{"total_count": 849, "results": [{"uuid": "076fd7ab-2db1-44b8-b168-27635af0d024", "ich_public_ref": "3", "inscription_year": "2008", "title_en": "Carnival of Oruro", "title_fr": "Le carnaval d\u2019Oruro", "description_en": "The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro. \n\nThe Carnival, which takes place every year, lasts ten days and gives rise to a panoply of popular arts expressed in masks, textiles and embroidery. The main event in the Carnival is the procession or entrada. During the ceremony, the dancers walk the four kilometres of the processional route and repeat the journey for a full twenty hours without interruption. More than 28,000 dancers and 10,000 musicians organized in about 50 groups take part in the procession which still shows many features dating back to medieval mystery plays. \n\nThe decline of traditional mining and agriculture is threatening the Oruro population, as is the desertification of the Andean high plateau, which is leading to massive emigration. Urbanization has given rise to acculturation as well as a growing generation gap. There is also uncontrolled financial exploitation of this Carnival.", "description_fr": "Ancien site de c\u00e9r\u00e9monies pr\u00e9colombien situ\u00e9 \u00e0 3700 m\u00e8tres d\u2019altitude dans les montagnes de l\u2019ouest de la Bolivie, la ville d\u2019Oruro a \u00e9t\u00e9 un important centre minier aux dix-neuvi\u00e8me et vingti\u00e8me si\u00e8cles. Refond\u00e9e par les Espagnols en 1606, elle est rest\u00e9e un site sacr\u00e9 pour les Uru, qui venaient parfois de tr\u00e8s loin accomplir leurs rituels, en particulier pour la grande f\u00eate d\u2019Ito. Ces c\u00e9r\u00e9monies ont perdur\u00e9 sous le couver de la liturgie chr\u00e9tienne malgr\u00e9 les interdits espagnols au dix-septi\u00e8me si\u00e8cle. Les dieux andins ont \u00e9t\u00e9 dissimul\u00e9s derri\u00e8res les ic\u00f4nes chr\u00e9tiennes, devenant ainsi des saints. La f\u00eate d\u2019Ito a \u00e9t\u00e9 transform\u00e9e en rituel chr\u00e9tien, c\u00e9l\u00e9br\u00e9 \u00e0 la chandeleur, le 2 f\u00e9vrier et la traditionnelle llama llama, ou diablada, en l\u2019honneur du dieu uru Tiw est devenue la danse principale du carnaval d\u2019Oruro.\n\nTous les ans, pendant six jours, ce carnaval donne lieu au d\u00e9ploiement de tout un \u00e9ventail d\u2019arts populaires s\u2019exprimant \u00e0 travers les masques, textiles et broderies. L\u2019\u00e9v\u00e9nement principal est la procession, ou entrada, o\u00f9 les danseurs parcourent vingt heures durant, sans interruption, les quatre kilom\u00e8tres que suit la procession. Plus de 28 000 danseurs et 10000 musiciens r\u00e9partis en une cinquantaine de groupes prennent part au cort\u00e8ge qui a su conserver nombre de caract\u00e9ristiques emprunt\u00e9es aux myst\u00e8res m\u00e9di\u00e9vaux. \n\nLe d\u00e9clin des activit\u00e9s mini\u00e8res traditionnelles et de l\u2019agriculture menace la population d\u2019Oruro, de m\u00eame que la d\u00e9sertification du haut plateau andin qui provoque une \u00e9migration massive. L\u2019urbanisation a provoqu\u00e9 des ph\u00e9nom\u00e8nes d\u2019acculturation, creusant le foss\u00e9 entre les g\u00e9n\u00e9rations. Le carnaval fait en outre l\u2019objet d\u2019une exploitation financi\u00e8re incontr\u00f4l\u00e9e.", "type_of_element_en": "Representative List", "type_of_element_fr": "Liste repr\u00e9sentative", "type_acronym": "RL", "countries": ["BO"], "http_url_en": "https://ich.unesco.org/en/RL/00003", "http_url_fr": "https://ich.unesco.org/fr/RL/00003", "videos": "[{\"language\": \"en\", \"youtube_videoID\": \"T2Atbi4oQu4\", \"link\": \"https://www.youtube-nocookie.com/v/T2Atbi4oQu4\"}, {\"language\": \"fr\", \"youtube_videoID\": \"yjPdrgfpxrs\", \"link\": \"https://www.youtube-nocookie.com/v/yjPdrgfpxrs\"}]", "concepts_primary": "[{\"name_en\": \"Carnival\", \"name_fr\": \"Carnaval\", \"uri\": \"\"}, {\"name_en\": \"Procession\", \"name_fr\": \"Procession\", \"uri\": \"\"}, {\"name_en\": \"Religious practice\", \"name_fr\": \"Pratique religieuse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept15418\"}]", "concepts_primary_names": ["Carnival", "Procession", "Religious practice"], "concepts_secondary": "[{\"name_en\": \"Colonial history\", \"name_fr\": \"Histoire coloniale\", \"uri\": \"\"}, {\"name_en\": \"Costumes\", \"name_fr\": \"Costumes\", \"uri\": \"\"}, {\"name_en\": \"Dance\", \"name_fr\": \"Danse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept351\"}, {\"name_en\": \"Drama\", \"name_fr\": \"Drame\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept8399\"}, {\"name_en\": \"Embroidery\", \"name_fr\": \"Broderie\", \"uri\": \"\"}, {\"name_en\": \"Handicrafts\", \"name_fr\": \"Artisanat\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept344\"}, {\"name_en\": \"Instrumental music\", \"name_fr\": \"Musique instrumentale\", \"uri\": \"\"}, {\"name_en\": \"Masks\", \"name_fr\": \"Masque\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7311\"}, {\"name_en\": \"Mining\", \"name_fr\": \"Industrie mini\\u00e8re\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept614\"}, {\"name_en\": \"Religious syncretism\", \"name_fr\": \"Syncr\\u00e9tisme religieux\", \"uri\": \"\"}, {\"name_en\": \"Rituals\", \"name_fr\": \"Rituels\", \"uri\": \"\"}, {\"name_en\": \"Sacred sites\", \"name_fr\": \"Site sacr\\u00e9\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7071\"}, {\"name_en\": \"Woodwind instruments\", \"name_fr\": \"Bois (instruments)\", \"uri\": \"\"}]", "concepts_secondary_names": ["Colonial history", "Costumes", "Dance", "Drama", "Embroidery", "Handicrafts", "Instrumental music", "Masks", "Mining", "Religious syncretism", "Rituals", "Sacred sites", "Woodwind instruments"], "whc_sites": null, "whc": "False", "images": "[{\"photoID\": \"10741\", \"mandatoryID\": \"01\", \"order\": \"0\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/10741-LRG.jpg\", \"copyright\": \"2009 by Asociaci\\u00f3n de Conjuntos del Folklore Oruro Bolivia\", \"author\": \"\"}, {\"photoID\": \"10751\", \"mandatoryID\": \"01\", \"order\": \"1\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/10751-LRG.jpg\", \"copyright\": \"2009 by Asociaci\\u00f3n de Conjuntos del Folklore Oruro Bolivia\", \"author\": \"\"}, {\"photoID\": \"10756\", \"mandatoryID\": \"01\", \"order\": \"2\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/10756-LRG.jpg\", \"copyright\": \"2009 by Asociaci\\u00f3n de Conjuntos del Folklore Oruro Bolivia\", \"author\": \"\"}]", "main_image_url": "https://ich.unesco.org/img/photo/thumb/10741-LRG.jpg", "main_image_caption_en": null, "main_image_caption_fr": null, "main_image_copyright": "2009 by Asociaci\u00f3n de Conjuntos del Folklore Oruro Bolivia", "main_image_author": null}, {"uuid": "5578fb32-b58d-49b0-9a6e-317b2fdb162d", "ich_public_ref": "4", "inscription_year": "2008", "title_en": "Kun Qu opera", "title_fr": "L\u2019op\u00e9ra Kun Qu", "description_en": "Kun Qu Opera developed under the Ming dynasty (fourteenth to seventeenth centuries) in the city of Kunshan, situated in the region of Suzhou in southeast China. With its roots in popular theatre, the repertory of songs evolved into a major theatrical form. Kun Qu is one of the oldest forms of Chinese opera still performed today. \n\nIt is characterized by its dynamic structure and melody (kunqiang) and classic pieces such as the Peony Pavilion and the Hall of Longevity. It combines song and recital as well as a complex system of choreographic techniques, acrobatics and symbolic gestures. The opera features a young male lead, a female lead, an old man and various comic roles, all dressed in traditional costumes. Kun Qu songs are accompanied by a bamboo flute, a small drum, wooden clappers, gongs and cymbals, all used to punctuate actions and emotions on stage. Renowned for the virtuosity of its rhythmic patterns (changqiang), Kun Qu opera has had a considerable influence or more recent forms of Chinese opera, such as the Sichuan or Beijing opera. \n\nThe opera has suffered a gradual decline since the eighteenth century because of the high-level technical knowledge it also requires from its audience. Of the 400 arias regularly sung in opera performances in the mid-twentieth century, only a few dozen continue to be performed. The Kun Qu opera survived through the efforts of dedicated connoisseurs and various supporters who seek to attract the interest of a new generation of performers.", "description_fr": "L\u2019op\u00e9ra Kun Qu s\u2019est d\u00e9velopp\u00e9 sous la dynastie Ming (du quatorzi\u00e8me au dix-septi\u00e8me si\u00e8cle) dans la ville de Kunshan situ\u00e9e dans la r\u00e9gion de Suzhou, dans le sud-est de la Chine. Plongeant ses racines dans le th\u00e9\u00e2tre populaire, le r\u00e9pertoire de chants s\u2019est peu \u00e0 peu impos\u00e9 comme un art dramatique majeur. Le Kun Qu est l\u2019une des formes les plus anciennes d\u2019op\u00e9ra chinois encore repr\u00e9sent\u00e9es aujourd\u2019hui.\n\nIl se caract\u00e9rise par sa structure dynamique et sa m\u00e9lodie (kunqiang). Des pi\u00e8ces comme Le pavillon aux pivoines ou Le palais de la longue vie sont devenues des classiques du r\u00e9pertoire. Cet art associe chant, narration et un syst\u00e8me complexe de techniques chor\u00e9graphiques, d\u2019acrobaties et de gestuelles symboliques. Les r\u00f4les sont distribu\u00e9s en jeune premier, en r\u00f4le f\u00e9minin principal, en vieil homme et en divers r\u00f4les comiques, tous v\u00eatus de costumes traditionnels. Une fl\u00fbte en bambou, un petit tambour, des claquettes de bois, des gongs et des cymbales accompagnent les chants, ponctuant les actions et les \u00e9motions des personnages. R\u00e9put\u00e9 pour la virtuosit\u00e9 de ses sch\u00e9mas rythmiques (changqiang), l\u2019op\u00e9ra Kun Qu a eu une influence pr\u00e9pond\u00e9rante sur des formes plus r\u00e9centes d\u2019op\u00e9ra chinois, comme ceux de Sichuan ou de P\u00e9kin. \n\nDepuis le dix-huiti\u00e8me si\u00e8cle, il conna\u00eet un d\u00e9clin progressif d\u00fb au haut niveau de connaissance technique qu\u2019il exige du public. Sur les 400 airs r\u00e9guli\u00e8rement chant\u00e9s lors des repr\u00e9sentations au milieu du vingti\u00e8me si\u00e8cle, seules quelques douzaines sont encore interpr\u00e9t\u00e9es aujourd\u2019hui. L\u2019op\u00e9ra Kun Qu a surv\u00e9cu gr\u00e2ce aux efforts de quelques connaisseurs d\u00e9vou\u00e9s et d\u2019adeptes qui cherchent \u00e0 \u00e9veiller l\u2019int\u00e9r\u00eat d\u2019une nouvelle g\u00e9n\u00e9ration d\u2019interpr\u00e8tes.", "type_of_element_en": "Representative List", "type_of_element_fr": "Liste repr\u00e9sentative", "type_acronym": "RL", "countries": ["CN"], "http_url_en": "https://ich.unesco.org/en/RL/00004", "http_url_fr": "https://ich.unesco.org/fr/RL/00004", "videos": "[{\"language\": \"en\", \"youtube_videoID\": \"auUB0q0QUt8\", \"link\": \"https://www.youtube-nocookie.com/v/auUB0q0QUt8\"}, {\"language\": \"fr\", \"youtube_videoID\": \"-l0H85i5RzE\", \"link\": \"https://www.youtube-nocookie.com/v/-l0H85i5RzE\"}]", "concepts_primary": "[{\"name_en\": \"Opera\", \"name_fr\": \"Op\\u00e9ra\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept5396\"}, {\"name_en\": \"Performing arts\", \"name_fr\": \"Arts du spectacle\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept355\"}, {\"name_en\": \"Vocal music\", \"name_fr\": \"Musique vocale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept14401\"}]", "concepts_primary_names": ["Opera", "Performing arts", "Vocal music"], "concepts_secondary": "[{\"name_en\": \"Choreography\", \"name_fr\": \"Chor\\u00e9graphie\", \"uri\": \"\"}, {\"name_en\": \"Costumes\", \"name_fr\": \"Costumes\", \"uri\": \"\"}, {\"name_en\": \"Cultural elite\", \"name_fr\": \"\\u00c9lite culturelle\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7018\"}, {\"name_en\": \"Dance\", \"name_fr\": \"Danse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept351\"}, {\"name_en\": \"Emotions\", \"name_fr\": \"Affectivit\\u00e9\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept1597\"}, {\"name_en\": \"Idiophones\", \"name_fr\": \"Idiophones\", \"uri\": \"\"}, {\"name_en\": \"Percussion instruments\", \"name_fr\": \"Instruments de percussion\", \"uri\": \"\"}, {\"name_en\": \"Representative literary works\", \"name_fr\": \"Oeuvre litt\\u00e9raire repr\\u00e9sentative\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept13510\"}, {\"name_en\": \"Theatre\", \"name_fr\": \"Th\\u00e9\\u00e2tre\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept356\"}, {\"name_en\": \"Woodwind instruments\", \"name_fr\": \"Bois (instruments)\", \"uri\": \"\"}]", "concepts_secondary_names": ["Choreography", "Costumes", "Cultural elite", "Dance", "Emotions", "Idiophones", "Percussion instruments", "Representative literary works", "Theatre", "Woodwind instruments"], "whc_sites": null, "whc": "False", "images": "[{\"photoID\": \"00025\", \"mandatoryID\": \"01\", \"order\": \"0\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00025-LRG.jpg\", \"copyright\": \" Chinese Academy of Arts\", \"author\": \"Su Xu\"}, {\"photoID\": \"00160\", \"mandatoryID\": \"01\", \"order\": \"1\", \"caption_en\": \"Rooted in popular theatre, Kun Qu influenced many other forms of Chinese opera. It is characterized by a dynamic structure, rhythmic patterns, typical melodies and complex choreography combining acrobatics and symbolic gestures. Kun Qu is considered the oldest form of Chinese opera still performed.\", \"caption_fr\": \"Le Kun Qu plonge ses racines dans le th\\u00e9\\u00e2tre populaire et a influenc\\u00e9 de nombreuses autres formes d\\u2019op\\u00e9ra chinois. Il se distingue par sa structure dynamique, ses sch\\u00e9mas rythmiques, ses airs typiques et sa chor\\u00e9graphie complexe, associant acrobatie et gestuelles symboliques. Il est consid\\u00e9r\\u00e9 comme la plus ancienne forme d\\u2019op\\u00e9ra chinois encore repr\\u00e9sent\\u00e9 aujourd\\u2019hui.\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00160-LRG.jpg\", \"copyright\": \"Chinese Academy of Art\", \"author\": \"Su Xu\"}, {\"photoID\": \"00810\", \"mandatoryID\": \"01\", \"order\": \"2\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00810-LRG.jpg\", \"copyright\": \" Chinese Academy of Arts\", \"author\": \"Su Xu\"}]", "main_image_url": "https://ich.unesco.org/img/photo/thumb/00025-LRG.jpg", "main_image_caption_en": null, "main_image_caption_fr": null, "main_image_copyright": "Chinese Academy of Arts", "main_image_author": "Su Xu"}, {"uuid": "6d0c87bb-9707-4632-9b05-ec6a05adc435", "ich_public_ref": "5", "inscription_year": "2008", "title_en": "Gbofe of Afounkaha, the music of the transverse trumps of the Tagbana community", "title_fr": "Le Gbofe d\u2019Afounkaha, la musique des trompes traversi\u00e8res de la communaut\u00e9 Tagbana", "description_en": "The Gbofe is mainly performed in the village of Afounkaha in the Tagbana community. The term Gbofe is used both for the transverse horns and for the performance as a whole, which encompasses music, song and dance. The Gbofe horns are made of roots covered by cowhide. Six of these horns are used together, ranging in length from 50 to 70 centimetres. They emit a range of sounds \u201creproducing\u201d the words of the Tagbana language. These words are then \u201ctranslated\u201c by female choirs. The music of the horns and the singing are accompanied by drummers who beat time and give the Gbofe its structure. The Gbofe is played at rituals and traditional ceremonies, and the messages conveyed vary according to the circumstances: praise, love, satire, mourning, moral or educational messages. The Gbofe played an important role by conferring respect towards the holders of the tradition, and by conveying a sense of identity on the communities. The various Gbofe performers follow an apprenticeship. While the know-how is most often passed down from father to son, young talents can also join in the training sessions. \n\nThe practice of Gbofe has ceased to exist in various regions of C\u00f4te d\u2019Ivoire due to war, rural exodus and industrialization. Although it has been reintroduced in some communities, it is today in danger of disappearing. The young are less and less aware of this tradition.This is leading to a considerable reduction in the number of people who possess the knowledge of the rituals and the skills to make the instruments, along with a similar decline in the number of those mastering the art and techniques of the dance, songs and music.", "description_fr": "Le Gbofe se pratique principalement dans le village d\u2019Afounkaha, au sein de la communaut\u00e9 Tagbana. Le terme Gbofe d\u00e9signe \u00e0 la fois l\u2019instrument, la trompe traversi\u00e8re, et les musiques, les chants et les danses qui y sont associ\u00e9s. \n\nLes trompes sont fabriqu\u00e9es dans des racines recouvertes de peau de vache. Au nombre de six et de tailles croissantes (50 \u00e0 70 cm), ces trompes \u00e9mettent une gamme de sons capables de reproduire des mots de la langue tagbana, mots qui sont ensuite \u00ab traduits \u00bb par les ch\u0153urs de femmes. Les trompes et le chant sont accompagn\u00e9s par des tambours qui marquent le rythme et donnent sa structure au Gbofe. Il est ex\u00e9cut\u00e9 lors des c\u00e9r\u00e9monies rituelles et traditionnelles. Les messages qu\u2019il transmet varient selon les circonstances : \u00e9loge, amour, satire, deuil, pr\u00e9ceptes moraux ou \u00e9ducatifs. Il a assur\u00e9 un r\u00f4le tr\u00e8s important en inspirant le respect \u00e0 l\u2019\u00e9gard des gardiens de la tradition et en conf\u00e9rant un sentiment d\u2019identit\u00e9 aux communaut\u00e9s. Tous les ex\u00e9cutants du Gbofe suivent un apprentissage et, si la transmission du savoir-faire est le plus souvent filiale, de jeunes talents peuvent se joindre aux r\u00e9p\u00e9titions. \n\nLa pratique du Gbofe a disparu de plusieurs r\u00e9gions de C\u00f4te d\u2019Ivoire en raison de la guerre, de l\u2019exode rural et de l\u2019industrialisation. Bien qu\u2019elle ait \u00e9t\u00e9 r\u00e9introduite dans certaines communaut\u00e9s, elle est aujourd\u2019hui menac\u00e9e de disparition. Les jeunes sont en effet de moins en moins sensibles \u00e0 cette tradition. Ainsi, les d\u00e9tenteurs des connaissances rituelles et le savoir-faire n\u00e9cessaire \u00e0 la fabrication des instruments se font de plus en plus rares, de m\u00eame que le nombre de personnes ma\u00eetrisant l\u2019art et les techniques de la danse, des chants et de la musique.", "type_of_element_en": "Representative List", "type_of_element_fr": "Liste repr\u00e9sentative", "type_acronym": "RL", "countries": ["CI"], "http_url_en": "https://ich.unesco.org/en/RL/00005", "http_url_fr": "https://ich.unesco.org/fr/RL/00005", "videos": "[{\"language\": \"en\", \"youtube_videoID\": \"B3-IkdWzNBs\", \"link\": \"https://www.youtube-nocookie.com/v/B3-IkdWzNBs\"}, {\"language\": \"fr\", \"youtube_videoID\": \"WrflsuPiZRw\", \"link\": \"https://www.youtube-nocookie.com/v/WrflsuPiZRw\"}]", "concepts_primary": "[{\"name_en\": \"Dance\", \"name_fr\": \"Danse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept351\"}, {\"name_en\": \"Instrumental music\", \"name_fr\": \"Musique instrumentale\", \"uri\": \"\"}, {\"name_en\": \"Wind instruments\", \"name_fr\": \"Instruments \\u00e0 vents\", \"uri\": \"\"}]", "concepts_primary_names": ["Dance", "Instrumental music", "Wind instruments"], "concepts_secondary": "[{\"name_en\": \"Apprenticeship\", \"name_fr\": \"Apprentissage (m\\u00e9tiers)\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept2577\"}, {\"name_en\": \"Choir singing\", \"name_fr\": \"Choeur\", \"uri\": \"\"}, {\"name_en\": \"Emotions\", \"name_fr\": \"Affectivit\\u00e9\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept1597\"}, {\"name_en\": \"Instrument making\", \"name_fr\": \"Fabrication d'instruments\", \"uri\": \"\"}, {\"name_en\": \"Leather\", \"name_fr\": \"Cuir\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept2437\"}, {\"name_en\": \"Life cycle\", \"name_fr\": \"Cycle de vie\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept224\"}, {\"name_en\": \"Oral tradition\", \"name_fr\": \"Tradition orale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7312\"}, {\"name_en\": \"Percussion instruments\", \"name_fr\": \"Instruments de percussion\", \"uri\": \"\"}, {\"name_en\": \"Rituals\", \"name_fr\": \"Rituels\", \"uri\": \"\"}, {\"name_en\": \"Vocal music\", \"name_fr\": \"Musique vocale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept14401\"}, {\"name_en\": \"Woodworking\", \"name_fr\": \"Travail du bois\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept16968\"}]", "concepts_secondary_names": ["Apprenticeship", "Choir singing", "Emotions", "Instrument making", "Leather", "Life cycle", "Oral tradition", "Percussion instruments", "Rituals", "Vocal music", "Woodworking"], "whc_sites": null, "whc": "False", "images": "[{\"photoID\": \"00031\", \"mandatoryID\": \"01\", \"order\": \"0\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00031-LRG.jpg\", \"copyright\": \"Ang\\u00e9line Yegnan / UNESCO\", \"author\": \"\"}, {\"photoID\": \"00166\", \"mandatoryID\": \"01\", \"order\": \"1\", \"caption_en\": \"The Gbofe horns, made of long roots covered by cowhide, reproduce the words of the Tagbana language. Female choirs, accompanied by drummers, respond to the calling of the horns. Mainly performed in the village of Afounkaha, the Gbofe is part of collective rituals and traditional ceremonies.\", \"caption_fr\": \"Les trompes Gbofe, fabriqu\\u00e9es \\u00e0 partir de longues racines recouvertes de peau de vache, reproduisent les mots de la langue tagbana. Des choeurs de femmes, accompagn\\u00e9s de joueurs de tambour, r\\u00e9pondent aux sons des trompes. Le Gbofe reste principalement pratiqu\\u00e9 dans le village d\\u2019Afounkaha, lors de c\\u00e9r\\u00e9monies rituelles et traditionnelles collectives.\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00166-LRG.jpg\", \"copyright\": \" Ang\\u00e9line Yegnan / UNESCO\", \"author\": \"\"}, {\"photoID\": \"00281\", \"mandatoryID\": \"01\", \"order\": \"2\", \"caption_en\": \"Trump players, percussionists and dancers\", \"caption_fr\": \"Joueurs de trompes, percussionnistes et danseurs \", \"url\": \"https://ich.unesco.org/img/photo/thumb/00281-LRG.jpg\", \"copyright\": \" Ang\\u00e9line Yegnan / UNESCO\", \"author\": \"\"}]", "main_image_url": "https://ich.unesco.org/img/photo/thumb/00031-LRG.jpg", "main_image_caption_en": null, "main_image_caption_fr": null, "main_image_copyright": "Ang\u00e9line Yegnan / UNESCO", "main_image_author": null}, {"uuid": "724e5d5a-1708-4dab-ac61-3dd527d999a6", "ich_public_ref": "6", "inscription_year": "2008", "title_en": "Cultural space of the Brotherhood of the Holy Spirit of the Congos of Villa Mella", "title_fr": "L\u2019espace culturel de la Fraternit\u00e9 du Saint-Esprit des congos de Villa Mella", "description_en": "The Brotherhood of the Holy Spirit of the Congos of Villa Mella is distinguished in the fields of music, dance and popular festivities. The Brotherhood musicians play instruments called congos. These congos, the origin of which is attributed to the Holy Spirit, are hand-drums. The Brotherhood, which is nowadays open to all without distinction of sex or origin, was founded in the sixteenth century by African slaves and people of mixed origin. For historical reasons, the Brotherhood is an important part of the cultural identity of its members and of the region as a whole. \n\nThe Festival of the Holy Spirit, celebrated at Pentecost, features prayers, dances and singing, accompanied by the music of the congos and a procession carrying the dove representing the Holy Spirit. This occurs at the wake, during the procession to the cemetery and on the ninth day of mourning, when prayers are recited in front of a three-tiered catafalque carrying a doll representing the dead. At the Banko ceremony, three years after the death, the same catafalque is prepared and the living take leave of the deceased, who then becomes an ancestor. On this occasion, all the guests dance to the music of the congos. \n\nThe permanence of the Brotherhood has been threatened by the lack of interest shown by the elite in cultures of African and mixed origin. Today, the acceleration of urban growth, migration, unemployment and the standardization of values is reinforcing prejudices and the lack of understanding of the Brotherhood.", "description_fr": "La Fraternit\u00e9 du Saint-Esprit des congos de Villa Mella se distingue dans le domaine de la musique, de la danse et des festivit\u00e9s populaires. Les musiciens de la Fraternit\u00e9 jouent d\u2019instruments appel\u00e9s congos. Ces congos, dont l\u2019origine est attribu\u00e9e au Saint-Esprit, sont des tambours frapp\u00e9s \u00e0 la main. La Fraternit\u00e9, aujourd\u2019hui ouverte \u00e0 tous sans distinction de sexe ou d\u2019origine, a \u00e9t\u00e9 fond\u00e9e au seizi\u00e8me si\u00e8cle par les esclaves africains et les m\u00e9tis. Pour des raisons historiques, elle est un \u00e9l\u00e9ment majeur de l\u2019identit\u00e9 culturelle de ses membres et de l\u2019ensemble de la r\u00e9gion. \n\nPour la f\u00eate du Saint-Esprit, c\u00e9l\u00e9br\u00e9e \u00e0 la Pentec\u00f4te, la Fraternit\u00e9 se livre \u00e0 un rituel comportant pri\u00e8res, danses et chants accompagn\u00e9s par les congos, ainsi qu\u2019une procession pendant laquelle est transport\u00e9e la colombe repr\u00e9sentant le Saint-Esprit. La fraternit\u00e9 c\u00e9l\u00e8bre \u00e9galement les rites mortuaires, accomplissant ce m\u00eame rituel lors de la veill\u00e9e fun\u00e8bre, la procession au cimeti\u00e8re et le neuvi\u00e8me jour de deuil, avec r\u00e9citation de pri\u00e8res devant un catafalque \u00e0 trois \u00e9tages contenant une poup\u00e9e qui repr\u00e9sente le d\u00e9funt. Pour la c\u00e9r\u00e9monie du Banko, qui se d\u00e9roule trois ans apr\u00e8s le d\u00e9c\u00e8s, le m\u00eame catafalque est pr\u00e9par\u00e9 et les vivants prennent cong\u00e9 du mort qui devient alors un anc\u00eatre. \u00c0 cette occasion, tous les invit\u00e9s dansent au rythme des congos. \n\nLa p\u00e9rennit\u00e9 de la Fraternit\u00e9 est depuis toujours menac\u00e9e par le manque d\u2019int\u00e9r\u00eat des autorit\u00e9s pour les cultures d\u2019origine africaine et m\u00e9tisse. Aujourd\u2019hui, l\u2019urbanisation acc\u00e9l\u00e9r\u00e9e, les migrations, le ch\u00f4mage et l\u2019uniformisation des valeurs renforcent les pr\u00e9jug\u00e9s et incompr\u00e9hensions \u00e0 l\u2019\u00e9gard de la Fraternit\u00e9.", "type_of_element_en": "Representative List", "type_of_element_fr": "Liste repr\u00e9sentative", "type_acronym": "RL", "countries": ["DO"], "http_url_en": "https://ich.unesco.org/en/RL/00006", "http_url_fr": "https://ich.unesco.org/fr/RL/00006", "videos": "[{\"language\": \"en\", \"youtube_videoID\": \"-9pFxX96M6w\", \"link\": \"https://www.youtube-nocookie.com/v/-9pFxX96M6w\"}, {\"language\": \"fr\", \"youtube_videoID\": \"Wl4GLxM489k\", \"link\": \"https://www.youtube-nocookie.com/v/Wl4GLxM489k\"}]", "concepts_primary": "[{\"name_en\": \"Cultural space\", \"name_fr\": \"Espace culturel\", \"uri\": \"\"}, {\"name_en\": \"Percussion instruments\", \"name_fr\": \"Instruments de percussion\", \"uri\": \"\"}, {\"name_en\": \"Religious practice\", \"name_fr\": \"Pratique religieuse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept15418\"}, {\"name_en\": \"Vocal music\", \"name_fr\": \"Musique vocale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept14401\"}]", "concepts_primary_names": ["Cultural space", "Percussion instruments", "Religious practice", "Vocal music"], "concepts_secondary": "[{\"name_en\": \"Colonial history\", \"name_fr\": \"Histoire coloniale\", \"uri\": \"\"}, {\"name_en\": \"Dance\", \"name_fr\": \"Danse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept351\"}, {\"name_en\": \"Feasts\", \"name_fr\": \"F\\u00eate\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7310\"}, {\"name_en\": \"Fraternity\", \"name_fr\": \"Confr\\u00e9rie\", \"uri\": \"\"}, {\"name_en\": \"Funeral\", \"name_fr\": \"Fun\\u00e9railles\", \"uri\": \"\"}, {\"name_en\": \"Instrumental music\", \"name_fr\": \"Musique instrumentale\", \"uri\": \"\"}, {\"name_en\": \"Music education\", \"name_fr\": \"\\u00c9ducation musicale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept1588\"}, {\"name_en\": \"Procession\", \"name_fr\": \"Procession\", \"uri\": \"\"}, {\"name_en\": \"Slavery\", \"name_fr\": \"Esclavage\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept4733\"}]", "concepts_secondary_names": ["Colonial history", "Dance", "Feasts", "Fraternity", "Funeral", "Instrumental music", "Music education", "Procession", "Slavery"], "whc_sites": null, "whc": "False", "images": "[{\"photoID\": \"00034\", \"mandatoryID\": \"01\", \"order\": \"0\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00034-LRG.jpg\", \"copyright\": \" Museo de Hombre Dominicano\", \"author\": \"\"}, {\"photoID\": \"00171\", \"mandatoryID\": \"01\", \"order\": \"1\", \"caption_en\": \"The brotherhood, founded in the sixteenth century by slaves of African origin, is today open to all without distinction of sex or ethnic origin. It is known for its musicians playing a particular hand drum, named Congo, a vital element of the festival of the Holy Spirit, celebrated at Pentecost. \", \"caption_fr\": \"La fraternit\\u00e9, aujourd\\u2019hui ouverte \\u00e0 tous sans distinction de sexe ni d\\u2019origine, a \\u00e9t\\u00e9 fond\\u00e9e au XVIe si\\u00e8cle par des esclaves africains et des m\\u00e9tis. Elle est connue pour ses musiciens qui jouent \\u00e0 la main des tambours appel\\u00e9s Congos, \\u00e9l\\u00e9ment essentiel de la f\\u00eate du Saint-Esprit, c\\u00e9l\\u00e9br\\u00e9e \\u00e0 la Pentec\\u00f4te. \", \"url\": \"https://ich.unesco.org/img/photo/thumb/00171-LRG.jpg\", \"copyright\": \"Museo de Hombre Dominicano\", \"author\": \"\"}, {\"photoID\": \"00550\", \"mandatoryID\": \"01\", \"order\": \"2\", \"caption_en\": \" \", \"caption_fr\": \" \", \"url\": \"https://ich.unesco.org/img/photo/thumb/00550-LRG.jpg\", \"copyright\": \"Museo de Hombre Dominicano\", \"author\": \"\"}]", "main_image_url": "https://ich.unesco.org/img/photo/thumb/00034-LRG.jpg", "main_image_caption_en": null, "main_image_caption_fr": null, "main_image_copyright": "Museo de Hombre Dominicano", "main_image_author": null}, {"uuid": "71b3de3a-a98e-4a16-89e5-049c05aab30f", "ich_public_ref": "15", "inscription_year": "2008", "title_en": "Hudhud chants of the Ifugao", "title_fr": "Le Hudhud, r\u00e9cits chant\u00e9s des Ifugao", "description_en": "The Hudhud consists of narrative chants traditionally performed by the Ifugao community, which is well known for its rice terraces extending over the highlands of the northern island of the Philippine archipelago. It is practised during the rice sowing season, at harvest time and at funeral wakes and rituals. Thought to have originated before the seventh century, the Hudhud comprises more than 200 chants, each divided into 40 episodes. A complete recitation may last several days. \n\nSince the Ifugao\u2019s culture is matrilineal, the wife generally takes the main part in the chants, and her brother occupies a higher position than her husband. The language of the stories abounds in figurative expressions and repetitions and employs metonymy, metaphor and onomatopoeia, rendering transcription very difficult. Thus, there are very few written expressions of this tradition. The chant tells about ancestral heroes, customary law, religious beliefs and traditional practices, and reflects the importance of rice cultivation. The narrators, mainly elderly women, hold a key position in the community, both as historians and preachers. The Hudhud epic is chanted alternately by the first narrator and a choir, employing a single melody for all the verses. \n\nThe conversion of the Ifugao to Catholicism has weakened their traditional culture. Furthermore, the Hudhud is linked to the manual harvesting of rice, which is now mechanized. Although the rice terraces are listed as a World Heritage Site, the number of growers has been in constant decline.The few remaining narrators, who are already very old, need to be supported in their efforts to transmit their knowledge and to raise awareness among young people.", "description_fr": "Le hudhud est une tradition de chants narratifs de la communaut\u00e9 Ifugao, connue pour son syst\u00e8me de rizi\u00e8res en terrasses am\u00e9nag\u00e9es dans les montagnes de l\u2019\u00eele septentrionale de l\u2019archipel des Philippines. Cette tradition est pratiqu\u00e9e au moment des semailles et de la r\u00e9colte du riz, ainsi que lors des veill\u00e9es et rituels fun\u00e8bres. Probablement ant\u00e9rieur au septi\u00e8me si\u00e8cle, le hudhud comporte plus de 200 histoires, chacune divis\u00e9e en 40 \u00e9pisodes. Leur r\u00e9citation compl\u00e8te s\u2019\u00e9tendrait sur plusieurs jours. \n\nLes Ifugao ayant une culture matrilin\u00e9aire, l\u2019\u00e9pouse tient souvent le r\u00f4le principal dans ces chants et son fr\u00e8re a un rang plus \u00e9lev\u00e9 que son mari. Le langage des r\u00e9cits, riche en expressions figuratives et en r\u00e9p\u00e9titions, fait appel aux m\u00e9tonymies, m\u00e9taphores et onomatop\u00e9es, rendant leur transcription ardue. Il n\u2019existe ainsi que tr\u00e8s peu de traces \u00e9crites de cette tradition. Les r\u00e9cits \u00e9voquent les h\u00e9ros anciens, la loi coutumi\u00e8re, les croyances religieuses, les pratiques traditionnelles et refl\u00e8tent l\u2019importance de la culture du riz. Les narrateurs, principalement des femmes \u00e2g\u00e9es, occupent une place de premier plan dans la communaut\u00e9, \u00e0 la fois comme historiens et pr\u00eatres. L\u2019\u00e9pop\u00e9e hudhud est psalmodi\u00e9e \u00e0 tour de r\u00f4le par le premier r\u00e9citant et par un ch\u0153ur, selon une m\u00e9lodie unique pour toutes les strophes.\n\n\nLa conversion des Ifugao au catholicisme a affaibli leur culture traditionnelle. En outre, le hudhud est li\u00e9 \u00e0 la r\u00e9colte manuelle du riz, r\u00e9colte d\u00e9sormais m\u00e9canis\u00e9e. Bien que les rizi\u00e8res en terrasse aient \u00e9t\u00e9 inscrites sur la Liste du patrimoine mondial, le nombre de cultivateurs ne cesse de d\u00e9cliner. Les derniers narrateurs, d\u00e9j\u00e0 tr\u00e8s \u00e2g\u00e9s, ont besoin d\u2019\u00eatre soutenus dans leurs efforts pour transmettre leurs connaissances et sensibiliser les jeunes.", "type_of_element_en": "Representative List", "type_of_element_fr": "Liste repr\u00e9sentative", "type_acronym": "RL", "countries": ["PH"], "http_url_en": "https://ich.unesco.org/en/RL/00015", "http_url_fr": "https://ich.unesco.org/fr/RL/00015", "videos": "[{\"language\": \"en\", \"youtube_videoID\": \"qDImhwTKMOk\", \"link\": \"https://www.youtube-nocookie.com/v/qDImhwTKMOk\"}, {\"language\": \"fr\", \"youtube_videoID\": \"Alqi51P508A\", \"link\": \"https://www.youtube-nocookie.com/v/Alqi51P508A\"}]", "concepts_primary": "[{\"name_en\": \"Epic poetry\", \"name_fr\": \"Po\\u00e9sie \\u00e9pique\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept10066\"}, {\"name_en\": \"Oral tradition\", \"name_fr\": \"Tradition orale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7312\"}, {\"name_en\": \"Vocal music\", \"name_fr\": \"Musique vocale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept14401\"}]", "concepts_primary_names": ["Epic poetry", "Oral tradition", "Vocal music"], "concepts_secondary": "[{\"name_en\": \"Catholicism\", \"name_fr\": \"Catholicisme\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept4775\"}, {\"name_en\": \"Choir singing\", \"name_fr\": \"Choeur\", \"uri\": \"\"}, {\"name_en\": \"Customary law\", \"name_fr\": \"Droit coutumier\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7306\"}, {\"name_en\": \"Funeral\", \"name_fr\": \"Fun\\u00e9railles\", \"uri\": \"\"}, {\"name_en\": \"Instrumental music\", \"name_fr\": \"Musique instrumentale\", \"uri\": \"\"}, {\"name_en\": \"Legends\", \"name_fr\": \"L\\u00e9gende\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept10975\"}, {\"name_en\": \"Matriarchy\", \"name_fr\": \"Matriarchie\", \"uri\": \"\"}, {\"name_en\": \"Religious belief\", \"name_fr\": \"Croyance religieuse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept3707\"}, {\"name_en\": \"Story telling\", \"name_fr\": \"Narration d'histoires\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept11645\"}, {\"name_en\": \"Work songs\", \"name_fr\": \"Chants de travail\", \"uri\": \"\"}]", "concepts_secondary_names": ["Catholicism", "Choir singing", "Customary law", "Funeral", "Instrumental music", "Legends", "Matriarchy", "Religious belief", "Story telling", "Work songs"], "whc_sites": "[{\"ref\": \"722\", \"name_en\": \"Rice Terraces of the Philippine Cordilleras\", \"name_fr\": \"Rizi\\u00e8res en terrasses des cordill\\u00e8res des Philippines\", \"url\": \"https://whc.unesco.org/en/list/722\"}]", "whc": "True", "images": "[{\"photoID\": \"05674\", \"mandatoryID\": \"01\", \"order\": \"0\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/05674-LRG.jpg\", \"copyright\": \"J. U\\u00f1alivia/NCCA-IHC, 2008\", \"author\": \"Jojo U\\u00f1alivia\"}, {\"photoID\": \"05675\", \"mandatoryID\": \"01\", \"order\": \"1\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/05675-LRG.jpg\", \"copyright\": \"J. U\\u00f1alivia/NCCA-IHC, 2008\", \"author\": \"Jojo U\\u00f1alivia\"}, {\"photoID\": \"05676\", \"mandatoryID\": \"01\", \"order\": \"2\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/05676-LRG.jpg\", \"copyright\": \"J. U\\u00f1alivia/NCCA-IHC, 2008\", \"author\": \"Jojo U\\u00f1alivia\"}]", "main_image_url": "https://ich.unesco.org/img/photo/thumb/05674-LRG.jpg", "main_image_caption_en": null, "main_image_caption_fr": null, "main_image_copyright": "J. U\u00f1alivia/NCCA-IHC, 2008", "main_image_author": "Jojo U\u00f1alivia"}, {"uuid": "1e2e1f80-32b4-423a-8aa8-8ddb7ffb4bfc", "ich_public_ref": "42", "inscription_year": "2008", "title_en": "Kihnu cultural space", "title_fr": "L\u2019espace culturel de Kihnu", "description_en": "Lying off Estonia\u2019s Baltic coast, the small islands of Kihnu and Manija are home to a community of 600 people whose cultural expressions and agricultural traditions have been kept alive over the centuries largely through the island\u2019s female population. The men of the Kihnu community have taken to sea to hunt seals and fish, while the women have remained on the islands to farm and to maintain the household. Kihnu women thus have become the principal custodians of the cultural traditions embodied in numerous songs, games, dances, wedding ceremonies and handicrafts. Singing is an integral part of collective handicraft activities and of religious celebrations. Particularly noteworthy among the musical repertory of the islanders is an oral tradition of pre-Christian origin, known as runic or Kalevala-metre songs. \n\nThe most visible emblem of Kihnu culture remains the woolen handicrafts worn by the women of the community. Working in their homes using traditional looms and local wool, the women weave and knit mittens, stockings, skirts and blouses, which often feature bright colours, vivid stripes and intricate embroidery. Many of the symbolic forms and colours adorning these striking garments are rooted in ancient legends. The Kihnu cultural space is also distinguished by the interrelation of its rich cultural and natural heritage. On both islands, the characteristic landscape of grassland, pine groves and coastal sands has remained relatively intact up to the present day.\n\nTheir geographic isolation, their strong sense of community spirit and their steadfast attachment to the customs of their ancestors have enabled the Kihnu people to preserve their crafts and customs. Today, Kihnu culture is threatened by economic hardship, uncontrolled housing development and the intrusion of tourists insensitive to the islands\u2019 traditions and natural environment.", "description_fr": "Situ\u00e9es en mer Baltique, au large des c\u00f4tes de l\u2019Estonie, les petites \u00eeles de Kihnu et Manija abritent une communaut\u00e9 de 600 personnes dont les expressions culturelles et les traditions agricoles sont rest\u00e9es vivantes au fil des si\u00e8cles, en grande partie gr\u00e2ce aux femmes. Depuis toujours, les hommes de la communaut\u00e9 vont en mer chasser le phoque et le poisson, tandis que les femmes restent \u00e0 terre pour cultiver les champs et entretenir le foyer. Les femmes de Kihnu sont ainsi devenues les principales gardiennes des traditions culturelles qui se manifestent \u00e0 travers chants, jeux, danses, c\u00e9r\u00e9monies de mariage et artisanat. Le chant occupe une place de choix dans les activit\u00e9s artisanales collectives et les c\u00e9l\u00e9brations religieuses. Parmi le r\u00e9pertoire musical des insulaires, il est une tradition orale d\u2019origine pr\u00e9chr\u00e9tienne particuli\u00e8rement remarquable : le Kalevala ou chant runique. \n\nL\u2019embl\u00e8me le plus connu de la culture Kihnu reste les v\u00eatements en laine port\u00e9s par les femmes de la communaut\u00e9. Travaillant chez elles avec les m\u00e9tiers \u00e0 tisser traditionnels et la laine de production locale, elles tissent et tricotent des moufles, des bas, des jupes et des chemises, m\u00ealant couleurs vives, rayures \u00e9clatantes et broderies savantes. Nombre de symboles et de couleurs ornant ces habits empruntent \u00e0 d\u2019anciennes l\u00e9gendes. L\u2019espace culturel de Kihnu se distingue \u00e9galement par les liens \u00e9troits unissant les riches patrimoines culturel et naturel. Sur les deux \u00eeles, le paysage caract\u00e9ristique de prairies, de bosquets de sapins et de plages est rest\u00e9 relativement pr\u00e9serv\u00e9.\n\nL\u2019isolement g\u00e9ographique, un solide sens de la communaut\u00e9 ainsi qu\u2019un farouche attachement aux coutumes ancestrales ont permis aux habitants de Kihnu de pr\u00e9server leurs artisanat et coutumes. Cette culture est aujourd\u2019hui menac\u00e9e par les difficult\u00e9s \u00e9conomiques, la construction incontr\u00f4l\u00e9e de logements et l\u2019intrusion de touristes insensibles aux traditions et \u00e0 l\u2019environnement naturel des \u00eeles.", "type_of_element_en": "Representative List", "type_of_element_fr": "Liste repr\u00e9sentative", "type_acronym": "RL", "countries": ["EE"], "http_url_en": "https://ich.unesco.org/en/RL/00042", "http_url_fr": "https://ich.unesco.org/fr/RL/00042", "videos": "[{\"language\": \"en\", \"youtube_videoID\": \"_kx3Ym1h88g\", \"link\": \"https://www.youtube-nocookie.com/v/_kx3Ym1h88g\"}, {\"language\": \"fr\", \"youtube_videoID\": \"64VVY1GhD3g\", \"link\": \"https://www.youtube-nocookie.com/v/64VVY1GhD3g\"}]", "concepts_primary": "[{\"name_en\": \"Cultural space\", \"name_fr\": \"Espace culturel\", \"uri\": \"\"}, {\"name_en\": \"Vocal music\", \"name_fr\": \"Musique vocale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept14401\"}]", "concepts_primary_names": ["Cultural space", "Vocal music"], "concepts_secondary": "[{\"name_en\": \"Costumes\", \"name_fr\": \"Costumes\", \"uri\": \"\"}, {\"name_en\": \"Dance\", \"name_fr\": \"Danse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept351\"}, {\"name_en\": \"Embroidery\", \"name_fr\": \"Broderie\", \"uri\": \"\"}, {\"name_en\": \"Handicrafts\", \"name_fr\": \"Artisanat\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept344\"}, {\"name_en\": \"Instrumental music\", \"name_fr\": \"Musique instrumentale\", \"uri\": \"\"}, {\"name_en\": \"Oral tradition\", \"name_fr\": \"Tradition orale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7312\"}, {\"name_en\": \"Textile arts\", \"name_fr\": \"Arts textiles\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept3039\"}, {\"name_en\": \"Weaving\", \"name_fr\": \"Tissage\", \"uri\": \"\"}, {\"name_en\": \"Wedding\", \"name_fr\": \"Mariage\", \"uri\": \"\"}, {\"name_en\": \"Womens participation\", \"name_fr\": \"Participation de la femme\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept14978\"}]", "concepts_secondary_names": ["Costumes", "Dance", "Embroidery", "Handicrafts", "Instrumental music", "Oral tradition", "Textile arts", "Weaving", "Wedding", "Womens participation"], "whc_sites": null, "whc": "False", "images": "[{\"photoID\": \"05301\", \"mandatoryID\": \"01\", \"order\": \"0\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/05301-LRG.jpg\", \"copyright\": \"Anne Helene Gjelstad\", \"author\": \"Anne Helene Gjelstad\"}, {\"photoID\": \"05302\", \"mandatoryID\": \"01\", \"order\": \"1\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/05302-LRG.jpg\", \"copyright\": \"Anne Helene Gjelstad\", \"author\": \"Anne Helene Gjelstad\"}, {\"photoID\": \"05303\", \"mandatoryID\": \"01\", \"order\": \"2\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/05303-LRG.jpg\", \"copyright\": \"Anne Helene Gjelstad\", \"author\": \"Anne Helene Gjelstad\"}]", "main_image_url": "https://ich.unesco.org/img/photo/thumb/05301-LRG.jpg", "main_image_caption_en": null, "main_image_caption_fr": null, "main_image_copyright": "Anne Helene Gjelstad", "main_image_author": "Anne Helene Gjelstad"}, {"uuid": "92872cc1-2506-4669-a137-e96bc2b6da46", "ich_public_ref": "51", "inscription_year": "2008", "title_en": "Carnival of Barranquilla", "title_fr": "Le carnaval de Barranquilla", "description_en": "Every year during the four days before Lent, the Carnival de Barranquilla offers a repertory of dances and musical expressions originating from different Colombian sub-cultures. Because of its geographical location situated on the Caribbean coast and the commercial development during the colonial period, the city of Barranquilla became one of the country\u2019s busiest trading centres and a place where European, African, and indigenous peoples and cultures converged. \n\nThe blending of various local traditions permeates numerous aspects of the carnival, particularly dances (as exemplified by the mico y micas from the Americas, the African congo and the paloteo of Spanish origin), musical genres (the predominant cumbia and variants such as the puya and porro) and folk instruments (tambora and allegre drums, maraca, claves, etc.). Carnival music is generally performed by drum ensembles or by groups playing a variety of wind instruments. The profuse material culture of handcrafted objects includes floats, costumes, head ornaments and animal masks. Groups of masqueraded dancers, actors, singers and instrumentalists delight crowds with theatrical and musical performances based on historical as well as current events. Contemporary political life and figures are satirized through mocking speeches and song lyrics that lend a burlesque atmosphere to the carnival. \n\nWith its growing success in the twentieth century, Barranquilla\u2019s carnival took on the trappings of a professional event, receiving wide media coverage. This development generates economic benefits for many low-income families, but the growing commercialisation may at the same time constitute a threat to the many traditional expressions.", "description_fr": "Chaque ann\u00e9e pendant les quatre jours qui pr\u00e9c\u00e8dent le car\u00eame,  le carnaval de Barranquilla offre un r\u00e9pertoire de danses et d\u2019expressions musicales issues des diff\u00e9rentes cultures colombiennes. Du fait de sa situation g\u00e9ographique sur la c\u00f4te cara\u00efbe et de son essor \u00e9conomique pendant la p\u00e9riode coloniale, la ville de Barranquilla est devenue l\u2019un des premiers centres de commerce du pays et un lieu de convergence des peuples et cultures am\u00e9rindiens, europ\u00e9ens et africains.\n\nCette fusion de diverses traditions locales transpara\u00eet dans de nombreux aspects du carnaval, en particulier les danses (comme le mico y micas originaire des Am\u00e9riques, le congo africain et le paloteo d\u2019origine espagnole), les genres musicaux (principalement la cumbia et des variantes comme la puya et le porro) et les instruments populaires (tambora et tambours alegre, maracas, claves, etc.). La musique du carnaval est g\u00e9n\u00e9ralement ex\u00e9cut\u00e9e par des ensembles de tambours ou des groupes d\u2019instruments \u00e0 vent. La culture mat\u00e9rielle des objets d\u2019artisanat s\u2019exprime avec profusion \u00e0 travers chars, costumes, coiffes et masques d\u2019animaux. Des groupes de danseurs masqu\u00e9s, d\u2019acteurs, de chanteurs et d\u2019instrumentistes ravissent les foules de leurs d\u00e9monstrations th\u00e9\u00e2trales et musicales inspir\u00e9es d\u2019\u00e9v\u00e9nements historiques et de l\u2019actualit\u00e9. La vie politique contemporaine et ses personnalit\u00e9s sont tourn\u00e9es en d\u00e9rision \u00e0 travers des chansons et des discours railleurs qui conf\u00e8rent au carnaval son caract\u00e8re burlesque. \n\nEn raison du succ\u00e8s croissant qu\u2019il a connu au vingti\u00e8me si\u00e8cle, le carnaval de Barranquilla a pris des allures de manifestation professionnelle, largement couverte par les m\u00e9dias. Si cette \u00e9volution n\u2019est pas sans avantages \u00e9conomiques pour de nombreuses familles \u00e0 faibles revenus, le mercantilisme croissant pourrait en m\u00eame temps repr\u00e9senter une menace pour les nombreuses expressions traditionnelles.", "type_of_element_en": "Representative List", "type_of_element_fr": "Liste repr\u00e9sentative", "type_acronym": "RL", "countries": ["CO"], "http_url_en": "https://ich.unesco.org/en/RL/00051", "http_url_fr": "https://ich.unesco.org/fr/RL/00051", "videos": "[{\"language\": \"en\", \"youtube_videoID\": \"nDbSZUPmIm0\", \"link\": \"https://www.youtube-nocookie.com/v/nDbSZUPmIm0\"}, {\"language\": \"fr\", \"youtube_videoID\": \"hLFcxuhhXc4\", \"link\": \"https://www.youtube-nocookie.com/v/hLFcxuhhXc4\"}]", "concepts_primary": "[{\"name_en\": \"Carnival\", \"name_fr\": \"Carnaval\", \"uri\": \"\"}, {\"name_en\": \"Dance\", \"name_fr\": \"Danse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept351\"}, {\"name_en\": \"Procession\", \"name_fr\": \"Procession\", \"uri\": \"\"}]", "concepts_primary_names": ["Carnival", "Dance", "Procession"], "concepts_secondary": "[{\"name_en\": \"Colonial history\", \"name_fr\": \"Histoire coloniale\", \"uri\": \"\"}, {\"name_en\": \"Costumes\", \"name_fr\": \"Costumes\", \"uri\": \"\"}, {\"name_en\": \"Festivals\", \"name_fr\": \"Festival\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7046\"}, {\"name_en\": \"Float\", \"name_fr\": \"Char\", \"uri\": \"\"}, {\"name_en\": \"Handicrafts\", \"name_fr\": \"Artisanat\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept344\"}, {\"name_en\": \"Instrumental music\", \"name_fr\": \"Musique instrumentale\", \"uri\": \"\"}, {\"name_en\": \"Masks\", \"name_fr\": \"Masque\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7311\"}, {\"name_en\": \"Multiethnic societies\", \"name_fr\": \"Soci\\u00e9t\\u00e9 pluri-ethnique\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept10388\"}, {\"name_en\": \"Percussion instruments\", \"name_fr\": \"Instruments de percussion\", \"uri\": \"\"}, {\"name_en\": \"Performing arts\", \"name_fr\": \"Arts du spectacle\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept355\"}, {\"name_en\": \"Religious practice\", \"name_fr\": \"Pratique religieuse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept15418\"}, {\"name_en\": \"Satire\", \"name_fr\": \"Satire\", \"uri\": \"\"}, {\"name_en\": \"Wind instruments\", \"name_fr\": \"Instruments \\u00e0 vents\", \"uri\": \"\"}]", "concepts_secondary_names": ["Colonial history", "Costumes", "Festivals", "Float", "Handicrafts", "Instrumental music", "Masks", "Multiethnic societies", "Percussion instruments", "Performing arts", "Religious practice", "Satire", "Wind instruments"], "whc_sites": null, "whc": "False", "images": "[{\"photoID\": \"00028\", \"mandatoryID\": \"01\", \"order\": \"0\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00028-LRG.jpg\", \"copyright\": \" Vivien Saad\", \"author\": \"\"}, {\"photoID\": \"00163\", \"mandatoryID\": \"01\", \"order\": \"1\", \"caption_en\": \"Masqueraded dancers, actors and musicians delight crowds through performances marked by European, African and indigenous influences. To enhance the transmission of the tradition, the Children\\u2019s Carnival was created and has become a vital element of the carnival.\", \"caption_fr\": \"Danseurs, acteurs et musiciens masqu\\u00e9s ravissent les foules de leurs spectacles empreints d\\u2019influences europ\\u00e9ennes, africaines et indig\\u00e8nes. Organis\\u00e9 pour encourager la transmission de la tradition, le carnaval des enfants est devenu un \\u00e9l\\u00e9ment essentiel de cet \\u00e9v\\u00e9nement.\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00163-LRG.jpg\", \"copyright\": \"Vivien Saad\", \"author\": \"\"}, {\"photoID\": \"00826\", \"mandatoryID\": \"01\", \"order\": \"2\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00826-LRG.jpg\", \"copyright\": \"Ministry of Culture of republic of Colombia\", \"author\": \"\"}]", "main_image_url": "https://ich.unesco.org/img/photo/thumb/00028-LRG.jpg", "main_image_caption_en": null, "main_image_caption_fr": null, "main_image_copyright": "Vivien Saad", "main_image_author": null}, {"uuid": "4c577f97-b985-4ebf-a28b-523712a5f7e9", "ich_public_ref": "53", "inscription_year": "2008", "title_en": "Maroon heritage of Moore Town", "title_fr": "Les traditions des Marrons de Moore Town", "description_en": "Situated in the highlands of eastern Jamaica, Moore Town is home to the descendants of independent communities of former runaway slaves known as Maroons. The African ancestors of the Moore Town Maroons were forcibly removed from their native lands to the Caribbean by Spanish slave traders in the sixteenth and seventeenth centuries. The term Maroon, derived from the Spanish word cimarr\u00f3n (wild), refers to those slaves who fled the plantations in the early 1600s and established their own settlements in the Blue and Johncrow Mountains of eastern Jamaica. By the early eighteenth century, the Maroon communities controlled much of the eastern part of the island. In opposition to the expanding plantation system of the British, they formed well-organized and efficient underground military units. After decades of warfare, the British finally yielded to the communities\u2019 demands for recognition of their autonomy by signing a treaty with the Maroons in 1739. \n\nHailing from West and Central African regions with diverse languages and cultural practices, the Moore Town Maroons elaborated new collective religious ceremonies that incorporated various spiritual traditions. These expressions and practices, which were then named Kromanti Play, continue to represent the very foundation of Maroon identity. During Kromanti ceremonies, dances, songs and specific drumming styles are performed to invoke ancestral spirits. These ceremonies also feature a language of African derivation, likewise named Kromanti, and rare medicinal preparations. As part of their heritage, the inhabitants of Moore Town also possess a unique system of communally-held \u201ctreaty lands\u201d, a local political structure and the use of the abeng, a side-blown \u201ctalking\u201d horn of Jamaican origin which serves as a means of long-distance communication. \n\nSeveral decades of missionary opposition to Kromanti Play have driven this tradition partially underground and have led to serious schisms within the communities. Moreover, deteriorating economic conditions have forced many Maroons to migrate to other parts of Jamaica and abroad.", "description_fr": "Situ\u00e9e dans les montagnes de l\u2019est de la Jama\u00efque, la ville de Moore Town est le  lieu de r\u00e9sidence des descendants de communaut\u00e9s ind\u00e9pendantes d\u2019anciens esclaves fugitifs, les Marrons. Les anc\u00eatres africains des Marrons de Moore Town ont \u00e9t\u00e9 arrach\u00e9s \u00e0 leur terre natale et emmen\u00e9s dans les Cara\u00efbes par des marchands d\u2019esclaves espagnols aux seizi\u00e8me et dix-septi\u00e8me si\u00e8cles. Le terme Marron, qui vient de l\u2019espagnol cimarr\u00f3n (sauvage), d\u00e9signe les esclaves qui se sont enfuis des plantations au d\u00e9but des ann\u00e9es 1600 et ont fond\u00e9 leurs propres communaut\u00e9s dans les montagnes Bleues et les monts Johncrow. Au d\u00e9but du dix-huiti\u00e8me si\u00e8cle, ces communaut\u00e9s contr\u00f4laient la quasi-totalit\u00e9 de la partie orientale de l\u2019\u00eele. Pour contrer l\u2019expansion du syst\u00e8me de plantation des Britanniques, elles ont form\u00e9 des unit\u00e9s militaires clandestines bien organis\u00e9es et extr\u00eamement efficaces. Apr\u00e8s des d\u00e9cennies de guerre, les Britanniques ont finalement acc\u00e9d\u00e9 \u00e0 la demande des communaut\u00e9s pour la reconnaissance de leur autonomie, avec la signature d\u2019un trait\u00e9 avec les Marrons en 1739. \n\nOriginaires de l\u2019ouest et du centre de l\u2019Afrique, avec des langues et pratiques culturelles diverses, les Marrons de Moore Town ont \u00e9labor\u00e9 de nouvelles c\u00e9r\u00e9monies religieuses collectives qui ont assimil\u00e9 plusieurs traditions spirituelles. Ces expressions et pratiques, appel\u00e9es par la suite Kromanti Play, constituent aujourd\u2019hui encore le fondement m\u00eame de l\u2019identit\u00e9 marron. Pendant les c\u00e9r\u00e9monies coromantee, des danses, des chants et des rythmes de tambour sp\u00e9cifiques sont ex\u00e9cut\u00e9s pour invoquer les esprits des anc\u00eatres. Ces rituels font usage d\u2019une langue d\u2019origine africaine, \u00e9galement appel\u00e9e coromantee, et de pr\u00e9parations m\u00e9dicinales rares. L\u2019h\u00e9ritage des habitants de Moore Town comprend aussi un syst\u00e8me original de terres en propri\u00e9t\u00e9  collective, une structure politique locale et l\u2019utilisation de l\u2019abeng, une corne originaire de Jama\u00efque qui sert de moyen de communication \u00e0 longue distance. \n\nPlusieurs d\u00e9cennies d\u2019opposition des missionnaires au Kromanti Play ont conduit cette tradition \u00e0 une clandestinit\u00e9 partielle et caus\u00e9 de graves clivages au sein des communaut\u00e9s. S\u2019y ajoute la d\u00e9gradation de la conjoncture \u00e9conomique contraignant de nombreux Marrons \u00e0 migrer vers d\u2019autres r\u00e9gions du pays ou \u00e0 l\u2019\u00e9tranger.", "type_of_element_en": "Representative List", "type_of_element_fr": "Liste repr\u00e9sentative", "type_acronym": "RL", "countries": ["JM"], "http_url_en": "https://ich.unesco.org/en/RL/00053", "http_url_fr": "https://ich.unesco.org/fr/RL/00053", "videos": "[{\"language\": \"en\", \"youtube_videoID\": \"G3xW808tdJE\", \"link\": \"https://www.youtube-nocookie.com/v/G3xW808tdJE\"}, {\"language\": \"fr\", \"youtube_videoID\": \"X-TD7-jG8xc\", \"link\": \"https://www.youtube-nocookie.com/v/X-TD7-jG8xc\"}]", "concepts_primary": "[{\"name_en\": \"Cultural space\", \"name_fr\": \"Espace culturel\", \"uri\": \"\"}, {\"name_en\": \"Slavery\", \"name_fr\": \"Esclavage\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept4733\"}]", "concepts_primary_names": ["Cultural space", "Slavery"], "concepts_secondary": "[{\"name_en\": \"Armed forces\", \"name_fr\": \"Forces arm\\u00e9es\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept2870\"}, {\"name_en\": \"Colonial history\", \"name_fr\": \"Histoire coloniale\", \"uri\": \"\"}, {\"name_en\": \"Dance\", \"name_fr\": \"Danse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept351\"}, {\"name_en\": \"Instrumental music\", \"name_fr\": \"Musique instrumentale\", \"uri\": \"\"}, {\"name_en\": \"Oral tradition\", \"name_fr\": \"Tradition orale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7312\"}, {\"name_en\": \"Percussion instruments\", \"name_fr\": \"Instruments de percussion\", \"uri\": \"\"}, {\"name_en\": \"Religious belief\", \"name_fr\": \"Croyance religieuse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept3707\"}, {\"name_en\": \"Religious syncretism\", \"name_fr\": \"Syncr\\u00e9tisme religieux\", \"uri\": \"\"}, {\"name_en\": \"Traditional medicine\", \"name_fr\": \"M\\u00e9decine traditionnelle\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept6992\"}, {\"name_en\": \"Veneration of the dead\", \"name_fr\": \"V\\u00e9n\\u00e9ration des morts\", \"uri\": \"\"}, {\"name_en\": \"Vocal music\", \"name_fr\": \"Musique vocale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept14401\"}, {\"name_en\": \"Wind instruments\", \"name_fr\": \"Instruments \\u00e0 vents\", \"uri\": \"\"}]", "concepts_secondary_names": ["Armed forces", "Colonial history", "Dance", "Instrumental music", "Oral tradition", "Percussion instruments", "Religious belief", "Religious syncretism", "Traditional medicine", "Veneration of the dead", "Vocal music", "Wind instruments"], "whc_sites": "[{\"ref\": \"1356\", \"name_en\": \"Blue and John Crow Mountains\", \"name_fr\": \"Montagnes bleues et monts John Crow\", \"url\": \"https://whc.unesco.org/en/list/1356\"}]", "whc": "True", "images": "[{\"photoID\": \"00187\", \"mandatoryID\": \"01\", \"order\": \"0\", \"caption_en\": \"The Maroons are descendants of runaway slaves who established free settlements in eastern Jamaica in the seventeenth century. There, they developed distinct social and religious expressions incorporating various spiritual traditions, among them a collective procession accompanied by drumbeat and the calling sound of the side-blown abeng horn.\", \"caption_fr\": \"Les Marrons sont les descendants d\\u2019esclaves fugitifs \\u00e0 l\\u2019origine des communaut\\u00e9s ind\\u00e9pendantes de l\\u2019est de la Jama\\u00efque au XVIIe si\\u00e8cle. Ils ont d\\u00e9velopp\\u00e9 des expressions sociales et religieuses assimilant plusieurs traditions spirituelles, notamment une procession collective rythm\\u00e9e par le battement de tambours et le son de l\\u2019Abeng, une corne traversi\\u00e8re.\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00187-LRG.jpg\", \"copyright\": \"UNESCO/Andrew P. Smith\", \"author\": \"\"}, {\"photoID\": \"00841\", \"mandatoryID\": \"01\", \"order\": \"1\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00841-LRG.jpg\", \"copyright\": \"The Institut of Jama\\u00efca\", \"author\": \"\"}, {\"photoID\": \"00842\", \"mandatoryID\": \"01\", \"order\": \"2\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00842-LRG.jpg\", \"copyright\": \"The Institut of Jama\\u00efca\", \"author\": \"\"}]", "main_image_url": "https://ich.unesco.org/img/photo/thumb/00187-LRG.jpg", "main_image_caption_en": "The Maroons are descendants of runaway slaves who established free settlements in eastern Jamaica in the seventeenth century. There, they developed distinct social and religious expressions incorporating various spiritual traditions, among them a collective procession accompanied by drumbeat and the calling sound of the side-blown abeng horn.", "main_image_caption_fr": "Les Marrons sont les descendants d\u2019esclaves fugitifs \u00e0 l\u2019origine des communaut\u00e9s ind\u00e9pendantes de l\u2019est de la Jama\u00efque au XVIIe si\u00e8cle. Ils ont d\u00e9velopp\u00e9 des expressions sociales et religieuses assimilant plusieurs traditions spirituelles, notamment une procession collective rythm\u00e9e par le battement de tambours et le son de l\u2019Abeng, une corne traversi\u00e8re.", "main_image_copyright": "UNESCO/Andrew P. Smith", "main_image_author": null}, {"uuid": "74762b56-b55f-4d9d-87e1-837e6f281a35", "ich_public_ref": "61", "inscription_year": "2008", "title_en": "Guqin and its music", "title_fr": "Le Guqin et sa musique", "description_en": "The Chinese zither, called guqin, has existed for over 3,000 years and represents China\u2019s foremost solo musical instrument tradition. Described in early literary sources and corroborated by archaeological finds, this ancient instrument is inseparable from Chinese intellectual history. Guqin playing developed as an elite art form, practised by noblemen and scholars in intimate settings, and was therefore never intended for public performance. Furthermore, the guqin was one of the four arts \u2013 along with calligraphy, painting and an ancient form of chess \u2013 that Chinese scholars were expected to master. According to tradition, twenty years of training were required to attain proficiency. \n\nThe guqin has seven strings and thirteen marked pitch positions. By attaching the strings in ten different ways, players can obtain a range of four octaves. The three basic playing techniques are known as san (open string), an (stopped string) and fan (harmonics). San is played with the right hand and involves plucking open strings individually or in groups to produce strong and clear sounds for important notes. To play fan, the fingers of the left hand touch the string lightly at positions determined by the inlaid markers, and the right hand plucks, producing a light floating overtone. An is also played with both hands: while the right hand plucks, a left-hand finger presses the string firmly and may slide to other notes or create a variety of ornaments and vibratos. \n\nNowadays, there are fewer than one thousand well-trained guqin players and perhaps no more than fifty surviving masters. The original repertory of several thousand compositions has drastically dwindled to a mere hundred works that are regularly performed today.", "description_fr": "Vieille de 3000 ans, la cithare chinoise, ou guqin, occupe une place de premier ordre parmi les instruments solistes de la Chine. Attest\u00e9 par des sources litt\u00e9raires anciennes corrobor\u00e9es par des d\u00e9couvertes arch\u00e9ologiques, cet instrument s\u00e9culaire est indissociable de l\u2019histoire des intellectuels chinois. L\u2019art du guqin \u00e9tait \u00e0 l\u2019origine r\u00e9serv\u00e9 \u00e0 une \u00e9lite et cultiv\u00e9 dans l\u2019intimit\u00e9 par les nobles et les \u00e9rudits. Il n\u2019\u00e9tait donc pas destin\u00e9 \u00e0 des repr\u00e9sentations publiques. Avec la calligraphie, la peinture et une forme ancienne de jeu d\u2019\u00e9checs, il compte parmi les quatre arts que tout \u00e9rudit lettr\u00e9 chinois se devait de ma\u00eetriser. Selon la tradition, une vingtaine d\u2019ann\u00e9es de pratique est n\u00e9cessaire pour devenir un joueur \u00e9m\u00e9rite de guqin. \n\nLe guqin a sept cordes et treize positions qui marquent les tons. En fixant les cordes de dix fa\u00e7ons diff\u00e9rentes, les musiciens peuvent obtenir un ensemble de quatre octaves. Il existe trois techniques instrumentales de base : san (corde libre), an (corde arr\u00eat\u00e9e) et fan (harmoniques). La premi\u00e8re, san, consiste \u00e0 pincer les cordes de la main droite une par une ou par groupes afin de produire des sons forts et clairs pour les notes importantes. Dans la technique fan, les doigts de la main gauche effleurent la corde aux endroits indiqu\u00e9s par les marques incrust\u00e9es, tandis que la main droite la pince, produisant un son l\u00e9ger et flottant. La technique an fait elle aussi intervenir les deux mains : tandis que la droite pince la corde, la gauche appuie fermement dessus et peut glisser jusqu\u2019\u00e0 d\u2019autres notes ou effectuer divers vibratos et ornements. \n\nIl reste de nos jours moins d\u2019un millier de joueurs accomplis et sans doute pas plus d\u2019une cinquantaine de ma\u00eetres encore en vie. Parmi les milliers de compositions du r\u00e9pertoire initial, une centaine d\u2019\u0153uvres \u00e0 peine est encore r\u00e9guli\u00e8rement ex\u00e9cut\u00e9e.", "type_of_element_en": "Representative List", "type_of_element_fr": "Liste repr\u00e9sentative", "type_acronym": "RL", "countries": ["CN"], "http_url_en": "https://ich.unesco.org/en/RL/00061", "http_url_fr": "https://ich.unesco.org/fr/RL/00061", "videos": "[{\"language\": \"en\", \"youtube_videoID\": \"S5FMTyYOgEs\", \"link\": \"https://www.youtube-nocookie.com/v/S5FMTyYOgEs\"}, {\"language\": \"fr\", \"youtube_videoID\": \"p2wvex72EXQ\", \"link\": \"https://www.youtube-nocookie.com/v/p2wvex72EXQ\"}]", "concepts_primary": "[{\"name_en\": \"Instrumental music\", \"name_fr\": \"Musique instrumentale\", \"uri\": \"\"}, {\"name_en\": \"Musical instruments\", \"name_fr\": \"Instrument de musique\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept12693\"}, {\"name_en\": \"Plucked string instruments\", \"name_fr\": \"Instruments \\u00e0 cordes pinc\\u00e9es\", \"uri\": \"\"}]", "concepts_primary_names": ["Instrumental music", "Musical instruments", "Plucked string instruments"], "concepts_secondary": "[{\"name_en\": \"Apprenticeship\", \"name_fr\": \"Apprentissage (m\\u00e9tiers)\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept2577\"}, {\"name_en\": \"Cultural elite\", \"name_fr\": \"\\u00c9lite culturelle\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7018\"}, {\"name_en\": \"Instrument making\", \"name_fr\": \"Fabrication d'instruments\", \"uri\": \"\"}, {\"name_en\": \"Music education\", \"name_fr\": \"\\u00c9ducation musicale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept1588\"}, {\"name_en\": \"Wood carving\", \"name_fr\": \"Sculpture sur bois\", \"uri\": \"\"}]", "concepts_secondary_names": ["Apprenticeship", "Cultural elite", "Instrument making", "Music education", "Wood carving"], "whc_sites": null, "whc": "False", "images": "[{\"photoID\": \"00026\", \"mandatoryID\": \"01\", \"order\": \"0\", \"caption_en\": \"Detail on guqin practice\", \"caption_fr\": \"D\\u00e9tail sur la pratique du zither ou guqin\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00026-LRG.jpg\", \"copyright\": \"Chinese Academy of Arts\", \"author\": \"\"}, {\"photoID\": \"00161\", \"mandatoryID\": \"01\", \"order\": \"1\", \"caption_en\": \"China\\u2019s most famous and appreciated traditional solo instrument, the Guqin zither has existed over 3,000 years. Different playing techniques fuse light flowing overtones with strong, clear sound. Guqin playing developed as an elite art form that Chinese scholars were expected to master.\", \"caption_fr\": \"Vieille de 3000 ans, la cithare Guqin est l\\u2019instrument soliste traditionnel le plus connu et le plus appr\\u00e9ci\\u00e9 de Chine. Des techniques de jeu multiples permettent de produire des sons l\\u00e9gers et flottants, des notes claires et sonores. Le jeu du Guqin s\\u2019est d\\u00e9velopp\\u00e9 comme un art r\\u00e9serv\\u00e9 \\u00e0 l\\u2019\\u00e9lite, que tout lettr\\u00e9 Chinois se devait de ma\\u00eetriser.\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00161-LRG.jpg\", \"copyright\": \"Chinese Academy of Art\", \"author\": \"\"}, {\"photoID\": \"00279\", \"mandatoryID\": \"01\", \"order\": \"2\", \"caption_en\": \"Musician playing guqin\", \"caption_fr\": \"Musicien jouant du zither ou guqin\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00279-LRG.jpg\", \"copyright\": \"Chinese Academy of Arts\", \"author\": \"\"}]", "main_image_url": "https://ich.unesco.org/img/photo/thumb/00026-LRG.jpg", "main_image_caption_en": "Detail on guqin practice", "main_image_caption_fr": "D\u00e9tail sur la pratique du zither ou guqin", "main_image_copyright": "Chinese Academy of Arts", "main_image_author": null}, {"uuid": "de7c8c5f-fc36-4ca2-9039-99179da3aa9d", "ich_public_ref": "62", "inscription_year": "2008", "title_en": "Tradition of Vedic chanting", "title_fr": "La tradition du chant v\u00e9dique", "description_en": "The Vedas comprise a vast corpus of Sanskrit poetry, philosophical dialogue, myth, and ritual incantations developed and composed by Aryans over 3,500 years ago. Regarded by Hindus as the primary source of knowledge and the sacred foundation of their religion, the Vedas embody one of the world\u2019s oldest surviving cultural traditions. \n\nThe Vedic heritage embraces a multitude of texts and interpretations collected in four Vedas, commonly referred to as \u201cbooks of knowledge\u201d even though they have been transmitted orally. The Rig Veda is an anthology of sacred hymns; the Sama Veda features musical arrangements of hymns from the Rig Veda and other sources; the Yajur Veda abounds in prayers and sacrificial formulae used by priests; and the Atharna Veda includes incantations and spells. The Vedas also offer insight into the history of Hinduism and the early development of several artistic, scientific and philosophical concepts, such as the concept of zero.\n\nExpressed in the Vedic language, which is derived from classical Sanskrit, the verses of the Vedas were traditionally chanted during sacred rituals and recited daily in Vedic communities. The value of this tradition lies not only in the rich content of its oral literature but also in the ingenious techniques employed by the Brahmin priests in preserving the texts intact over thousands of years. To ensure that the sound of each word remains unaltered, practitioners are taught from childhood complex recitation techniques that are based on tonal accents, a unique manner of pronouncing each letter and specific speech combinations. \n\nAlthough the Vedas continue to play an important role in contemporary Indian life, only thirteen of the over one thousand Vedic recitation branches have survived. Moreover, four noted schools \u2013 in Maharashtra (central India), Kerala and Karnataka (southern India) and Orissa (eastern India) \u2013 are considered under imminent threat.", "description_fr": "Les Veda sont un vaste corpus de po\u00e9sie sanscrite, de dialogues philosophiques, de mythes et d\u2019incantations rituelles \u00e9labor\u00e9 et compos\u00e9 par les Aryens il y a plus de 3 500 ans. Consid\u00e9r\u00e9s par les hindous comme la source premi\u00e8re de toute connaissance et le fondement sacr\u00e9 de leur religion, les Veda incarnent l\u2019une des traditions culturelles les plus anciennes encore vivantes aujourd\u2019hui. \n\nLe patrimoine v\u00e9dique rassemble de tr\u00e8s nombreux \u00e9crits et interpr\u00e9tations r\u00e9partis en quatre Veda couramment appel\u00e9s \u00ab livres de la connaissance \u00bb, bien qu\u2019ils aient \u00e9t\u00e9 transmis oralement. Le Rig Veda est une anthologie d\u2019hymnes sacr\u00e9s ; le Sama Veda contient des arrangements musicaux des hymnes du Rig Veda et d\u2019autres sources ; le Yajur Veda r\u00e9unit les pri\u00e8res et formules sacrificielles utilis\u00e9es par les pr\u00eatres ; et l\u2019Atharna Veda est un ensemble d\u2019incantations et de formules magiques. Les Veda offrent \u00e9galement un v\u00e9ritable panorama historique de l\u2019hindouisme et \u00e9clairent les origines de plusieurs concepts artistiques, scientifiques et philosophiques, comme celui du z\u00e9ro. \n\nExprim\u00e9s en langue v\u00e9dique issue du sanscrit classique, les vers des Veda \u00e9taient traditionnellement chant\u00e9s pendant les rituels sacr\u00e9s et r\u00e9cit\u00e9s quotidiennement dans les communaut\u00e9s v\u00e9diques. La valeur de cette tradition ne r\u00e9side pas tant dans le riche contenu de sa litt\u00e9rature orale que dans les techniques ing\u00e9nieuses employ\u00e9es par les brahmanes pour pr\u00e9server les textes inchang\u00e9s au fil des mill\u00e9naires. Pour que le son de chaque mot demeure intact, les praticiens apprennent d\u00e8s l\u2019enfance des techniques complexes de r\u00e9citation fond\u00e9es sur l\u2019accent tonal, une mani\u00e8re unique de prononcer chaque lettre et des combinaisons sp\u00e9cifiques de discours. \n\nBien que les Veda continuent de jouer un r\u00f4le important dans la vie des Indiens, seuls treize des plus de mille branches v\u00e9diques qui existaient jadis ont surv\u00e9cu. Quatre \u00e9coles v\u00e9diques r\u00e9put\u00e9es \u2013 Maharashtra (dans le centre de l\u2019Inde), Kerala et Karnataka (dans le sud) et Orissa (dans l\u2019est) \u2013 sont en outre consid\u00e9r\u00e9es comme menac\u00e9es d\u2019une disparition imminente.", "type_of_element_en": "Representative List", "type_of_element_fr": "Liste repr\u00e9sentative", "type_acronym": "RL", "countries": ["IN"], "http_url_en": "https://ich.unesco.org/en/RL/00062", "http_url_fr": "https://ich.unesco.org/fr/RL/00062", "videos": "[{\"language\": \"en\", \"youtube_videoID\": \"qPcasmn0cRU\", \"link\": \"https://www.youtube-nocookie.com/v/qPcasmn0cRU\"}, {\"language\": \"fr\", \"youtube_videoID\": \"K65yze475jQ\", \"link\": \"https://www.youtube-nocookie.com/v/K65yze475jQ\"}]", "concepts_primary": "[{\"name_en\": \"Oral tradition\", \"name_fr\": \"Tradition orale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept7312\"}, {\"name_en\": \"Religious belief\", \"name_fr\": \"Croyance religieuse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept3707\"}, {\"name_en\": \"Representative literary works\", \"name_fr\": \"Oeuvre litt\\u00e9raire repr\\u00e9sentative\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept13510\"}, {\"name_en\": \"Vocal music\", \"name_fr\": \"Musique vocale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept14401\"}]", "concepts_primary_names": ["Oral tradition", "Religious belief", "Representative literary works", "Vocal music"], "concepts_secondary": "[{\"name_en\": \"Clergy\", \"name_fr\": \"Clerg\\u00e9\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept5426\"}, {\"name_en\": \"Hinduism\", \"name_fr\": \"Hindouisme\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept2347\"}, {\"name_en\": \"Mathematics\", \"name_fr\": \"Math\\u00e9matiques\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept118\"}, {\"name_en\": \"Offering\", \"name_fr\": \"Offrande\", \"uri\": \"\"}, {\"name_en\": \"Oral history\", \"name_fr\": \"Histoire orale\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept11870\"}, {\"name_en\": \"Philosophy\", \"name_fr\": \"Philosophie\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept286\"}, {\"name_en\": \"Phonetics\", \"name_fr\": \"Phon\\u00e9tique\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept10997\"}, {\"name_en\": \"Poetry\", \"name_fr\": \"Po\\u00e9sie\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept2493\"}, {\"name_en\": \"Religious practice\", \"name_fr\": \"Pratique religieuse\", \"uri\": \"http://vocabularies.unesco.org/thesaurus/concept15418\"}, {\"name_en\": \"Rituals\", \"name_fr\": \"Rituels\", \"uri\": \"\"}]", "concepts_secondary_names": ["Clergy", "Hinduism", "Mathematics", "Offering", "Oral history", "Philosophy", "Phonetics", "Poetry", "Religious practice", "Rituals"], "whc_sites": null, "whc": "False", "images": "[{\"photoID\": \"00576\", \"mandatoryID\": \"01\", \"order\": \"0\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00576-LRG.jpg\", \"copyright\": \"Indira Ghandi National Centre for the Arts\", \"author\": \"\"}, {\"photoID\": \"00577\", \"mandatoryID\": \"01\", \"order\": \"1\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00577-LRG.jpg\", \"copyright\": \"Indira Ghandi National Centre for the Arts\", \"author\": \"\"}, {\"photoID\": \"00578\", \"mandatoryID\": \"01\", \"order\": \"2\", \"caption_en\": \"\", \"caption_fr\": \"\", \"url\": \"https://ich.unesco.org/img/photo/thumb/00578-LRG.jpg\", \"copyright\": \"Indira Ghandi National Centre for the Arts\", \"author\": \"\"}]", "main_image_url": "https://ich.unesco.org/img/photo/thumb/00576-LRG.jpg", "main_image_caption_en": null, "main_image_caption_fr": null, "main_image_copyright": "Indira Ghandi National Centre for the Arts", "main_image_author": null}]}