Et nous longeons le gave. Je bavarde. Tu souris encore. Bonheur se tait. Ta mort ne change rien. Je ne regrette pas ta mort. Je songe aux montagnes natales. Je songe au vide pur des cieux. On le voyait. Il dressait les oreilles. Et le troupeau passait, passait, passait. Et sa rumeur divine se perdait.
Et les cris de la Lucie. Et les chiens dans le ciel gris, avec, debout, Martin. Et Jean pleura. Et elle grommelait, hargneuse. Elle haletait un peu, les joues rouges comme une grenade ou de la farouche, levant vers lui ses yeux, son nez, sa bouche. Ses dents riaient, elle frissonnait toute. Ainsi fut fait. Et quand, vers le vieux puits, Jean de Noarrieu se retourna, il vit, la bouche rouge et riante, une fille. Ses mollets ronds et fermes se touchaient, et, hardiment, elle lui souriait. Le Triomphe de la Vie. Tout jeune, en , M. Me connais-tu? Le jour croit. Blonde, tu me souris vaguement, tu tressailles!
A genoux! Depuis , M. Tout le ciel vert se meurt. Narcisse, ou meurs! A notre demande, M. Cette mesure qui me transporte et que je colore, me garde du vrai et du faux. Ni le doute ne me divise, ni la raison ne me travaille. Nul hasard, — mais une chance extraordinaire se continue. Les vers de M. Daniel de Venancourt sont souples et gracieux. Les Adolescents. Combien de tendres confidences Ont-ils entendu, — doux secrets!
Sa main tremble en tirant le fil de sa quenouille. La chanson des grillons vibre au loin dans la plaine. Je suis la fille du fermier, Qui sanglote dans le sentier! Je ne suis pas le fils du roi, Et je veux causer avec toi! Ton courage est-il abattu? Bergerette, ma mie, ajuste ta cornette! Rassemble tes brebis et prends ta quenouillette! En route! Il habite actuellement Ostende. En , M. Delagrave, Paris, Souffle, souffle, grand souffle amer,. Chez Paul Ollendorff, Paris. Chez Diodet, Paris. Jamais, on le sait, M. Xavier Privas. Il semble que, moralement aussi bien que physiquement, deux races bataillent en lui.
Han Ryner assista, avec MM. Boschot, G. Normandy, Ph. Pagnat et M. La berceuse indolente des eaux ou des bois. Tout aime! Sully Prudhomme E. Etudiant, MM. Rappelons que ce fut M. Dans les jardins, lents et tremblants, Les pauvres vieux tous les soirs viennent. Sur les vieux bancs ils se souviennent, Les pauvres vieux aux cheveux blancs. Il marcha longtemps. Sous la neige des ans moroses, Tu voudras revivre. Le long du chemin, la jeunesse danse. III Le long du chemin, vieillard, fais ton somme! Ici se rencontrent les.
Tout ce qui fut persiste. La Nuit. Comme un vin orgueilleux, plein de rouges prestiges. Ses lourds et sombres yeux, tout de braise et de soie Brillent hideusement lorsque passe une proie. Seul, je me connais. Seul, je sais ce que je suis. Je me couche, comme un chartreux, dans mon linceul. Je suis les animaux, les plantes et la mer. Depuis, M. La gorge est endormie et sombre encore. Mais soit! Ce soir, ils soupent chez Pluton.
La Cithare. Les Tombeaux. Ne grave ni flambeau, ni colombe, ni fleur. Sur les champs nage au loin sa cendre bleue et brune. Le ressac lourd tonnait au bas du promontoire. Le Semeur de Cendres. Le Jardin Secret. Un songe immense et doux de sommeil et de mort… Oh! Alfred Vallette. Graves, nous nous taisons.
Voici que les jardins de la nuit vont fleurir. Les lignes, les couleurs, les sons, deviennent vagues. Il est de clairs matins, de roses se coiffant. Douceur des yeux! Bras tendus au ciel!
Grande Nuit! Seule, tu sais calmer les tourments inconnus De ceux que le mentir quotidien torture. Sylvio Lazzari La Chambre blanche lait songer au Kinderscenen de Schumann. On trouve — comme le fait remarquer M. Les larmes sont en nous. Et les larmes aussi pleurent de nous quitter. Mon enfance, adieu mon enfance. Pas souffert?
La Chambre blanche. Botrel est revenu au pays. Dame, oui! Chansons de la Fleur-de-Lys. Il faisait cependant un bien rude tangage! On sombre! Ce serait envoyer vers une mort certaine Cinq hommes pour le moins, cria le capitaine, Et je dois les garder pour le salut commun! Elle en fait-y des malheureux, des malheureuses! Jamraes, H. Bataille, Ch. Pilon, G. Cazals, etc. Sans doute M. Paul Fort a refondu dans cette nouvelle. Cette fille, elle est morte, est morte dans ses amours.
Les dryades craintives se groupent en buissons. Les sylvains, aux coteaux, gagnent les tournants brusques. Leurs cornes ont disparu comme des feux follets. Il tombe! Et les astres bourdonnent sous la ruche des cieux. Roman de Louis XI. Et, en effet, M. Au pays du Bcrry. Les filles filent leurs quenouilles Ou bercent les petits berceaux. Maeterlinck, de M. Adam, etc. Ses premiers vers parurent en , dans La Conque de M. Pierre Louys. Le Sang parie. Sept heures. Y a-t-il des pardons pour les amours Qui imploreraient un retour?
Le Sang parle. Revenu en de Pile Bourbon, M. La nature se tait. Fleurs de Corail. Le Verbe surprit Rome en sa luxure immonde. Pourquoi laisser encor vos muses endormies? Marseille, En Passant. Pourtant vous laissez les jaloux Ravir quelque chose de vous A chaque mot cruel ou doux Que vous leur dites. Je suis triste tout simplement. Dans la cour une voix ravie Chante un refrain toujours pareil Sur la route toujours suivie.
Mon mal est fini comme un drame. Or, M. Silvestro entre autres. Plus tard, M. Il se recueillait. Pour M. A ce moment, M. Septembre Tout est calme. Pierre Rovert. Cachaient leur douceur bleue entre deux brins de jonc. Les Heures de la Muse. Mais qui dira surtout les souvenirs antiques Epars en ce pays? Les hauts faits, la valeur, les gloires, les reliques De ses illustres fils?
Je ne puis me passer de vous. Le son de la Syrinx est doux au soir tranquille. Memphis dormait. O Virgile! En janvier , M. Il chante la vie avec ses joies et ses tristesses. Je sais que la candeur de ses yeux ne ment pas. Comme ils sont exigeants! La Chanson des Hommes. Cette nuit, je me pendrai A quelque vieux marronnier, Non loin de ta porte.
Qui te rendrait jamais une telle tendresse? Jours heureux! La Blafarde , etc. Gabriel Randon fut de retour en France en Il connut alors Albert Samain, qui devint un de ses intimes. Il se lia aussi avec Dubus et Julien Leclercq, tous deux disparus. Cause un peu? Tu dis rien!
Mon dieu mon dieu! Dans les derniers vers de M. Les Vierges. Nous nous aimons. Un peu de vent tressaille aux pentes du coteau. Journal meets the scientific standards at the reception and approval of articles. Design and implementation in of the Center for Documentation of Fallas festival with the City Council of Valencia for the collection of written, audiovisual and intangible documentation catalogue and archive for the free access and consult of researchers. Ephimeral Heritage on the European Carnival Rituals carnval. Promotion and improvement: Organization of "Les falles a la Nau" discussion sessions, since in collaboration with University of Valencia, where different agents involved in the Festival come together to reflect on interesting issues, especially on heritage, promotion, protection and enhancement.
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Since the association awards the best article of reflection and disclosure of Fallas festival: The Enric Soler i Godes Award. Organization ot the Mostra de Llibrets de la Comunitat Valenciana to promote the Llibrets de falla, native publications edited by fallas comittes, to implement synergies between the different agents implied and to work in the consolidation of this cultural field. Transmission and formal or non-formal education: Organization, in collaboration with the Secretary of Tourism of the Generalitat Valenciana regional government , of several editions of a training course on the Fallas festival and its intangible cultural heritage for official tour guides.
Realization of different divulgation talks and lectures on the history of the Fallas festival in collaboration with festive and cultural associations. Participation in seminars and scientific meetings offering unpublished works on social and heritage importance of the different elements of the festival. Revitalization: Retrieval and update, in collaboration with the Valencia City Council, of ancient festive events like "Cavalcada del foc" a parade of fireworks that connects with the festive tradition of mediterranean fire and had ceased to be held in The association is made up of sociologists, linguists, journalists, cultural managers, museum and tourism management professionals, art historians and artisans and artists, all of them with a personal and professional involvement with the cultural heritage.
Thus, it is established as a multidisciplinary group working together on different projects of research and enhancement of the cultural aspects of festival. In addition to the specific training of each of the members, a continuous exchange of information that allows to extend the knowledge of the other members, so that skills and competeces in the field of cultural heritage immaterial are exponentially increased.
Valencia City Council in the inventory and cataloguing of the Fallas Museum, in the design and implementation of the Documentation Centre of the Fallas festival and the recovery of missing festive events. Generalitat Valenciana regional government , in the design and realization of exhibitions on intangible cultural values linked to the festive literature.
Junta Central Fallera local festive committee in works for developing new measures to promote cultural heritage linked to fire festivals. Gremio Artesano de Artistas Falleros de Valencia, in the catalogue and enhancement of the Museum of the Fallas Artists and in the restoration of some of its pieces. Le tout est produit en trois langues minimum: fran9ais, anglais et espagnol. Leurs auteurs sont souvent des universitaires. Besides, according to the item 4 the Cireolo carries out its work and initiatives not only in Scapoli's area but also out of it with the aim to favour the exchange and the cooperation between communities and territories.
For that, many and various activities have been carried out, involving not only the zampogna makers and players but the whole community. Besides all the other good results in terms of preservation, promotion and revitalization, the project let the Circolo to take the first census of the cultural heritage connected with the zampogna, to collect materials and documents for the Italian centre of the Bagpipe, to realize a transnational cooperation project called "Common Sounds to the European Rural World" in cooperation with the Local Action Group "North Pennines" Northumber1ad, UK and above all to reinforce the link between the community and its heritage.
About the competence and the expertise in the domain of intangible cultural heritage, the personnel and the membership consist in: traditional zampogna makers and players, ethnomusicologists, anthropologists, musicians and musical groups, cultural associations, museums, libraries, researchers, scholars, university teachers, besides simple enthusiasts. Since its foundation joined the Association several zampogna makers and players that, both as group and individuals, are those who traditionally create, maintain and transmit this kind of heritage.
Besides, most of the activities have been carried out wit the involvement and the participation of the whole community, from its younger to the older members. At this regard, a very important and successful role has been played by the LEADER project "Living with the bagpipe" with which it has been possible to reinforce the relationship between people and their cultural heritage. Particularly significant is also the annuallntemational Bagpipe Festival in which.
The festival is organized in collaboration with the Commune and with the local turistic association. There are also involved all the economic and trade activities of the area, people give their help in the organization of the event, place rooms for visitors and musicians, sell gastronomic specialities, etc. In each edition of the Festival the musicians involved, traditional and not, come from all over Italy and each time from 2, 3 or more foreign countries. The event is very well attended around Every year, on the occasion of the Assembly of the members, the Circolo organizes also 2 "Bagpipers Meetings", in Spring an in Autumn, in which the participants analyse what has been done and propose what could better to do in terms of safeguard, research, transmission and promoting of the zampogna tradition.
It has in addition been active in the valorization of the traditional Iiutery for the construction of zampogne a chiave,and other local traditional musical instruments like surduline, ciaramelle, tamburelli, cupa-cupa, fischiett di canna etc. This activity is carried out in the respect of the ancient craftship but with an opening towards the young generations through old and new forms of artistical expressions and through initiatives and collaboration and exchanges with local bodies, cultural institutions, universities, associations, etc.
The association promotes, organizes and eventually manages courses on traditional instrument and vocal music, traditional dance, seminars, stages and what more to disseminate the knowledge and the practice of the local musical tradition among young and elder people. Moreover the association implements local historical research, safeguarding of the ethnic inheritage, re-discovery of instrument players and singers from the past through the publication of their original repertoires and documentation and a systematic data collection regarding the past and contemporary musical tradition.
The association together with its members promotes and carries out activities in order to promote and disseminate the knowledge of the traditional musical culture. As per art. Members are divided into ordinary, sustaining and honorary members. Planning and management of programmes and activities are implemented by the members as participation is considered a fundamental element in order to guarantee democracy and good functioning of the association. All ordinary members have the right to express their vote. The General Assembly of members is the main decision organ.
However, slowly the old bearers of tradition are disappearing and for such reason the members of the association together with community felt strongly the need to preserve this heritage and to transfer it to the new generations. In this direction, various initiatives have been implemented in time among which: - Systematic study and identification, collection and registration of traditional repertoires, techniques and documentation focused on the expression of the folk culture of the Pollino area.
Members of the association have competence and expertise with regard to the intangible cultural heritage as they are mainly traditional zampogna makers and players, other traditional instruments makers and players, dancers, ethnomusicologists, anthropologists, musicians and scholars, besides being all members of the various communities present in the Pollino area, including Arbresh representatives. Additional information: The Association was created with the aim of reviving the still deeply-rooted tradition of making and playing the zampogna a chiave and the other local traditional instruments within the community all along the year and with particular regard to the religious feasts.
The President of the Association Giuseppe Salamone is member of a family considered since more than years one of the principal families trasmitting the tradition of the zampogna including construction, playing and dissemination of the instrument and its music for further detailed information please refer to the ethnomusical studies done on the famiglia Salamone in the Pollino area. Similarly the other members of the association come from families that for long time have been barriers of tradition with regard to zampogna and totarella, singing on the zampogna, dance and percussion, and other traditional musical instruments.
All members of the association have competence and expertise with regard to the intangible cultural heritage as they are mainly traditional zampogna makers and players, other traditional instruments makers and players, dancers, ethnomusicologists, anthropologists, musicians and scholars, besides being all members of the various communities present in the Pollino area, including Arbresh representatives.
All members participate actively since ever to all religious and cultural events of the community, as they are part of it and also are important members of the communities of the Pollino area, as documented by the innumerable studies done by all anthropologists studying the Pollino area and the local cultural tradition.
At all religious and non feasts, the members of the association are active participants of all cultural events implemented, as they are the main bearers of the local cultural intangible heritage, inherited by their ancestors and continued by them and handed over to the young generations. It is practically impossible to present a specific timeframe, as the activities are implemented daily, since the last generations of these families, and have always included transmission and safeguarding of the tradition and cultural heritage from one generation to the other.
In this area as in many other parts of Italy, playing the zampogna, dancing, singing, is part of every day, it is done when returning home after working in the fields, or else, as a means of being together and sharing among the members of the community its cultural tradition and also a way to reconfirm the community among its members. Since the last ten years and more, all members of the association have contributed in trasmitting to innumerable young people their knowledge both regarding the construction of zampogne, totarelle and other traditional local musical instruments and music and ways of playing these instruments, besides dancing and singing, contributing hence in safeguarding and transmitting the cultural intangible heritage of the communities of the Pollino area.
The management board includes: Giuseppe Salamone bearer of tradition , Giuseppe Altieri bearer of tradition , Antonio Arvia zampogna player and teacher , Paolo Napoli various local traditional player and ethnomusicologist , Mauro Semeraro player , Domenico Miraglia bearer of tradition , Saverio Marino player and singer. The entire philosophy underlaying the work implemented by the association aims at pooling together the traditional knowledge and pratice of the communities of the area through their direct involvement and participation.
Particular attention is given to all the feasts of the local communities and to the participation of the members of the association with special regard to the religious feasts which are an important aggregation and identification moment for all the people living in the Pollino area. Programmes and participation to all events of the area are established in sinergy with the local communities who strongly take part in all rituals marking the various parts of the year and try to maintain their local tradition and languages, sharing repertoires, dances, food, stories, use of herbs, etc.
It aims to safeguard and revitalize puppet traditions and the related craftsmanship, as well as local practices and productions in their different territorial, artistic and traditional expressions so as to save and expand the rich immaterial heritage connected to Sicilian folk traditions and to encourage the research focusing on their relation with their original context.
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This activity takes place by means of collecting; research; promotion; networking and cooperation; educational, didactic and theatrical activities, eg. Since the beginning they have undertaken important researches about local traditions and material culture collecting important testimony and recording, among others, religious festivals, puppet shows, interviews to puppeteers and traditional spectators. Also, to safeguard the Opera dei pupi, the Association started to collect lots of items used to put on traditional shows creating the first core of the collection, which was to be exhibited at the Museo internazionale delle marionette International Puppet Museum , founded in its collections include ab.
It encourages the intercultural dialogue by adopting an interdisciplinary approach and proposing programmes, which have always promoted an exchange between folk and cultivated theatre, art and music in relation to the field of performing arts, heritage and culture. In its latest five editions, it involved more than artists www. This stable collaboration has allowed the organization of ab. Meetings with art and traditional music , held in various Sicilian towns and in collaboration with CIDIM Italian National Committee for Music , which included performances of local story-singers concerning some famous stories of the poetico-musical repertoire.
Performed according to the traditional executive techniques and staging codes; cunti, which are serialized stories publicly related by wandering storytellers and concerning chivalric epics stemmed from the ancient French Chansons de geste; concerts of folk songs; seminars about the Opera dei pupi and Unesco masterpieces of the oral and intangible heritage of humanity held in Palermo. This stable collaboration aims to increase their activity and expectations within a constant exchange and dialogue, which are at the basis of the important research activity carried on by the founding members of the Association.
In addition, in order to revive, promote and popularize it, since the opening of the Museum, the Association organized an annual review of the Opera dei pupi and during the year it still schedules Sicilian puppet shows by inviting companies from all over Sicily and involving them in other didactic activities.
Not only does the Association mediates in the relationship between puppeteers and national and international spectators and institutions, but it also creates contacts and cooperation with craftsmen, puppeteers and artists from other countries promoting the cultural and professional exchange between Sicilian traditional artists and foreigners operating in the same field. In fact, during the annual Festival di Morgana, the Association often invites companies from abroad, which perform or hold workshops in Palermo, and it has also promoted the production of innovative performances mixing traditional practices ex.
Chinese Opera and Sicilian Opera dei pupi , or various forms of art contemporary dance, paintings and music : the result was the creation of artistic works which plays with the Opera dei pupi traditional codes which gave Sicilian artists the possibility to become more aware about their activity and to expand the range of their experience in the puppet field. Finally, this exchange has helped the development of a more general comparative study of traditional theatrical practices.
The "Battuglia di Pastellessa" are ornamental wagons that are prepared to celebrate the religious feast of Saint Anthony, the Abbot, in January following a tradition that started years ago in Macerata Campania. Membership to the Association is free, without any kind of discrimination with regard to race, citizenship, sex or religious belief. Other Associations, Committees, Institutions and Foundations, sharinq the same purposes of the Association, can apply for membership to the Association. During such event the Association coordinates about 1.
During the previous days concerts, tastings and religious liturgies warm up the atmosphere. The feast consists in: firing the "Cippo di Sant'Antuono" Saint Anthony's piece of wood , parade of the ornamental wagons of the "Battuglia di Pastellessa", fireworks and a raffle. The band exhibition of the "bottari" is in the morning when they are carried on 16 meter-long wagons, with their instruments consisting of vats, barrels and sickles, realized by local artisans, around the town. After the Mass fireworks are exploded as symbol of the purification and the struggle against the evil spirit.
Figurative fireworks representing a woman, a pig, a donkey, enrich the symbolism and represent the protective force from the snares of the world. Traditional games as tug of war, the sack race and the raffle, when all donations collected during the procession are auctioned, mark the closure of the festivities. The event is organized by the Association with the sponsorship of the Municipality of Macerata Campania, the Province of Caserta, with the Campania Region, and the participation of the "Comitato per la promozione del patrimonio immateriale".
Dissemination Project Sant'Antuono Web 2. The Association's Web community puts together more than 1. The event was organized by the Association with the sponsorship of the Municipality of Macerata Campania. The event was organized by Association with the sponsorship of the Municipality of Macerata Campania. The event was co-organized by the "Comitato Carnevale di Montemarano" and the "Comitato per la promozione del patrimonio immateriale ICHNet " with the sponsorship of the "Istituto Centrale per la Demoetnoantropologia" of the Italian Ministry of Culture.
Establishment of the Study Centre "Historia Loci" in order to fulfil safeguarding activities for the intangible cultural heritage of Macerata Campania through research, studies, and events. Young people are invited to join in the practice of playing the various typical musical instruments used while elder people participate in the transmission of techniques and patterns of playing and singing.
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In order to fulfil the safeguarding activities for the intangible cultural heritage of Macerata Campania, the Association collaborates with other Associations, Committees, Institutions and Foundations, of the territory such as the "Associazione Radici" of Marcianise, the "Comitato Carnevale di Montemarano" of Montemarano, the Province of Caserta, the Municipality of Macerata Campania. In order to strenghthen the knowledge of its local tradition and specific percussion techniques, it also collaborates with organizations from other parts of Italy including the "Comitato per la promozione del patrimonio immateriale ICHNet - Intangible Cultural Heritage Network " and the "Istituto Centrale per la Demoetnoantropologia" of the Italian Ministry of Culture.
Since its foundation in , MusicaEuropa has been committed to developing ideas and projects in the arts in order to bring different cultures together in a social context and give young musicians the opportunity to work professionally with professionals and institutions in the public and private sectors. The key focus of the activities of MusicaEuropa are music and arts for professionally targeted musicians, but also as a formative artistic activity of fundamental importance for a better development of modern society.
Additional information: MusicaEuropa, in accordance with the "Convention for the Safeguarding of the Intangible Cultural Heritage" is engaged in the research, preservation and dissemination of the intangible cultural heritage. This objective has been achieved over the years through a commitment in researching and protecting the ancient traditional music of the Mediterranean area from Turkey to Portugal.
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At the end of this five-year project, MusicaEuropa organised the international conference, "European cultural Associations - Today's Problems and Future Development" in December This Festival focused its 7-years activity on creating a real exchange between north and south Europe, on developing the concept of cultural integration, offering young music students important opportunities of quality training with excellent teachers and musicians and concrete possibilities of professional growth playing with the World Youth Orchestra and in chamber music ensembles. The Festival had many different concerts and music sections the involvement of important international institutions and non-governmental organizations in Rome.
The International Fetival of Young Musicians has added value to a common cultural European space and it has fostered international networking connections amongst young people and cultural institutions created international partnerships. Innovative programming of the concerts received a widespread appreciation by broad international audiences. The World Youth Orchestra gathers young students from 16 to 28 years old, coming from the best music academies, conservatories and universities of the five continents to play music together.
The activities include high level trainings, music master classes held by well known music professors and musicians, participation to international musical events, tours and concerts all over the world. All these activites foster intercultural dalogue, integration and mobility of youth, multi cultural coexistence through formal and informal education thanks to the universal language of music. Since its foundation in , it has involved more than students from 48 countries. The project had its focus on peace in the Mediterranean area, and its activites were implemented in many Mediterranean countries such as Algeria, Israel, Italy, Jordan, Malta, Palestine, Slovenia, Tunisia and Turkey.
Through formal and informal education, MusicaEuropa fosters young artists mobility and intercultural dialogue. Another project managed by MusicaEuropa in the past years is the "Arthmos Project", a social project for underprivileged children, promoting the artistic education in primary schools with high percentage of children with fewer opportunities social obstacles, educational difficulties, economic obstacles and cultural differences. Artisitic education and creativity aim at developing cognitive, relational and emotional capacity, as well as self-esteem and social consciousness in order to keep children away from drop-outs, lack of dialogue and cultural standardization.
Theses activities has been implemented from to in the suburbs of Rome and we are now trying to implement similar projects in Palestine, together with the Palestinian Minisitries of Education and Cutlure. The key focus of the activities of MusicaEuropa are music and arts for professionally targeted musicians, but also as a formative artistic activity of fundamental importance for a better developement of modern society. Additional information: MusicaEuropa is a non-profit association operating in the fields of arts and education, safeguarding the ancient mediterranean musical heritage and implementing international projects to promote music as a tool for intercultural dialogue.
In , thanks to Damiano Giuranna, Alexander Sasha Karlic and other important personalities of the musical world, MusicaEuropa started a research study and to disseminate the music repertoire of folk and traditional music of the Mediterranean basin. This Festival focused its 7-years activity on creating a real exchange between northern and southern Europe, on developing the concept of cultural integration, offering young music students important opportunities of quality training and concrete possibilities of professional growth. The World Youth Orchestra gathers young students from 16 to 28 years, coming from the best music academies, conservatories and universities of the five continents.
The activities include high-level trainings, music master classes held my well known music professors and musicians, participation to international musical events, tours and concerts all over the world. All these activities foster intercultural dialogue, integration and mobility of youth, multi cultural coexistence through formal and informal education thanks to the universal language of music.
More than students from 48 countries have played in the orchestra. In MusicaEuropa created a long term project for the peace and dialogue in the Mediterranean: "World Youth OrchestraMediterranean Tour - The Mediterranean Brotherhood, focussed on the peace in the Mediterranean area. Another project managed by MusicaEuropa and implemented between and in the suburbs or Rome is the "Arthmos Project", a social project for underprivileged children, promoting the artistic education in primary schools with a high percentage of children with fewer opportunities social obstacles, educational difficulties, economic obstacles and cultural differences.
Safeguarding the intangible heritage through the research on ancient traditional Mediterranean music in the Middle East, in northern Africa and in Europe, has been possible thanks to a series of contributions and influences from the professionals working with MusicaEuropa and various collaborations with leading personalities of the world of music such as Alexander Sasha Karlic, Robert R.
Holzer, Nader Jalal, Issa Boulos. Damiano Giuranna committed himself to the research of the ancient musical Mediterranean heritage following the teachings of Alexandar Sasha Karlic and Moni Ovadia. During 15 years of activities he has gathed hundreds of songs and instrumental music in Turkey, Jordan, Palestine, Israel, Tunisia, Algeria and Morocco. He has studied also the ancient Sephardic music in Spain and Greece. The execution of these compositions has been performed in many countries, giving a concrete contribution to the safeguarding and widespreading of a precious musical heritage.
Additional information: MusicaEuropa in the past years has managed different projcet which had the aim to create a spirit of mutual respect and collaboration. The "Arthmos Project", a social project for underprivileged children, promoting the artistic education and the ancient Mediterranean. Social activities like art and music stress the importance of the interpersonal relation leading to a better listening of the other and thus the developing a feeling of brotherhood.
In accordance with the Art. MusicaEuropa organizes annual workshops, advanced training and high-formation courses for young musicians from all over the world. The Association has promoted and organized courses dedicated to schools of every grade in Italy and in several countries in Europe and the Middle East, focusing in particular on the ancient traditional music of the Mediterranean area with a particular attention on the influences, on the different styles, on the structure, on the performing techniquest with a deep work of research.
A particular significance has been given for these events by the participation of the community, helping to raise the awareness amongst individuals and groups of people on the wonderful musical intangible heritageof the Mediterranean basin and particularly on the ancient folk Mediterranean music. This shared by the community participation has passed knowledges and a great strenght capable of transmitting the artistic cultural heritage.
The exchange of information and experiences among young people has been an important element for these project and a fundamental value for Musica Europa, in accordance with the Paragraph N. Learning from the knowledge of the other is a way to enrich one own's cultural background and therefore a way to preserve and transmit the cultural heritage.
The Union helps to learn and form the public opinion about carpet-making art, legal rug products, and it also helps the stimulating of the raising of the creative work mastery of the physical persons, popularization of quality and special signs of our national culture and handicrafts to determine various examples of carpets and also helps theirs popularization and demonstation in Azerbaijan and the world.
The NGO collaborates with local and international organizations of carpet-making art, including museums and also with legal and physical persons, as well as the state agencies. The Unity organizes different trainings and workshops, round tables and meetings, exhibitions, charitable fundraising, conferences, other cultural and other mass measures; dissiminates information about purposes and activities, publishes print materials. The Carpetmakers' Union organises regular trainings in technique of pileless carpets at the the Museum of the Azerbaijan carpet. Communities of carpet weavers demonstrate the works at various exhibitions.
So, in the national competition-festival of carpets in various zones of the country was organised. In , works of national weavers were shown in one of the Days of the Azerbaijan culture in Basel. Besides, the following national laws were adopted: in the Law on import-export of cultural objects, in - the Law about folklore, in - ratification of the Convention of UNESCO on Protection of intangible Cultural heritage. In , , and , three international symposiums of the Azerbaijan carpet were organised in Azerbaijan.
In 4th symposium devoted to the anniversary of Ljatif Kerimov took place in UNESCO headquarters in Paris where the exhibition of artists works also was organised. Kerimov and Materials of 4th symposium about the Azerbaijan carpet. Many last projects have been connected with efforts on revival of carpet art. In 14th of September, has been spent the round table and a master class "Not varying values of varying time" with the assistance of carpet — wavers, artists on carpets, collectors and businessmen, and also fans of carpet art.
It has been shown a collection of clothes with use of carpet patterns of young designer Minary Kulieva, works of the master on embroidery art with use of a carpet thread of Shahla Askerova, etc. On 17th of November, , on the day of birth of the great artist on carpets, masters, scientific Ljatif Kerimov has been opened the exhibition of professionals and masters is national-applied art "The art Bridge, the leader from the past in the future".
On 18th of May, has opened the exhibition of tapestries "Tapestries: yesterday and today", where have exposed the works of masters of Non-governmental organisation. On 10th of May, has been opened the exhibition of the Union's member Mr. In March, has been opened the exhibition of masters on national-applied art was devoted to a holiday of Novruz. Since the Carpetmakers' Union has started to carry on negotiations with similar international communities in Uzbekistan, Turkmenistan, in Russian Federations and in Islamic Republic of Iran. Result of negotiations was the opening of an exhibition of masters of people-applied art of Uzbekistan which has been opened together with "Fund-Forum of culture and art of Uzbekistan", Associations of Antiquaries of Uzbekistan "Meros" which will proceed in the autumn opening of an exhibition of the Azerbaijan masters in Tashkent, also opening of an exhibition of carpets on the basis of pictures of the National artist of Azerbaijan and Russia Tahir Salahov.
In this way the Union supports to enrich cultural variety, protect non-material cultural heritage especially among young generation. It carries out monitorings for the learning cause and effect in the material and technical direction, prepare the activity program in the direction of restoration of the technologies defining on the basis of getting results of the sensible and forgotten kinds of the carpet-making art.
In in Guba, Khachmaz, Gusar, Shabran, Siyazan the Union carried out the survey about modern situation of the carpet-making art, in in the result of analysis of the surveys compile the plan of monitoring and in Guba unity have been organized the exhibition from the works of the carpet-makers and masters of applied art. In there were surveys about carpet-making art in the west zone of Azerbaijan. The same problem is connect with various kinds of art embroideries.
It is about the propaganda the ancient kinds and names of embroideries art among the young generation. Once in a month the Union organize the meetings with craftsmans in the various handicrafts of people-applied art and investigate their problems. Carrying out the work among different adults , the Union learns their interests to various kinds of applied art and organize different groups. Educational activities: At the museum but also in schools. We are holding courses for youths and adults who want to learn, and also have two university courses at the museum together with the Gotland University.
Festival: Since , every year we have had a storytelling festival, which is local, national and international. At the festival we host a Nordic youth camp for the next generation of storytellers. We are trying to highlight different kind of storytelling traditions, we highlight the romany tradition. This has been done by; road signs, maps, story cabinets at the actual place the cabinets consist of a story that the visitor can read in Swedish, English or German, a painting which is connected to the story , an app you can listen to the story in your phone instead of reading if you like geocaching, performances, activities and excursions.
Every summer we do a summer program in The Land of Legends, with performances open for the public. Performing arts: Storytelling is a performing art, we do plenty storytelling from stages, at theathers and festivals. Book publishing: Several books have been published with the old tales but also with the new stories that we have collected today. Minority groups — we have highlighted storytelling traditions belonging to groups that unfortunately have been overlooked in history, for example Romany and Sami. Together we have done many projects, and helped them at several places to highlight their legends and stories connected to places where they operate.
NGO for traditional handicraft — connected to the making of handicraft are several stories and tales. We work together with the traditional handicraft association to bring forward these stories. We co-operate around storytelling, doing performances at the museums. Main objectives of the Organization: 1. Rediscovery and promotion of the intellectual and traditional knowledge of the Igbos relating to its traditional medical knowledge and practices; 2. Protection of the masquerade and oracular prophetic practices of the Igbos, Wawa people as they extend in Nigeria, Ghana, Cote d'lvoire and Senegal; 3.
Defense and sustenance of the natural and customary practices of the indigenous African people under the context of foreign religion and globalization which exterminate the population's social and economic existence; 4. Sensitization of the intellectual class in Africa on the issues that border on African intellectual property and folklore; 5. Research and publications on African intellectual and folklore history and issues by collating end reports of conferences and workshops.
Poverty reduction programs to ensure environmental and economic sustainability for the Wawas in 19boland spread through the four West African states; 7. Designing relevant programs that will impact positively and contextualize the millennium development goals in the lives and customs of the Wawas in 19boland, especially those in tension soaked Niger delta of Nigeria. Poverty reduction programs to ensure environmental and economic sustainability for the Wawas in Igboland spread through the four West African states; 7.
Designing relevant programs that will impact positively and contextualize the millennium development goals in the lives and customs of the Wawas in Igboland, especially those in tension soaked Niger delta of Nigeria. We have embarked upon documentation and profiling of the intellectual properties and folklore of the Wawa people of West Africa with a view to seeking legislative and copyright protection of these activities, previously undocumented; 2.
Publication of well researched articles and books on Wawa indigenous people that will itemize the various cultural properties and rights of the people to sensitize the world and national governments on the areas which are threatened with distinction. Organizing workshops and attending global fora of world indigenous peoples to present the perceived areas of injustice and marginalization which have threatened them with extinction and permanent dislocation in the geography of their present locations in West Africa.
Collaboration with all other individuals and organizations which promote and defend the intellectual property and folklore of indigenous people worldwide with a view to exchanging information and visits from other parts of the world; 5. Making representation to governments in the four West African countries to recognize and adopt best practices and conventions on world indigenous intellectual rights and properties.
Policy advocacy on curriculum change, legal reform and cultural promotion of the intellectual property of the Wawas and Igbos in West Africa. Materials gathered by CTMD staff, folklorists, ethnomusicologists and community cultural sepcialists are the basis for subsequent articistic presentations and educational programming.
The collection includes audio and video recordings, photographic documentation and related ephemera on CTMD's presentations and programs. A monthly eNewsletter provides news, events and informatin about NY's traditional music and dance scene. While CCIs are deeply grassroots and NY-based, they produce ripples that can extend nationally and even internationally. In the s, CTMD's project to document and present Jewish klezmer music helped spark a workd-wide revival. In the s, CTMD helped form the renowned all-women's ensemble Cherish the Ladies which ispired huge interest amongs women across North America ane even Ireland in performing Irish music previsously a male-dominated activity.
Il met sur pied des expositions en lien avec ses collections. La mission du Centre touche les volets de la recherche, de la conservation et de la formation, de la diffusion et de la mise en valeur du patrimoine vivant. However, from it increased her activities to encompass the conservation of both movable, immovable and intangible heritage assets. CHDA is mandated to Organize, co-ordinate and develop viable projects and activities for heritage and museum development in Africa, such as the post-graduate diploma course in the care and management of heritage and museum collections in sub-Saharan Africa, in collaboration with the University of Nairobi and University College London, and the Africa program.
In many programs, CHDA invites expert resource persons and also teaching assistants, who use the opportunity to understudy the expert trainer on their way to becoming expert trainers in their own right. These professionals, many of who went on and acquired further qualifications, became part of the CHDA network of heritage professionals, a pool of experts that CHDA draws on for its professional training needs, as resource persons, facilitators and program coordinators in case of need.
It is important to note that the network has experts in most of the different aspects of heritage management, including tangible, intangible, movable and immovable heritage. They also have loyalty and commitment to CHDA, having come through it in the development of their professional careers. A few of the programs CHDA has undertaken in the past and which had a direct bearing on intangible heritage management included: 1. Endangered Heritage Assets Program EHAP This program was undertaken by CHDA in successfully sought to identify, document and disseminate the tangible and intangible cultural heritage of the Mijikenda people of the Kenyan coast, especially those that are threatened with extinction.
The three-year en-compass project The project began in October and is on-going. It brought together participants from China, England, Guyana, and Kenya with the remit for Anglophone Africa The program looked at issues related to the dangers and challenges faced in the protection of intangible and tangible cultural heritage in all participating countries.
The program activities also included a workshop to scope and audit key tangible and intangible heritage resources, including cultural expressions, products and services in each partner country. These in-country workshops provided a focus and momentum for long-term on-going scoping and auditing activities post training. However, the information and material gathered through the scoping exercise was also fed onto a database, used to create the online and published catalogues- this process is still on-going. The project also intends to create an inventory of cultural heritage resources Tangible and Intangible , including those at risk in the short-term from the scoping exercise undertaken in each of the three partner countries.
The catalogue of cultural heritage assets both tangible and intangible collected will be researched and used to design and develop a travelling exhibition that will go around all the participating countries. This course had a whole unit dedicated to "Indigenous knowledge systems and community involvement", which is basically training in intangible heritage of communities. Africa Courses CHDA hosted the 3-month Africa courses for , , , , and One of the issues Africa program addressed was the issue of insufficient human resources and capacity for management, conservation, and maintenance of immovable heritage properties on the continent, using traditional methods and materials.
This means that traditional methods, knowledge and skills, which are basically intangible heritage assets, were being mainstreamed in the program, in a participatory approach involving local communities in the conservation planning and management processes. For example, the field projects aimed to establish self-confidence within the local custodians and to enhance their recognition as efficient professionals. The project also worked to integrate traditional techniques in conservation of monuments resulting not only in monuments that are responsive to local environments, but also to the sustenance and promotion of traditional skills - the intangible heritage within the local communities.
The aims of the course was to produce professionals who can record Intangible Heritage appropriately and to enable trainees effectively apply methodologies, standards, and equipment for recording Intangible Heritage. The main course objective was to enable participants to record Intangible Heritage using digital and video cameras in line with laid down standards and procedures as provided in the course. For this matter, community participation has always been incorporated into the programs CHDA offers its participants - either by making it part of the teaching learning content or by inviting community members as participants in training programs to exchange issues with professionals, learn from and teach them and to create networks for future exchange.
In the last training that CHDA held in Zimbabwe on Risk Preparedness for Heritage properties between 6th and 18th May for example, two community members were invited as participants to help build an understanding among professionals on the traditional approaches to risk management of the Great Zimbabwe, as well as to help us understand the community needs and expectations from the professionals in their professional work of management and conservation. Evaluation Body mandates: ; ; The roots of the CSC lie in an extensive research programme Katholieke Universtiteit Leuven on the history and the current situation of traditional games in Flanders the Dutch speaking part of Belgium , started by prof.
R Renson in The unexpected richness and variety of traditional games lead to the foundation of the CSC in order to promote this endangered sporting heritage and to get people acquainted again with the traditional games. The mission of the CSC states that the CSC must be a centre of expertise in safeguarding the intangible heritage of the traditional and modern movement culture in vivo and in situ via identification, documentation, research, protection, handing down, revitalizing … on a national and international level.
Gradually the CSC broadened its scope to a European and even a worldwide scale. On a European level the CSC carried out a lot of demonstrations of traditional games abroad and invited traditional games practitioners from many countries to Belgium for demonstrations and exchanges. The activities worldwide concern mainly research, publications, the gathering of documentation and exchange of information.
From onwards, the CSC committed itself, together with Sportmuseum Vlaanderen Sports Museum Flanders to realise the Sportimonium-project, a museum about the sports history of Flanders in its national and international context. Especially as traditional games are concerned, both the tangible artefacts and intangible loan service, games park —see further aspect of the sporting heritage is taken into account.
For enquiries the centre calls upon the traditional sports federations for collaboration. Documentation centre and library open to the general public - ca. This collection has been handed over to the Sportimonium in In this museum one of the sections is entirely dedicated to traditional games worldwide. Therefore the visitors can get acquainted with the skills of a variety of traditional games which are still practised locally in Flanders.
As the future teachers and sport administrators they are invited to the Sportimonium in order to sensitize them and to get them acquainted with traditional games. Counselling and support - supporting festivals organized by the traditional games players - helping clubs, federation and their individual members in research matters - counselling associations or federations for candidatures for the Belgian list of elements of intangible heritage - participation in governmental assessment committees cultural matters - collaboration with Unesco project on traditional games , platform for traditional games worldwide The staff of the CSC has almost 30 years experience in safeguarding traditional games.
The staff members 3 have university degrees and have followed in the course of years many courses related to the safeguarding of intangible heritage. The CSC is in close contact with other organisations in the country taking care of popular culture in order to exchange experience. The same goes for engagement in the international network of the European Association for Traditional Sports and Games, of which the CSC has been among the pioneers.
Due to these constant contacts, on the one hand with the practitioners of traditional games and at the other hand with professionals working in the fields of culture, sport and tourism the personnel of the CSC has acquainted its competences. The CSC has been instrumental in helping the clubs to get in contact with each other and to found if appropriate federations of their own. This resulted in in the foundation of a confederation for traditional games Vlaamse Traditionele Sporten vzw, VlaS with the CSC as one of the founding members.
This confederation grew steadily from to The CSC is member of the board of directors of VlaS and vice versa, firstly in order to be well informed about each other activities and initiatives, secondly to collaborate where appropriate. While constructing the traditional games park, there has been close cooperation with practitioners in testing and adapting the facilities in full respect with the games while using — if possible - modern materials.
One of the CSC objectives is to make the bearers of the intangible heritage, i. This must lead to an enhanced self-consciousness towards heritage in order to hand it down and to defend it. Important for the CSC remains, furthermore, exchange and collaboration with other organisations experienced in the domain of popular culture and in safeguarding intangible heritage. Son but est de promouvoir, d'elargir et de maintenir la forme traditionnelle de la culture populaire immaterielle, notamment des activites artistiques, des coutumes et traditions.
Grace a un perfectionnement systematique des methodes, elle oeuvre pour I'amelioration de la qualite artistique et logistique des festivals de folklore internationaux et d'autres manifestations consacrees a la presentation du patrimoine immateriel en Republique tcheque et a I'etranger. Elle cherche egalement a soutenir I'echange de connaissances et d'experiences entre les organisations, associations et individus au niveau national et international en contribuant ainsi au maintien d'une partie du patrimoine immateriel. L'adhesion a la section est ouverte a tous les organismes, organisations, institutions, associations, festivals de folklore, personnes et professionnels actifs dans Ie domaine de la culture traditionnelle et populaire en RT et embrassant ies objectifs fondamentaux du CIOFF, ou a ceux qui manifestent I'interet pour la culture traditionnelle et populaire de fayon constante et efficace.
La qualite de membre est obtenue par selection i'entree d'un nouveau membre est conditionne par I'accord de tous les organes de la section nationale et peut etre ordinaire, associee et honorifique. Sont membres de la section: a festivals de folklore nationaux en RT, dotes du statut CIOFF, b organismes, organisations, institutions, formations folkloriques et associations dont Ie but est la preservation et Ie developpement de la culture traditionnelle et populaire, qui ont demande leur qualite de membre et qui demandent a adherer selon les conditions prevues par la section nationale.
Les membres associes peuvent etre des organismes, organisations, institutions, associations generales ou folkloriques, festivals folkloriques ne beneficiant pas du statu! CIOFF, formations folkloriques, professionnels individuels et experts dans Ie domaine de la culture traditionnelle et populaire qui demandent aadherer selon les conditions orevues dans les statuts. La qualite de membre honorifique peut etre accordee aux personnes identifiees et aux professionnels ayant des merites specifiques quant au maintien et la sauvegarde et du developpement de la culture populaire traditionnelle, sur proposition d'un membre ordinaire ou associe de la section.
C'est l'Assemblee generale qui prend la decision. La Iiste de tous les membres tcheques du CIOFF festivals, institutions, ensembles, associations et individus figure a I'annexe au point 8. La section a ete fondee pres I'lnstitut de la culture populaire aStraznice qui est I'organisateur d'un Festival folklorique international de renom. Son secretariat continue a etre base pres de cet Institut.
A I'heure actuelle, elle parlicipe a la preparation d'autres nominations sur la Liste representative du patrimoine culturel immateriel de I'humanite Vesnicke masopustni obchuzky a masky : Tours et masques de carnaval aHlinecko et Jizda kralu: Chevauchee des rois. Elle collabore a la mise en oeuvre du projet Depositaire de la tradition de I'arlisanat populaire. Elle constitue Ie defi ethique et professionnel permanent quant au niveau de la presentation de la culture traditionnelle immaterielle lors des festivals de folklore en procedant aleur evaluation et en choisissant avec attention ses membres ordinaires et associes.
Evaluation Body mandates: ; ; ; ; At the National reviews our jury of specialists meets more than collectives, evaluates their qualities and their art. The Section communicates with those groups as to organize participation for them in different Festivals and Folklore events all over the world. We assist concerts and presentations of those ensembles. For better communication with all those collectives from different parts in Bulgaria the section collaborates with 24 choreographers who are responsible for particular regions of the country.
Meetings with those coordinators are organized frequently and any needed and important information is given to them. More than choreographers from the country take part in the annually organized seminars of the choreographers in Bulgaria. At those events are discussed different problems related with the folklore and its popularization. In many of our activities we co-operate with the Ministry of Culture, with the Union of the cultural clubs in Bulgaria, and with different organizations working in the cultural domain.
During the organization of the Festivals in Sofia and Veliko Tarnovo we co-operate with a lot of people who have experience in the folklore sphere in order to choose groups of a great quality fot the Festivals and to present them our traditions in best way. It benefits from the cross-disciplinary exchange of its members — architects, archaeologists, art historians, engineers, historians, planners, who foster improved heritage conservation standards and techniques for all forms of cultural properties: buildings, historic towns, cultural landscapes, archaeological sites, sites having intangible values, etc.
It also runs 28 specialised International Scientific Committees on a variety of subjects. One of these is the International Committee on Intangible Cultural Heritage which, within the mandate of ICOMOS as an organisation concerned with the conservation of monuments and sites, specialises in the protection of sites that have intangible values and in so doing the conservation of the intangible that gives value to certain monuments and sites. ICOMOS has six principal objectives: To bring together conservation specialists from around the world and serve as a forum for professional dialogue and exchange; To collect, evaluate and diffuse information on conservation principles, techniques and policies; To co-operate with national and international authorities on the establishment of documentation centres specialising in conservation; To work for the adoption and implementation of international conventions on the conservation and enhancement of architectural heritage; To participate in the organisation of training programs for conservation specialists on a world wide scale; To put the expertise of qualified professionals and specialists at the service of the international community.
ICOMOS members, who are specialists in the management of sites with intangible cultural heritage associations, were part of their national delegations in the drafting process of the ICH Convention. The core business of ICOMOS is the conservation of monuments and sites and the development of standards of professional practice and networks. Our focus is how appropriate and adequate protection of sites can strengthen intangible heritage practices; and how intangible values such as traditional knowledge systems, crafts and practices contribute to the sustainability of cultural places and landscapes.
Key activities in this area: Debate around ICH and its associations with monuments and sites. ICH features strongly in regards to the strengthening of traditional practices and the benefits for sustainability and indigenous practices associated with cultural landscapes. Development of national and international standards of professional intangible cultural heritage practice in relation to sites and landscapes. The establishment of a network of specialists in ICH values. Members are actively involved in research and documentation activities under the Convention; they share expertise and activate to promote the convention.
UK, Australia and Mexico. Our members actively participate in national and international conferences and publish extensively on this subject through scholarly books and peer reviewed journals. Perpetuation and transmission of the ICH aspects of a site. Strengthening of ICH practices. Identification of conservation measures needed on a site to ensure continuation of associated cultural practices Recognition and strengthening of traditional land management systems as a means of conserving a site and associated ICH practices.
Training of community members in conventional heritage conservation practice, tourism management, etc. ICOMOS members routinely work with issues associated with community heritage and international standards and governance systems for conservation of heritage, both tangible and intangible.
Tsenka Ivanova and Dr.