0 com ith/15/10. Com/Decisions Windhoek, December 2015 Original: English/French



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DECISION 10.COM 10.b.13

The Committee



  1. Takes note that Colombia and Ecuador have nominated Marimba music, traditional chants and dances from the Colombian South Pacific region and Esmeraldas Province of Ecuador (No. 01099) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Marimba music and traditional chants and dances are musical expressions integral to the family and community fabric of people of African descent in the Colombian South Pacific region and Esmeraldas Province of Ecuador. Chanted stories and poems are performed by men and women at ritual, religious and festive events as a celebration of life, a form of worship to saints or as a farewell to the deceased, and are accompanied by rhythmic movements of the body. The marimba music is played on a palm wood xylophone with bamboo tube resonators, accompanied by drums and maracas. The element is rooted in family and daily activities and the community as a whole is considered the bearer and practitioner, irrespective of age or gender. Elderly people play a crucial role in transmitting legends and stories from oral tradition, while music teachers oversee the transmission of musical knowledge to new generations. Marimba music and traditional chants and dances promote symbolic exchanges that include food and drink. Each of these expressions facilitates family and collective integration through ancestral practices that heighten the sense of belonging to a particular group connected to a shared territory and history.

  1. Decides that, from the information included in the file, the nomination satisfies the following criteria:

R.1: Marimba music, traditional chants and dances are transmitted from generation to generation and constantly recreated by people of African descent, thus providing them with a sense of community and belonging while forging social alliances in times of hardship and celebrations;

R.2: Inscription of an element shared by two States Parties could contribute to awareness of the role of intangible cultural heritage in consolidating cooperative relationships and strengthen the promotion of cultural diversity and human creativity which, by being integral parts of communities’ daily lives, become vehicles of their identity and well-being;

R.3: The nomination describes ongoing safeguarding processes and plans elaborated in each of the submitting States through close collaboration between practising communities, stakeholders and officials, aiming to ensure the viability of the element, promoting cross-border integration of communities, and alleviating any unintended results of the inscription;

R.4: The nomination is the result of the shared efforts of communities, groups and individuals whose opinions and priorities were reflected in all stages of elaboration; Afro-Colombian communities are involved primarily through a management group that they previously, on the occasion of the 2010 inscription, authorized to represent their interests in further forums and their consents are provided in the form of film excerpts;

R.5: The element has been included in inventories of both submitting States (since 2010 in Colombia and 2009 in Ecuador), elaborated in conformity with Articles 11 and 12 of the Convention.


  1. Inscribes Marimba music, traditional chants and dances from the Colombian South Pacific region and Esmeraldas Province of Ecuador on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Takes note that the present inscription replaces the 2010 inscription of Marimba music and traditional chants from Colombia’s South Pacific region, in conformity with Chapter I.6 of the Operational Directives;

  3. Commends the States Parties for preparing a high quality multinational file that testifies to the dialogical, dynamic and evolving nature of intangible cultural heritage.

DECISION 10.COM 10.b.14

The Committee



  1. Takes note that the Democratic People’s Republic of Korea has nominated Tradition of kimchi-making in the Democratic People’s Republic of Korea (No. 01063) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Kimchi is a vegetable dish made by seasoning various vegetables or wild edible greens with spices, fruit, meat, fish or fermented seafood before they undergo lactic fermentation. The tradition of kimchi-making has hundreds of variants. It is served daily but also on special occasions such as weddings, holidays, birthday parties, memorial services and State banquets. Although differences in local climatic conditions and household preferences and customs result in variations in ingredients and recipes, kimchi-making is a common custom nationwide. Kimchi-making is mainly transmitted from mothers to daughters or mothers-in-law to daughters-in-law, or orally among housewives. Kimchi-related knowledge and skills are also transferred among neighbours, relatives or other members of the society who work collectively, sharing know-how and materials, to prepare large quantities of kimchi for the winter months. This activity, known as kimjang, boosts cooperation among families, villages and communities, contributing to social cohesion. Kimchi-making brings to the bearers a sense of joy and pride, as well as respect for the natural environment, encouraging them to lead their lives in harmony with nature.

  1. Decides that, from the information included in the file, the nomination satisfies the following criteria:

R.1: Transmitted across generations from mothers to daughters, as well as through the formal educational system, kimchi-making includes many varieties, depending on the natural environment and food supply; it is shared by all segments of society, providing them with a sense of identity and continuity, and enhancing mutual respect among various communities and groups;

R.2: Inscription of the element could increase visibility of traditional foodways as intangible cultural heritage, encourage dialogue and exchange of expertise between communities with similar practices, and draw attention to human creativity in its interaction with nature;

R.3: The nomination encompasses a well-articulated safeguarding plan, which is characterized by an appropriate balance between preservation and promotional measures, and was elaborated with the active participation of communities, regional and national governmental institutions, academic and educational institutions, as well as non-governmental professional associations;

R.4: Many organizations participated in the preparation and drafting of the nomination while major practitioners, along with representatives of regional organizations responsible for national heritage, the cooks’ association, the women’s union and other entities provided their consent to the nomination;

R.5: Since 2012, the element has been included in the State Inventory of Intangible Cultural Heritage, which is maintained and regularly updated by the National Authority for Protection of Cultural Heritage.


  1. Inscribes Tradition of kimchi-making in the Democratic People’s Republic of Korea on the Representative List of the Intangible Cultural Heritage of Humanity.

DECISION 10.COM 10.b.15

The Committee



  1. Takes note that the Dominican Republic has nominated Son (No. 01053) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Son is a form of music and dance combining African rhythms with Spanish musical elements and spread throughout the Caribbean. The lyrics of the songs are poetic. Most are love songs, focusing on the beauty of women and the pain of heartbreak. Couples dance close together with harmonious steps and rhythmic hip movements. The traditional dress of Son dancers today includes two-tone shoes and hats. The most experienced dancers are individuals taught from childhood by their parents and close relatives. The Son musical and dancing tradition is kept alive around the country by members of the Club Nacional de Soneros. The Club maintains two dance schools, organizes talks and lectures on the origin and history of Son, holds dancing exhibitions, concerts with orchestras and dance parties, and provides social assistance to members of the club in times of need. Musicians of Son orchestras are dedicated to interpretation of the musical genre, and undertake musical education and training in instruments such as the trumpet, bongo, bass, clave, maracas, guiro tres and others. Son prides itself on upholding values of morality, decency, elegance and respect.

  1. Decides that the information included in the file is not sufficient to allow the Committee to determine whether the following criteria are satisfied:

R.1: Notwithstanding the commitment of community representatives, the nomination does not respond to the questions related to the nature and scope of the element, its bearers and practitioners, the ways of transmission, and social functions and cultural meanings of the element but instead provides vague information; the Club Nacional de Soneros is at the very centre of all explanations, arguments and endeavours, contrasting its operations with those of other cultural expressions and communities in an inappropriate, prejudicial way;

R.2: The response to the questions posed is inadequate for it consists of reiteration of information presented in the previous and following sections, without addressing the contribution of the possible inscription of the nominated element to ensuring visibility and awareness, and to encouraging dialogue;

R.3: The safeguarding measures are elaborated exclusively from the perspective of the Club Nacional de Soneros, demonstrate a gap between ambitions and feasibility, and do not include any indication whatsoever of the commitment of the State to support their implementation;

R.4: Although the involvement of the membership of the Club Nacional de Soneros in the nomination process is well demonstrated, the process seemed to be misunderstood as one aimed at gathering signatures from other entities outside the Club in order to support the Club to obtain recognition at UNESCO; consequently, besides numerous members of the Club, the nomination is supported by entities such as a transportation service, a federation of trade unions, unions of female workers and similar associations;

R.5: The element was already included in an inventory in 1998, established by the agency preceding the Ministry of Culture but no adequate evidence is provided concerning its possible conformity with Articles 11 and 12 of the Convention.


  1. Decides to refer the nomination of Son to the State Party for additional information and invites it to resubmit the nomination to the Committee for examination during a following cycle;

  2. Takes note that the State Party proposed a challenging nomination file that was prepared and written by an organization of the element’s bearers and practitioners;

  3. Encourages the State Party, if it wishes to resubmit the nomination, to fully involve itself in the whole process of development and elaboration of the nomination;

  4. Suggests, should the State Party wish to resubmit the nomination, that it deliberate on whether the Representative List or another international mechanism, including capacity-building through an international assistance request, could best help the safeguarding of Son;

  5. Requests the State Party, should it wish to resubmit the nomination, to avoid prejudicial comparisons with other practices and communities that are not in keeping with the Convention’s principle of mutual respect.

DECISION 10.COM 10.b.16

The Committee



  1. Takes note that Ethiopia has nominated Fichee-Chambalaalla, New Year festival of the Sidama people (No. 01054) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Fichee-Chambalaalla is a New Year festival celebrated among the Sidama people. According to the oral tradition, Fichee commemorates a Sidama woman who visited her parents and relatives once a year after her marriage, bringing buurisame, a meal prepared from false banana, milk and butter, which was shared with neighbours. Fichee has since become a unifying symbol of the Sidama people. Each year, astrologers determine the correct date for the festival, which is then announced to the clans. Communal events take place throughout the festival, including traditional songs and dances. Every member participates irrespective of age, gender and social status. On the first day, children go from house to house to greet their neighbours, who serve them buurisame. During the festival, clan leaders advise the Sidama people to work hard, respect and support the elders, and abstain from cutting down indigenous trees, begging, indolence, false testimony and theft. The festival therefore enhances equity, good governance, social cohesion, peaceful co-existence and integration among Sidama clans and the diverse ethnic groups in Ethiopia. Parents transmit the tradition to their children orally and through participation in events during the celebration. Women in particular, transfer knowledge and skills associated with hairdressing and preparation of buurisame to their daughters and other girls in their respective villages.

  1. Decides that, from the information included in the file, the nomination satisfies the following criteria:

R.1: Comprising a sequence of events that mark New Year among the Sidama people, Fichee is celebrated by the whole community, including women, youth and children, while its knowledge and practices are transmitted non-formally through observation and participation; it enhances social cohesion, equity, equality, good governance and peace, and thus fulfils important social functions and helps sustainable development;

R.2: Inscription of the element could increase awareness concerning the capacity of intangible cultural heritage to contribute to a culture of peace and reconciliation through symbolic acts and festive spirit; it could also contribute to the visibility of other elements in the region and encourage their safeguarding, in particular given that the enactment of Fichee-Chambalaalla incorporates various domains of intangible cultural heritage;

R.3: Although the proposed safeguarding measures rely strongly on past and current efforts, they encompass a set of concrete and extensive activities aiming at ensuring the viability of the element in contemporary society, with priority given to making progress in legislation while stressing awareness-raising and training activities involving clan institutions, competent adults (Chimesaa), concerned community members and relevant groups as well as knowledge transfer towards the communities and the public; they were elaborated involving a wide range of actors, including bearers and practitioners of the element;

R.4: The participation of the community concerned in the nomination process is sufficiently documented; free, prior and informed consent is provided in the form of a petition signed by numerous individuals belonging to different age, gender and social groups of Sidama people;

R.5: The inclusion in 2013 of the element in the National Register of the Intangible Cultural Heritage of Ethiopia was conducted by the Authority for Research and Conservation of Cultural Heritage in conformity with Articles 11 and 12 of the Convention.


  1. Inscribes Fichee-Chambalaalla, New Year festival of the Sidama people on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Encourages the State Party to pay particular attention to ensuring that safeguarding measures respond adequately to the social dynamics on the ground and the increased visibility and public attention that will follow the inscription on the Representative List.

DECISION 10.COM 10.b.17

The Committee



  1. Takes note that Greece has nominated Tinian marble craftsmanship (No. 01103) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

The art of marble-carving is an expression of the cultural identity of Tinos. Marble craftspeople possess empirical knowledge of the composition and structure of marble-bearing rock, the properties of each kind of marble, and the manipulation of its veins. Marble-carving workshops produce a range of traditional motifs, patterns and symbols such as cypresses, flowers, birds and ships. These draw from and perpetuate a shared symbolic system of religious, magical and oral traditions. Motifs on buildings, road signs, churches and cemeteries ensure propitiation and deflect evil influences, while those engraved on everyday marble vessels and fanlights emphasize fertility and prosperity. Craftspeople sometimes form teams to carry out large projects and individual masters occasionally work alone undertaking minor commissions. Transmission follows longstanding traditions. Workshop apprentices start with menial tasks, such as arranging the master’s tools and cleaning the workshop, before graduating to learning the craft and drawing. Each master supervises and mentors one or two apprentices, usually family members. Once they complete their training and earn the title of master craftsperson, apprentices are presented with a small chest containing a set of tools. Almost one quarter are now women, representing a significant shift in the tradition of marble craftsmanship, which until recently was a male-only activity.

  1. Decides that, from the information included in the file, the nomination satisfies the following criteria:

R.1: Tinian marble craftsmanship is based on the master-apprentice model of transmission and corresponding hierarchical organization of marble-crafting workshops; the island of Tinos is known as a centre of artisanal expertise in Greece and beyond, while for the local communities the craftsmanship represents a strong link to their history, natural environment and cultural identity;

R.2: Inscription of the element would contribute to the visibility of craftsmanship heritage to enrich knowledge about cultural diversity in the south-east European region and indicate how creativity evolves within traditional norms; it would also point at lasting interaction between two religious groups and reveal a connection between the area’s natural resources and its intangible and tangible heritage, thus contributing to increasing the visibility of intangible cultural heritage in general and awareness of its significance;

R.3: Complementing a spectrum of existing safeguarding measures, new measures aim at furthering transmission, protection, documentation and research, and address the issue of possible unintended over-commercialization; the activities are concentrated in several municipal museums and a marbling school, which maintain close connections with the community of bearers and practitioners;

R.4: The nomination file is the result of contributions by the local community of craftspeople, local authorities, municipal museums, a marbling school and individual experts; in addition to the description of how the nomination process has developed, evidence of their participation is presented in the appended video, as well as in their free, prior and informed consent to the nomination;

R.5: Following a broad consultation with the practising community, the element was included in 2013 in the National Inventory of Intangible Cultural Heritage, which is updated by the Ministry of Culture at least once every five years.


  1. Inscribes Tinian marble craftsmanship on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Commends the State Party for the accompanying video that can serve as a model that enables viewers to know various bearers and to learn about their ideas, identification with marbling and practices;

  3. Encourages the State Party, while implementing the safeguarding measures, to keep focusing on know-how and transmission to future generations by ways of non-formal and formal education, and to avoid a product-oriented approach.

DECISION 10.COM 10.b.18

The Committee



  1. Takes note that Indonesia has nominated Three genres of traditional dance in Bali (No. 00617) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

There are three genres of traditional Balinese dance – sacred, semi-sacred and that meant for enjoyment by communities at large. Traditional Balinese dances are performed by male and female dancers dressed in traditional costumes consisting of brightly coloured cloth painted with gold floral and faunal motifs, with gold-leafed and jewelled accessories. The dances are inspired by nature and symbolize particular traditions, customs and religious values. They combine a variety of different movements including a basic posture with the knees outward and the stomach held in, locomotive movements in different tempos and directions, transitional movements with dynamic changes, and facial expressions with eye movements revealing happiness, sadness, anger, fear and love – all accompanied by the music of the gamelan. In addition to being technically-skilled dancers, performers must have charisma, humility and discipline and a special spiritual energy that enlivens the performance. In Balinese communities, dances are mainly transmitted informally to children from an early age, within groups. Training begins with basic dance movements and positions and progresses to more intricate dances. The sessions continue until the students have memorized the sequence of movements. Traditional Balinese dances provide participants with a solid cultural identity grounded in the understanding that they are safeguarding the cultural heritage of their ancestors.

  1. Decides that, from the information included in the file, the nomination satisfies the following criteria:

R.1: Transmitted to younger generations in a range of non-formal and formal settings, three genres of traditional dance in Bali are primarily distinguished on the basis of their affiliation to religious and secular contexts, and secondarily as the expression of groups and communities of practitioners, stakeholders and audiences for whom they provide a sense of cultural identity and continuity;

R.2: Inscription of the element could enhance awareness of the importance of safeguarding intangible cultural heritage at local, national and international levels while the great variety of features and social contexts that the element incorporates – together with the intra- and intercultural exchanges that characterize it – could stimulate respect for cultural diversity and human creativity, encourage dialogue, and promote the visibility of the intangible cultural heritage in general;

R.3: Complementing past and current measures to safeguard the element, those proposed represent a coherent and concrete set of activities elaborated in cooperation with communities and groups concerned, aiming at further inventorying, strengthening transmission, and continuing promotion that respects the element’s social functions and cultural meanings;

R.4: A large number and a wide variety of bearers, practitioners and stakeholders of the element participated in the nomination process, and provided their free, prior and informed consent;

R.5: Since 2010, nine dances pertaining to the three genres concerned have been included in the inventory of Intangible Cultural Heritage of Bali Province, which is a part of the inventory elaborated at the national level drawn up in conformity with Articles 11 and 12 of the Convention.


  1. Inscribes Three genres of traditional dance in Bali on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Encourages the State Party to continue addressing possible threats emanating from the promotion of Balinese dance festivities for tourists and from globalization in general, which may endanger customary practices governing access to the element, especially as regards religious dances.


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