Chhau is an integral part of the culture of these communities. It binds together people from different social strata and ethnic background with diverse social practices, beliefs, professions and languages. However, increasing industrialization, economic pressures and new media are leading to a decrease in collective participation with communities becoming disconnected from their roots.

India - Kalbelia folk songs and dances of Rajasthan  - Songs and dances are an expression of the Kalbelia community’s traditional way of life. Once professional snake handlers, Kalbelia today evoke their former occupation in music and dance that is evolving in new and creative ways. Today, women in flowing black skirts dance and swirl, replicating the movements of a serpent, while men accompany them on the khanjari percussion instrument and the poongi, a woodwind instrument traditionally played to capture snakes. The dancers wear traditional tattoo designs, jewellery and garments richly embroidered with small mirrors and silver thread. Kalbelia songs disseminate mythological knowledge through stories, while special traditional dances are performed during Holi, the festival of colours. The songs also demonstrate the poetic acumen of the Kalbelia, who are reputed to compose lyrics spontaneously and improvise songs during performances. Transmitted from generation to generation, the songs and dances form part of an oral tradition for which no texts or training manuals exist. Song and dance are a matter of pride for the Kalbelia community, and a marker of their identity at a time when their traditional travelling lifestyle and role in rural society are diminishing. They demonstrate their community’s attempt to revitalize its cultural heritage and adapt it to changing socioeconomic conditions.

India - Mudiyettu, ritual theatre and dance drama of Kerala - Mudiyettu is a ritual dance drama from Kerala based on the mythological tale of a battle between the goddess Kali and the demon Darika. It is a community ritual in which the entire village participates. After the summer crops have been harvested, the villagers reach the temple in the early morning on an appointed day. Mudiyettu performers purify themselves through fasting and prayer, then draw a huge image of goddess Kali, called as kalam, on the temple floor with coloured powders, wherein the spirit of the goddess is invoked. This prepares the ground for the lively enactment to follow, in which the divine sage Narada importunes Shiva to contain the demon Darika, who is immune to defeat by mortals. Shiva instead commands that Darika will die at the hand of the goddess Kali. Mudiyettu is performed annually in ‘Bhagavati Kavus’, the temples of the goddess, in different villages along the rivers Chalakkudy Puzha, Periyar and Moovattupuzha. Mutual cooperation and collective participation of each caste in the ritual instils and strengthens common identity and mutual bonding in the community. Responsibility for its transmission lies with the elders and senior performers, who engage the younger generation as apprentices during the course of the performance. Mudiyettu serves as an important cultural site for transmission of traditional values, ethics, moral codes and aesthetic norms of the community to the next generation, thereby ensuring its continuity and relevance in present times.

Indonesia - Indonesian Angklung - Angklung is an Indonesian musical instrument consisting of two to four bamboo tubes suspended in a bamboo frame, bound with rattan cords. The tubes are carefully whittled and cut by a master craftsperson to produce certain notes when the bamboo frame is shaken or tapped. Each Angklung produces a single note or chord, so several players must collaborate in order to play melodies. Traditional Angklungs use the pentatonic scale, but in 1938 musician Daeng Soetigna introduced Angklungs using the diatonic scale; these are known as angklung padaeng. The Angklung is closely related to traditional customs, arts and cultural identity in Indonesia, played during ceremonies such as rice planting, harvest and circumcision. The special black bamboo for the Angklung is harvested during the two weeks a year when the cicadas sing, and is cut at least three segments above the ground, to ensure the root continues to propagate. Angklung education is transmitted orally from generation to generation, and increasingly in educational institutions. Because of the collaborative nature of Angklung music, playing promotes cooperation and mutual respect among the players, along with discipline, responsibility, concentration, development of imagination and memory, as well as artistic and musical feelings.

Iran (Islamic Republic of) - The music of the Bakhshis of Khorasan  - In Khorasan Province, the Bakhshis are renowned for their musical skill with the dotār, a two-stringed, long-necked lute. They recount Islamic and Gnostic poems and epics containing mythological, historical or legendary themes. Their music, known as Maghami, consists of instrumental and/or vocal pieces, performed in Turkish, Kurdish, Turkmen and Persian. Navāyī is the most widespread magham: diverse, vocal, rhythmless, accompanied by Gnostic poems. Other examples include the Turkish maghams Tajnīs and Gerāyelī, the religious themes of Shākhatāyī, and Loy, an antique romantic magham, belonging to the Kormanj Kurds of Northern Khorasan. Bakhshis consider one string of the dotār to be male and the other female; the male string remains open, while the female is used to play the main melody. Bakhshi music is passed on through traditional master-pupil training, which is restricted to male family members or neighbours, or modern methods, in which a master trains a wide range of students of both genders from diverse backgrounds. The music transmits history, culture, ethical and religious fundamentals. Therefore, the social role of the Bakhshis exceeds that of mere narrator, and defines them as judges, mediators and healers, as well as guardians of the ethnic and regional cultural heritage of their community.

Iran (Islamic Republic of) - The Pahlevani and Zoorkhanei rituals - Pahlevani is an Iranian martial art that combines elements of Islam, Gnosticism and ancient Persian beliefs. It describes a ritual collection of gymnastic and callisthenic movements performed by ten to twenty men, each wielding instruments symbolizing ancient weapons. The ritual takes place in a Zoorkhane, a sacred domed structure with an octagonal sunken arena and audience seats. The Morshed (master) who leads the Pahlevani ritual performs epic and Gnostic poems and beats out time on a zarb goblet drum. The poems he recites transmit ethical and social teachings and constitute part of Zoorkhanei literature. Participants in the Pahlevani ritual may be drawn from any social strata or religious background, and each group has strong ties to its local community, working to assist those in need. During training, students are instructed in ethical and chivalrous values under the supervision of a Pīshkesvat (champion). Those who master the individual skills and arts, observe religious principles and pass ethical and moral stages of Gnosticism may acquire the prominent rank of Pahlevanī (hero), denoting rank and authority within the community. At present, there are 500 Zoorkhanes across Iran, each comprising practitioners, founders and a number of Pīshkesvats.

Iran (Islamic Republic of) - The ritual dramatic art of Ta‘zīye - Ta‘zīye (or Ta’azyeh) is a ritual dramatic art that recounts religious events, historical and mythical stories and folk tales. Each performance has four elements: poetry, music, song and motion. Some performances have up to a hundred roles, divided into historical, religious, political, social, supernatural, real, imaginary and fantasy characters. Each Ta‘zīye drama is individual, having its own subject, costumes and music. Performances are rich with symbolism, conventions, codes and signs understood by Iranian spectators, and take place on a stage without lighting or decoration. Performers are always male, with female roles being played by men, and most are amateurs who gain their living through other means but perform for spiritual rewards. While Ta‘zīye has a prominent role in Iranian culture, literature and art, everyday proverbs are also drawn from its ritual plays. Its performances help promote and reinforce religious and spiritual values, altruism and friendship while preserving old traditions, national culture and Iranian mythology. Ta‘zīye also plays a significant role in preserving associated crafts, such as costume-making, calligraphy and instrument-making. Its flexibility has led it to become a common language for different communities, promoting communication, unity and creativity. Ta‘zīye is transmitted by example and word of mouth from tutor to pupil.

Iran (Islamic Republic of) - Traditional skills of carpet weaving in Fars - Iranians enjoy a global reputation in carpet weaving, and the carpet weavers of Fars, located in the south-west of Iran, are among the most prominent. Wool for the carpets is shorn by local men in spring or autumn. The men then construct the carpet loom – a horizontal frame placed on the ground – while the women convert the wool into yarn on spinning wheels. The colours used are mainly natural: reds, blues, browns and whites produced from dyestuffs including madder, indigo, lettuce leaf, walnut skin, cherry stem and pomegranate skin. The women are responsible for the design, colour selection and weaving, and bring scenes of their nomadic lives to the carpet. They weave without any cartoon (design) – no weaver can weave two carpets of the same design. Coloured yarn is tied to the wool web to create the carpet. To finish, the sides are sewn, extra wool is burned away to make the designs vivid, and the carpet is given a final cleaning. All these skills are transferred orally and by example. Mothers train their daughters to use the materials, tools and skills, while fathers train their sons in shearing wool and making looms.

Iran (Islamic Republic of) - Traditional skills of carpet weaving in Kashan - Long a centre for fine carpets, Kashan has almost one in three residents employed in carpet-making, with more than two-thirds of the carpet-makers being women. The carpet-weaving process starts with a design, elaborated from among a series of established styles, including motifs such as flowers, leaves, branches, animals and scenes taken from history. Woven on a loom known as a dar, the warp and woof are of cotton or silk. The pile is made by knotting wool or silk yarns to the warp with the distinctive Farsi knot, then held in place by a row of the woven woof, and beaten with a comb. The Farsi weaving style (also known as asymmetrical knotting) is applied with exemplary delicacy in Kashan, so that the back side of the carpet is finely and evenly knotted. The colours of Kashan carpets come from a variety of natural dyes including madder root, walnut skin, pomegranate skin and vine leaves. The traditional skills of Kashan carpet weaving are passed down to daughters through apprenticeship under instruction from their mothers and grandmothers. Apprenticeship is also the means by which men learn their skills of designing, dyeing, shearing, loom-building and tool-making.

Japan - Kumiodori, traditional Okinawan musical theatre - Kumiodori is a Japanese performing art found on the Okinawa islands. It is based upon traditional Okinawan music and dance, but also incorporates elements from mainland Japan, such as Nogaku or Kabuki, as well as from China. Kumiodori dramas recount local historical events or legends, accompanied by a traditional three-stringed instrument. The phrases have a particular rhythm, based upon traditional poetry and the distinctive intonation of the Ryukyu scale, and are performed in the ancient language of Okinawa. The physical movements of the performers evoke those of a pythoness at traditional rituals of ancient Okinawa. All parts are performed by male actors, and techniques unique to Okinawa can be seen in the methods of hair-dressing, costumes and decorations used on stage. The need to strengthen transmission motivated Kumiodori performers to establish the Traditional Kumiodori Preservation Society, which trains performers, revives discontinued dramas, and carries out performances on a regular basis. In addition to classical works that emphasize themes of loyalty and filial duty, new dramas have been produced with modern themes and choreography, but retaining the traditional Kumiodori style. Kumiodori plays a central role in preserving ancient Okinawan vocabulary as well as transmitting literature, performing arts, history and ethics.

Japan - Yuki-tsumugi, silk fabric production technique - Yuki-tsumugi is a Japanese silk-weaving technique found principally in Yuki City and Oyama City, along the Kinu River, north of Tokyo. The region boasts a warm climate and fertile lands, which are ideal for the growth of mulberry trees and sericulture. The Yuki-tsumugi technique is employed to produce pongee silk (also called raw silk) – a light and warm material with a characteristic stiffness and softness, traditionally used to make kimonos. Production of the material includes several stages: silk floss is spun into yarn by hand, with patterns added by hand-tying bundles of yarn before dyeing the yarn with indigo, then the silk is woven using a back-tension loom. The silk floss for the yarn in Yuki-tsumugi weaving is produced from empty or deformed silkworm cocoons, otherwise unusable for the production of silk yarn. This recycling process plays a significant role in supporting local sericulture communities. The traditional techniques to produce Yuki-tsumugi are transmitted by members of the Association for the Preservation of Honba Yuki-tsumugi Weaving Technique. This association is directly engaged in maintaining traditions of spinning, dyeing and weaving, passed down from generation to generation within the community. It promotes transmission of Yuki-tsumugi through exchange of skills, training of young weavers, and practical demonstrations.

Lithuania - Sutartinės, Lithuanian multipart songs - Sutartinės (from the word sutarti – to be in concordance) is a form of polyphonic music performed by female singers in north-east Lithuania. The songs have simple melodies, with two to five pitches, and comprise two distinct parts: a meaningful main text and a refrain that may include nonce words. There are almost forty different styles and ways of performing Sutartinės. Mainly, they can be performed by two singers in parallel seconds; by three singers in strict canon, all performing both phrases of the melody at staggered intervals; or by two groups of singers, the lead singer of each pair singing the main text, while the partner sings the refrain, before the second pair repeats. The poetic texts encompass many themes, including work, calendar rituals, weddings, family, wars, history and moments of daily life. Choreography is uncomplicated and movements are moderate, often austere, such as walking in the form of a circle or star while linking arms and stamping feet. Sutartinės are performed on solemn occasions, as well as festivals, concerts and social gatherings. Their performance promotes the sharing of cultural values and provides a feeling of cultural identity, continuity and self-esteem. Sutartinės are usually sung by women, but men perform instrumental versions on pan-pipes, horns, long wood trumpets, fipple flutes and plucked zithers.

Luxembourg - The hopping procession of Echternach - Each year, on the Tuesday of Pentecost (a Christian religious festival), the hopping procession of Echternach (Iechternacher Sprangprëssioun) takes place in the medieval town centre of Echternach, the oldest city in Luxembourg. Documented since the year 1100, the procession is founded on the cult of Saint Willibrord, a monk and founder of the Abbey of Echternach, revered for his missionary activities, his kindness and gift of curing certain illnesses. Despite the opposition of the Church due to the pagan elements of the procession, its successive bans did nothing to stop it spreading to the rest of the region and permeating every social class. The procession begins early in the morning in the courtyard of the ancient abbey, in the presence of the highest ecclesiastical authorities in the country and of many other countries. Singers recite litanies and then some 8,000 dancers take over, split into 45 groups according to a ritual transmitted from generation to generation. It ends with a service in the basilica. The current procession is a religious event deeply rooted in the tradition expressed through prayer, songs and dance – the historical form of worship. Nowadays, the procession, supported by the civil and religious authorities is increasingly popular despite secularization, with an average each year of 13,000 participants coming from Luxembourg and the neighbouring regions.

Mexico - Parachicos in the traditional January feast of Chiapa de Corzo -The traditional Great Feast takes place from 4 to 23 January every year in Chiapa de Corzo, Mexico. This celebration of music, dance, handicrafts, gastronomy, religious ceremonies and feasting takes place in honour of three Catholic saints: Saint Anthony Abbot, Our Lord of Esquipulas and, most importantly, Saint Sebastian. The dances of the Parachicos – the word refers both to the dancers and to the dance – are considered a communal offering to these saints. They start in the morning and conclude at night, as the dancers carry statues of saints throughout the city, visiting places of worship. Each dancer wears a carved wooden mask with headdress, serape, embroidered shawl and multicoloured ribbons, and plays chinchines (maracas). The dancers are led by the severely-masked Patron, who carries a guitar and whip, while playing a flute accompanied by one or two drummers. As they dance, he intones praises to which the Parachicos respond with cheers. The dance is transmitted and learned simultaneous with its performance, with young children taking part, imitating the adult dancers. The technique of mask-making is passed from generation to generation, including cutting of the wood, drying, carving and decorating. The dance of the Parachicos during the Great Feast embraces all spheres of local life, promoting mutual respect among communities, groups and individuals.

Mexico - Pirekua, traditional song of the P’urhépecha - Pirekua is a traditional music of the indigenous P’urhépecha communities of the State of Michoacán, Mexico, sung by both men and women. Its diverse mix of styles draws on African, European and indigenous American origins, with regional variations identified in 30 of the 165 P’urhépecha communities. A Pirekua, which is generally sung with a gentle rhythm, may also be presented in non-vocal styles using different beats such as sones (3/8 time) and abajeños (6/8 time). Pirekua can be sung solo, in duets or trios, or accompanied by choral groups, string orchestras and mixed orchestras (with wind instruments). Pirériecha (Pirekua singers and interpreters) are renowned for their creativity and interpretations of older songs. Lyrics cover a wide range of themes from historical events to religion, social and political thought and love and courtship, making extensive use of symbolism. Pirekua acts as an effective medium of dialogue between the P’urhépecha families and communities that practise it, helping to establish and reinforce bonds. Pirériechas also act as social mediators, using songs to express sentiments and communicate events of importance to the P’urhépecha communities. Pirekua has traditionally been transmitted orally from generation to generation, maintaining its currency as a living expression, marker of identity and means of artistic communication for more than a hundred thousand P’urhépecha people.

Mexico - Traditional Mexican cuisine - ancestral, ongoing community culture, the Michoacán paradigm - Traditional Mexican cuisine is a comprehensive cultural model comprising farming, ritual practices, age-old skills, culinary techniques and ancestral community customs and manners. It is made possible by collective participation in the entire traditional food chain: from planting and harvesting to cooking and eating. The basis of the system is founded on corn, beans and chili; unique farming methods such as milpas (rotating swidden fields of corn and other crops) and chinampas (man-made farming islets in lake areas); cooking processes such as nixtamalization (lime-hulling maize, which increases its nutritional value); and singular utensils including grinding stones and stone mortars. Native ingredients such as varieties of tomatoes, squashes, avocados, cocoa and vanilla augment the basic staples. Mexican cuisine is elaborate and symbol-laden, with everyday tortillas and tamales, both made of corn, forming an integral part of Day of the Dead offerings. Collectives of female cooks and other practitioners devoted to raising crops and traditional cuisine are found in the State of Michoacán and across Mexico. Their knowledge and techniques express community identity, reinforce social bonds, and build stronger local, regional and national identities. Those efforts in Michoacán also underline the importance of traditional cuisine as a means of sustainable development.

Mongolia - Naadam, Mongolian traditional festival - Naadam is a national festival celebrated every year from 11 to 13 July across Mongolia that focuses on three traditional games: horseracing, wrestling and archery. Mongolian Naadam is inseparably connected to the nomadic civilization of the Mongols, who have long practiced pastoralism on Central Asia’s vast steppe. Oral traditions, performing arts, national cuisine, craftsmanship, and cultural forms such as long song, Khöömei overtone singing, Bie biyelgee dance and Morin khuur fiddle also feature prominently during Naadam. Mongolians follow special rituals and practices during the festival, such as wearing unique costumes and using distinctive tools and sporting items. Festival participants revere the sportsmen, sportswomen, and children who compete, and winners are rewarded titles for their achievements. Ritual praise songs and poems are dedicated to the contestants in the events. Everyone is allowed and encouraged to participate in Naadam, thus nurturing community involvement and togetherness. The three types of sports are directly linked with the lifestyles and living conditions of the Mongols and their transmission is traditionally undertaken through home-schooling by family members, although formalized training regimens have recently developed for wrestling and archery. The rituals and customs of Naadam also accentuate respect for nature and the environment.

Mongolia - The Mongolian traditional art of Khöömei - Khöömei is a form of singing originating in western Mongolia, in the Altai mountains. The performer imitates sounds of nature, simultaneously emitting two distinct vocal sounds: along with a continuous drone, the singer produces a melody of harmonics. Khöömei literally means pharynx, and it is believed to have been learned from birds, whose spirits are central to shamanic practices. The multitude of Khöömei techniques in Mongolia are grouped within two main styles: the kharkhiraa (deep Khöömei) and isgeree Khöömei (whistled Khöömei). In kharkhiraa the singer sings a drone in a normal voice, while emphasizing the undertone or subharmonic one octave below. In isgeree Khöömei, it is the overtones above the fundamental note of the drone that are emphasized, creating a higher-pitched whistle. In both cases, the drone is produced with very taut vocal cords, and the melody is created by modulating the size and shape of the mouth cavity, opening and closing the lips and moving the tongue. Khöömei is performed by Mongolian nomads in a variety of social occasions, from grand state ceremonies to festive household events. Khöömei is also sung during herding, and inside the yurt to lull babies to sleep. Traditionally, Khöömei is transmitted orally from bearer to learner, or via master-to-apprentice.

Oman - Al-Bar’ah, music and dance of Oman Dhofari valleys  - Al-Bar’ah is a Bedouin musical tradition from the Dhofar mountains in southern Oman. It takes the form of a warlike dance performed to drums and the chanting of poetry in a local tribal dialect. Al-Bar’ah is performed in a half circle formed by ten to thirty men and women. As they chant and clap, two male dancers holding khanjars (daggers) perform codified dance movements, brandishing their daggers above shoulder level. The dancers’ steps are uncomplicated, but coordination with other performers and the music requires considerable skill. Each tribe has its own characteristic form of al-Bar’ah, possessing different drum rhythms and dance movements. The musical accompaniment is provided by the al-kasir, al-rahmâni and ad-daff drums and al-qassaba flute. The dance is performed outdoors, on occasions such as weddings, circumcisions and religious feasts. As for other Omani Bedouin dances, class and other distinctions are erased, as tribal leaders perform alongside the most humble of the population. The tradition represents the chivalric spirit, strength, courage, generosity and hospitality associated with Bedouins. The dance also emphasizes poetic themes of love and flirtation. Al-Bar’ah has many practitioners from Dhofar, who contribute to maintaining and transmitting its poetic variety and practice.

Peru - Huaconada, ritual dance of Mito - Huaconada is a ritual dance performed in the village of Mito in the province of Concepción in the central Peruvian Andes. Every year, on the first three days of January, masked men known as huacones perform a choreographed series of dances in the centre of the town. The huacones represent the former council of elders, and for the duration of Huaconada they become the town’s highest authority. The tronador (whip) they carry and their masks emphasize this role, the latter characterized by accentuated noses that evoke the beak of the condor, creature that represents the spirit of the sacred mountains. The dance involves two types of huacones: elders who wear traditional costumes and finely-carved masks inspiring respect and fear; and modern huacones who wear colourful dress, their masks embodying terror, sadness or mockery. During Huaconada, the modern huacones dance circumscribed steps around the elders, who have greater freedom to dance improvised movements because of their seniority. An orchestra plays different rhythms, beating out time on a small indigenous drum called a tinya. Huaconada synthesizes distinctive elements from the Andes and Spain while incorporating new, modern elements. Only those of good conduct and moral integrity may become huacones. The dance is traditionally passed on from father to son, while clothing and masks are also inherited.

Peru - The scissors dance - The scissors dance is performed by inhabitants of Quechua villages and communities in the south-central Andes of Peru, and now in urban settings. This competitive ritual dance is performed during dry months coinciding with the main phases of the agricultural calendar. The scissors dance takes its name from the pair of polished iron rods, resembling scissors blades, wielded by each dancer in his right hand. Together with a violinist and a harpist, a dancer forms a cuadrilla (team) that represents a given village or community. To perform, two or more cuadrillas face each other, and the dancers must strike the blades together in time to the rhythm of the accompanying musicians, while performing a choreographed duel of step-dancing, acrobatics and increasingly demanding movements. The competition or atipanakuy may last up to ten hours, and physical ability, quality of the instruments, and expertise of the accompanying musicians, are all evaluated to determine the winner. The dancers wear outfits embroidered with golden fringes, multicoloured sequins and small mirrors, but while in costume are forbidden from entering churches because of the tradition that their abilities are the result of a pact with the devil. Regardless, the scissors dance has become a popular part of Catholic festivities. The physical and spiritual knowledge implicit in the dance is passed on orally from master to student, with each cuadrilla of dancers and musicians giving pride to its village of origin.

Republic of Korea - Daemokjang, traditional wooden architecture - The term ‘Daemokjang’ refers to traditional Korean wooden architecture and specifically to the woodworkers who employ the traditional carpentry techniques. The activities of these practitioners also extend to the maintenance, repair and reconstruction of historic buildings, ranging from traditional Korean houses to monumental wooden palaces and temples. The Daemokjang are in charge of the entire construction process, including the planning, design and construction of buildings, and the supervision of subordinate carpenters. The wooden structures created by Daemokjang are smooth, simple and unadorned – distinctive features of traditional Korean architecture. The traditional construction processes require both technical skills to design the building with consideration to its size, site and function, and aesthetic sense to select the lumber for the construction materials, cut and shape the wood, and assemble and interlock the separate wooden pieces without using nails, creating the so-called ‘joints that withstand a millennium’. The know-how of Daemokjang has been handed down from generation to generation and takes decades of education and field experience to master. In working to restore monumental buildings using traditional techniques, Daemokjang practitioners reinterpret the beauty of traditional architecture with their artistic creativity and re-create it with their technical skills.

Republic of Korea - Gagok, lyric song cycles accompanied by an orchestra - Gagok is a genre of traditional Korean vocal music sung by men and women to the accompaniment of a small orchestra, one of several forms of singing that together constitute jeongga, or ‘right song’. Formally a music associated with the higher classes, Gagok is today widely popular throughout the country. Gagok comprises twenty-six namchang or songs for men, and fifteen yeochang or songs for women. Namchang are characterized by strong, deep, resonant voices, while yeochang are characterized by high-pitched, thin voices. Gagok songs are composed either in a solemn, peaceful key or a melancholic one, and use 10-beat or 16-beat rhythm. The traditional instrumentation of the orchestra includes the geomungo six-string zither, daegeum bamboo transverse flute, gayageum twelve-string zither and piri (small double-reed pipe). Gagok songs are acclaimed for their lyrical patterns, balance, refined melodies and advanced musical composition. Acquiring skill as a singer takes extensive time and effort and performance requires dedication and extreme control. Gagok is preserved and transmitted by practitioners, their communities and related organizations in local heritage training centres. Gagok has played an important role in the establishment of Korean identity.

Spain - Flamenco - Flamenco is an artistic expression fusing song (cante), dance (baile) and musicianship (toque). Andalusia in southern Spain is the heartland of Flamenco, although it also has roots in regions such as Murcia and Extremadura. Cante is the vocal expression of flamenco, sung by men and women, preferably seated, with no backing singers. The gamut of feelings and states of mind – grief, joy, tragedy, rejoicing and fear – can be expressed through sincere, expressive lyrics characterized by brevity and simplicity. Flamenco baile is a dance of passion, courtship, expressing a wide range of situations ranging from sadness to joy. The technique is complex, differing depending on whether the performer is male (heavier use of the feet) or female (gentler, more sensual movements). Toque or the art of guitar playing has long surpassed its original role as accompaniment. Other instruments, including castanets, hand-clapping and foot-stamping are also employed. Flamenco is performed during religious festivals, rituals, church ceremonies and at private celebrations. It is the badge of identity of numerous communities and groups, in particular the Gitano (Roma) ethnic community, which has played an essential role in its development. Transmission occurs through dynasties, families, social groups and Flamenco clubs, all of which play a key role in its preservation and dissemination.

Spain - Human towers - Castells are human towers built by members of amateur groups, usually as part of annual festivities in Catalonian towns and cities. The traditional setting is the square in front of the town hall balcony. The human towers are formed by castellers standing on the shoulders of one another in a succession of stages (between six and ten). Each level of the tronc, the name given to the second level upwards, generally comprises two to five heavier built men supporting younger, lighter-weight boys or girls. The pom de dalt – the three uppermost levels of the tower – comprises young children. Anyone is welcome to form the pinya, the throng that supports the base of the tower. Each group can be identified by its costume, particularly the colour of the shirts, while the cummerbund serves to protect the back and is gripped by castellers as they climb up the tower. Before, during and after the performance, musicians play a variety of traditional melodies on a wind instrument known as a gralla, setting the rhythm to which the tower is built. The knowledge required for raising castells is traditionally passed down from generation to generation within a group, and can only be learned by practice.

Spain - The chant of the Sybil on Majorca -The chant of the Sybil is performed at matins on the night of 24 December in churches throughout Majorca. The chant marks the annual Christmas Vigil, and is sung by a boy or girl accompanied by two or more altar boys or girls. During the chant they walk through the church towards the chancel, the singer carrying a sword in his or her hands, held upright in front of the face, while the altar boys or girls carry candles. At the end of the song a cross is drawn in the air with the sword. The versions of the chant performed on the island vary little from their Gregorian roots: each is sung a cappella with music between the verses provided by an organ. The costume worn by the singers usually consists of a white or coloured tunic, sometimes embroidered around the neck and hem, and often worn with a cape. The head is covered with a cap of the same colour as the tunic. The rite involves all the church parishes on Majorca with old and young generations working side-by-side as singers, costume-makers, celebrants and other helpers, thus ensuring its transmission.

Spain; Greece; Italy; Morocco - The Mediterranean diet - The Mediterranean diet constitutes a set of skills, knowledge, practices and traditions ranging from the landscape to the table, including the crops, harvesting, fishing, conservation, processing, preparation and, particularly, consumption of food. The Mediterranean diet is characterized by a nutritional model that has remained constant over time and space, consisting mainly of olive oil, cereals, fresh or dried fruit and vegetables, a moderate amount of fish, dairy and meat, and many condiments and spices, all accompanied by wine or infusions, always respecting beliefs of each community. However, the Mediterranean diet (from the Greek diaita, or way of life) encompasses more than just food. It promotes social interaction, since communal meals are the cornerstone of social customs and festive events. It has given rise to a considerable body of knowledge, songs, maxims, tales and legends. The system is rooted in respect for the territory and biodiversity, and ensures the conservation and development of traditional activities and crafts linked to fishing and farming in the Mediterranean communities which Soria in Spain, Koroni in Greece, Cilento in Italy and Chefchaouen in Morocco are examples. Women play a particularly vital role in the transmission of expertise, as well as knowledge of rituals, traditional gestures and celebrations, and the safeguarding of techniques.

Turkey - Kırkpınar oil wrestling festival - The Kırkpınar oil wrestling festival takes place in Edirne, Turkey. Thousands of people from different age groups, cultures and regions travel every year to see Pehlivan (wrestlers) fight for the Kırkpınar Golden Belt and the title of Chief Pehlivan. Each festival is launched by its patron, the Kırkpınar Aga, in a ceremony featuring forty bands of davul drums and zurna shawms. The golden belt is carried through the city in a procession, followed by prayers recited in the Selimiye Mosque. The wrestling bouts customarily take place at the Men’s Field. The master of ceremonies introduces the Pehlivans to the audience, reciting in verse their names, titles and skills. Next, the oil man oils the wrestlers assisted by the towel holder, before the warm-up exercises and greetings. The wrestlers each wear kıspet, thick trousers made of water buffalo or cow leather. As the wrestling takes place, the drum and shawm bands play the traditional repertoire of the festival. Kırkpınar oil wrestling is open to men from all cultures, regions and ages without discrimination between religion, language or race. Pehlivans are considered exemplary figures in society with attributes such as generosity, honesty, respectfulness and adherence to traditions and customs. All Pehlivans are trained in the master-apprentice tradition.

Turkey - Semah, Alevi-Bektaşi ritual - Semahs can be described as a set of mystical and aesthetic body movements in rhythmic harmony. They constitute one of the twelve main services found in Cem rituals, religious practices performed by adherents of Alevi-Bektaşi, a belief system based on admiration for Ali, the fourth caliph after the prophet Muhammed. Semahs are performed by semahçıs (Semah dancers), accompanied by devout musicians playing the saz long-necked lute. Various forms of Semah exist in Alevi-Bektaşi communities across Turkey, each with distinct musical characteristics and rhythmic structures. One consistent characteristic is the performance of the ritual by both men and women, side by side. Semah rituals are founded upon the concept of unity with God as part of a natural cycle: people come from God and return to God. There are two forms of Semah: İçeri Semahs are performed in Cems only among adherents as part of the twelve services; Dışarı Semahs are performed independent of services to promote Semah culture to younger generations. Semahs are the most crucial means for the transmission of the Alevi-Bektaşi tradition. All practices, traditional motifs and teachings are passed on orally, and distinct genres of art and literature associated with the tradition continue to thrive. In this way, Semahs play a crucial role in fostering and enriching the traditional music culture of Turkey.

Turkey - Traditional Sohbet meetings -Traditional Sohbet Meetings play a crucial role in transmitting Turkish folk literature, folk dances and music, village plays as well as societal values. Turkish men meet regularly indoors, especially in winter, to discuss local social and cultural issues, safeguard traditions, and encourage solidarity, mutual respect and a sense of community. Meetings may include music, dances and plays, all enjoyed while consuming local dishes. A traditional Sohbet meeting may last until the early morning. Meetings are open to men above the age of 15 or 16, regardless of ethnicity, religion or status, with the basic requirement that members be of honest families, be trustworthy and respectful of their elders, and not gamble or display public drunkenness. Members may be penalized with a fine for missing a meeting, except under extenuating circumstances. Mothers and wives encourage male members to attend because of the associated social and cultural benefits. Communities usually comprise five to thirty persons and are guided by leaders, appointed by election or proposed by elders. Members of the community all have equal rights and commitments. The Sohbet meetings fulfil an important educational function by transferring ethical values such as social justice, tolerance, benevolence and respect.

United Arab Emirates; Belgium; Czech Republic; France; Republic of Korea; Mongolia; Morocco; Qatar; Saudi Arabia; Spain; Syrian Arab Republic - Falconry, a living human heritage - Falconry is the traditional activity of keeping and training falcons and other raptors to take quarry in its natural state. Originally a way of obtaining food, falconry is today identified with camaraderie and sharing rather than subsistence. Falconry is mainly found along migration flyways and corridors, and is practised by people of all ages, men and women, amateurs and professionals. Falconers develop a strong relationship and spiritual bond with their birds, and commitment is required to breed, train, handle and fly the falcons. Falconry is transmitted from generation to generation as a cultural tradition by a variety of means, including mentoring, learning within families, or formalized training in clubs. In Mongolia, Morocco, Qatar, Saudi Arabia and the United Arab Emirates, for example, falconers take their children to the desert and train them to handle the bird and build a relationship of trust with it. While falconers come from different backgrounds, they share common values, traditions and practices such as the methods of training and caring for birds, the equipment used and the bonding between falconer and the bird, which are similar throughout the world. Falconry forms the basis of a wider cultural heritage, including traditional dress, food, songs, music, poetry and dance, all of which are sustained by the communities and clubs that practise it.

Viet Nam - Gióng festival of Phù Ðông and Sóc temples - The Gióng festival of Phù Đổng and Sóc temples is celebrated annually in outlying districts of Hanoi, the capital of Viet Nam. Each spring, before the rice harvest, the Việt people honour the mythical hero, god and saint, Thánh Gióng, who is credited with defending the country from foreign enemies, and is worshipped as the patron god of the harvest, national peace and family prosperity. The festival at Phù Đổng temple, which takes place in the fourth lunar month in the village of his birth, symbolically re-enacts his feats through the riding of a white horse into battle and the orchestration of an elaborate flag dance to symbolize the battle itself. Young men receive extensive training to play the roles of Flag Master, Drum Master, Gong Master, Army Master and Children’s Master, while 28 girls aged 9 to 13 are selected to play the enemy generals. The Flag Master’s dancing movements and drum and gong sounds convey the development of the battle, and paper butterflies released from the flag symbolically disperse the invaders. The arrival of rains after the festival is seen as a blessing from the saint for an abundant harvest. The celebrations at Sóc temple, where saint Gióng ascended to heaven, take place in the first lunar month and include the ritual of bathing his statue and a procession of bamboo flowers to the temple as offerings to the saint.

             In order to be inscribed, the elements must comply with a series of criteria, including contributing to spreading the knowledge of intangible cultural heritage and promoting awareness of its importance. Nominees for the inscription must also justify protective measures taken to ensure their viability.

            The Committee will continue on 17 November to examine the remaining nomination, Armenian cross-stones art. Symbolism and craftsmanship of Khachkars, Armenia.

For more information[url=../../culture/ich/index.php?lg=en]../../culture/ich/index.php?lg=en[/url]
[url=en/media-services/multimedia/news-videos/b-roll/]B-rolls[/url]
Video interview with Cécile Duvelle (UNESCO)
[url=en/media-services/multimedia/news-videos/b-roll/urgent-safeguarding-list/]Download videos of elements inscribed on Urgent Safeguarding list[/url]
[url=en/media-services/multimedia/news-videos/b-roll/representative-list/]Download videos of elements inscribed on Representative List[/url]:

Press contacts, UNESCO Division of Public Information:
Lucía Iglesias Kuntz
+ 33(0)6 07 84 26 76 /   l.iglesias(at)unesco.org;

Isabelle Le Fournis
                                   + 33(0)6 12 19 74 01 /  i.le-fournis(at)unesco.org

16.11.2010
Source: UNESCOPRESS

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作者: 放牛班的课堂    时间: 2010-12-1 00:15

Representative List of the Intangible Cultural Heritage of Humanity
Aalst carnival	Belgium
Acupuncture and moxibustion of traditional Chinese medicine	China
Al-Bar’ah, music and dance of Oman Dhofari valleys	Oman
Armenian cross-stones art. Symbolism and craftsmanship of Khachkars	Armenia
Chhau dance	India
Compagnonnage, network for on-the-job transmission of knowledge and identities	France
Daemokjang, traditional wooden architecture	Republic of Korea
Falconry, a living human heritage	United Arab Emirates – Belgium – Czech Republic – France – Republic of Korea – Mongolia – Morocco – Qatar – Saudi Arabia – Spain – Syrian Arab Republic
Flamenco	Spain
Gagok, lyric song cycles accompanied by an orchestra	Republic of Korea
Gingerbread craft from Northern Croatia	Croatia
Gióng festival of Phù Ðông and Sóc temples	Viet Nam
Houtem Jaarmarkt, annual winter fair and livestock market at Sint-Lievens-Houtem	Belgium
Huaconada, ritual dance of Mito	Peru
Human towers	Spain
Indonesian Angklung	Indonesia
Kalbelia folk songs and dances of Rajasthan	India
Kırkpınar oil wrestling festival	Turkey
Krakelingen and Tonnekensbrand, end-of-winter bread and fire feast at Geraardsbergen	Belgium
Kumiodori, traditional Okinawan musical theatre	Japan
Marimba music and traditional chants from Colombia’s South Pacific region	Colombia
Mudiyettu, ritual theatre and dance drama of Kerala	India
Naadam, Mongolian traditional festival	Mongolia
Parachicos in the traditional January feast of Chiapa de Corzo	Mexico
Peking opera	China
Pirekua, traditional song of the P’urhépecha	Mexico
Semah, Alevi-Bektaşi ritual	Turkey
Shrovetide door-to-door processions and masks in the villages of the Hlinecko area	Czech Republic
Sutartinės, Lithuanian multipart songs	Lithuania
The chant of the Sybil on Majorca	Spain
The craftsmanship of Alençon needle lace-making	France
The gastronomic meal of the French	France
The hopping procession of Echternach	Luxembourg
The Mediterranean diet	Spain – Greece – Italy – Morocco
The Mongolian traditional art of Khöömei	Mongolia
The music of the Bakhshis of Khorasan	Iran (Islamic Republic of)
The Pahlevani and Zoorkhanei rituals	Iran (Islamic Republic of)
The ritual dramatic art of Ta‘zīye	Iran (Islamic Republic of)
The scissors dance	Peru
The Sinjska Alka, a knights’ tournament in Sinj	Croatia
The traditional art of Azerbaijani carpet weaving in the Republic of Azerbaijan	Azerbaijan
The Wayuu normative system, applied by the Pütchipü’üi (palabrero)	Colombia
Traditional Mexican cuisine - ancestral, ongoing community culture, the Michoacán paradigm	Mexico
Traditional skills of carpet weaving in Fars	Iran (Islamic Republic of)
Traditional skills of carpet weaving in Kashan	Iran (Islamic Republic of)
Traditional Sohbet meetings	Turkey
Yuki-tsumugi, silk fabric production technique	Japan

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作者: 放牛班的课堂    时间: 2010-12-1 00:18     标题: 回复 1# 的帖子

《非物质文化遗产代表作名录》新增46项遗产

教科文组织新闻稿2010-141



内罗毕，11月16日 - 比利时阿尔斯特狂欢节、京剧、弗拉门戈、哥伦比亚瓦尤社区的规范体系、伊朗卡山地毯的传统编织技艺，以及由11个国家共同申报的猎鹰训练术等，在今天获准被收录到《人类非物质文化遗产代表作名录》的46项遗产中榜上有名。由肯尼亚国家遗产与文化国务部常务秘书雅各布•米亚龙（Jacob Ole Miaron）担任主席的保护非物质文化遗产政府间委员会第五次会议，对29个国家申报的47项非物质文化遗产进行了审议，并已批准将其中的46项收录到《名录》之中，本次会议将于11月19日在肯尼亚首都内罗毕闭幕。
阿塞拜疆 -  阿塞拜疆共和国的传统地毯编织艺术 - 阿塞拜疆地毯是一种传统手工纺织品，尺寸各异，质地厚密，分为绒毛地毯和无绒毛地毯，图案具有许多阿塞拜疆地毯产区自身的特色。地毯编织是一项传统的家庭技艺，通过口头及实际操作代代相传。男人们在春季和秋季剪下羊毛，而妇女在春季、夏季和秋季收集染料、纺羊毛线及染色。冬季时，大家庭的女性成员进行编织工作，女孩向她们的母亲和祖母学习，妻子们协助她们的婆婆。地毯是在水平式或垂直式织机上编织的，使用天然染料着色的多色羊毛、棉线或绢丝。绒毛地毯的制作工艺特别，通过绕着经线用绒头线打结；无绒地毯则是用各种手法将经线和纬线交错编织在一起形成图案。地毯完成后从织机上割下来是一个异常庄严的庆典。地毯编织与日常生活和社区的风俗习惯紧密地联系在一起，它的功能体现在其设计与应用上。比如当地庆祝新年——开春节（那甫露丝节Novruz）时，会有女孩子坐在地毯上算命或是吟唱传统歌曲。这里，地毯广泛用来装饰家具和墙壁，一些场合，如医疗、婚礼、庆生、悼念和祈祷使用的是特别编织的地毯。

比利时 - 豪特姆年市，圣利芬斯 - 豪特姆年度冬季集市及牲畜市场 - 豪特姆年市（Houtem Jaarmarkt）是在比利时东南部东佛兰德省圣利芬斯－豪特姆（Sint - Lievens – Houtem）举办的一年一度的交易集市。每年11月11至12日，这座村庄就成为比利时交易牛和纯种马的最后一个重要的露天市场。狂欢与讽刺是节日的特点：一位狂欢节王子，在一个嘲笑本城生活中的政客的仪式上，接过城市的钥匙，象征性地成为市长；人们举行偶像游行，游行队伍中有巨人偶像和查理曼大帝传说中的贝亚德'马的偶像；在中央广场举行驱赶冬季之鬼的扫帚舞；青年男子打扮成女性，身穿紧身胸衣、推着婴儿车、撑着破碎的雨伞化妆游行；以及燃烧狂欢节偶像的仪式——在这个仪式上，人们尖叫着，庆祝将还会再持续一整晚。彩车游行队伍除了精心准备的正式彩车以外，还有许多积极的非正式团体，他们对过去一年本地及世界大事尽情嘲弄。阿尔斯特狂欢节已有600多年历史，每年吸引的观众达到10万人。狂欢节是这座城市所有社会阶层的集体努力的结晶，也是这座城市在这一地区的身份象征。既有把握时代变化的创新，又秉承着古老传统，继续着狂欢节集体的尽情欢笑与轻微的颠覆气氛，所有这一切把阿尔斯特城团结在了一起。

比利时 - 阿尔斯特（Aalst）的狂欢节 - 每年，当为期三天的狂欢节在基督教大斋期前的星期日正式拉开帷幕，比利时北部东佛兰德省阿尔斯特市市民一年的精心准备，终于走向高潮。狂欢与讽刺是节日的特点：一位狂欢节王子，在一个嘲笑本城生活中的政客的仪式上，接过城市的钥匙，象征性地成为市长；人们举行偶像游行，游行队伍中有巨人偶像和查理曼大帝传说中的贝亚德'马的偶像；在中央广场举行驱赶冬季之鬼的扫帚舞；青年男子打扮成女性，身穿紧身胸衣、推着婴儿车、撑着破碎的雨伞化妆游行；以及燃烧狂欢节偶像的仪式——在这个仪式上，人们尖叫着，庆祝将还会再持续一整晚。彩车游行队伍除了精心准备的正式彩车以外，还有许多积极的非正式团体，他们对过去一年本地及世界大事尽情嘲弄。阿尔斯特狂欢节已有600多年历史，每年吸引的观众达到10万人。狂欢节是阿尔斯特市社会各阶层集体努力的结晶，也是该市在这一地区的身份象征。既有把握时代变化的创新，又秉承着古老传统，继续着狂欢节集体的尽情欢笑与轻微的颠覆气氛，所有这一切把阿尔斯特城团结在了一起。

比利时 - 格拉兹伯根冬末火与面包节，克拉克林根与格拉兹伯根 - 赫拉尔德斯贝尔亨 （Geraardsbergen）市在每年三月的第一个星期一举办年市，以庆祝冬季在8天前的星期天结束，克拉克林根面包圈(Krakelingen)与火桶(Tonnekensbrand）节也在这时举行。节日仪式为参与者带来延续感以及历史感，并让人们再次重温那些代代相传的历史故事与传说。节前几天，商店开始装潢自己的橱窗，面包师开始烘烤特殊的克拉克林根面包圈，学校老师开始讲述解释节日与仪式的起源。到了节日当天，教堂主持及市市议员率领千人的游行队伍，携带着面包、酒、鱼和火，离开胡奈根姆(Hunnegem)教堂，前往乌登堡(Oudenberg)山，并攀至山顶的圣母礼拜堂。在礼拜堂中，教堂主持会为克拉克林根祝福和并引诵祈祷文。宗教和世俗当局的代表接着会用一个十六世纪银杯喝葡萄酒，酒备中还有一条小活鱼——这后一条风俗最近引起了争议。然后，他们把一万个克拉克林根面包圈投向人群，其中一个面包中夹着获奖券，奖品是一个特地为这一活动制造的黄金珠宝。晚上，人们重新聚集在山上，并点燃一个火桶(Tonnekensbrand)，以庆祝春天的到来。围观的人群会把燃烧的火把携带下山，为城市带来光明。节日仪式为参与者带来延续感以及历史感，并让人们再次重温那些代代相传的历史故事与传说。

中国 - 中医针灸 - 针灸是传统中医的一种医疗手段，除在中国得到广泛应用之外，在东南亚、欧洲和美洲地区也有实践。针灸理论认为，人体如同一个由各种经络连接起来运行的小宇宙，通过物理刺激经络，就有可能促进人体的自我调节功能并为病人带来健康。刺激方法包括用艾绒点炙或用针刺就这些管道的穴位，促进身体重新恢复平衡，进而达到预防和治疗疾病的目的。针灸时，视各人具体情况，选择用针，然后用针刺激穴位。艾灸通常分为直接和间接灸，也就是把艾条直接放在穴位上，或把艾条放在靠近体表的距离，炙烤选择的区域。艾圆筒和艾条是用干艾蒿叶制成的。针灸在师徒之间或家族成员之间，通过口头讲授和实际演示进行传承。目前，针灸的传承也包括在了正规学历教育系统中。

中国 -京剧 -京剧是一种融合了唱、念、做、打的表演艺术。在中国各地都有广泛的表演，但北京、天津和上海仍是主要的演出中心。京剧的唱、念主要使用北京方言，剧本则遵循一系列注重形式和韵律的严格规则而创作。各剧目讲述历史、政治、社会和生活的故事，在娱乐的同时也传递信息。音乐在京剧中起到关键作用，不仅可以设定演出的节奏、营造出特别的气氛，而且还可以塑造人物并引导故事的进展。如“文场”使用管弦乐器，像音质高亢的京胡和长笛，而“武场”则使用班鼓、大锣等打击乐器来烘托。演出的特点是演员表演公式化与象征风格，这些都是通过既定的手、眼、身、脚动作编排来实现的。传统上舞台布景和道具保持在最低限度，但服饰华丽，脸谱夸张，并用简洁的符号、颜色和图案来描绘人物的个性与社会身份。京剧主要是在师徒之间进行传承，徒弟通过口头指导，观察和模仿学习基本表演技能。京剧被视为中国传统社会戏曲审美理想的集大成者，并且作为中国文化遗产得到广泛认可。

哥伦比亚 - 南太平洋区的马林巴音乐与传统吟唱 -哥伦比亚的南太平洋地区马林巴音乐与传统吟唱是考卡山谷省（Valle del Cauca）、考卡省（Cauca）和纳里尼奥（Nariño）省非裔哥伦比亚族群的传统。吟唱时分女声（cantadoras）与男声（chureadores），并使用由当地材料手工制作的乐器演奏音乐，如：棕榈木制成的马林巴、木头和皮革制成的低音鼔和手鼓、竹摇铃和木摇铃等。这一音乐的表演主要出现在四类仪式上：阿鲁洛（Arrullo），库鲁洛（Currulao），赤鼓阿洛（Chigualo）和阿拉宝（Alabao）。阿鲁洛是由女人引导的圣人崇拜仪式，她们准备圣人像、蜡烛和祭坛，并在鼓的伴奏下——偶尔也在马林巴的伴奏下进行吟唱。库鲁洛（或称马林巴舞）是进行庆祝的场合。男人们演奏马林巴，吟唱世俗歌曲，与此同时，人们唱歌、跳舞、吃喝并讲述故事。赤鼓阿洛是幼童死亡后第二天举行的仪式。孩子的身上覆盖着鲜花，人们围绕着他进行无伴奏的吟唱。阿拉宝是成年人去世后第二天举行的仪式，人们也是在无伴奏的情况下演唱极其悲伤的歌曲。这些传统的音乐知识是通过富有经验的音乐家对年轻表演者的口头指导代代相传的。这一地区大部分非裔哥伦比亚人在近几十年中迁居到了市区，但无论是在乡村还是城市，他们的音乐遗产仍然是他们社会身份的重要来源。

哥伦比亚 -瓦尤社区“话事人”使用的规范体系 -瓦尤社区居住在横跨哥伦比亚和委内瑞拉瓜希拉半岛上。管理社区社会与精神行为的立法体系包含了一整套原则、程序和仪式。当地的道德权威人士，即“话事人” （Pütchipü’üi 或 palabreros)，采用这一主要建立在赔偿和补偿的原则基础之上的体系，用于解决当地母系氏族中的冲突和争端。当出现问题时，纠纷双方，无论是侵害方还是受害方，都会寻求“话事人”的权威。在分析形势之后，“话事人”会通知政府他打算和平解决冲突的意图。在那些话事人的话语发挥效力、对话得以建立的事件中，话事人采用了外交手段而且行动相当谨慎睿智。补偿是象征性的，宝石项链或牛、绵羊和山羊都可以作为补偿品。即使是最严重的罪行也要进行补偿，提供补偿将做为特殊事件来处理，双方家庭会获邀参加，以达成和解和重建社会和谐。话事人获得这一地位，一方面是凭借他作为舅父的角色——这是瓦尤母系氏族的特点，另一方面也是因为他在伦理道德上无可指摘。

克罗地亚 - 克罗地亚北部的姜饼制作技艺 -姜饼最早出现在中世纪欧洲的一些修道院，流传到克罗地亚后形成了一门手艺。姜饼的制作者，往往同时还制作蜂蜜和蜡烛，主要在克罗地亚北部地区从事这一行业。姜饼的制作过程需要技巧和速度。对所有制作者来说，配方是一样，原料为面粉、糖、水和小苏打，以及一些必备的香料。姜饼先是放在模具里成型，然后烘烤、干燥、用可食用颜料着色。每位姜饼制作人装饰姜饼的方式都别具匠心，他们常常用会图片、小镜子和诗句或消息等。心形姜饼最常见，大部分是为婚礼准备的，上面会写上新婚夫妇的姓名和结婚日期。每个姜饼制作人都有自己特定的经营区域，不与其他制作者的区域产生重叠。姜饼工艺代代相传达好几个世纪，最初只在男性之间传承，如今男女都可以学习这一工艺。姜饼已成为克罗地亚最知名的身份象征之一。今天，姜饼制作者是地方庆祝活动、重要事件和集会的重要参加者，他为当地人民提供了认同感和延续感。

捷克共和国 -赫林奈科地区村庄的挨家串户的忏悔节（Shrovetide）假面游行 - 每年冬末基督教大斋期之前的忏悔节期间，捷克共和国东波希米亚的赫林斯科（Hlinsko）镇及其附近赫林奈科（Hlinecko）地区的六座村庄风行着一种狂欢习俗——忏悔节（Shrovetide）游行。村里的男人和男孩们装扮成传统角色（男孩子画红色妆，已婚男人画黑色妆），并在一支铜管乐队的陪同下，在村子里挨家串户游行。游行队伍停在每家门口，在主人许可下，四名男人会表演一个仪式性的舞蹈，祝这一家取得好收成暨阖家兴旺发达。主人会因此款待他们而且给他们钱。在拜访过所有的家庭之后，队伍还将执行一个象征性的“处死母马”的仪式，母马会因其所犯的罪行受到宣判，它的遗嘱充满幽默甚至与时事相连，到时也会得到宣读。母马被处死之后，又在酒精的作用下重新复活，这代表着舞蹈表演的开始，也代表着表演者与围观者相互嬉闹的开始。忏悔节游行在十八世纪和十九世纪之交曾遭到天主教教会的取缔，二十世纪时又被社会主义政府取缔。如今，这一游行为确保村社内部的凝聚力起到了重要作用。年轻人和儿童帮助做筹备工作，父母帮他们的儿子翻做传统假面。

法国 - 手工业行会，按行业进行知识传承并保持身份认同的网络 -法国手工业行会体系是与石料、木料、金属、皮革、纺织品以及食品相关的行业内传承知识及技能的一种独特方式。它的特殊之处在于，通过多种方式方法传授知识，如：国内外的学艺旅行（也称“环法”），入会仪式、以学校为基础的教学、习俗化的学艺等。手工业行会分三个群体，加起来总人数达到了近4万5千人。16岁或以上人士希望学习和/或在某一行业发展他们的技能，可以申请加入一个手工业行会。训练持续时间平均五年，学徒在学艺期间，要在法国国内外定期由一个城镇旅行到下一个城镇，发掘各类型知识并予以传播。为了证明自己已经有资格传授学到的知识，学徒必须完成一项“杰作”并由行会对其予以审查和评估。人们普遍认为，手工业行会是最后一家还在实行结合以下这些传统的组织，即：传授某些古老技艺、促使学艺者的技艺达到真正高超的水平、将个体的发展与学徒的培训紧密结合起来以及举行入会仪式等。

法国 - 阿朗松的针织花边技艺 -阿朗松的针法是花边技艺中一项罕见的技巧，多见于法国西北诺曼底阿朗松。阿朗松针织花边之所以与众不同，是因为对针艺的要求非常高，而且需要很长时间才能完成（每平方厘米需要七小时工作量）。使用该技术的镂空织品在民间和宗教生活中常起到装饰的用途。成品是把设计的元素精心缝制在一起的网眼状织物。织绣的过程包括前后几个阶段：首先在羊皮上绘制图案并沿着图案轮廓用针点刺，形成图案的大纲和针织的基底，接着先用线把图案的轮廓缝出来，然后再在轮廓中间加以填充产生阴影，再采用各种装饰手法，最后用绣针制造浮雕的效果。随后用镊子把羊皮纸揭下来，对织品进行修剪，最后用龙虾的爪子进行抛光处理。每位阿朗松花边绣工都掌握了织绣的每一个阶段，这样的水平只能通过学徒期间不断进行实践才能达到。全面掌握阿朗松针花边技艺需要七至十年的培训事件。学习过程完全仰仗于专业花边绣工与学徒之间的密切关系，而且传承的实现也只能是通过口头传授和实践教学。

法国 - 法国美食大餐 -法国美食大餐伴随着个人或群体生活的重要时刻，是庆祝各种活动如出生、结婚、生日、纪念日、庆功和团聚中的一项实用的社会风俗。节日盛宴是将人们聚集在一起，共享良酒美食艺术的大好机会。法式美食大餐所注重的是人与人之间的亲密和睦，味觉上的美好体验，以及人与自然间的平衡。法国美食的重要元素包括从不断增长的食谱中精挑菜肴；采购质优的原料和产品，而且最好都是当地的，这样其风味可以相融；食物与酒的搭配；餐桌布置的格调；以及消费过程中的某些具体行为，如闻、品餐桌上的美食佳肴。法国美食遵循一些固定的程序，首先是开胃酒（饭前饮料），接着要连续最少上四道菜，第一道是前菜，第二道是配上蔬菜的鱼或肉，第三道是奶酪，第四道是甜点，结束的时候喝烈性酒。那些可以被称作美食家的人拥有深厚的传统知识，并通过对这些仪式的观察将其保存在记忆之中，从而促进传统的口头和/或书面传承，特别是面向年轻一代的传承。法国美食把家人和朋友更加紧密联系在一起，从更普遍的意义上说，加强了社会联系。

印度–查乌舞 - 查乌（Chhau）舞是印度东部的一项传统，表演的内容包括摩诃婆罗多和罗摩衍那史诗中的片段、当地民间传说及抽象主题等。查乌舞有三种不同风格，分别来自喜来奇拉（Seraikella）、普路赖（Purulia）和马约巴哈尼（Mayurbhanj）地区，前两个地区在舞蹈中使用面具。查乌舞蹈与地区节日，特别是春节（Chaitra Parva）的联系非常紧密。它的起源可追溯至原生舞蹈和武术实践。舞蹈的动作语汇包括模仿格斗技巧、鸟步和动物步态，以及以农村家庭妇女日常动作。查乌由传统艺术家在家庭内传授给男性舞者，或在当地社区内进行传授。这种舞蹈的表演在晚间进行，表演场地是一个开放的空间，伴奏的是叫做莫呼里（mohuri）和舍奈（shehnai）的萧管演奏的传统及民间曲调。另外伴奏音乐中还有多种鼓声，可以主宰了整个伴奏乐。查乌舞是这些社区文化不可分割的一部分。它把来自不同社会阶层、拥有不同的社会习俗、信仰、职业、语言和种族背景的人们结合在一起。然而，日益工业化、经济压力和新媒体的出现导致了集体参与的减少，社区正在逐渐漂离他们的根。

印度 - 拉贾斯坦邦卡贝利亚民间歌舞 -歌曲和舞蹈是卡贝利亚（Kalbelia）社区对传统生活方式的一种表达。卡贝利亚曾经是职业养蛇人，今天他们不断变化和创新的音乐和舞蹈还令人想起他们过往的职业。女人们穿着黑裙舞蹈旋转，模仿蛇的动作，而男人们用过去抓蛇时使用的打击乐器铃鼓（khanjari）和木管乐器旁及（poongi）进行伴奏。舞者身上绘有传统的纹身图案，戴着珠宝和缀着的小镜子、绣着银线的戏装。卡贝利亚歌曲讲述神话故事，在“颜色的节日——洒红节”期间，还会演出特别的传统舞蹈。这些歌曲演唱还展现了贝利亚人富有诗人的智慧，他们会在表演过程中即兴创作歌词。歌曲和舞蹈得到代代相传，实际上成为了口头传统的一部分，因为传承到目前为止还没有任何文本或培训手册。歌曲和舞蹈是卡贝利亚社区的骄傲，当他们的传统的旅行生活方式和以及他们在农村社会中的作用正在逐渐消失时，歌曲和舞蹈成为了他们身份的标记。社区展现了他们试图重振其文化遗产以及按照社会经济条件的变化对其文化遗产进行调整的努力。

印度 -  喀拉拉邦穆迪耶图（Mudiyettu）仪式戏剧与舞蹈剧 - 穆迪耶图（Mudiyettu）是喀拉拉邦的一种仪式舞剧，是在女神卡利（Kali）和恶魔达利卡（Darika）战斗的神话故事基础上发展起来的。这是一个由整个村庄参与的社区仪式。夏季作物收获以后，村民们在指定日期的清晨聚集在寺庙里。穆迪耶图表演者通过禁食和祈祷净化自己，然后在寺庙的地板上用彩粉画出一个巨大的卡利女神像——“卡拉姆（kalam）”，用来唤醒女神之灵。下面生动的场景发生的场地因此就绪了：圣智者那罗达（Narada）将在这儿催促湿婆神遏制恶魔达利卡，因为凡人是无法战胜达利卡的。湿婆却认为达利卡应该死于卡利女神之手。穆迪耶图每年都在恰拉库迪河（Chalakkudy Puzha）、佩里亚河(Periya)和木吐布扎河（Moovattupuzha）沿岸的各个村庄的女神庙（梵语：Bhagavati Kavus）中举行。各种姓之间的相互合作和集体参与仪式灌输和巩固了共同的身份认同和相互联系。长者和资深的表演者负起传承的责任，他们在表演过程中向年轻一代传授相关知识。穆迪耶图是向下一代传递社区传统价值观、伦理、道德规范以及审美标准，从而确保其在当今时代的连续性和关联性的重要文化场合。

印度尼西亚 - 印度尼西亚昂格隆（Angklung）-  昂格隆（Angklung）是印度尼西亚的一种乐器，主框架用竹子做成，当中用藤条线悬挂着两节到四节竹筒。竹筒由工匠大师精心地切割削尖，目的是当竹框摇动是可以产生特定的音调。每个昂格隆只产生一个音符或和弦，因此为了可以演奏曲调需要几个人共同合作。传统昂格隆使用五声音阶，但1938年音乐家登•索廷纳（Daeng Soetigna）为昂格隆中引进了全音阶，于是产生了著名的昂格隆帕达（angklung padaeng）。昂格隆与印度尼西亚的传统习俗、艺术和文化身份认同密切相关，常在水稻种植、收获及割礼仪式上得到演奏。制造昂格隆的特殊紫竹必须在一年中蝉鸣的那两个星期砍伐，并要砍离地面至少三节以上的部分，以确保根可以继续繁衍。昂格隆的教习依靠口头代代相传，但在越来越多的教育机构也可以学到。由于演奏昂格隆具有合作的性质，因此可以促进演奏者之间的相互合作、相互尊重的精神，并且提高纪律性、责任心、注意力、想象力和记忆力以及对艺术和音乐的感受力。

伊朗（伊斯兰共和国） - 呼罗珊的巴克谢西音乐 -在霍腊散省，民间歌手“巴什（Bakhshis）”素以善于演奏一种2弦长颈的琉特属乐器都塔尔（dotār）而著称。他们讲述的是伊斯兰和诺斯底诗歌与史诗中的神话、历史或传说等主题。他们的音乐以“马噶米（Maghami）”这一名字为人熟知，包括了器乐和/或声乐作品，声乐作品用土耳其语、库尔德语、土库曼语和波斯语演唱。那瓦伊（Navāyī）是最普遍的马噶米音乐：变化多样、声乐演唱、无节奏，并伴以诺斯底诗歌。其他例子包括土耳其马噶米：塔基尼（Tajnīs）和格拉耶力（Gerāyelī）；宗教主题的沙卡塔伊（Shākhatāyī）；还有古典浪漫的洛伊（Loy），后者是北霍腊散克尔曼的库尔德人的音乐。“巴什”把都塔尔的两根弦中的一根看作是公弦，另一根看作是母弦；公弦保持开放，而主旋律主要是在母弦上演奏的。巴什音乐是通过传统师徒关系得以传习，有些仅限于在男性家庭成员或邻居之间进行，也有一些采取现代的方法，即一位大师为一群学生授课，而且学生有男有女，来自不同背景。音乐传递历史、文化、道德和宗教的基础，因此，巴什的社会角色超越了单纯的叙述者，他们还被视为法官、调解员和治疗师，他们是民族和地区社会文化遗产的守护人。

伊朗（伊斯兰共和国） - 帕勒瓦尼（Pahlevani）与祖卡内（Zoorkhanei）仪式-帕勒瓦尼（Pahlevani，意为“英雄”）是结合了伊斯兰教、诺斯替主义和古代波斯信仰元素的一种伊朗武术。仪式的表演者为十至二十名男性，他们每人挥舞着象征着古老兵器的器具，做出各种体操及柔韧性动作。这一仪式在一个与角力场相类似的、叫作“祖卡内（Zoorkhane）”的地方举行。圆顶结构的建筑中间低凹处是一个八角形表演场地，周围设置了观众席。莫希德（意为：大师）引导帕勒瓦尼仪式的进行，他朗诵史诗和诺斯替诗歌，并在扎布高脚杯鼓上击打节奏。他朗诵的诗歌传播伦理和社会教义，构成了祖卡内文学的一部分。帕勒瓦尼仪式的参加者可能来自任何一个社会阶层或宗教背景，每个团队与当地社区有着紧密联系，并努力帮助那些有需要的人士。培训期间，学生在毗什克斯瓦（Pīshkesvat，意为“冠军”）的监督下学习伦理及侠义的价值观。只有那些掌握技巧和艺术、体察宗教原则，并达到诺斯替主义的伦理和道德标准的人方可取得帕勒瓦尼的出色等级，并在这一社群中获得声望和权威。目前，伊朗有超过500家祖卡内，每家都由习艺者、创建人和一些大师。

伊朗（伊斯兰共和国） - 塔兹耶（Ta‘zīye ）仪式戏剧艺术 -塔兹耶(Ta'zīye，或Ta'azyeh）是一种讲述宗教活动、历史故事、神话故事和民间传说的仪式性戏剧艺术。每场演出都有四个要素：诗歌、音乐、歌曲与动作。一些演出剧目中可能有上百个角色，分成历史、宗教、政治、社会、超自然的、真实的、虚构和幻想的角色等。每个塔兹耶的剧目都是独立的，有自己的主题、服装和音乐。表演充满了伊朗观众可以理解的丰富的象征手段、惯例、套路以及符号，但舞台上没有照明或装饰。表演者都是男性，包括女性角色也由男性扮演。演员大多数是业余的，他们在日常生活中靠别的职业维系生活，参加演出寻求的只是精神奖励。一方面塔兹耶在伊朗文化、文学和艺术中具有突出的作用，另一方面，日常谚语也从这一仪式戏剧中吸取精华。它的表演在保留保存古老的传统、民族文化和伊朗神话同时，还帮助促进和加强了宗教和精神价值以及培养利他主义与友谊。塔兹耶为维护相关的手工艺术也起到了重要的作用，如服装制作、书法和乐器制作。塔兹耶具有的灵活性使得它成为不同社会群体的共同语言，从而促进了交流、团结和创造力的发挥。塔兹耶的传承是在师徒之间通过言传身教进行的。

伊朗（伊斯兰共和国） - 法尔斯地毯编织传统技艺 -伊朗人在世界上以善于编织地毯而著称，位于伊朗西南法尔斯的地毯织工，更是其中的佼佼者。春天或秋天的时候，本地男子剪下羊毛。然后他们在地上安放搭建水平式织机，而女性开始将羊毛绕成纺线。主要染料都是纯天然的，如用茜草、靛蓝、莴苣叶、核桃皮、樱桃枝茎、石榴皮制作红色、蓝色、棕色和白色的染料。妇女们负责设计、选色和编织，并把他们游牧生活的场景编成地毯图案。他们没有任何编织设计图——所以也没有任何织工可以编成两条一模一样的地毯。地毯的编织工作是把彩色纺线在羊毛纬线上打结。然后是把地毯缝边，并把多出的羊毛烧掉，让设计变得更为生动，最后清洗地毯。所有这些技能都是经过口头和实践传承的，如母亲教女儿使用不同材料和工具的技术，而父亲教儿子怎样剪羊毛和构造织机。

伊朗（伊斯兰共和国） -  卡山地毯编织的传统技艺-卡山一直以来都是制作精美地毯的中心，本地几乎三分之一的居民从事地毯编织工作，织工中三分之二是妇女。地毯编织过程首先从设计开始，图案是对一系列既定的如花朵、树叶、树枝、动物和历史场景图案进行精心编排。这里的织布机以“达尔（Dar）”这个名字为人所熟知，经线和纬线用的是棉线或丝线。地毯的绒面是用波斯结法把羊毛绒线或丝绒线绕在经线上打结形成的，打结后还要把住一排编好的纬线，用梳子敲打。精心编织的波斯结（也称为非对称打结）在卡山得到了广泛使用，这才使得地毯的背面打的结精细均匀。卡山地毯的颜色来自于天然染料，包括茜草根、核桃皮、石榴皮和藤叶。卡山地毯编织的传统技艺在母亲和祖母的指导下传授给女儿。做学徒也意味着学习设计、染色、修剪、织机构建和工具制造等。

日本 -  冲绳传统音乐舞剧组踊 - “组踊”是日本冲绳岛的一种表演艺术。它是在冲绳传统音乐和舞蹈的基础上发展起来的，但也吸收了日本本土的一些元素，如能剧或歌舞妓的元素，以及来自中国的一些元素。组踊剧讲述当地的历史事件或传说，并用传统的三弦乐器进行伴奏。台词具有特殊的节律，源自传统诗歌与琉球区域的独特节奏，并用冲绳古语进行表演。表演者的肢体动作令人想起古代冲绳传统仪式中的女巫。所有角色都是由男演员扮演的。冲绳本土特色表现在发式、服装和舞台布置上。加强组踊传承的想法激励着组踊表演者设立了传统组踊保护协会，训练表演者，重新挖掘已中断的剧目，并进行常规演出。除了表演强调忠诚和孝道为主题的经典剧目之外，他们还用现代主题与编舞创作新剧目，但主义在其中保留传统的组踊风格。组踊在保存古冲绳词汇以及传播文学、表演艺术、历史和道德中起到了核心作用。

日本 -  结城绸生产工艺 -结城绸代表着日本的一种丝绸织造工艺，其主要产地是东京以北鬼怒川河沿岸的结城市和小山市。该地区气候温和，土地肥沃，极适于桑树生长和养蚕业的发展。结城绸工艺主要用于生产茧丝绸（又称生丝）——这种丝的刚度和柔软度都非常有特点，是一种即轻又暖、用来制作和服的传统面料。这一面料的生产包括以下几个阶段：首先手工把丝绕成纺线，然后再把纺线用手工绑束形成特定的图案，随后才开始用靛蓝染色，最后用一个后张力织机把丝织成绸。结城绸工艺中纺线丝是从空蚕茧或变形蚕茧抽出来，否则就无法将其制成纺线丝。这一循环过程对支持当地养蚕社区起到重要作用。“本场结城绸技术保持会”的成员帮助传承生产结城绸的传统技艺。这一协会直接从事维持纺纱、染色、织布传统并帮助这一技艺在社区中得以代代相传。传承主要经过加强技术交流、培训年轻织工以及实践操作展示等。

立陶宛 - 苏塔廷内斯（Sutartinės），立陶宛的多调歌曲 - “苏塔廷内斯（Sutartinės）”是立陶宛东北部女歌手演唱的一种复调音乐形式（苏塔廷一词来自与“sutarti”，包含着“和谐”、“用和声演唱”的意思）。这些歌曲旋律简单，有二至五个音高，并包含两个完全不同的部分：一部分是富有意义的主歌，另一部分是副歌，可能包含着无意义的词。表演苏塔廷内斯有近四十种不同的风格和方式。主要方式可以由两名歌手并行演唱；或三名歌手按严格的卡农法，同时交错演唱旋律的两部分；或由两组歌手演唱，一组歌手的领唱演唱主歌，她的合作伙伴演唱副歌，第二组随之予以重复。歌词富有诗意，涵盖的主题包括工作、节日仪式、婚礼、家庭、战争、历史和日常生活等。编舞并不复杂，动作较温和，常常较为严肃，比如手臂交叠并跺脚绕圈或走星形。苏塔廷内斯在庄严的场合，以及节日、音乐会和社交聚会上进行表演。表演促进了文化价值的共享，并给予人们文化认同感、历史感以及自尊。苏塔廷内斯的演唱者通常是妇女，而男性演奏排箫、角、长木号、长笛和弹拨琴。

卢森堡 - 埃希特纳赫（Echternach）的跳步游行 -每年基督教五旬节星期二，在卢森堡最古老的城镇埃希特纳赫（Echternach）的中世纪市中心会进行一场跳步游行（Iechternacher Sprangprëssioun）。1100年时就已有了关于游行的记录，其出现建立在对圣威利布罗德（Saint Willibrord）的崇拜基础之上。圣威利布罗德是一名修道士以及埃希特纳赫修道院的创始人，他因他的传教活动、他的善良以及治疗某些疾病的天赋受人敬仰。尽管由于游行中的异教元素遭到教会反对，但长期的禁令并没有能够制止游行在该地区其他地方的蔓延以及受到社会各阶层的喜爱。在卢森堡及其他国家的教会最高层在场的情况下，游行队伍清晨从古修道院的庭院出发。歌手吟诵连祷文，随后8000名跳步者开始进发，他们根据一个代代相传的仪式分成45组。最后以大教堂的礼拜结束。今天的游行是一项深深扎根于传统的宗教活动，并通过祈祷、歌曲和舞蹈这些表现崇拜的历史形式得到表达。如今，尽管这项游行活动有世俗化的倾向，但还是日益风行起来，并获得了民间及宗教当局的支持。每年来自卢森堡及邻近地区的参与者平均达到13000名。

墨西哥 - 恰帕德科尔索城一月传统盛会中的帕拉奇克舞 -墨西哥的恰帕德科尔索城（Chiapa de Corzo）每年1月4日至23日举行一项传统盛会。盛会奉天主教三圣之名举行：圣安东尼•阿博特、埃斯基普拉斯的我主基督（Nuestro Señor de Esquipulas）以及最重要的圣塞巴斯蒂安，是一个结合了音乐、舞蹈、手工艺、美食、宗教庆祝仪式以及宴会的盛大聚会。帕拉奇克“Parachicos”一词既指舞者，也指舞蹈本身，是社区对这些圣人的供奉。舞蹈从早上开始，到晚上结束，其间舞者背着圣人雕像前往整个城市的礼拜场所。每个舞者都戴着一件带着头饰、木雕面具、绣花披肩、塞雷普、五彩色带，并演奏chinchines（马拉卡斯）。舞者由一位戴着严肃面具的、手拿吉他和鞭子的人领导，他吹着笛子，身边还有一两个鼓手伴随。跳舞过程中，他吟诵赞美，Parachicos予以回应欢呼。舞蹈是表演过程中同时进行传播和学习的，儿童也参加舞蹈并模仿成人的舞者。面具的制作技术代代相传，制作过程包括木材切割、烘干、雕刻及装饰。盛会其间的帕拉奇克Parachicos舞将当地生活的所有领域都汇聚在了一起，促进了各社区、群体和个人之间的相互尊重。

墨西哥 - 皮卢瓜，普热佩贾人的传统歌曲 -皮卢瓜（Pirekua）是墨西哥米却肯州的土著居民普热佩贾人社区男女都唱的一种传统音乐。音乐混合了非洲、欧洲和美洲原住民的各种风格，而且在普热佩贾的165个社区中就发现有30种区域变体。皮卢瓜通常用温和节奏演唱，但在非声乐的乐曲演奏中也可使用不同的节奏，如索恩斯（3/8拍）和abajeños（6 / 8拍）。皮卢瓜可以用独唱、二重唱或三重唱，或由合唱团、弦乐团和混合乐团（在管乐器）伴奏下演唱。Pirériecha（皮卢瓜歌手和表演者）素以他们的创造性以及对老歌的诠释而著称。歌词涵盖了从历史事件、宗教事件、社会和政治思想、爱情和求爱等等，象征得到广泛使用。皮卢瓜成为普热佩贾人家庭和社区之间进行对话的有效媒介，协助建立和加强联系。Pirériechas也成为社会媒介，他们用歌声来表达情感并把重要的事件传递到普热佩贾社区中去。 皮卢瓜历来依靠口头代代相传，保持着继续作为普热佩贾人表达生活、标志身份认同以及艺术交流的手段。

墨西哥 -  传统的墨西哥美食 – 地道、世代相传、充满活力的社区文化，米却肯州模式 -传统的墨西哥菜肴是一个囊括农业、礼仪习俗、古老的技艺、烹饪技术和世代相传的风俗和礼节在内的综合性文化模式。其中是整个传统食品链，从种植、收获到烹饪和饮食的集体参与。这一饮食文化的基础是玉米、大豆、辣椒；独特的耕作方法，如“米尔帕斯”（milpas，翻耕玉米田和其他农作物田）与奇那帕斯（chinampas，在湖区开发耕地）；烹饪过程如玉米灰化nixtamalization过程（用石灰让玉米脱壳的过程，增加了其营养价值）；以及特殊的餐具如研磨石和石灰浆奇异餐具。如基本食品原料有各种西红柿、南瓜、鳄梨、可可和香草，为主食增加。墨西哥美食得到精心准备而且充满象征符号，如日常玉米饼和类似粽子的玉米粉蒸肉（tamales），都是祭祀逝者的祭节的组成部分。女性厨师和其他从业人员集体致力于提高在米却肯州和墨西哥全国作物和传统的美食的地位。他们的知识和技术，表达社区认同感，加强社会联系，建立更强大的地方、区域和国家的身份认同。米却肯还强调传统美食作为可持续发展手段重要性。

蒙古 -  蒙古的传统节日那达慕 -那达慕大会是蒙古的一个全国性的节日，每年从1 月7日至13日其间举行，同事还举行三项传统比赛：赛马、摔跤和射箭。蒙古那达慕与蒙古族长期以来在中亚广阔的草原上开展畜牧业的游牧文明密不可分的。整个那达慕大会期间还贯穿着口头传说、表演艺术、民族美食、手工艺及文化形式如长歌、呼麦泛音歌唱、贝尔格民间舞蹈和马头琴。节日期间蒙古人遵循特殊的仪式和的做法，如穿着独特的服装和使用特殊工具和体育器具。大会的参加者都对参加竞赛的男女运动员和孩子极其推崇，获胜者还会因他们的成就获得称号。赞美的歌声和诗歌献给选手们。任何人都可以而且得到鼓励参加那达慕，促进了社区参与和团结。三项比赛与蒙古人的生活方式与生活条件有直接联系，这些技艺的传递是在家庭成员之间进行，但目前也出现了正式的培训，特别是在摔跤和射箭方面。那达慕的仪式和风俗也突出了对自然和环境的尊重。

蒙古 -  蒙古的传统艺术呼麦 - 呼麦是一种源于于蒙古西部的阿尔泰山脉的演唱形式。表演者模仿自然界的声音，同时发出两种不同的声音：在发出持续基础低音的同时，歌手演唱出和谐的旋律。呼麦的字面意思是咽喉，据说是从鸟类那儿学来的，而鸟的精灵对是萨满巫师做法至关重要。蒙古呼麦有很多种，可分为主两种主要风格：深呼麦（kharkhiraa）和口哨呼麦（isgeree Khöömei）。深呼麦歌手用正常的声部唱基础低音，同时突出一个八度以下的低音获次谐音。在口哨呼麦中，突出的是高于基础低音的高音部，产生效果类似于尖锐的口哨。这两种情况下，都是通过拉紧声带产生基础低音，通过调节口腔形状和大小、开唇和闭唇以及舌头移动产生曲调。蒙古游牧民族在不同社会场合如盛大的仪式，或家庭节日庆祝中演唱呼麦。放牧的途中或是在蒙古包中哄婴儿入睡也会演唱呼麦。传统上，呼麦是从承载者口头传承给学习者，即由师傅传给徒弟。

阿曼 -  阿巴尔，阿曼佐法尔山谷的音乐和舞蹈 - 阿巴尔（Al-Bar’ah）是阿曼南部佐法尔山脉贝都因人的音乐传统。它的舞蹈模仿战斗形式，并用鼓声伴奏、用当地部落的方言吟唱诗歌。表演阿巴尔时，十到三十名男人和女人围成半圈。在他们边唱边拍掌时，两名男性舞者手持一种叫坎加斯(khanjars）的匕首，表演规定的舞蹈套路，并在肩膀上挥舞匕首。舞蹈者的舞步比较简单，但与其他表演者和音乐保持协调则需要相当的技巧。每个部落都有自己的阿巴尔，他们的鼓的节奏和舞蹈动作会各不相同。伴奏的乐器有叫做卡希尔（Al–kasir），拉赫马尼（al-rahmâni）和阿达夫（ad-daff）的鼓以及叫做卡撒把（al-qassaba）的长笛。舞蹈表演在户外进行，表演场合主要是婚礼、割礼和宗教节日等。阿巴尔舞蹈与其他阿曼贝都因人的舞蹈相似，都不注重阶级差异或其他差别，部落首领和地位低微的人也可以在一起演出。这是一个象征着贝都因人的侠义精神、力量、勇气、慷慨以及好客的传统。舞蹈的传统诗性主题还包括爱情与诱惑。在佐法尔，有很多人参加这一舞蹈，从而确保阿巴尔的诗意与实践可以继续传承下去。

秘鲁 - 米驼村的仪式舞蹈“华空纳达” -华空纳达（Huaconada）是在秘鲁中部安第斯山脉康塞普西翁省米驼村演出的一种仪式舞蹈。每年一月的最初三天，“华空内斯（huacones）”，也就是戴面具的人会在镇中心表演一系列编排好的舞蹈。华空内斯代表着老一代的长者委员会，在华空纳达期间，他们成为该镇的最高权力机构。他们携带着叫作“特龙拉多尔（tronador）”的鞭子以及他们的面具都突出了这一权威，因为后者突出的鼻子也令人联想到圣山代表神鹰的喙。舞蹈者中有两类华空内斯：一类是穿着传统服装、戴着雕刻精美面具的、令人心生敬畏的长者；另一类被称作现代华空内斯，他们身穿五颜六色的服装，戴的面具展现出恐惧、悲伤或嘲讽。表演华空纳达时，现代华空内斯围着长者跳舞，长者由于其年龄资历，拥有更大的即兴舞蹈的自由。伴奏的乐队演奏不同节奏的音乐，而节奏主要是由一个原住民称为“亭亚（tinya）”的小鼓来掌控。华空纳达结合了安第斯山脉和西班牙独特的元素，但也纳入了新的、现代的元素。只有品行俱佳者才可以成为华空内斯。传统上，舞蹈由父亲传给儿子，而服装和面具也是继承得来的。

秘鲁 -  剪刀舞 - 剪刀舞是秘鲁中南部安第斯山脉克丘亚村庄和社区，现在也住在城区的居民表演的一种舞蹈。这种竞争性的仪式舞蹈表演是在农业日历的干旱期进行的。剪刀舞之名来自于每个舞者在右手挥舞的一对抛光的铁棍，看起来像剪刀。一名舞者与一个小提琴手和一个竖琴手，组成代表一个村庄或社区的库德里拉（cuadrilla，团队）。表演时，两组或更多的库德里拉互相面对面，舞者必须跟着音乐的节奏及时击打刀片，同时表演编排好的踢踏舞、杂技动作以及和越来越大幅度的动作。比赛（atipanakuy）可能长达十小时，身体素质、乐器的质量、以及音乐伴奏的能力都是决定胜负的关键。舞者穿着衣服上缀着金色流苏、五彩亮片和小镜子，但是，穿着这个服装是禁止进入教堂，因为根据传统，舞者的能力是与魔鬼协议的结果。无论如何，剪刀舞已成为天主教庆祝活动受欢迎的一部分。舞蹈中隐含的精神及身体的知识由师傅口头传授给学生，每个库德里拉的舞者和音乐家都是其村庄的骄傲。

韩国 - 大木匠与传统的木结构建筑艺术 - “大木匠”一词是指韩国的传统木结构建筑师，特别是使用传统木工技术的木匠。这些从业者的活动也扩展到维护、维修和重建历史建筑，包括韩国传统房屋以及纪念性的木结构宫殿和庙宇。“大木匠”负责整个施工过程，包括规划、设计和建造以及负责监督下属木匠。由大木匠建造的木结构光滑、朴实无华 ——这也是韩国传统建筑的特色。传统的建筑工序不仅需要会考虑建筑大小、位置与功能的设计建筑的技术技能，而且需要能够选择合适建筑木材的审美意识，并把木材切割成形状，进行组装，在不用一钉一卯的情况下把分开的木件联锁在一起，从而创造所谓的“千年不倒的连接”。大木匠的知识技能需要几十年的教育和实践经验才能完成代代相传的任务。在努力恢复传统的纪念性建筑物过程中，大木匠发挥其技能与创造性，不仅重建其建筑而且还重新诠释了传统建筑之美。

韩国 - “歌曲”，乐队伴奏的歌曲组曲 - “歌曲（Gagok）”是在室内小型乐团伴奏下男女声演唱的韩国传统声乐。演唱“歌曲”有几种形式，一种是合唱，叫作“正歌(jeongga)”。过去“歌曲”是供上层人士欣赏的，如今在全国各地也很流行。“歌曲”有26首“男唱（Namchang）”即男性歌曲，15首“女唱（yeochang）”或女性的歌曲。“男唱”具有声音雄壮、低沉、回荡的特点，而“女唱”声音高亢、婉转。 “歌曲”的风格或庄严平和，或忧郁，节奏为10拍或16拍。乐团的传统仪器包括玄琴（六弦古琴）、大琴（横吹的竹笛）、伽倻琴（十二弦古筝）和觱篥（小双簧管）。“歌曲”以其词制工整、旋律雅致，以及乐曲创作的技艺高超而广受好评。成为一名歌手，掌握演唱的技巧需要大量的时间和精力，并且需要献身精神和严格的自我控制。“歌曲”的从业人员，他们所在的社区和当地遗产培训中心的相关组织致力于“歌曲”的保存和传承。 “歌曲”为韩国提供身份认同的重要作用。

西班牙 -  弗拉明戈 -弗拉门戈是一种融合了歌曲（cante）、舞蹈（baile）和音乐（toque）的艺术表现形式。西班牙南部的安达卢西亚是弗拉明戈的中心，但在穆尔西亚和埃斯特雷马杜拉地区也可以找到弗拉明戈的根。歌曲是弗拉明戈的声音表现，通常是男女声以坐姿演唱，没有伴唱。悲伤、喜悦、悲哀、欢乐与恐惧——所有的情感和思想状态都可以通过极具表现力的歌词传达出来，而且歌词真挚，具有短小精悍的特点。弗拉明戈的舞蹈充满激情，具有求偶的意味，表达了从悲伤到喜悦各种情态。舞蹈的技术很复杂，而且取决于表演者是男性（加重脚的使用）还是女性（动作更温和，有更多的感性动作）。弗拉明戈的音乐或吉他演奏艺术早已超越了它原先的伴奏功能。其他乐器还包括响板，同时还使用鼓掌声和脚踏声。弗拉明戈常在宗教节日、礼仪、教堂仪式和私人庆典仪式上表演。这是许多社区和团体的身份标志，特别对吉塔诺人（罗姆人）社区来说更是如此，他们在弗拉明戈的发展中发挥了重要作用。弗拉明戈的传承已经经历了不同的时代，家庭、社会团体和弗拉门戈俱乐部在保存和传播弗拉明戈中都起到了关键作用。

西班牙 - 叠人塔 - “卡斯特（castells）”是由业余团体成员叠起来的人塔，通常是加泰罗尼亚城镇年度庆祝活动的一部分。传统叠人塔的地方一般是在市政厅阳台前面的广场上。人塔是由“卡斯特人（castellers）”逐层站在同伴的肩膀上搭建起来的，一般可达六到十层。“躯干部分”，即所谓的“特隆（tronc）”，是指第二层以上的部分，每一层由两到五名身体强壮的男性支撑着身体较轻的男孩子或女孩子。“高层塔（Pom de dalt）”——是指人塔最高的三层——都是孩子。欢迎任何人都可以参加支持塔的基础底层“平压（pinya）”。人们可以通过服装、特别是衬衫的颜色来辨认每个团队。团队的腰带不仅是为了保护背部，而且也是是在“卡斯特人”向上攀爬时可以借力的地方。在叠人塔之前、之间和之后，乐师们用一个叫“gralla”的管乐器，演奏传统旋律，同时也为塔的搭建设置节奏。“叠人塔”所需要的知识是在团队中代代相传的，只能依靠实践掌握。

西班牙 -  马略卡的西比尔咏唱 - 整个马略卡12月24日的教堂子夜祷告上都会有西比尔咏唱。咏唱标志着一年一度的圣诞子夜弥撒，由一名男童或女童在两名以上的祭坛男女童声伴唱下进行演唱。他们边唱边穿过教堂走向圣坛，主唱的儿童在自己的正面直举着一把剑，而祭坛少年举着蜡烛。在歌曲的最后，歌手用剑在空中划十字。在马略卡岛进行的咏唱与其格鲁吉亚的根源基本相同：都是清唱，管风琴的伴奏只出现在每段的空隙。歌手的服装通常是一件白色或彩色的外衣，有时在领子和下摆地方有刺绣，并且经常带着斗篷。斗篷的颜色与外衣相同。这一仪式把马略卡岛教区的年老一代和年轻一代合到了一起，他们作为歌手、服装人员、监礼人及其他帮工一起工作从而确保这一文化遗产的传承。

西班牙、希腊、意大利和摩洛哥 - 地中海饮食 -地中海饮食代表着一整套技能、知识、操作和传统，是从农作物种植、收获、打渔、保鲜、加工、制作以及最终的享有食品这样一个从大自然直到饭桌的整个过程。地中海饮食的特点是，它的营养模式在历经时间和空间的变化后依然保持自己固有的特色：如使用橄榄油、谷物、新鲜或干水果和蔬菜、适量的鱼和奶制品以及肉类、大量的调味品和香料；以葡萄酒或茶佐餐；始终尊重每个社区的信仰。实际上地中海饮食（来自希腊语diaita，或指生活方式）包含的不仅仅是食物，它对社会互动也起到了促进作用，因为社区饮食是社会风俗和节庆活动的基石。它为知识、歌曲、格言、故事和传说添砖加瓦。地中海饮食系统是对土地海洋和生物多样性的尊重，也是对地中海社区渔业和农业中的传统活动与技能的保护和促进。比如西班牙的索里亚（Soria）社区、希腊的克罗尼（Koroni）社区、意大利的奇伦托（Cilento）社区和摩洛哥的舍夫沙万（Chefchaouen）社区就是这方面的例子。妇女在传播专业知识、礼仪知识、传统姿势与庆祝活动方面以及保存技术方面具有极为重要的作用。

土耳其 - 克尔克普那尔传统涂油摔跤节 -克尔克普那尔(Kırkpınar)涂油摔跤节每年在土耳其的埃迪尔举行。这时成千上万来自不同年龄群体、文化和地区的人会涌向这里观看摔跤手（Pehlivan）是如何争夺克尔克普那尔黄金腰带以及大摔跤手的称号的。每年节日都由其赞助人克尔克普那尔•阿加宣布开幕，开幕仪式的特点是有40个大武（davul）鼓及祖马（zuma）唢呐乐队会进行表演。在塞利米叶（Selimiye）清真寺朗诵过祈祷文之后，金色腰带会在巡城游行中向人们展示。按照风俗习惯，摔跤比赛只在男子之间举行。司仪会向观众介绍摔跤手，并用朗诵诗句的方式报上他们的姓名、头衔和技能。然后，涂油人与拿毛巾的人会帮助摔跤手涂上油，摔跤手紧接着开始热身练习和问候。选手们都穿着水牛或牛皮革制成厚长裤（kıspet）。摔跤开始时，鼓乐队开始演奏传统曲目。克尔克普那尔传统涂油摔跤手节向所有文化、地区和年龄的男性开放，没有宗教、语言或种族间歧视。摔跤手被社会视为慷慨、诚实、尊敬并坚持传统和习俗的模范。所有摔跤手接受过师傅-学徒传统的训练。

土耳其 - 塞玛贺（Semah），阿里维-贝查兹（Alevi – Bektaşi）教派的仪式 –塞玛贺（Semahs）可以说是一组神秘的、充满美感的、节奏和谐的身体动作。作为阿里维-贝查兹（Alevi – Bektaşi）教派——推崇先知穆罕默德之后第四代哈里发阿里的一个教派的仪式，塞玛贺是其信徒实行的十二项塞姆（Cem）宗教仪式中的一项。塞玛贺由塞玛贺舞者完成，虔诚的音乐家会用一种叫萨兹（saz）的长颈琵琶为其伴奏。土耳其每个阿里维-贝查兹社区都有自己的塞玛贺，并且其音乐和节奏的结构各具特点。但所有的塞玛贺有一个一致的特点，就是表演由男人和女人并排进行。贯穿塞玛贺仪式的是与神统一的概念，是成为自然循环的一部分：人来自于神，也将回到神那里。塞玛贺有两种形式：伊瑟利塞玛贺（İçeri Semahs），这个形式只面对信徒，当信众举行塞姆十二项仪式时作为其中的一项来实行；蒂萨里塞玛贺（Dışarı Semahs）可以在仪式之外单独举行，目的是向年轻一代推介这一文化。塞玛贺是传播阿里维-贝查兹传统的最重要手段。所有实践、传统主题和教习通过口头进行传承，令风格独特的传统艺术和文化得以继续蓬勃发展。塞玛贺在促进和丰富土耳其音乐文化传统起到了极为重要的作用。

土耳其 - 传统的索贝会（Sohbet）-传统索贝会（Sohbet）在传播土耳其民间文学、民间舞蹈和音乐，农村戏剧以及社会价值中发挥了关键作用。土耳其男子定期在室内开会，特别是在冬天，他们一起讨论当地的社会和文化问题，维护传统，并鼓励团结、相互尊重和对社区的归属感。会议可能包括音乐、舞蹈和戏剧，同事还会享用地方菜肴。传统Sohbet会议可能持续到凌晨。会议只对15岁或16岁以上男子开放，但不分种族、宗教或地位，其基本要求是来自诚实家庭，值得信赖并且尊敬长辈，而不是赌徒或在公共场所喝醉酒。会员可能会被因为误了会期而遭到罚款，除非确实有情可原。母亲和妻子会鼓励家庭男性成员参加会议，因为可能获得相关的社会和文化利益。社区通常包括五至三十人，领导由选举产生或由长者提名。所有的社会成员享有平等的权利和义务。索贝会对于传播社会正义、宽容、仁慈和尊重等伦理价值具有重要的教育功能。

越南 - 扶董庙与硕苗的天王节 - 扶董庙与硕庙的天王节每年在越南首都河内的外围地区举行。春天水稻收割前，人们就会前来祭祀越民族神话中的英雄、神祗与圣人扶董大王。扶董大王因保护国家不受外来敌人的入侵而成为了保护收成、国家和平、家庭繁荣的守护神。每年农历四月，祭祀活动在位于他出生地的扶董大王庙内举行。仪式象征性地重现他当年骑着白马入阵的情形，并且用旗舞飘扬来代表战斗。青年男子接受广泛的培训，学习成为旗师、鼓师、锣师，军师和童师的角色，而28名9-13岁的女孩子代表敌将。旗师的舞蹈动作和鼓锣声的变化象征着战斗的发展，在旗舞中翻飞的纸蝴蝶代表着驱散了入侵者。祭祀活动之后的降雨会被看作是圣人的祝福。硕庙据说是圣董升天的地方，农历正月也会在这里举行庆祝活动，包括为他的塑像举行沐浴仪式，在前往硕庙的路上散竹花作为供奉等。

沙特阿拉伯、比利时、韩国、阿拉伯联合酋长国、西班牙、法国、蒙古、摩洛哥、卡塔尔、斯洛伐克、阿拉伯叙利亚共和国、捷克共和国 – 猎鹰训练术 -猎鹰是保持及训练猎鹰等猛禽在自然状态下追逐猎物的传统活动。训鹰原先是一种为了获取食物，如今变成人与鹰之间建立友情和分享的关系，而不再是为了维系生活。驯鹰的地方主要出现在鹰的迁徙路线和飞行走廊上，而且训鹰人来自各年龄段、既有男性也有女性、既有业余爱好者也有专业人士。猎鹰训练是在人禽之间建立起一个强有力的关系和精神纽带，人要帮助满足猎鹰的繁殖、训练、处理和飞翔的需要。训鹰术在一代代之间进行传承有多种方法，包括提供指导、家庭内传习，或在俱乐部进行正式的训练。比如在蒙古、摩洛哥、卡塔尔、沙特阿拉伯和阿拉伯联合酋长国，训鹰人带着他们的孩子去沙漠中，让他们在那里接触鸟类并和鸟类建立一种信任关系。虽然训鹰人背景不同，但他们分享共同的价值、传统和实践，比如培训和照顾飞禽的方法、使用的设备、训鹰人与和飞禽之间的联系，这些在世界各地都是一样的。猎鹰训练构成了一个更广泛的文化遗产的基础，包括传统服装、食品、歌曲、音乐、诗歌和舞蹈，所有这些仍在社区和俱乐部得以延续。

为获准列入《人类非物质文化遗产代表作名录》，各国申报的遗产必须符合一系列标准，包括能够扩大非物质文化遗产的影响，提高公众对其重要性的认识等。申报方还必须证明已制订保护措施，确保其健康发展。

保护非物质文化遗产政府间委员会对申报项目的审议仍在进行之中，并将在11月17日亚美尼亚申报的亚美尼亚十字架石（Khachkars）的象征与工艺进行审议。

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