En savoir plus sur Ahmed Cherkaoui. On peut lire dans sa biographie La globalisation semble faire pression sur eux […]. Tu connais la mer , Huile sur toile, x cm Salle Tu connais la mer? Perpetuales celestes 1 , Huile sur toile, x 97 cm Salle Sans titre, Huile sur toile, 87 x cm Salle Miuz skfe , Huile sur toile - x cm Salle Entre les nuances lumineuses percent des ajoures qui laissent affleurer la toile. Ce que rappelle Pierre Restany: F, Huile sur toile, 62,1 x 73,8 x 3 cm Salle Certains sont assis et exposent devant eux leurs articles.
La couleur occupe une place dominante dans les compositions. Bleu, vermillon, jaune, vert, blanc, cernes noires rythment les espaces peints. Baya, qui tient et ranime le rameau d'or. Six peintres du Maghreb. Salon de la jeune peinture, Rabat. Entre et , de nombreux hommages lui sont rendus: The process started in and the proposal was developed for two years by team of the Association. Association has been working since towards the documentation, gathering and recognition of several manifestations of the GPIH Galician-Portuguese Intangible Heritage.
This work was always carried out in direct contact with the communities bearing the said heritage. These groups collaborated in many of the Association's activities in order to revitalize this heritage and convey it to the younger generations. During the elaboration of the proposal for the Candidature of the Galician-Portuguese Intangible Cultural Heritage, which began in , the Association contacted the representative communities of the GPIH in both Galicia and the north of Portugal.
These communities were representative of the heritage's fields featured in the Candidature: The written consent and the Candidature's documentation were submitted together. In all of the GPIH's fields, the bearing communities and gathering groups of this heritage in Galicia and North of Portugal collaborated with the Association, thus providing equipment and performing conveying activities in formal learning as well as in public events. Once the Candidature was presented before the UNESCO in , and as it was being assessed by the international jury, communities and bearers performed activities to spread the common heritage throughout the Galicia-North of Portugal Euroregion.
Due to its territorial involvement and the number of involved communities, we wish to highlight the role of the Galician Federation for Maritime and Fluvial Culture Galician initials: FGCMF , which groups together with important bonds the maritime communities of the Galician and Portuguese coastline that protect the manifestations of the Galician-Portuguese maritime culture. Since its creation in , Teje Teje is committed through its field work to the strengthening of the cultural identity and traditional expressions of indigenous peoples and other groups too.
Connected concerns for the achievement of this goal are the preservation of the environment, the fostering of sustainable development, and the support to children education and traditional leaders' capacity building. In this manner Teje Teje contributes in the safeguarding of tangible and intangible cultural heritage, the implementation of formal, informal and non-formal education processes. As a consequence, it cares for the individual and collective cultural growth of the communities as well as for the preservation of the environment. Its work is focused in the restauration of traditional knowledge and production in land production, environmental management, sacred and ritual centers, gastronomy, healing, spirituality, artifact, looking at these various elements of individual and collective life with an holistic approach.
Travels around the sacred sites of the Ette Ennaka indigenous population for cultural strengthening current, Magdalena and Cesar Beneficiaries: Workshops with the Zenu indigenous population on their intangible cultural heritage , Cordoba and Sucre Beneficiaries: Cultural Characterization of territorial affections of the Ette Ennaka People for land restitution process Travels around the sacred sites of the Black Line boundaries of the ancestral Arhuaco, Wiwa, Kogi and Kankuamo territory with the indigenous shamans for cultural strengthening , , , Magdalena, Cesar Guajira, and Atlantico Beneficiaries: Ritual Territory", "Ritual and Thought" distributed in indigenous schools for culture strengthening Compliling of Ette Ennaka's oral tradition on territory and settlement with the elders, for cultural strengthening , Magdalena Beneficiaries: Kitchen, dining room, Ette Taara lessons guaranteed.
Recuperation and construction of traditional home orchards Kaaria for food sustainability and cultural strengthening and , Magdalena and Cesar beneficiaries: Wayuu, Arhuaco, Kogi and Kankuamo, on issues such as traditional design, quality and marketing. Recovery of traditional designs and improvement of their income. Teje Teje seeks to preserve indigenous cultures". Since Teje Teje has made alliances with women weavers of the following indigenous peoples communities: Kankuamo in Atanquez, Wayuu in Manaure and Arhuaco in Jimain, aiming to support the preservation of their traditional handcrafts.
In addition, Teje Teje promoted the creation of the Ette Ennakas Women Weavers Association in which today provides indigenous women with incomes to help support their families. In and - Teje Teje worked in alliance with the Ette Ennakas "Cabildo" Authorities in the strengthening of their traditional practices associated to food production, political organization, and cultural heritage around issues such as weaving and handcrafts, music, dance, ethno medicine and self-government, benefitting families.
Since early , Teje Teje has worked in association with the Ministry of Culture, with the accredited NGO to the Convention, Traditions for Tomorrow, and with the Ette Ennaka "cabildo" on a project that aims tore vitalize its cultural identity considering the conservation of sacred sites, knowledge of medicinal plants and the word of the elders.
With the Zenu Indigenous population, Teje Teje is currently working with the indigenous authorities to encourage the creation of a group of people committee that will manage cultural heritage based on the Special Safeguards Plan of the cultural expression "Handcrafts as the heart of Zenu Identity". This program prepares grants a scholarships especially for this programmed for M. Participants are young lecturers from various universities around Indonesia. After completing their studies are expected to return home to teach at various universities This program also to train and prepare a number of scholars for research and fieldwork on endangered languages and cultural activities in different areas all over Indonesia.
Primarily it is necessary to conduct a general survey to understand the present situation of intangible cultural heritage in Indonesia, and to plan a strategy of protecting the most endangered species. As matter of fact, the "spearhead" of the ATL's success is the speakers or storytellers, the shamans, the syeh teachers ofIslam , the datuk the elders , and tribal elders from various regions in Indonesia. Nevertheless, we have to express our gratitude to the researchers and resource persons who helped ATL in designing and carrying out our revitalization and accompanying programs i.
Hum Jakarta , Dr. Tabir Sitepu Medan , Prof. Suripan Sadi Hutomo Surabaya , Dr. Aminuddin Malang , Prof. Mursal Esten Padang Panjang. In addition, we would like to express our most sincere gratitude to cultural experts and artists, such as the late B. The objective of the organization is mainly the study of the Fallas Festival, urban festival from Valencia and others cities through the region.
It is linked to European Carnival festivities, has important components of popular satire, festive sociability, artistic expression, artisan practices and singular techniques. It is also felt by the community involved as an importart signal of its identity. Likewise, are also an important objective for the association to publicize and promote the heritage aspects of the festivities related to the use and rituals of fire, promote the research related to them and create opportunities for reflecting on the importance of heritage management in popular festivals.
The activities of the association address in different ways to safeguard the tangible and intangible heritage generated by the festival of Las Fallas, as an example of a popular celebration of wide dissemination and social and identity implications. Without being exhaustive, we highlight the following activities: 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. Design and development of thematic exhibitions on the creative and technical aspects of the Fallas "Falles i art: 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.
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.
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. During regular activity, the association has been working with the following groups and individuals: Valencian Museum of Ethnology in campaigns for the identification and enhancement of the documentary and cinematographic festivals-related heritage. 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. Federations of Falla committees, associations and local committees, in organizing and conducting various activities to publicize the festival of Las Fallas and other popular 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: Leurs auteurs sont souvent des universitaires. According to the item 3 of the statute, in its larger aim of solidarity and social and cultural promotion, the objectives for which the nCircolo" was established are: 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. When some inhabitants of Scapoli decided to establish the cultural association "Circolo della Zampogna", the tradition of making and playing this ancient instrument was still deely-rooted in the local community, but they felt the need to preserve this heritage and to transfer it to the new generations.
For that, many and various activities have been carried out, involving not only the zampogna makers and players but the whole community. The main actions can be summarized in the following: 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: The "Circolo della Zampogna" was bom from the will of a consistent part of the local community "to do something" to safeguard, to promote and to transfer to the new generations the typical cultural heritage represented by the zampogna.
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. 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. 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. 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: 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.
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 Totarella association is formed by members that are all part of the local communities of the Pollino area, including representatives from the Arbresh communities.
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. After the crisis of Sicilian traditional puppetry, the Association was established and in it founded, and still manages, the ethno-anthropological Museo internazionale delle marionette Antonio Pasqualino Antonio Pasqualino International Puppet Museum , which houses ab.
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. This activity takes place by means of collecting; research; promotion; networking and cooperation; educational, didactic and theatrical activities, eg.
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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 Among the numerous activities of the Association: 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.
Since its foundation, the Association has cooperated with local puppeteers and craftsmen to help them survive the deep crisis, which since s threatened the existence of this local tradition. 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: 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: 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.
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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. With the aim of disseminating knowledge about the intangible heritage, the Association has created a net of Internet Web Official website, YouTube channel, Facebook group, etc 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. 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. MusicaEuropa is a non-profit association operating in the fields of arts and education and implementing intenational projects to promote music as a tool for intercultural dialogue.
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. 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. MusicaEuropa ia a non-profit association operating in the fields of arts and education and implementing intenational projects to promote music as a tool for intercultural dialogue.
November marked the beginning of a five-year project: This project had different themes each year: 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. In particular, in MusicaEuropa created a long term project for the peace and dialogue in the Mediterranean: 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. 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.
Project managed by MusicaEuropa include: 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.
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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: 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. The "Arthmos Project", was 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. 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 purpose of the Azerbaijani Carpetmakers' Union is the safeguarding of the Azerbaijani national carpetmaking and handicrafts, their development and popularization in the world. 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.
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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 , , 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. Among large publications of carpet protection for last decade: 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: 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.
The Carpetmakers' Union plays the main role of creating intangible cultural variety of the local communities, groups and various persons. 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.
It was established to highlight the oral intangible cultural heritage from the region and to revitalize by stimulating oral storytelling, shedding knowledge of fairy tales, legends and folktales and to safeguard the narrative traditions of the Land of Legends which is three municipalities in this region of Sweden. These three parts have all the same goal, to highlight and safeguard our oral traditions, this is being done by: 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. 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. The Land of Legends: 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. Storytelling is a performing art, we do plenty storytelling from stages, at theathers and festivals. Several books have been published with the old tales but also with the new stories that we have collected today. We work with different kinds of projects: The network is active in the work that is now taking place in Sweden of implementing the Convention with the Institute for Language and Folklore. Examples of groups we are working together with: Individuals — at our website everyone can download their own stories done by calling a number and telling your story At the festival we always have some telling of life narratives.
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. The municipalities give founding to our work yearly Authorities — for instants: Main objectives of the Organization: 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. Founded in , the Center for Traditional Music and Dance, one of the US'premier traditional arts organizations, is dedicated to maintaing the vibrancy of the performing arts traditions of ethnic and imigrant communities through grass-roots community organizing, research-based educational programming and public performances.
Since its founding in , CTMD has produced over major presentations including concerts, festivals, tours, CD and fim series, and lectures. 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. En tant qu'association sans but lucratif, il poursuit un triple but scientifique: 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. Pourquoi et comment sauvegarder et promouvoir les chants et traditions maritimes? CHDA is an international Non-Governmental Organization NGO dedicated to the reservation, management and promotion of cultural heritage in Africa through a programme of training and development support services. 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: 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.
Féminisme(s) en Afrique et dans la Diaspora
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.