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EVENTS 07-02-2022 Convention for the Saf***uarding of Intangible Cultural Heritage 9th General a***embly of States Parties ICH NGO Forum - Seminar 2022 Good Saf***uarding Practices for Human Security Over the past year, the ICH NGO Forum has mapped the expertise and saf***uarding practices of 85 accredited NGOs across all regions of the world. Speakers at this side event will discuss how they employ ICH to mediate conflicts, build community resilience in crises, mitigate impacts of climate change, support economic wellbeing, improve the lives of women and girls, safety and integration of displaced persons, ensure food security through traditional agricultural practices and help to create a healthy and sustainable environmentProgramme Chair Laurier Turgeon, Folklore Studies a***ociation of Canada, Chair of the ICH NGO Forum Steering Committee Women’s Activities in Maintaining Sustainable Agricultural Practices: The Geochang Cooperatives Hwang Eui Dong, Center for Intangible Culture Studies (CICS), South Korea Traditional Wisdom in Everyday Life : Supporting Social Transformation Cholponai Usbalieva-Gryshchuk, Aigine Cultural Research Center, Kyrgyzstan Intangible Cultural Heritage in Armed Conflict and Post- |
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EVENTS 07-01-2022 « Good Saf***uarding Practices for Human Security », to be held on July 5th from 1 :00 to 3 :00 PM on site at the UNESCO headquarters, room 6 Dear Accredited NGOs and Delegates / Chères ONG accréditées et Délégués, You are cordially invited to the seminar on « Good Saf***uarding Practices for Human Security », to be held on July 5th from 1 :00 to 3 :00 PM on site at the UNESCO headquarters, room 6, (cold buffet served on site) organized by the ICH NGO Forum during the 9th session of the General a***embly of the State Parties to the Convention for the Saf***uarding of Intangible Cultural Heritage, UNESCO Headquarters, 7 Place de Fontenoy, 75007 Paris, 5 to 7 July 2022. - Because room 6 cannot accommodate more that 57 people, advanced registration is requested by sending an email to Laurier.Turgeon@hst.ulaval.ca and to rbtbaron@gmail.com as soon as possible and no latter than Sunday 18h00 Paris time. Places will be attributed on a first come first serve bases. Vous êtes cordialement invités à participer au séminaire sur « Les bonnes pratiques de sauvegarde pour la sécurité humaine », le 5 juillet de 13h00 à 15h00 qui se tiendra dans la salle 6 (buffet |
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INVENTORIES 04-04-2022 Gbofe of Afounkaha, the music of the transverse trumps of the Tagbana community, a cultural heritage in need of saf***uarding 1. Definition of Gbofe The Gbofe is a musical-ch****ographic expression whose practice is based on four distinct forms: trumpet players called gbofé hienlin, singers named Kielé, dancers named Yoor féhelé, and drummers, ping hienlin. Put together, these four formations build what is called the Gbofé hienlin.[1] The gbofe trump players orchestra is translated into the Tagbana language by the singers. Their songs are set in stride by the Yoor Féhele, who dance to the rhythms of the pindrè ( chalice-shaped drum, with a membrane). The latter is accompanied by the djomanhan (two-membrane cylindrical tambour) which supports the pindre at a two-stroke rate. The Gbofe is Known as a music and dance performed by the Tagbana community of Cote d’Ivoire. However, It's found in many different parts of Country, but under other names. If tagbana gbofé is made of wood in other parts of Cote d'Ivoire, it is made from "Ivoiry, animal horn, bronze, iron. 2- Origins of the Gbofe According to Afounkaha's Gbofé custodians, the Gbofé will come from Koutiala, Mali. It was his entry into Senufo country and then into the Tagbana community, during the conquest of the region by Mory and Samory Touré. According to Traoré Otamnan, chief of the village of Afounkaha[2], “Gbofé would be a form of musical expression specific to the large Senoufo group. The Tagbana also practice it because like other Senufo communities, they are heirs to it. Following the wars of Mory and Samory Touré (1885 -1890) during which the Tagbana people disp*****d, the Gbofé gradually died out and its original characteristics were lost. The elders who survived this disaster tried to restore it, but it was a waste of time”. A long time later, genies would have, through a dream, asked Ouattara Pétahaman (son of the Tagbana’s people) to take over the Gbofé. He then became the creator father of the Gbofé. They would have asked him to go into the bush, collect the roots of the nangran-an (tree from which the roots used to make trunks are extracted) and use them to make the gbofe. Then, they asked him to take the trunks of the fitioo (tree from which the drums of Gbofé are made), to make the drums. And finally, the genies asked him to teach to the women, the songs they have taught him in the dream, and to the young people the Gbofé yoor (Gbofe dance).These recommendations were followed to the letter by Pétahaman and the Gbofé was reborn. 3- Function of the Gbofe The Gbofe has the function of education, for youth in particular since this traditional knowledge is most often pa***ed down from father to son, but also other young talents can also join in the training sessions. The Gbofe is also played at rituals and traditional ceremonies, and the messages conveyed vary according to the circ***stances: praise, love, satire, mourning, moral or educational messages. The Gbofe played an important role by conferring respect towards the holders of the tradition, and maintains culture unity, peace and social cohesion between communities and people. The various Gbofe performers follow an apprentices***p. It is also used for celebration such us marriages, baptisms and funerals, but usually for authorities or great personalities. For it is formerly a sacred dance, a music reserved for the elites. The players are most often notables or important people of the community. 4- Gbofe as intangible heritage of humanity The Gbofe’s nomination in 2008 as intangible heritage of humanity by UNESCO was the result of long years of work and it was possible thank the studies and the promotion made by Yegnan Touré G Angeline[3], the Gbofe Expert in Cote d’Ivoire. In 1998, after her graduation at INSAAC (National Inst**ut of Arts Cultural Action), she did a master’s degree in the field of music and musicology at the Félix Houphouët Boigny University. The master thesis subject was “the Gbofe of Afounkaha, the music of the transverse trumps of the Tagbana community” which allowed the Gbofe to be proclaimed as “Masterpieces of the Oral and Intangible Heritage of Humanity” by UNESCO in 2001". In At the national level, this research on the Gbofe of Afounkaha has allowed this form of musical expression, once endangered, to be reborn and so to be practiced again not only the village of Afounkaha but in all the Hambol region of Cote d’Ivoire. It sparked the development of crafts around Gbofé: the sculpture of Gbofé trumpets, the manufacture of drums, the weaving of the loincloths worn by the singers and dancers of Gbofé. 5. The Gbofe of Afounkaha in need of saveguarding However, most of the people in Cote d’Ivoire do know this precious cultural masterpiece. Few years after its nomination in 2008 on the Representative List of the Intangible Heritage of Humanity, once more again the Gbofe is endangered due to a lack of local promotion and because of the rural exodus the practice of Gbofe has ceased. Which causes a decline in the number of those mastering the art and techniques of the dance, songs and music. Since its creation in 2004, the a***ociation for the Saf***uarding of the Music of the Transverse Trumps of Côte d'Ivoire (ASMT-CI) is a non-governmental organization composed of owners, pract**ioners and supporters, its mission has been to work under the supervision of the Ministry of Culture to saf***uard and perpetuate the Gbofe but its actions seem still limited. In addition, a contract was signed between UNESCO and the Cote d’Ivoire National Commission for UNESCO, for a saf***uarding project’s implementation in 2013[4]. After some negotiations the The Secretariat was obliged to cancel the contract and request reimburs*****t of the advance as no nomination file was submitted within the statutory time-limits but the subject is still on the table. More efforts has to be done so that younger generations can know that one part of their ident**y through the Gbofe. Sources [1]. http://www.angelineyegnan.org/le-gbofe/ retrieved 2022.4.1 [2]. ibid (by Angeline Yegnan) [3]. Angeline Yegnan's full Biography https://www.iremus.cnrs.fr/fr/doctorants/angeline-gninwoyo-yegnan-toure retreived 2022.3.30 [4]. https://ich.unesco.org/en/a***istances/-00292 retrieved 2022.4.4 |
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INVENTORIES 03-28-2022 Zaouli, cultural heritage of Côte d’Ivoire Zaouli 1. Summary Zaouli is a folk music and dance performed in the Guro community living in Buaflé and Zuénoula cities, in the western center part of Cote d’Ivoire. More specifically, the Gnan community of Goitafla, the Man community of Manfla and Minigui, and the Wadjè village of Buaflé and Bogopinfla. These communities belong to the southern Mandé ethnic language group. Major related villages include Zrabisseifla, Bléfla, Mangfla, Marminigwi, Tibeita, Dianfla, and Buafla. People from these communities, regardless age or gender difference have a deep relations***p with the Zaouli heritage, and have been carrying it throughout their lives since they were very young. The mask dance is practiced not only during joyful ceremonies but also for funerals and rituals. 2. Origins of Zaouli In most african countries, the belief in the existence of two dominant worlds( the physical world and the spiritual or metaphysical world) have a deep influence on people’s everyday life, so on the morals and cultural practises. In fact, there are two types dance: the masked (or hidden) dance and the unmasked (or exposed) dance. The first one concerns the Zaouli of the Guro pop****tion in Cote d’Ivoire, which is a dance that used a masked and special wearing technic. There are several masked dances that represents Guro people’s culture such as Djéla, Flaly, Bei Péénin (Bgopinfla village), Pawè (Tibéita village) but Zaouli (Zrabisseifla village) stays the most famous in that part of Cote d’Ivoire. The origins of Zaouli vary form one source to another, but we can summarise them in two types of considerations. The first one is based on a more spirit-oriented legend and the second one on factual creative and cultural act. 2.1 the zaouli legend[1] The myth around the creation of Zaouli gives usan explanation about his of name: Djèla Lou Zahouli which mean Zaouli, Djela’s daughter. In fact the Zaouli dancer who wears the mask is man but representing a feminine figure. Zah was the only daughter of a man. Her magical beauty impressed the whole community to the point that her fame went beyond the borders of her region of origin (Zara bi Sehifla/Gohitafla). The whole region thus seduced by this admirable beauty spoke of Zah appreciatively and permanently. However, one day, after a short illness, Zah suddenly died. This dramatic situation which makes his father (Djèla) unhappy and inconsolable to the point that everywhere he went, he cried for his deceased daughter. She was buried in pain because no one wanted to part with her. But the most painful, was for him to meet other young girls in the village. Like an haunted person, the sight of those girls always brought back memories of Zah. He mourned her everywhere: in the village, at the camp, in the backwater, while hunting, etc. One day, during a hunting trip, he began to cry profusely and was inconsolable. He wept so much that his daughter's (returning) spirit appeared to him in the form of a snake. This consoled him. However, to make him stop crying for good, the snake vomits up seven masks with the effigy of the face of Zah, his deceased daughter. The snake later revealed to him that these masks should be the subject of a dance, the future Djèla Lou Zahouli. This is why he also showed the dance steps. 2.2 Contemporary origins The contempory history of the Guro pop****tion places the creation of Zaouli around 1950s by a group of seven friends, among them Sonnin Bi Tah called Wonninla, KOUAHI Bi Vohizié the fisrt Zaouli dancer and leader and KOUAHI Bi Dueh Jean-Piere, the only one still alive[2]. According to Zamble Bi Zamble Gaspard[3], one day, on the occasion of a funeral ceremony in Zirifla (Zuénoula) as usual, these seven friends, plus many other people from Zara Bi Sehifla, went to Zirifla to take an active part in funerals. During these, a mask named Blou (hernia in the Gouro language) will particularly mark them thanks to his legendary performance and his talent. But Blou is a hideous-faced mask that contrasts with the talent he shows. The seven friends therefore decide to found the same dance in their village Zara Bi Séhifla, with the difference that they will change the morphology of the mask by carving it with the effigy of a woman named Klanin (small basin). These masks were three at the start: Zahouli Lou Klanin, Zahouli Lou Monhon, Zaleklou having a hawk and a snake on his head. After carving the first three masks, they will spend a year and six months in the bush to learn the dance steps and the rhythms of the orchestration. It is after this initiation that they will make their first performance in the public square of the village. On the designation of the mask, according to the informant, the Zahouli mask was so named by what is considered the eldest daughter of Djèla. Subsequently, they will complete the first three masks, with four others: Zamblé, Gou, Bognan Lou Zeli and Mami Watta who carries on her head seven snakes being seduced by this water goddess herself. Thus, the implementation and final fixing of the codes of Djèla Lou Zahouli was completed. 3. The Zaouli dance When the mask must occur because all these conditions are met (co-presence of the mask, the orchestra and the public), he goes out, sits down and naturally waits for the orchestra to give him the alert. The orchestra is composed by more than ten musicians who plays five different kind of tambour (flihin blin, Djéhimba, Klaglé, Krinnin krinin, Poho, Tombalo, Flinhin wouhokounzan, etc.) and three flutes called Beli[4]. The lead singer, a member of the orchestra, sings the first song. This song is taken up in chorus first by the other members of the orchestra. When the mask comes, his guide (Zaouli Zouhozanki) first put off the headscarf (locally called pagne) that covers not only the head by all the upper side of the body. The Zaouli dance is based the slipping technic The mask performs extremely fast dance steps and rhythms by the flutes of the orchestra. In fact some sources count it among the most impossible dances in the word[5]. Before its cla***ification as World Heritage, The best of them, which were auditioned by a UNESCO jury, one of the best Zaouli dancer’s foot steps were timed at more than 200 steps per minute[6]. The mask must be original and imaginative while executing the dance steps. He must never do the same things twice at the risk of being discredited. Several dancers can follow one another and compete their talents in front of the public which appreciates. It is a parade of seven different masks that dance in turn. The subject in the songs relates either to proverbs, to the Guro cosmogony or to legends. The Zaouli is a total art combining music and dance, weaving, mask and costume. 4. The mask and his costume From one village to another the pieces of the costumes remain the same but the colors and their textures can change. the costumes rely entirely on the dancer. He wears stockings and sleeves. His head completely hidden by the mask. He wears a raffia skirt and a loincloth attached to the mask covers the upper body. His hands hold fly swatters in an ox tail. The dancer has bells attached to his ankles, below which are also attached raffia fibers. The mask represents a face often surmounted by figures of animals such as snakes, panthers, birds, characters or ram's horns. 4.1 The snake The circular serpent plays a fundamental role in the semanticization of the myth and in the relations***p it establishes between the past and the present. The myth of Zaouli informs that it was in the form of a snake that the ghost, the nyama, the double of the young girl appeared to her inconsolable father. This variety of snake is likened to the rainbow. In the mentality of the Gouro, the rainbow is the celestial representation of this serpent. The reminder of the genesis and the strong acts that marked it reappear in this myth where the snake is in full complicity with the young girl (gouro reincarnation of Eve?). However, when appearing, the serpent presents itself in two fundamental aspects: the circular shape; rainbow snake. First, the circular shape naturally recalls the circle. It is this shape that the sculptors take up when carving the mask. In his presentation, the Zahouli always has a smiling face, surrounded by a circular snake which holds in front of him a bird which he does not eat. 4.2 The Bird The revelation of the pigeon as the Zahouli's eternal companion is that the bird's locomotion system allows it to go in all directions and at high alt**ude. Pigeons travel. They are migratory birds that travel thousands of kilometers sometimes going from one continent to another and crossing oceans. This mask has traveled all over the world, traveling all continents and partic****ting in most festivals where the most representative Negro-African arts have been invited. The Zahouli de Tibéita (Bouaflé) has been released on May 2004 in the United States of America where he partic****ted in the Negro Arts Festival ent**led “Memphis in May”. As we can see, the Zahouli actually travels around the world spreading its initial spirit: life. 5. Zaouli in the world’s culture In 2015, The British-Sri Lankan rapper Mathangi "Maya" Arulpragasam known by her stage name M.I.A. included a clip of a Zaouli dancer in her music video for the song "Warrior"[7], released as part of the video Matahdatah Scroll 01: Broader Than A Border. the Zaouli of Manfla was released in November 2017 in South Korea on the occasion of the elevation of Zaouli by UNESCO as an element of world heritage. From that time foreward Ivorian traditional music has been promoted in South Korea through an African dance team named AMENE, which permitted mixed representation of Korean Pop music and Zaouli. It is the K-pop girl group Nature that released In 2022, a music video for their single "Rica Rica", featuring ch****ography which is heavily inspired by the Zaouli dance[8]. The group was trained by a Djembe master KONATE Ibrahim who plays an important role for the ivoirian culutre in Asia and South Korea. In 2018, the Zaouli dance was presented at the Ohio University World Music & Dance Concert[9] in USA. In addition, a pop****r video that includes the song "Bungee Jump" by electronic music artists Captain Hook & Astrix utilizes footage of Zaouli dancers[10]. Sources [1].TOUOUI BI IRIE ERNEST Professor at Félix Houphouët- Boigny University https://www.fratmat.info/article/86132/63/connaissance-du-zahouli-un-moment-d-instruction-sur-le-masque-et-sa-prestation-a-travers-des-cles-d-appreciation. retrieved on March 23 2022 [2]. <A la decouverte de Zaouli>, a report of NCI channel (Nouvelle chaine Ivoirenne), 2020.11.4. nenws of 7:50 pm https://www.youtube.com/watch?v=kfTn6nhh9_8 watched on March 22nd 2022 [3].Oral source informant for TOUOUI BI IRIE ERNEST Professor at Félix Houphouët- Boigny University. https://www.fratmat.info/article/86132/63/connaissance-du-zahouli-un-moment-d-instruction-sur-le-masque-et-sa-prestation-a-travers-des-cles-d-appreciation. retrieved on March 23rd 2022) [4]. https://heritage.unesco.or.kr/%EC%9E%90%EC%9A%B8%EB%A6%AC-%EC%BD%94%ED%8A%B8%EB%94%94%EB%B6%80%EC%95%84%EB%A5%B4-%EA%B5%AC%EB%A1%9C-%EA%B3%B5%EB%8F%99%EC%B2%B4%EC%9D%98-%EB%8C%80%EC%A4%91%EC%9D%8C%EC%95%85%EA%B3%BC-%EC%B6%A4/ retrived 2022.3.25. [5].https://cuitandokter.com/ by otosection (most impossible dance in the world). retrived 2022.3.25. [6]. fr.m.wikipedia.org/wiki/Zaouli, (our translation form french) retrieved 2022.03.21. [7].https://www.yahoo.com/entertainment/watch-m-i-a-s-matahdatah-video-featuring-new-124014565431.html retrieved 2022.3.23. [8]. 맹선미 기자. 네이처 ‘RICA RICA’ 특별 퍼포맨스 영상… 아프리카 댄스와 자울리춤 컬래버. 비즈엔터 http://enter.etoday.co.kr/view/news_view.php?varAtcId=219356 retrieved 2022.3.25. [9]. https://www.ohio.edu/news/archive/stories_17-18_03_world-dance-music-festival-2018.cfm retrieved 2022.3.24 [10]. https://www.youtube.com/watch?v=bQXIDmb99uY retrieved 2022.3.25. Recommended videos 1. Folklore gouro, Cote d'Ivoire, (Glozran1) 2. https://www.youtube.com/watch?v=M512glKnl64 [코트디브아르 아프리카 이야기] 페스티벌 마사 Festival MASA 'Zaouli' 3. NATURE(네이처) X AMENE - RICA RICA Behind https://www.youtube.com/watch?v=my77ACUKZWg |
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EVENTS 03-14-2022 Resources for Scholars in Danger (Ukraine) The American Folklore Society (AFS) has been working with member Iryna Voloshyna to a***ist colleagues in Ukraine who request cloud storage for backups of field research materials. We presently have over 50 individuals in Ukraine connected to a secure folder within a dedicated storage drive for this work. We've been working this week to expand our capacity for storage and security needs by working with a group of partners on this effort. If you have colleagues in Ukraine who need our support, they can reach out to us on this page: https://americanfolkloresociety.org/afs-condemns-the-war-in-ukraine-and-stands-with-all-who-oppose-this-violence/.On the page listed above are ways individuals can get involved, including donating money to relief orgs and working with host inst**utions to house refugees. Scholars at Risk is actively seeking host organizations for scholar placement. https://www.scholarsatrisk.org/get-involved-inst**utions/Some of our partners in our fieldwork backup storage work are at the Ukrainian A |
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EVENTS 02-28-2022 ONLINE EVENT: Apply to the Fund of the 2003 Convention for the saf***uarding of the ICH / ÉVÉNEMENT EN LIGNE : Faire une demande au Fonds de la Convention de 2003 pour la sauvegarde du PCI The Living Heritage Ent**y presents the online event ‘Apply to the Fund of the 2003 Convention for the saf***uarding of the Intangible Cultural Heritage’ which will take place in March 2022. Three information sessions are organized to present the International a***istance mechanism of the 2003 Convention, the modalities and the process of application. In addition, the Toolkit for requesting International a***istance from the 2003 Convention for the Saf***uarding of the Intangible Cultural Heritage will be presented. This guideline introduces key concepts of the Convention, the criteria for receiving funding and how to plan and monitor projects.To partic****te, please register for one of the following sessions:· 22 March 2022 from 9:00 to 11:00 (Paris time): Presentation of international a***istance for the Asia and Pacific region. Interpretation will be available in French and English. Link to register: https://unesco-org.zoom.us/meeting/register/tJUpde6oqDgjE92Xb9pumsRLX-wb9reH4DHK· 24 March 2022 from |
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EVENTS 02-24-2022 The Fellows of the American Folklore Society webinar, “Interrogating the Normal: Folkloristic Engagements with Disability,” Folklore and Disability Webinar - March 15th The Fellows of the American Folklore Society will present a webinar, “Interrogating the Normal: Folkloristic Engagements with Disability,” on March 25, 2022, 12:00–2:00 pm EDT. This free webinar is the first in a series of three webinars on the topic of “Interrogating the Normal” and is part of a continuation of the Folklore Talks webinars presented by the AFS Fellows.Folklore opens new vistas for understanding what counts as normal. Studies of disability by folklorists are especially provocative for their critiques of ableism, challenging concepts of cultural competence.Phyllis May-Machunda (Professor Emerita of American Multicultural Studies at Minnesota State University Moorhead) will discuss her experiences as a parent of a child with a disability/illness through the lens of a folklorist and will consider intersections among folklore and disability.Nora Groce (the Ches***re Chair at University College London (UCL)) will consider folklore and disability as import |
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EVENTS 02-16-2022 2022 JIAPICH Application Open for Download Dear ICH Community, The secretariat of Jeonju International Awards for Promoting Intangible Cultural Heritage (JIAPICH) welcomes the international ICH community to join the 4th annual Jeonju ICH Awards. The awards are open to Living Human Treasures (pract**ioners), groups, communities, administrators, researchers, NGOs and those who have made substantial contributions for promoting Intangible Cultural Heritage. 2022 JIAPICH Plaque(s) & $30,000 USD will be prized to the JIAPICH Finalist(s). The 2022 Jeonju Awards for Promoting Intangible Cultural Heritage application is open for download at the jiapaich.org website starting February 1. Important Dates:February 1, 2022: Open to download 2022 JIAPICH applicationMarch 1, 2022: Start of the application submissionMay 31, 2022: Submission due date for the applicationAugust 1, 2022: The 2022 JIAPICH Finalists AnnouncedSeptember (dates TBD): The 2022 JIAPICH Awards Ceremony / Zoom ICH Festival Please visit: www.jiapich.org for more information. --------------------- |
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ICHGRAM 02-09-2022 Publication of the Evaluation of UNESCO’s Action in the framework of the 2003 Convention for the Saf***uarding of the Intangible Cultural Heritage This second evaluation focussing on the 2003 Convention for the Saf***uarding of the Intangible Cultural Heritage (hereafter the 2003 Convention) marks the first follow-up exercise to the cycle of Internal Oversight Service evaluations of UNESCO’s six culture conventions. The main purpose of this 2021 evaluation was to generate findings, lessons learned, and recommendations regarding the relevance and effectiveness of UNESCO’s action in the framework of the 2003 Convention.As the second youngest UNESCO Culture Convention, the 2003 Convention has been one of the most successful, not only because it has reached nearly universal ratification only fifteen years after entering into force, but especially because it has succeeded in raising awareness of the distinct nature and importance of intangible cultural heritage. Stakeholders attribute this achievement largely to the Convention’s Representative List as well as to UNESCO’s vast capacity building programme.At the same time, the 2003 Convention has been a victim of its own success. As demand for UNESCO support grows, the Secretariat is unable to adequately respond to all requests and has had to give precedence to statutory work over important priorities that include strengthening capacity building and policy guidance as well as managing and communicating on the considerable amounts of knowledge generated around the Convention. Strategic decisions on priorities, particularly on the need to focus on programme support versus statutory requirements and on use of its limited resources will need to be made in the near future. Evaluation of UNESCO’s action in the framework of the 2003 Convention for the Saf***uarding of the Intangible Cultural Heritage Link: <a href="https://unesdoc.unesco.org/ark:/48223/pf0000380015?2=null&queryId=2c4a5731-c4a2-4ff4-bfe3-884155eb8fee">https://unesdoc.unesco.org/ark:/48223/pf0000380015?2=null&queryId=2c4a5731-c4a2-4ff4-bfe3-884155eb8fee</a> |
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ICHGRAM 01-07-2022 CICS Interview Series The Center for Intangible Culture Studies in Korea's YouTube channel provides contents that are both educational and inspiring to those in the field of heritage studies. The CICS Interview Series was started in 2021 with the idea around recording ICH experts around the world that can be informative to those in research, academia, and with interest in the field of ICH. The latest interviewee is Professor Laurier Turgeon of Lavar University in Quebec, Canada, who is also the president of the steering committee of the 2022 ICH NGO Forum. Check out the interview through YouTube link below! CICS Interview Series: https://www.youtube.com/watch?v=iHx4_DBXCKo&t=1574s |
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EVENTS 12-24-2021 The Composition of the new Steering Committee for 2021-2022 Executive positions of the Steering Committee for 2021-2022(from top left to bottow right in the photo):Mr. Martín Andrade- Pérez, Mr. Laurier Turgeon, Mr. Sekou Berte, Mr. Mohammed Mohamed Lemine Beidieu, Ms. Janet Blake, Mr. Robert Baron, and Ms. Tamara Nikolic Deric (on the separate photo). Laurier Turgeon, - President Janet Blake – Vice President Robert Baron – Secretary Martín Andrade- Pérez - Treasurer. Steering Committee 2020 - 2021 Western Europe and North America: Mr. Laurier Turgeon - Folklore Studies a***ociation of Canada (Canada) - President Eastern Europe: Ms. Tamara Nikolic Deric – a***ociation House of Batana (Croatia) Latin America and the Caribbean: Mr. Martín Andrade- Pérez- Erigaie Foundation (Colombia) - Treasurer Asia and the Pacific: Ms. Janet Blake – Persian Garden Inst**ute for Living Heritage - (Islamic Republic of Iran) – Vice President Africa: Mr. Sekou Berte - Mali Cultural Heritage Agency (Mali) -- Responsable for CommunicationsArab States: Mr. Mohammed Mohamed Lemine Beidieu |
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EVENTS 12-12-2021 The results of the third call for Arab States, Eastern Europe and Latin America The voting for ICH NGO Forum Steering Committee Elections will be held online on December 14 2021 and December 15 until noon Paris time (GMT+1:00).A voting link will be sent to one designated email for each accredited NGO.Please click here to fill up the designated email id for your NGO using an online form. Please complete this before December 13, 2021 08:00 PM Paris time (GMT+ 1:00) Only NGOs who submit email id through this form will get a voting link.The presentation of the candidates for the elections will be held Monday 13 December online at 17h30-19h30 Paris time (GMT+1:00)Link: https://us02web.zoom.us/j/89211424568?pwd=bGI1NWlkSEIzcnBxWVBPeUw5Wm40dz09Meeting ID: 892 1142 4568Pa***code: 584051The candidates elected will be announced on Wednesday 15 December during the General a***embly of the ICH NGO Forum, at 17h30-19h30 Paris time (GMT+1:00)Link: https://unesco-org.zoom.us/j/98667893587Pa***code: 536809List of candidates and application files:Africa (Group V a):- M. Sekou Berte, Mali Cultural Heritage |
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ICHGRAM 12-10-2021 2021 Jeonju ICH Awards Watch the 2021 Jeonju ICH Awards: https://www.youtube.com/watch?v=6aLNij99bBI&t=1320s Watch the 2021 Jeonju ICH Zoom Festival:https://www.youtube.com/watch?v=D7lM8VCY4zU&t=289s |
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EVENTS 12-09-2021 2003 Convention: 16.COM Information on registration and election / 16.COM Informations sur les enregistrements et elections Following my previous message on 3 December last regarding the fully online meeting modality of the upcoming sixteenth session of the Intergovernmental Committee for the Saf***uarding of the Intangible Cultural Heritage (13–18 December 2021), I would like to provide further information on the following three aspects:1. Registration for the 16.COM Information and exchange session (10 December 2021)2. Registration for the 16.COM (13 to 18 December 2021)3. Voting by secret ballotShould you have queries, please contact the Secretariat at ichmeetings@unesco.org.Yours sincerely,Tim CurtisSecretary, Convention for the Saf***uarding of the Intangible Cultural Heritage1. Registration for the 16.COM Information and exchange session (10 December 2021 - 2.00 to 3.00 p.m., Paris time)An Information and exchange session will be held through the Zoom platform on Friday, 10 December 2021 from 2.00 to 3.00 p.m (Paris time). The purpose of the meeting will be to introduce, in the presence of t |
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EVENTS 12-07-2021 Survey on Article 21 Please visit the mentioned site below for the Survey on Article 21:--- English version below ----Chers représentants des ONG accréditées auprès de la Convention de 2003,Nous, membres du groupe de travail ad hoc sur l'article 21 de la section IV des statuts du Forum des ONG du PCI, aimerions vous présenter ci-dessous un bref questionnaire complété par des informations générales pour votre lecture.Lien vers le questionnaire en français : https://forms.gle/XnhPD6dpmHztqVXh8Merci beaucoup pour votre collaboration !---------------------------------------------Dear Representatives of the accredited NGOs to the 2003 Convention,We, members of the Ad hoc working group on Article 21 of Section IV of the ICH NGO Forum Bylaws, would like to present a short questionnaire supplemented by background information for your perusal below.Link to questionnaire in English: https://forms.gle/Pz6DNgqmZroWvHnN9Thank you very much for your collaboration. |
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