Almond Blossom Festival ICH UNESCO elements

1. Gangneung Danoje festival

Republic of Korea

Inscribed in 2008 (3.COM) on the

Representative List of the Intangible

Cultural Heritage of Humanity (originally

proclaimed in 2005)

The annual Gangneung Danoje Festival takes

place in the town of Gangneung and its

surroundings, situated east of the Taebaek

Mountain Range on the Korean peninsula. The

festival includes a shamanistic ritual on the

Daegwallyeong Ridge, which pays tribute to the

mountain deity and male and female tutelary

deities. It encompasses traditional music and

Odokddegi folk songs, the Gwanno mask drama,

oral narrative poetry, and various popular

pastimes. The Nanjang market, Korea’s largest

outdoor marketplace, is today a major element of

the festival, where local products and handicrafts

are sold and contests, games and circus

performances take place. The four-week long

festival begins with the brewing of a sacred liquor

and the Dano shamanistic rituals, in which a

central role is played by a sacred tree, the

sinmok, and the hwagae, a ritual object made of

feathers, bells and bamboo wood. One of the

specific features of the festival is the coexistence

of Confucian, shamanistic and Buddhist rituals.

2. Arirang

Republic of Korea



Cultural Heritage of Humanity Arirang is a popular lyrical singing genre transmitted

and recreated orally. It exists in multiple traditional

forms as well as symphonic and modern arrangements.

Arirang typically contains a gentle and lyrical melody,

accompanied by the refrain: ‘Arirang, arirang, arariyo,

Over the Arirang hill you go’. Arirang songs speak

about leaving and reunion, sorrow, joy and happiness.

The various categories differ according to the lyrics and

melody used; the thirty-six known versions of Arirang

have also undergone continuous development. Arirang

is performed on various occasions among family,

friends and communities, as well as on public

occasions and at festivities. Children learn the songs

from their parents and neighbours, in school and other

settings. Professional art troupes in Pyongyang perform

different forms of Arirang, while safeguarding societies

play an important role in enacting, preserving and

transmitting local versions. Arirang folk songs reinforce

social relations, thus contributing to mutual respect

and peaceful social development, and help people to

express their feelings and overcome grief. They

function as an important symbol of unity and occupy a

place of pride in the performing arts, cinema, literature

and other works of contemporary art.

3. Ride of the Kings in the south-east of

the Czech Republic

Czech Republic

Inscribed in 2011 (6.COM) on the Representative List

of the Intangible Cultural Heritage of Humanity

The Ride of the Kings takes place during the spring,

as a part of the Pentecost traditions, in the towns of

Hluk and Kunovice and the villages of Skoronice and

Vlčnov. A group of young men ride through a village

in a ceremonial procession. The ride is headed by

chanters, followed by pageboys with unsheathed

sabres who guard the King – a young boy with his

face partially covered, holding a rose in his mouth –

and the rest of the royal cavalcade. The King and

pageboys are dressed in women’s ceremonial

costumes, while the other riders are dressed as men.

The entourage rides on decorated horses, stopping to

chant short rhymes that comment humorously on

the character and conduct of spectators. The

chanters receive donations for their performance,

placed either in a money box or directly into the

riders’ boots. The King’s retinue returns home after a

few hours of riding, and celebrates in the evening at

the house of the King with a small feast, music and

dancing. The practices and responsibilities of the

Ride of the Kings are transmitted from generation to

generation. The traditional paper decorations for the

horses and the ceremonial costumes, in particular,

are made by women and girls familiar with the

processes, colour patterns and shapes specific to

each village.

4. Slovácko Verbuňk, recruit dances

Czech Republic

Inscribed in 2008 (3.COM) on the Representative List of the

Intangible Cultural Heritage of Humanity (originally

proclaimed in 2005)

The Slovácko verbŭnk is an improvised dance performed by

boys and men living in the South Moravia and Zlín districts

of the Czech Republic. The name of the dance is derived

from the German term Werbung (changed into verbŭnk),

meaning “recruitment”, reflecting its historical origins in

the recruitment of dancers and soldiers for the military in

the eighteenth century.Today, it is performed by folk dance

groups in most towns and villages of the Slovácko region,

mostly in connection with festivities, such as the annual

Hody community celebration. The Slovácko verbŭnk is

danced to music called New Hungarian songs and usually

consists of three parts. At the beginning, a song is

performed, followed first by slow movements and then by

faster dancing parts. The dancing is not bound to a precise

choreography, but is marked instead by spontaneity,

improvisation, and individual expression, including

jumping contests. It is usually performed by groups, with

each dancer interpreting the music in his own way. There

are six different regional types of Slovácko verbŭnk, which

account for the great variety of figures and dance rhythms.

These types evolved in the early twentieth century and

continue to change. The dances are an essential component

of local customs, ceremonies and celebrations and are

performed at the annual contest of the best dancer at the

International Folklore Festival in Strážnice. The migration

of young and middle-aged people to the country’s urban

centres is considered the greatest threat to the viability of

the different regional types of Slovácko verbŭnk. Another

risk is the dance’s reliance on financial support since the

traditional costumes and musical instruments are made by

hand and require regular maintenance.

http://www.unesco.org/culture/ich/index.php?pg=00196



5. Festivity de ‘la Mare de Déu de la Salut’ di

Algemesí

Spain

Inscribed in 2011 (6.COM) on the Representative

List of the Intangible Cultural Heritage of

Humanity

The Festivity of ‘la Mare de Déu de la Salut’ is

celebrated in Algemesí in the Province of Valencia,

Spain. Every 7 and 8 September almost 1,400 people

participate in theatre, music, dance and

performances organized in the historical areas of the

city: Valencia, La Muntanya, Santa Barbara and La

Capella. Processions run from the Basílica Menor de

San Jaime to the Capella de la Troballa. The

festivities commence with bell-ringing from the

basilica followed by a parade. The Schola Cantorum

choir and orchestra perform vespers in the evening at

the basilica, followed by bell-ringing and the

Procession of the Betrothed, which features ''Els

Misteris'' (short, religious theatrical pieces performed

by children) human towers with traditional musical

accompaniment, and dance performances. The next

day, giant puppets representing the King and Queen

of Aragon, James I and his wife Violante of Hungary,

join the morning procession, while the General

Grand Procession features representations of biblical

characters and songs of the apostles. The

involvement of the town’s inhabitants is the

foundation for the continuity of this celebration. All

costumes, ornaments and accessories are

handcrafted, and the dances and musical scores are

passed from generation to generation.

6. Human Towers “Castells”

Spain



Cultural Heritage of Humanity ‘ '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.


7. Ritual dramatic art of Ta‘zīye

Iran (Islamic Republic of)



Cultural Heritage of Humanity 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.


8. Nowruz

Iran Inscribed in 2016 (11.COM) on the Representative


Humanity

New Year is often a time when people wish for

prosperity and new beginnings. March 21 marks

the start of the year in Afghanistan, Azerbaijan,

India, Iran (Islamic Republic of), Iraq, Kazakhstan,

Kyrgyzstan, Pakistan, Tajikistan, Turkey,

Turkmenistan and Uzbekistan. It is referred to as

Nauryz, Navruz, Nawrouz, Nevruz, Nooruz, Novruz,

Nowrouz or Nowruz meaning ‘new day’ when a

variety of rituals, ceremonies and other cultural

events take place for a period of about two weeks.

An important tradition practised during this time

is the gathering around ‘the Table’, decorated with

objects that symbolize purity, brightness,

livelihood and wealth, to enjoy a special meal with

loved ones. New clothes are worn and visits made

to relatives, particularly the elderly and

neighbours. Gifts are exchanged, especially for

children, featuring objects made by artisans. There

are also street performances of music and dance,

public rituals involving water and fire, traditional

sports and the making of handicrafts. These

practices support cultural diversity and tolerance

and contribute to building community solidarity

and peace. They are transmitted from older to

younger generations through observation and

participation.


9. Music of Terchová

Slovakia



Cultural Heritage of Humanity

The village of Terchová in north-west Slovakia is

renowned for its collective vocal and instrumental

music, performed by three-, four- or five-member

string ensembles with a small two-string bass or

diatonic button accordion. It is often accompanied

by polyphonic singing and combined with folk

dances. The musical tradition of Terchová also

includes solo instrumental performances on

shepherds’ fifes. Performances take place at a

variety of cyclical and occasional events, both

religious and secular, including anniversaries,

festivals, exhibition openings, symposia and, most

importantly, the Jánošík’s Days International

Festival. The traditional musical culture, which is

transmitted orally, is a matter of pride and a

marker of identity among the inhabitants of the

village of Terchová and the surrounding areas. It

encompasses instrumental and vocal music,

dance, and a knowledge of the musical tradition of

Terchová and the skills related to making musical

instruments. There are over twenty professional

musical ensembles in Terchová, while amateur

ensembles perform at family, traditional and other

events.



10. Puppetry in Slovakia and Czechia

Slovakia and Czech



Cultural Heritage of Humanity Puppet theatre for communities in Slovakia and

Czechia is not only a popular form of traditional

entertainment but also a way of conveying a vision of

the world, and an educational tool with messages on

moral values. The puppets, whose characters are real

or imaginary, are mostly made of wood and animated

using various methods. Initial bearers of the practice

were families of travelling puppeteers whose works

later absorbed local influences in language and themes

using namely comical figures with distinct

characteristics. Puppet theatre is an integral part of

Slovak and Czech local theatre and literary tradition. It

also plays an important role in socialization, helping

performers to develop as creative thinkers and learn

about cooperation, communication and to strengthen

their sense of identity in society. Featuring with other

traditional rituals and festive events like feast days,

markets and fairs, puppet shows today come in many

different forms but still draw from tradition. Practice

bearers include performers, playwrights, puppet and

costume makers, as well as stage designers. Skills are

transmitted by imitation and practice within performer

communities, while in Slovakia also transmission takes

place in traditional puppetry dynasties, as well as

through workshops run by not-for-profit organizations

and music and arts schools.


11. Kalbelia folk songs and dances of

Rajasthan

India



Cultural Heritage of Humanity 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.

.

12. Mudiyettu, ritual theatre and dance drama

of Kerala India

Inscribed in 2010 (5.COM) on the Representative


Humanity 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.

13. Baltic song and dance celebrations

Estonia, Latvia and Lithuania




proclaimed in 2003) Both a repository and a showcase for the region’s tradition

of performing folk art, this cultural expression culminates

in large-scale festivals every fifth year in Estonia and Latvia

and every fourth year in Lithuania. These grand events,

held over several days, assemble as many as 40,000

singers and dancers. For the most part, the participants

belong to amateur choirs and dance groups. Their

repertories reflect the wide range of musical traditions in

the Baltic States, from the most ancient folk songs to

contemporary compositions. Directed by professional choir

conductors, bandleaders and dance instructors, many

singers and dancers practise throughout the year in

community centres and local cultural institutions. Choirs

and musical ensembles first became institutionalized in

Estonia during the eighteenth century. Subsequently, choir

singing spread throughout rural and urban areas, spurred

by the growing popularity of choral music, singing societies

and song festivals in Western Europe. With the

participation of the most active choirs from various regions

of these States, the Baltic Song and Dance Celebrations

were initially organized in Estonia in 1869 and in Latvia in

1873. Lithuania hosted its first celebration in 1924. Once

the Baltic States gained independence from Russia after the

First World War, the celebrations acquired widespread

popularity as a means of asserting Baltic cultural identity.

In the three countries, special venues and festival sites

were constructed to host the events.

14. Cultural space of the Bedu in Petra

and Wadi Rum

Jordan




proclaimed in 2005) The Bedu are settled and nomadic communities living in

the southern part of Jordan, particularly near Petra and

Wadi Rum, within a region of semi-arid highlands and

deserts. These conditions have allowed for the development

and existence in complementary relationship of both types

of communities. Several Bedu tribes, namely the Bdul, the

Ammarin and the Sa’idiyyin, continue to use the Nabatean

water-collecting cisterns and caves near Petra. The Bedu

communities inhabiting this area keep alive a traditional

pastoral culture and related skills. The Bedu of Petra and

Wadi Rum have preserved specific knowledge related to the

flora and fauna of the area, traditional medicine, camel

husbandry, tent-making craftsmanship, and tracking and

climbing skills. The Bedu have developed an extensive

knowledge of their environment and complex moral and

social code, all of which is expressed and transmitted

orally. Their rich mythology is manifested in various forms

of oral expression, comprising poetry, folktales and songs

that are closely linked to particular places and the history

of these communities. Over the last fifty years, more and

more Bedu groups have settled down. The provision of

education, housing, health care and sanitation has made a

sedentary existence more attractive for many of them,

leading, however, to the erosion of skills developed by the

Bedu over generations. The increase of desert tourism and

its demand for “authentic Bedu culture” should not be

allowed to further degrade the intangible heritage of the

Bedu in Petra and Wadi Rum.

15. Albanian folk iso-polyphony

Albania




proclaimed in 2005) Traditional Albanian polyphonic music can be divided into

two major stylistic groups as performed by the Ghegs of

northern Albania and the Tosks and Labs living in the

southern part of the country. The term iso is related to the

ison of Byzantine church music and refers to the drone

accompanying polyphonic singing. The drone is performed

in two ways: among the Tosks, it is always continuous and

sung on the syllable ’e’, using staggered breathing, while

among the Labs, the drone is sometimes sung as a

rhythmic tone, performed to the text of the song. Rendered

mainly by male singers, the music traditionally

accompanies a wide range of social events, such as

weddings, funerals, harvest feasts, religious celebrations

and festivals such as the well-known Albanian folk festival

in Gjirokastra. Albanian iso-polyphony is characterized by

songs consisting of two solo parts, a melody and a

countermelody with a choral drone. The structure of the

solo parts varies according to the different ways of

performing the drone, which has a great variety of

structures, especially in the popular style adopted by all

groups performing this music. Over the last few decades,

the modest rise of cultural tourism and the growing interest

of the research community in this unique folk tradition

have contributed to the revival of Albanian iso-polyphony.

However, the tradition is adversely affected by poverty, the

absence of legal protection and the lack of financial support

for practitioners, threatening the transmission of the vast

repertoire of songs and techniques.

16. Ahellil of Gourara Algeria Inscribed in 2008 (3.COM) on the Representative


Humanity (originally proclaimed in 2005) Performed during collective ceremonies, the Ahellil is a

poetic and musical genre emblematic of the Zenete

population of Gourara. This region in southwest Algeria

includes some one hundred oases populated by over

50,000 inhabitants of Berber, Arab and Sudanese origin.

The Ahellil, which is specific to the Berber-speaking part of

Gourara, is regularly rendered at religious festivities and

pilgrimages as well as secular celebrations, such as

weddings and community events. The Ahellil is closely

linked to the Zenete way of life and its oasis agriculture,

symbolizing the cohesion of the community living in a

harsh environment and, at the same time, transmitting the

values and the history of the Zenete population in a

language that is at risk of disappearing. Simultaneously

interpreted as poetry, polyphonic chant, music and dance,

this genre is performed by a bengri (flute) player, a singer

and a chorus of up to a hundred people. Standing shoulder

to shoulder in a circle surrounding the singer, they slowly

move around him while clapping their hands. An Ahellil

performance consists of a series of chants in an order

decided by the instrumentalist or singer and follows an age-

old pattern. The first part, the lemserreh, includes everyone

and encompasses short, well-known chants that are sung

late into the night. The second, the aougrout, concerns only

the experienced performers who continue until dawn. The

tra finishes with daybreak and involves only the most

accomplished performers. This threefold structure is also

reflected in the chant performance, which begins with a

prelude by the instrumentalist, followed by the chorus

picking up certain verses, and ending with it chanting in

whisper and slowly building up into a powerful,

harmonious whole.

17. Opera dei Pupi, Sicilian puppet

theatre Italy Inscribed in 2008 (3.COM) on the Representative


Humanity (originally proclaimed in 2001) The puppet theatre known as the Opera dei Pupi emerged

in Sicily at the beginning of the nineteenth century and

enjoyed great success among the island’s working classes.

The puppeteers told stories based on medieval chivalric

literature and other sources, such as Italian poems of the

Renaissance, the lives of saints and tales of notorious

bandits. The dialogues in these performances were largely

improvised by the puppeteers. The two main Sicilian

puppet schools in Palermo and Catania were distinguished

principally by the size and shape of the puppets, the

operating techniques and the variety of colourful stage

backdrops. These theatres were often family-run

businesses; the carving, painting and construction of the

puppets, renowned for their intense expressions, were

carried out by craftspeople employing traditional methods.

The puppeteers constantly endeavoured to outdo each

other with their shows, and they exerted great influence

over their audience. In the past, these performances took

place over several evenings and provided opportunities for

social gatherings. The economic and social upheavals

caused by the extraordinary economic boom of the 1950s

had a considerable effect on the tradition, threatening its

very foundations. At that time, similar forms of theatre in

other parts of Italy disappeared, some of them to re-emerge

some twenty years later. The Opera dei Pupi is the only

example of an uninterrupted tradition of this kind of

theatre. Owing to current economic difficulties puppeteers

can no longer make a living from their art, prompting them

to turn to more lucrative professions. Tourism has

contributed to reducing the quality of performances, which

were previously aimed at a local audience only.

18. Canto a tenore, Sardinian pastoral

songs

Italy




proclaimed in 2005) Canto a tenore has developed within the pastoral culture of

Sardinia. It represents a form of polyphonic singing

performed by a group of four men using four different

voices called bassu, contra, boche and mesu boche. One of

its characteristics is the deep and guttural timbre of the

bassu and contra voices. It is performed standing in a close

circle. The solo singers chants a piece of prose or a poem

while the other voices form an accompanying chorus. Most

practitioners live in the region of Barbagia and other parts

of central Sardinia. Their art of singing is very much

embedded in the daily life of local communities. Often it is

performed spontaneously in local bars called su zilleri, but

also at more formal occasions, such as weddings,

sheepshearings, religious festivities or the Barbaricino

carnival. The Canto a tenore encompasses a vast repertoire

that varies within Sardinia. The most common melodies are

the serenade boche ’e notte (’the voice of the night’) and

dance songs such as the mutos, gosos and ballos. The

lyrics are either ancient or contemporary poems on present-

day issues, such as emigration, unemployment and

politics. In this sense, the songs can be regarded as both

traditional and contemporary cultural expressions. The

canto a tenore is especially vulnerable to socio-economic

changes, such as the decline of the pastoral culture and the

increase of tourism in Sardinia. Performances on stage for

tourists tend to affect the diversity of the repertoire and the

intimate manner this music was performed in its original

context.

19. Mediterranean diet Italy Inscribed in 2013 (8.COM) on the Representative


Humanity

The Mediterranean diet involves a set of skills,

knowledge, rituals, symbols and traditions

concerning crops, harvesting, fishing, animal

husbandry, conservation, processing, cooking, and

particularly the sharing and consumption of food.

Eating together is the foundation of the cultural

identity and continuity of communities throughout

the Mediterranean basin. It is a moment of social

exchange and communication, an affirmation and

renewal of family, group or community identity.

The Mediterranean diet emphasizes values of

hospitality, neighbourliness, intercultural dialogue

and creativity, and a way of life guided by respect

for diversity. It plays a vital role in cultural spaces,

festivals and celebrations, bringing together people

of all ages, conditions and social classes. It

includes the craftsmanship and production of

traditional receptacles for the transport,

preservation and consumption of food, including

ceramic plates and glasses. Women play an

important role in transmitting knowledge of the

Mediterranean diet: they safeguard its techniques,

respect seasonal rhythms and festive events, and

transmit the values of the element to new

generations. Markets also play a key role as spaces

for cultivating and transmitting the Mediterranean

diet during the daily practice of exchange,

agreement and mutual respect.

20. Traditional agricultural practice of cultivating the ‘vite ad alberello’ (head-trained bush vines) of the community of Pantelleria Italy Inscribed in 2014 (9.COM) on the Representative List of the Intangible Cultural Heritage of Humanity The traditional practice of cultivating head-trained bush vines (''vite ad alberello'') is transmitted through generations of vine growers and farmers of the Mediterranean island of Pantelleria. About 5,000 inhabitants own a plot of land, which they cultivate using sustainable methods. The technique consists of several phases. The ground is prepared by levelling the soil and digging a hollow to plant the vine. The main stem of the vine is then carefully pruned to produce six branches, forming a bush with a radial arrangement. The hollow is constantly reshaped to ensure the plant is growing in the right microclimate. The wine grapes are then harvested by hand during a ritual event starting at the end of July. The vine-growers and farmers of Pantelleria, male and female, practice ''vite ad alberello'' under harsh climatic conditions. The knowledge and skills of bearers and practitioners are handed down in families through oral and practical instruction in the local dialect. In addition, rituals and festivals organized between July and September allow the local community to share this social practice. The people of Pantelleria continue to identify themselves with vine growing and strive to preserve this practice.

1. Promoting Israeli Amateur Performing Arts (EHEVI)

Israel

Founded in June 2011, EHEVI has set itself the objective

of promoting, developing, and fostering all forms of

amateur performing arts in Israel.

EHEVI is active in various amateur performing arts, such

as dance troupes, vocal troupes, folk troupes, musical

ensembles, theatre troupes, rock bands, and so forth.

EHEVI’s activities include artist workshops, troupe

conventions, study days, professional camps,

competitions, event production, and additional activities

that contribute to the preservation and fostering of the

diverse cultural traditions in Israeli society, and bring

them to Israel’s artistic center stage.

EHEVI is a continuation and evolution of the Israel

Association of Community Centers’ LEHAVA Project,

whose objectives were identical to those of EHEVI.

The LEHAVA Project was founded and operated by the

present directors of EHEVI for about twenty years as part

of the Israel Association of Community Centers, a

government company that operates more than 160

community centers all over Israel, until about two years

ago, when its activities were transferred to the newly

founded EHEVI Association.

Throughout all its activities, EHEVI maintains an ongoing

dialogue and productive collaborations with government

ministries, social organizations, and local authorities

(including the Israel Ministry of Culture and Sport, the

Israel Ministry for Senior Citizens, the Israel Ministry of

Immigrant Absorption, the Israel Association of

Community Centers, the Israel Choreographers

Association, and Tarbut le Israel/Culture for Israel

Association).

2. Dabke

Palestin

Baqoun Dabkka Group

Baqoun is one of the most famous groups on the

local and national level. The group performs under

the umbrella of Beit Sahour Municipality and has

achieved a lot on the international level through its

participations in major international events aside

from the local level. the idea of Baqoun Folklore

Dance Group was emerged by a group of who loved

"dabke" and look forward to give some

performances based on the musical heritage of the

Palestinian in one hand and the arabs in other

hand, then operate it in visual images. Baqoun use

various folkloric dances, these dances express

different approaches and values as they are chosen

carefully by the members depending on the

occasion that they participate in.

These dances vary in its messages, value and

description. There are dances that express

happiness, hope and joy. While other dances

express tradition and customs and talk about how

beautiful these customs are and how important it

is to the community. Baqoun also uses traditional

dances that talk about politics as these songs

describe the political situation, the braveness of

the people in fighting against sorrow and

oppression.

Art & Photos

Almond Blossom Festival ICH UNESCO elements