Portugal: Fado

Fado is a performance genre incorporating music and poetry widely practised by various communities in Lisbon. It represents a Portuguese multicultural synthesis of Afro-Brazilian sung dances, local traditional genres of song and dance, musical traditions from rural areas of the country brought by successive waves of internal immigration, and the cosmopolitan urban song patterns of the early nineteenth century. Fado songs are usually performed by a solo singer, male or female, traditionally accompanied by a wire-strung acoustic guitar and the Portuguese guitarra – a pear-shaped cittern with twelve wire strings, unique to Portugal, which also has an extensive solo repertoire. The past few decades have witnessed this instrumental accompaniment expanded to two Portuguese guitars, a guitar and a bass guitar. Fado is performed professionally on the concert circuit and in small ‘Fado houses’, and by amateurs in numerous grass-root associations located throughout older neighbourhoods of Lisbon. Informal tuition by older, respected exponents takes place in traditional performance spaces and often over successive generations within the same families. The dissemination of Fado through emigration and the world music circuit has reinforced its image as a symbol of Portuguese identity, leading to a process of cross-cultural exchange involving other musical traditions. Source: www.unesco.org

Postcard 1

Thanks to Ana Rita

Belgium: Beer culture in Belgium

"Making and appreciating beer is part of the living heritage of a range of communities throughout Belgium. It plays a role in daily life, as well as festive occasions. Almost 1,500 types of beer are produced in the country using different fermentation methods. Since the 80s, craft beer has become especially popular. There are certain regions, which are known for their particular varieties while some Trappist communities have also been involved in beer production giving profits to charity. In addition, beer is used for cooking including in the creation of products like beer-washed cheese and, as in the case of wine, can be paired with foods to compliment flavours. Several organizations of brewers exist who work with communities on a broad level to advocate responsible beer consumption. Sustainable practice has also become part of the culture with recyclable packaging encouraged and new technologies to reduce water usage in production processes. Besides being transmitted in the home and social circles, knowledge and skills are also passed down by master brewers who run classes in breweries, specialized university courses that target those involved in the field and hospitality in general, public training programmes for entrepreneurs and small test breweries for amateur brewers."

Source:whc.unesco.org

Inscribed : 2016

 Thanks to MS Tani. 

Azerbaijan: 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. Source:whc.unesco.org

Inscribed: 2010

Thanks to Dr Kiran Acharya.

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

The whistled language of La Gomera Island in the Canaries, the Silbo Gomero, replicates the islanders’ habitual language (Castilian Spanish) with whistling. Handed down over centuries from master to pupil, it is the only whistled language in the world that is fully developed and practised by a large community (more than 22,000 inhabitants). The whistled language replaces each vowel or consonant with a whistling sound: two distinct whistles replace the five Spanish vowels, and there are four whistles for consonants. The whistles can be distinguished according to pitch and whether they are interrupted or continuous. With practice, whistlers can convey any message. Some local variations even point to their origin. Taught in schools since 1999, the Silbo Gomero is understood by almost all islanders and practised by the vast majority, particularly the elderly and the young. It is also used during festivities and ceremonies, including religious occasions. To prevent it from disappearing like the other whistled languages of the Canary Islands, it is important to do more for its transmission and promote the Silbo Gomero as intangible cultural heritage cherished by the inhabitants of La Gomera and the Canary Islands as a whole. Source: whc.unesco.org

Inscribed: 2009

Thanks to Mr Zavier of Spain. (Third image from left)

Romania: Căluş ritual

Performed in the Olt region of southern Romania, the Căluş ritual dance also formed part of the cultural heritage of the Vlachs of Bulgaria and Serbia. Although the oldest documented music used in this dance dates from the seventeenth century, the ritual probably derived from ancient purification and fertility rites using the symbol of the horse, which was worshipped as an embodiment of the sun. The ritual’s name derives from the Căluş, the wooden part of the horse’s bridle. The Căluş ritual features a series of games, skits, songs and dances, and was enacted by all-male Căluşari dancers to the accompaniment of two violins and an accordion. Young men used to be initiated into the ritual by a vataf (master) who had inherited the knowledge of descântece (magic charms) and the dance steps from his predecessor. Groups of Căluşari dancers, sporting colourful hats, embroidered shirts and trousers adorned with small jingling bells, perform complex dances, which combine stamping, clicking of the heels, leaping and swinging of the legs. According to tradition, groups of dancing and chanting Căluşari, who were thought to be endowed with magical healing powers, went from house to house, promising good health and prosperity to villagers. Until today, Căluşari meet to celebrate their dancing and musical prowess on Whit Sunday. Testifying the rich cultural diversity of Romania, the Căluş ritual is also widely promoted at folklore festivals, such as the Caracal festival in the region of Olt, turning it into a veritable national symbol. Source: whc.unesco.org

Thanks to Ms Daniel.

Bulgaria: Surova folk feast in Pernik region (2015)

The Surova folk feast in Pernik region takes place each year on 13 and 14 January to celebrate the New Year according to the old calendar. The core of the celebration is a popular masquerade ritual performed in villages throughout the region. On the first night, Survakari masquerade groups, consisting of men, women and children, don specially prepared masks and costumes and head towards the village centre where they light fires, and tease and play with the watching audience. Some participants adopt special roles, such as the leader, the newly-weds, the priest and the bear. Early the next morning, they gather and walk throughout the village visiting houses, where they ritually marry young couples while the bear ‘mauls’ people for good health. Hosts await their arrival with a ritual meal and gifts. After the folk feast, the Survakari distribute the gifts, often donating collected funds to orphans and poor people. The masquerade experience appeals to young people and raises their self-esteem as continuers of the tradition. Whole families engage in collecting materials for the masks and the other attributes during that entire year, with adults teaching young people and children how to make the distinctive masks and costumes. Source: whs.unesco.org

Thanks to Ms Diana.

Hungary: Folk art of the Matyó, embroidery of a traditional community (2012)

The folk art of the Roman Catholic Matyó community in and around the town of Mezőkövesd in north-eastern Hungary is characterized by floral motifs that are found in flat-stitch embroidery and ornamented objects. Matyó embroidery decorates the traditional dress of the region, worn by local people in celebratory events and in folk dancing and singing. The floral motifs have played a crucial part in strengthening the self-image and identity of the Matyó community and are employed in interior decoration, contemporary fashion and architecture, in addition to embroidery. Community members established the Matyó Folk Art Association in 1991 to transmit the skills of embroidery and organize numerous cultural events and performances. In its Borsóka Embroidery Circle, anyone can learn the art, techniques and motifs of embroidery from experienced masters. In its Folk Dance Ensemble, members wear the finely embroidered traditional costumes, thereby contributing to their perpetuation. The national popularity of Matyó embroidery has made it into a form of auxiliary income, enabling women to buy the fine fabrics and supplies necessary for making elaborate costumes. Most often practised as a communal activity, embroidery strengthens interpersonal relationships and community cohesion, while allowing for individual artistic expression. 

Source: whc.unesco.org.

Thanks to Ms Cristina.

Spain - Fiesta of the patios in Cordova

"For twelve days at the beginning of May, the city of Cordova celebrates the Fiesta of the Patios. The patio houses are communal, family or multi-family dwellings or sets of individual houses with a shared patio, located in the city’s historical quarter. This characteristic cultural space boasts an abundant array of plants, and during the fiesta inhabitants freely welcome all visitors to admire their beauty and the skill involved in their creation. The patios also host traditional singing, flamenco guitar playing and dancing. Ancestral practices of sustainable communal coexistence are shared with people who visit through expressions of affection and shared food and drink. The fiesta is perceived as an integral part of this city’s cultural heritage, imbuing it with a strong sense of identity and continuity. It requires the selfless cooperation of many people from all age groups, social strata and backgrounds, promoting and encouraging teamwork and contributing to local harmony and conviviality. It is guided by secular traditions, knowledge and skills, which take form in the luxuriant, floral, chromatic, acoustic, aromatic and compositional creativity of each patio – an expression of the symbolism and traditions of Cordovan community, and especially the residents who dwell in these patio houses."
Source: UNESCO Intangible Cultural Heritage

Thanks to Ms Marisskka.

Belgium : Shrimp fishing on horseback in Oostduinkerke

Twelve households in Oostduinkerke are actively engaged in shrimp fishing: each has its own speciality, such as weaving nets or an extensive knowledge of Brabant draft horses. Twice a week, except in winter months, the strong Brabant horses walk breast-deep in the surf in Oostduinkerke, parallel to the coastline, pulling funnel-shaped nets held open by two wooden boards. A chain dragged over the sand creates vibrations, causing the shrimp to jump into the net. Shrimpers place the catch (which is later cooked and eaten) in baskets hanging at the horses’ sides. A good knowledge of the sea and the sand strip, coupled with a high level of trust and respect for one’s horse, are the shrimpers’ essential attributes. The tradition gives the community a strong sense of collective identity and plays a central role in social and cultural events, including the two-day Shrimp Festival for which the local community spends months building floats, preparing street theatre and making costumes. The shrimp parade, and a contest involving hundreds of children being initiated into shrimp catching, attract over 10,000 visitors every year. The shrimp fishers function on principles of shared cultural values and mutual dependence. Experienced shrimpers demonstrate techniques and share their knowledge of nets, tides and currents with beginners. Source UNESCO Cultural Heritage

Thanks to Sein Stulens of Belgium

Lithuania - Cross-crafting and its Symbolism

"Cross-crafting refers to a widespread tradition of making crosses and altars, as well as the consecration of these crosses and the rituals associated with them. The carved oak crosses are linked to Catholic ceremonies and harvest celebrations...." Source: UNESCO Intangible Cultural Heritage

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." Source: UNESCO Intangible Cultural Heritage

Thanks to Ms Fabianne.

Spain - The Mystery Play of Elche

"The mystery play of Elche is a sacred musical drama of the death, the passage into heaven (known as the Assumption) and the crowning of the Virgin Mary. Since the mid-fifteenth century it has been performed in the Basilica of Santa Maria and in the streets of the old city of Elche, situated in the region of Valencia. It is a living testimony of European religious theatre of the Middle Ages and of the cult of the Virgin.
This theatrical performance, which is entirely sung, comprises two acts, performed on 14 and 15 August. These depict the death and crowning of the Virgin in a series of scenes and related paintings: the death of Mary, the night procession that is followed by hundreds of participants carrying candles, the morning procession, the afternoon funeral procession in the streets of Elche, and the enactment of the burial, Assumption and coronation in the Basilica. The texts are in Valencian, the local form of Catalan, with certain sections in Latin.The stage has two levels: the horizontal “terrestrial” stage and the vertical “celestial” stage, characteristic of the medieval mystery play. Ancient aerial machinery is used to enhance the spectacle by means of special effects.
More than 300 volunteers take part in the performance each year as actors, singers, stage directors, stagehands, tailors and stewards, as well as in the preparations that last throughout the year.This tradition, which attracts the entire population of the town, is closely linked to the cultural and linguistic identity of the inhabitants of the region.The mystery play of Elche was designated a “National Monument” in 1931 and is protected by several laws aimed at safeguarding cultural heritage." Source: UNESCO Intangible Cultural Heritage

Thanks to Ms Fabianne.

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." Source: UNESCO Intangible Cultural Heritage 

Thanks to Ms Fabinnee.

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." Source: UNESCO Intangible Cultural Heritage

Croatia: Lacemaking in Croatia

At least three distinct traditions of Lacemaking in Croatia persist today, centred on the towns of Pag on the Adriatic, Lepoglava in northern Croatia and Hvar on the Dalmatian island of the same name. Pag needle-point lace was originally used to make ecclesiastical garments, tablecloths and ornaments for clothing. The process involves embellishing a spider web pattern with geometrical motifs and is transmitted today by older women who offer year-long courses. Lepoglava bobbin lace is made by braiding thread wound on spindles, or bobbins; it is often used to make lace ribbons for folk costumes or is sold at village fairs. An International Lace Festival in Lepoglava celebrates the art every year. Aloe lace is made in Croatia only by Benedictine nuns in the town of Hvar. Thin, white threads are obtained from the core of fresh aloe leaves and woven into a net or other pattern on a cardboard background. The resulting pieces are a symbol of Hvar. Each variety of lace has long been created by rural women as a source of additional income and has left a permanent mark on the culture of its region. The craft both produces an important component of traditional clothes and is itself testimony to a living cultural tradition. Source: www.unesco.org

Thanks to Ms Amina of Belgium.