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



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DECISION 10.COM 10.b.19

The Committee



  1. Takes note that Italy has nominated Celebration of the Celestine Pardon (No. 00994) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Each year in the last week of August, pilgrims travel to L’Aquila in Italy to celebrate the Celestine Pardon instituted by Pope Celestine V in the thirteenth century. A procession winds for 66 kilometres through the countryside to the town hall in L’Aquila. During this walk, pilgrims carry a flaming torch used to light a tripod at their destination, which burns throughout the whole festival. The celebration gives rise to a rich programme of religious and cultural activities, sports and games. The height of the festival is the Historical Procession on 28 August, which transports the historic Celestine Scroll from the town hall to the courtyard of the Basilica of Collemaggio where it is read aloud by the mayor. The Holy Door of the Basilica is then opened and penitent pilgrims who pass through obtain a spiritual pardon. This launches the jubilee celebrations, which continue until the evening of the following day. Thousands of people take part, thus emphasizing the values of solidarity and social integration embedded in the Celestine Pardon. Knowledge transmission is based on oral tradition through stories told at home, school and in public, and through spontaneous participation in the festival and ceremonies.

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

R.1: Transmitted formally and non-formally for generations, the Celebration of the Celestine Pardon constitutes a symbol of reconciliation, social cohesion and integration for the inhabitants of L’Aquila and the Abruzzo region, providing them with a sense of shared identity and centuries-long continuity;

R.3: Although the safeguarding measures strive towards historically accurate restoration and/or revitalization of the element, the approach also attends to today’s cultural meanings and social functions, including playful and artistic activities; more importantly, it is clearly demonstrated that the concerned communities have played a substantial role in the design of the proposed measures and will do so during their implementation;

R.4: A number of associations and municipalities were actively involved in the nomination process and provided their free, prior and informed consent, confirming also their commitment to the preservation of the element;

R.5: Although the submitting State made available a very brief extract of the inventory, in which the nominated element is included, the information provided is sufficient to assess the conformity of the inventorying process with Articles 11 and 12 of the Convention.



  1. Further decides that the information included in the file is not sufficient to allow the Committee to determine whether the following criterion is satisfied:

R.2: Apart from fostering appreciation of traditions that are rooted in the past and a reference to solidarity and tolerance, the hoped-for consequences of the inscription pertain only to enhanced recognition for L’Aquila and its communities, while the nomination lacks specificity and clarity concerning the encouragement of dialogue and promotion of respect for cultural diversity and human creativity.

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

  2. Commends the State Party for the accompanying video that provides an informative portrayal of the element and its community.

DECISION 10.COM 10.b.20

The Committee



  1. Takes note that Kazakhstan and Kyrgyzstan have nominated Aitysh/Aitys, art of improvisation (No. 00997) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Aitysh/Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra or Kyrgyz komuz. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practised on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitysh/Aitys and use the contest to express women’s aspirations and viewpoints. Today, Aitysh/Aitys is a very popular cultural component of Kyrgyzstan’s and Kazakhstan’s multi-ethnic societies and constitutes a vital part of the identity of bearer communities. Older performers teach and transmit their knowledge and skills to younger generations.

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

R.1: The Aitysh/Aitys functions as a platform for social communication within community and broader society; the main bearers are performers themselves, both men and women, supported by researchers and scholars, while the transmission of knowledge and skills occurs mainly in music schools and in studios located at teachers’ homes;

R.2: Oral poetry improvisation, depending on the topic put forward by another competitor in front of an audience, represents a specific form of public dialogue and testifies to human creativity; the nomination demonstrates the potential contribution of the inscription to awareness of the significance of oral traditions and expressions in general, as well as to the visibility of intangible cultural heritage in the region;

R.3: In order to ensure continual viability of the element in the face of possible threats, the practising communities and two governments have elaborated activities that include strengthening formal and non-formal modes of transmission, documentation and research, continued promotion, and monitoring of the implementation, with special attention paid to the multinational character of the element and to coordination between the submitting States;

R.4: The nomination file testifies to an active participation of all concerned parties in its conception and elaboration; a broad range of demonstrations of free, prior and informed community consent has been provided, in particular as regards the community of Tokmo-Akyns;

R.5: The inclusion of Aitysh/Aitys in inventories of both submitting States (since 2013 in Kazakhstan and 2007 in Kyrgyzstan) has been conducted in line with Articles 11 and 12 of the Convention.


  1. Inscribes Aitysh/Aitys, art of improvisation on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Encourages the States Parties, when promoting the element on an international level, to enable the translation of lyrics into widely-spoken languages to the greatest extent possible.

DECISION 10.COM 10.b.21

The Committee



  1. Takes note that Kyrgyzstan has nominated Kok-boru, traditional horse game (No. 01067) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Kok-boru is a game played on horses by two teams. The purpose of the game is to seize the ulak (a goat carcass) and drop it into the opponent’s goal. Games consist of three periods of twenty minutes with the team scoring the most goals declared the winner. After the game, the animal’s meat is served to the teams and community members. Skilled players must be physically strong, possess a high level of stamina, and maintain an intuitive and respectful partnership with their horse. The game fosters teamwork, with players defending the honour of their community. It encourages both physical and spiritual development, as well as a healthy lifestyle, and builds resilience to stress. Players and fans come from different nationalities, religious beliefs, social statuses and ages; thus the game plays an important role for social cohesion in contemporary Kyrgyzstan. The main bearers and practitioners are Kok-boru players, both professional and amateur, as well as specialist trainers, referees and those who maintain the equipment for players and horses. At the professional level, coaches teach the nuances of strategy, tactics and safety. At the amateur level, teams often consist of close family and other relatives; transmission occurs informally with elders sharing their knowledge and skills with beginners and explaining the safety rules concerning other players and horses.

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

R.3: The nomination incorporates an elaborated set of safeguarding measures designed in collaboration with the communities and groups concerned, which are intended to bolster transmission, protection, documentation and promotion of Kok-boru, thus ensuring its continuous practice;

R.4: The community of Kok-boru players took an active part through all stages of the nomination process; the free, prior and informed consent of various Kok-boru teams and stakeholders is well documented;

R.5: Since 2008, Kok-boru has been included in the National Inventory of the Intangible Cultural Heritage Elements drawn up in conformity with Articles 11 and 12 of the Convention and maintained by the Ministry of Culture and Tourism.


  1. Further 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: Although Kok-boru is a viable game practised and appreciated by various segments of society, the nomination does not adequately explain its conformity with the requirement of respect for the sensitivities of diverse communities on an international scale, given that it carries health risks for humans, requires horses to adapt to extreme conditions and uses goat carcasses as an object of contest between teams; in addition, more detailed information is needed to demonstrate Kok-boru’s identity as intangible cultural heritage, in contrast to its evolution as a professional sport;

R.2: Given that the nomination does not sufficiently explain how Kok-boru constitutes an element of intangible cultural heritage, it cannot be assessed how its inscription would contribute to enhancing the visibility of intangible cultural heritage in general or awareness of its significance; in addition, the entertainment aspect of the game is presented inconsistently as both a feature that could contribute to visibility and awareness-raising and a threat to the viability of Kok boru as a cultural phenomenon.



  1. Decides to refer the nomination of Kok-boru, traditional horse game to the State Party for additional information and invites it to resubmit the nomination to the Committee for examination during a following cycle.

DECISION 10.COM 10.b.22

The Committee



  1. Takes note that Namibia has nominated Oshituthi shomagongo, marula fruit festival (No. 01089) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

The Oshituthi shomagongo, marula fruit festival is a celebration that lasts two to three days between March and April, uniting the eight Aawambo communities of northern Namibia through the consumption of omagongo, a beverage made from marula fruit. In preparation for the festival, men carve wooden goblets and small serving gourds, and tools from cattle horns to pierce the fruit. Meanwhile, women make the baskets and clay pots used for processing omagongo, gather the ripened fruit with the help of young people, and extract and ferment the juice in clay pots for two to seven days. During the process, they discuss issues that affect them, such as family problems, sing traditional songs, recite poems and share knowledge about basketry and pottery-making. Processing the marula fruits brings old and young people together to share knowledge and skills, which are transmitted informally through observation, active participation and emulation. Once the fermentation process is complete, community members and guests are served omagongo and traditional cuisine. The festival is a relaxed social gathering during which communities and guests socialize, sing and dance, and men recite histories.

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

R.1: Transmitted from generation to generation, the Oshituthi shomagongo festival celebrates the new cycle of crop production and related indigenous knowledge, skills, customary practices and oral traditions; through wide inclusion of all community members, each with distinctive roles and responsibilities, it functions as a catalyst of cohesion and mutual respect among Aawambo and the society in general;

R.2: Aspects of the Oshituthi shomagongo festival that can help increase the visibility of intangible cultural heritage in general and awareness of its significance include interaction with nature, appreciation of socio-cultural and economic functions such as the promotion of unity among formerly divided communities, as well as creativity in the usage of natural resources and in designing tools for that purpose;

R.3: The proposed safeguarding measures demonstrate the substantial role of the communities concerned in their elaboration, along with their involvement in the ongoing safeguarding measures, as well as the commitment of the submitting State to secure technical, organizational and material support to the implementation of all planned activities, although greater concreteness concerning the prevention of possible negative consequences of inscription would have been desirable;

R.4: A number of workshops and consultations were held among communities concerned during the four-year period of preparing the nomination, concluding with their final review of the information presented in the nomination form; a letter of consent has been provided by a traditional leader authorized to represent all eight Aawambo communities;

R.5: The inclusion of the element in the Tentative National Inventory of Intangible Cultural Heritage for Namibia in 2012 was accomplished by the Ministry of Youth, National Service, Sports and Culture in conformity with Articles 11 and 12 of the Convention.


  1. Inscribes Oshituthi shomagongo, marula fruit festival on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Invites the State Party to pay particular attention to the element’s viability in the period following inscription in order to secure its sustainability in and for the Aawambo communities.

DECISION 10.COM 10.b.23

The Committee



  1. Takes note that Nigeria has nominated Eyo masquerade festival (No. 01066) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

The Eyo masquerade festival, also known as Adamu Orisa, is a communal event enacted so that the god Adamu may welcome the recently departed into the spirit world. The appointed head of the festival is the Adamu Orisa, usually a high-ranking or respected figure, who opens the festival with a white pigeon in his hand and journeys around Lagos throughout the celebrations. Festivities take place throughout the city with citizens from all strata of society celebrating in a spirit of camaraderie. Food and drink are dispensed to all and old disputes are settled. An important feature of the festival is the homage to the king, the Oba of Lagos. However, the festival’s most visible attribute is the Eyo masquerade dancers, disguised in flowing white gowns and veils surmounted with large straw hats. The dancers perform to a retinue of drummers while wielding large ceremonial sticks called opambata. Both the hat and stick are decorated with intricate designs associated with the family of the Eyo chieftain. The designs are passed down and refined through successive generations within the extended family. Everybody in the community plays a role in the Eyo masquerade festival, either as active participants or as bystanders interacting with the masquerade dancers.

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

R.1: Rooted in the social and cultural fabric of Lagos and passed on from generation to generation, the Eyo masquerade festival is an event expressing profound spiritual beliefs that integrates all members of the community;

R.2: Inscription of the Eyo masquerade on the Representative List could enhance visibility of the culture of peace embedded in intangible cultural heritage, promote dialogue between Eyo communities and others, as well as foster cultural appreciation and mutual respect;

R.4: Eyo groups and custodians of the festival were represented in the nomination process by the Prime Minister of Lagos, Head of the Adamu Orisha in Council, as well as the Lagos State Council for Arts and Culture, the Eco Foundation and the Oba (King) of Lagos, who all gave their free, prior and informed consent;

R.5: Since 2006, the Eyo masquerade festival has been included in the Inventory of Cultural Resources, maintained by the National Committee on Oral and Intangible Cultural Heritage for Nigeria.



  1. Further decides that the information included in the file is not sufficient to allow the Committee to determine whether the following criterion is satisfied:

R.3: Apart from the strength of tradition and the kingship system, which together ensure the continued viability of the festival, the proposed safeguarding measures pertain to research and promotional activities that are not sufficiently elaborated and coherent; the participation of communities in their planning and implementation needs to be more clearly delineated, as well as the support of the submitting State for their implementation.

  1. Decides to refer the nomination of Eyo masquerade festival to the State Party and invites it to resubmit the nomination to the Committee for examination during a following cycle;

  2. Commends the State Party for resubmitting this nomination, which may contribute to intercultural dialogue;

  3. Further invites the State Party, should it wish to resubmit the nomination, to elaborate a coherent set of safeguarding measures and provide clear evidence of community participation in their planning and implementation;

  4. Encourages the State Party, should it wish to resubmit the nomination, to include well-drafted descriptions with better argumentation, avoid misplaced information and unnecessary repetitions, and provide a high-quality video recording;

  5. Recalls to the State Party that Article 12 of the Convention requires inventories to be regularly updated; the inscription of the Eyo masquerade festival in the inventory dating 2006 was expected to start to be updated in the second half of 2014.

DECISION 10.COM 10.b.24

The Committee



  1. Takes note that Peru has nominated Wititi dance of the Colca Valley (No. 01056) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

The Wititi dance of the Colca Valley is a traditional folk dance associated with the beginning of adult life. It takes the form of a courtship ritual and is typically performed by young people during religious festivities celebrated throughout the rainy season. It is danced in troupes with rows of male and female couples performing a variety of steps to the beat of a band. Female dancers wear garments finely embroidered with colourful natural motifs and distinctive hats, while male dancers wear overlapping women’s skirts, military shirts, slings and ‘strong hats’. The dance coincides with the beginning of the agricultural production cycle and symbolizes the renewal of nature and society. The dance consolidates social ties and strengthens cultural identity with villages in the Colca Valley competing to produce the best ensembles, thereby continuously renewing the dance while maintaining its traditional character. The Wititi dance of the Colca Valley is learned through direct observation by youth and children in school and at private family gatherings, such as christenings, birthdays and weddings. At the national level, folk dance ensembles perform this dance as part of their repertoires.

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

R.1: The Wititi dance of the Colca Valley depicts courtship, points at gender complementarity, promotes rivalry in an entertaining and artistic way and is performed primarily in the context of local religious celebrations during the rainy season; the transmission, driven by families and promoted by various public institutions, encompasses different forms of learning – from direct observation in various social contexts to rehearsals aimed at public performances and contests;

R.2: Inscription of the element could enhance awareness of different creative strategies by groups to keep their memory alive, and illustrate how to establish constant links based on common history, festive joy, respect for nature and gender equality among other universal values, thus helping the visibility and dialogical nature of intangible cultural heritage in general;

R.3: Relying on careful consideration of past and current efforts, the practising community and a team of researchers identified five safeguarding measures that can help further viability of the element, consisting of systematic promotion, annual seminars that will bring together bearers and researchers, production of a documentary, creation of a digital archive and research on the origins and history of the dance; technical, organizational and financial support is secured through regional and national governmental bodies;

R.4: The nomination file provides a clear description of how the process of elaborating it evolved over a period of several years in close collaboration with the communities and groups concerned, as well as ample evidence of their free, prior and informed consent to the nomination;

R.5: An elaborated participatory system of inventorying has been developed by the Directorate of Intangible Heritage of the Ministry of Culture, which is also the body responsible for maintaining the inventory in conformity with Articles 11 and 12 of the Convention; Wititi dance of the Colca Valley was included in the inventory called ‘Declarations of Cultural Heritage of the Nation’.


  1. Inscribes Wititi dance of the Colca Valley on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Congratulates the State Party for preparing a nomination that can serve as a model concerning the organization of the nomination process with the full participation of all parties concerned, resulting in a comprehensive and well-designed nomination file.

DECISION 10.COM 10.b.25

The Committee



  1. Takes note that Romania has nominated Lad’s dances in Romania (No. 01092) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Lad’s dances are a genre of men’s folk dance in Romania practised in community life on festive occasions, such as weddings and holidays, as well as during stage performances. Each community has its own variants, all of which display virtuosity and harmonious combinations of movement and rhythm. A special role is assigned to the dance leader and coordinator who trains and integrates group members, while the second leader is selected for his skills as a performer and leads the dance. Dancers group themselves into groups of boys and men aged 5 to 70, which may include Romanian, Hungarian and Roma dancers. This aspect contributes to intercultural dialogue and provides a context for learning more about cultural diversity, by witnessing, for example, local performers dancing at regional events or by observing choreographic styles of different ethnic groups. All community members are bearers and practitioners of the element, and taking part in the dance, be it as performers or spectators, enhances social cohesion. Lad’s dances provide an opportunity for young men to strengthen their social status in traditional communities, particularly among girls and their families in anticipation of marriage.

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

R.1: Lad’s dances serve as an expression of gender and of social and local identity, as well as a medium of intercultural communication in a multi-ethnic region; they are transmitted non-formally by observance and practice on festive occasions, as well as formally within organized dance groups;

R.2: Inscription of the element could enhance visibility of the dance as a creative, artistic expression with an embodiment of various performing features, repertoires and tools for intergenerational and inter-ethnic binding and could encourage communities in other countries to recognize, value and safeguard comparable elements of their own intangible cultural heritage;

R.3: Current and proposed safeguarding measures aim to ensure the viability of the element in its various contexts and were elaborated with the participation and assistance of community representatives and local non-governmental organizations; the commitment of local and central governments to support the safeguarding is also demonstrated;

R.4: Cultural associations, community representatives, as well as bearers and practitioners of the element participated in various capacities in the nomination process and provided their free, prior and informed consent to the nomination;

R.5: Since 2009, the element has been included in the Inventory of Elements of Intangible Cultural Heritage in Romania, which is drawn up in conformity with Articles 11 and 12 of the Convention and maintained by the National Centre for the Preservation and Promotion of Traditional Culture.


  1. Inscribes Lad’s dances in Romania on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Reminds the State Party that the concept of authenticity is not in line with the spirit of the Convention.

DECISION 10.COM 10.b.26

The Committee



  1. Takes note that Saudi Arabia has nominated Alardah Alnajdiyah, dance, drumming and poetry in Saudi Arabia (No. 01196) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Alardah is a traditional performance combining dance, drumming and chanting poetry that signifies the start and end of notable occasions, such as religious holidays, weddings, births, graduation ceremonies, or events of national or local significance. It is considered a fundamental component of the cultural expressions of the practising communities. Alardah performers include drummers, dancers and poets. Males performing Alardah carry light swords and stand shoulder to shoulder in two sets of facing rows, leaving space between them to accommodate drummers. One performer in full costume carries a flag. A poet chants verses specific to the occasion in a loud voice, which are then sung antiphonally by the participants. Large dance drums then strike strokes in quick succession, followed by smaller drums. While singing, all performers rock back and forth, side to side and move their swords up and down in rhythmic movements in harmony with the drumbeats and verses. As the poem ends, the men gather around the flag. Males may participate, regardless of social status, age or professional background. Women also participate as costume-makers. While fostering a sense of mutual respect, the performance consolidates social cohesion. Troupes and local citizens, schools, provinces and neighbourhood communities all engage in teaching, performing, popularizing and transmitting Alardah.

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

R.1: The transmission of the Alardah Alnajdiyah is provided by both governmental and non-governmental bodies through public education in schools and non-formal means of transmission by the community itself and the element is practised by all citizens from different ages and educational and cultural backgrounds;

R.2: The inscription of the element would raise the awareness of importance of the intangible cultural heritage through nature of sustaining and transmitting by thoroughly non-commercial ways; additionally the inscription could promote the respect for cultural diversity by triggering the appreciation of the element in national and international levels;

R.3: Viability of the element is ensured by financial and technical support of the government as well as through strong community participation in the efforts and activities of NGOs at all levels; the nomination, on the other hand, includes a detailed and well-defined safeguarding plan with classified measures according to content including a timetable with budgetary information;

R.4: The nomination was prepared with the participation of Alardah troupes and other practitioners and stakeholders, who gave their free, prior and informed consent to it;

R.5: In 2012, the element was included in the Inventory of Intangible Cultural Heritage which is maintained by the Ministry of Culture and Information and conforms to Articles 11 and 12 of the Convention.


  1. Inscribes Alardah Alnajdiyah, dance, drumming and poetry in Saudi Arabia on the Representative List of the Intangible Cultural Heritage of Humanity.

DECISION 10.COM 10.b.27

The Committee



  1. Takes note that Slovakia has nominated Bagpipe culture (No. 01075) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Bagpipe culture consists of a wide range of expressions and knowledge associated with bagpipes and their use, including music repertoire, style and ornamentation, songs, dances, instrument-making, folk customs and traditions and special verbal expressions. The bagpipe tradition exists throughout Slovakia, with regional differences concerning technical details, tuning, ornaments and know-how, and corresponding songs and dance repertoire. The main bearers and practitioners of the element are bagpipe makers and players, as well as other musicians, singers and dancers performing in groups with bagpipe players. Many of the attributes of bagpipe culture are hallmarks of traditional folk culture in Slovakia with links to the natural environment, such as construction methods (use of goat skin) or the aesthetic forms of instruments (other domains of local folk art), local and individual styles of interpretation of songs and repertoire. Bagpipe culture is transmitted from generation to generation within the family and community and via formal and non-formal education. A community is proud to have a bagpipe player and when a bagpiper attends a community social event, the music generates a sense of identity shared among all members of the community.

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

R.1: The expressions, knowledge and skills associated with bagpiping and bagpipe culture in Slovakia are transmitted from traditional face-to-face interaction to formal education; the concerned community includes bagpipe players and makers, as well as broader groups of dancers, singers, informal or organized folk ensembles, and other aficionados of bagpiping, who find in it a source of nostalgia, evoking the feeling of common origin and serving as a counterpart to the pressures of globalization;

R.2: Inscription of the element could contribute to the visibility of a larger group of similar elements, in particular those that are anchored in rare musical instruments, encourage exchange of information and experiences between practising communities on national and international levels, and raise awareness concerning the relations between longstanding traditions, creativity and innovation, thus pointing at constant re-creation as a feature of intangible cultural heritage in general;

R.3: Elaborated in close collaboration between experts and two key organizations of bagpipers and bagpipe makers, safeguarding measures are carefully designed, concrete and coordinated between all parties involved; they encompass various aspects of safeguarding, including the response to possible unintended results of inscription;

R.4: The nomination file convincingly demonstrates a broad participation of a wide variety of concerned parties in the nomination process, and their free, prior and informed consent to the nomination;

R.5: The inclusion of the element in the Representative List of Intangible Cultural Heritage of Slovakia was accomplished in 2008; the List is maintained by the Ministry of Culture in conformity with Articles 11 and 12 of the Convention.


  1. Inscribes Bagpipe culture on the Representative List of the Intangible Cultural Heritage of Humanity.

DECISION 10.COM 10.b.29

The Committee



  1. Takes note that Tajikistan has nominated Art of Chakan embroidery in Kulob (No. 01097) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Chakan embroidery is the art of sewing ornaments, motifs and images with coloured threads on cotton or silk fabrics, practised in the region of Kulob. It makes use of symbolic depictions and mythological images related to nature and the cosmos, such as pomegranate flowers, nightingales, the sun and stars, which express people’s wishes and hopes. Chakan embroidery is used to decorate women’s shirts, pillows, bedspreads, headscarves, towels, curtains and coverlets for cradles. Chakan craftswomen come together almost every day to spend time sewing while talking, telling stories and singing folksongs. Each group member has a specific duty, such as cutting the textile, selecting ornaments and coloured threads, drawing and applying the ornaments, embroidering needlepoint images and sewing the cloth. A leader controls operations, takes orders for embroidery products, locates raw materials, manages production and sells the finished products in the bazaar. Knowledge and skills of embroidery are transmitted in the family from mothers, grandmothers and elder sisters to young girls, or in groups where skilled seamstress women teach young women. This practice is considered by the Tajiks as a marker of national identity: craftswomen and local people wear embroidered clothes with pride for festivals, competitions, musical programmes, weddings, celebrations and holidays.

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

R.1: The art of Chakan embroidery is traditionally transmitted from older to younger women in families and neighbourhood groups, but nowadays also in organized groups, artisan workshops, art schools and colleges; it is widely used by the Kulob population, while for its practitioners, it functions as a means of socialization and a source of additional earning;

R.4: The nomination file results from extensive consultations involving bearers, practitioners, local cultural organizations and production companies, experts and governmental officials; a group of Chakan craftswomen, a local company and two museums provided their free, prior and informed consent.



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

R.2: Instead of providing information on how an inscription would contribute to the visibility of intangible cultural heritage in general and awareness of its significance, all efforts are directed to the promotion of Chakan embroidery, including the encouragement of diversity and creativity that it incorporates, and the prospects following its inscription;

R.3: The proposed safeguarding measures concentrate on further promotion, tighter organization of bearers and modes of transmission, spread of the element in other districts of the Khatlon region, and the increase of production companies, neglecting to address possible unintended consequences of inscription, such as over-commercialization or industrialization; concurrently, the role of bearers, practitioners and other members of the Kulob community is not clearly explained or specified, nor how they could benefit from the presented safeguarding measures;

R.5: The element is included in the National List of Intangible Cultural Heritage, however no evidence is provided of the participation of communities, groups and relevant non-governmental organizations in the identification and definition of the element; besides, further information is needed to clarify the discrepancy of data regarding the year, reference number, name of the inventory, entity responsible for its maintenance and frequency of updating, as well as the scope of the element.


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

  2. Suggests the State Party, if it wishes to resubmit the nomination, to synchronize images and subtitled text in the video.

DECISION 10.COM 10.b.30

The Committee



  1. Takes note that Turkmenistan has nominated Epic art of Gorogly (No. 01028) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

The epic art of Gorogly is an oral performing tradition describing the achievements of the legendary hero Gorogly and his forty cavalrymen. The epic incorporates narration, singing, composition, prose, poetry and vocal improvisation, and also functions as an oral encyclopaedia of traditional customs and knowledge (including stock breeding, traditional healing, etc.). Its transmission plays an important role in the upbringing of children by helping them to better understand their cultural identity. The tradition nurtures character, creative capacity and artistic skills, and provides bearer communities with a strong sense of social and cultural identity. The epic reflects the aspirations of the Turkmen people for a happy life, freedom and justice, and promotes values such as bravery, honesty, friendship, tolerance and fairness. Its bearers and practitioners are individual male and female epic performers in Turkmenistan who specialize in the Gorogly epic. The epic is traditionally performed seated to the accompaniment of stringed musical instruments, such as the dutar or gyjak. Bearers and practitioners of the Gorogly epic art take an active part in all national celebrations, cultural festivals and social gatherings, as well as annual competitions between Gorogly epic performers. Practice of the epic art is considered a vocation with masters combining informal teaching of pupils with transmission of knowledge and skills during public performances.

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

R.1: The epic art of Gorogly functions today as an important symbol integrated into various segments of society, from the community of its bearers to the formal educational system where epics play a role in the upbringing of new generations, leading national institutions and the media; both men and women from various social strata acquire their knowledge and skills through a master-pupil relationship;

R.2: Inscription of the element could contribute to intercultural dialogue and exchange of experiences on a regional and international level, increase the awareness of oral cultural heritage in general and in the submitting State in particular, and foster respect for cultural diversity and human creativity while calling attention to a specific combination of prose, poetry and performance contained in the element;

R.3: Taking past and current initiatives as a starting point, the proposed safeguarding measures 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 both youth and women, 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 nomination was prepared in collaboration with a wide variety of concerned parties, including a number of recognized bearers of the element and a key scholarly institution; the letters of free, prior and informed consent corroborate such a participatory, community-inclusive process of nomination;

R.5: With a broad participation of all parties concerned, the element was included in 2013 in the National Inventory of the Intangible Cultural Heritage, which is regularly updated by the Ministry of Culture.


  1. Inscribes Epic art of Gorogly on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Commends the State Party for its first nomination;

  3. Suggests that the State Party provide the translation of lyrics while promoting the element on an international scale in order to foster mutual understanding beyond geographical and language boundaries;

  4. Invites the State Party to avoid undue emphasis on the element’s national character in view of promoting intercultural dialogue and mutual respect.

DECISION 10.COM 10.b.31

The Committee



  1. Takes note that the United Arab Emirates and Oman have nominated Al-Razfa, a traditional performing art (No. 01078) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Al-Razfa is a traditional performing art practised throughout the United Arab Emirates and the Sultanate of Oman. It is performed by men of all ages and classes during social occasions, such as weddings and national festivals. Male performers form two facing lines with dancers filling the space between. Led by the main singer, the two rows create a dual chorus, singing chants in an antiphonal manner to the accompaniment of drums and other instruments. Many chants are verses of traditional Nabati poetry, carefully selected to match the occasion. The dancers perform choreographed movements to the music while holding wooden replica rifles in their hands and in some cases, young girls swing their hair in time to the music. Originally performed as a communal celebration of victory, Al-Razfa is now widely popular as a form of entertainment. Practitioners have adapted musical instruments and composed melodies to interest younger audiences while maintaining the older expressions and oral traditions of the art. Performers may include heads of State and elders or very young children. Today, Al-Razfa is transmitted directly within the family through participation and observation at social occasions. The roles of individual performers are learnt by practice, while girls receive instruction from their mothers and older sisters.

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

R.1: Practised with variations throughout the two submitting States in the context of joyful community events, Al-Razfa strengthens the sense of belonging, identity and continuity of the concerned communities; its main bearers are male art troupes and ensembles drawn from interested community members, yet various social events include all other participants, irrespective of their age and social status; in some parts of the two States, young girls participate in the performance;

R.2: The inscription of Al-Razfa as an element shared by the two submitting States would reflect and could further encourage awareness of the dialogical nature of the intangible cultural heritage; additionally, it could contribute to the visibility of traditional performing arts in general, while the identified internal dynamics of the element and its fusion of music and poetry could foster respect for cultural diversity and human creativity;

R.3: Relying on the ongoing safeguarding measures taken by the concerned communities, stakeholders and governments, the proposed measures incorporate research and documentation, educational programmes, support to main bearers of the element, and promotion through festivals, competitions and other public events; the commitment of the two governments is confirmed through budget allocations, while the key role in implementation is assigned to art troupes and ensembles;

R.4: The nomination file demonstrates an active and innovative involvement of communities in the nomination process, as well as a range of free, prior and informed consents provided by art troupes, individual bearers, non-governmental and governmental organizations; it would nevertheless have been preferable that a greater proportion clearly acknowledge the multinational character of the nomination;

R.5: The element was included in 2007 in the Intangible Cultural Heritage Inventory of Abu Dhabi, and in 2010 in the Omani National Inventory List; both inventories are drawn up in conformity with Articles 11 and 12 of the Convention.


  1. Inscribes Al-Razfa, a traditional performing art on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Encourages the States Parties when promoting the element on the international level to provide the translation of lyrics as much as possible.

DECISION 10.COM 10.b.32

The Committee



  1. Takes note that the United Arab Emirates, Saudi Arabia, Oman and Qatar have nominated Arabic coffee, a symbol of generosity (No. 01074) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Serving Arabic coffee is an important aspect of hospitality in Arab societies and considered a ceremonial act of generosity. Traditionally, coffee is prepared in front of guests. Coffee-making begins with the selection of beans, which are lightly roasted in a shallow pan over a fire, then placed into a copper mortar and pounded with a copper pestle. The coffee grounds are placed into a large copper coffee pot; water is added and the pot is placed on the fire. Once brewed, it is poured into a smaller coffee pot from which it is poured into small cups. The most important or oldest guest is served first, filling a quarter of the cup, which can then be refilled. Common practice is to drink at least one cup but not exceed three. Arabic coffee is made and enjoyed by men and women from all segments of society, particularly in the home. The sheikhs and heads of tribes who serve Arabic coffee in their meeting spaces, elderly Bedouin men and women and owners of coffee trading shops are considered the main bearers. Knowledge and traditions are passed on within the family through observation and practice. Young family members also accompany their elders to the market to learn how to select the best coffee beans.

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

R.1: Preparing, serving and consuming Arabic coffee are an expression of hospitality, generosity and social etiquette; the element is practised and transmitted in all segments of society, while specialists for the preparation and service take on the role for special occasions;

R.2: Inscription of the element could contribute to the visibility of intangible cultural heritage, raise awareness of its significance, encourage dialogue and promote respect for cultural diversity and human creativity thanks to the multinational character of the nomination, cultural variations within the element, creativity in serving and utensils used, and a demonstrated linkage between heritage and sociability;

R.3: The element is already recognized and promoted as an element of intangible cultural heritage, while newly proposed measures include initiatives to raise awareness of its significance as a sign of hospitality and as an integral part of the intangible cultural heritage of the four submitting States; they have been elaborated in collaboration between community representatives, stakeholders and governments;

R.4: The submitting States provided ample information on the participation of communities, groups and individuals in the elaboration of the nomination file, even though only a part of the numerous letters of free, prior and informed consent testifies to the awareness of communities concerned that the nomination is a multinational one;

R.5: The inclusion of the element in inventories of the four submitting States was carried out in conformity with the requirements of the Convention.


  1. Inscribes Arabic coffee, a symbol of generosity on the Representative List of the Intangible Cultural Heritage of Humanity.

DECISION 10.COM 10.b.33

The Committee



  1. Takes note that the United Arab Emirates, Saudi Arabia, Oman and Qatar have nominated Majlis, a cultural and social space (No. 01076) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

Majalis are ‘sitting places’ where community members gather to discuss local events and issues, exchange news, receive guests, socialize and be entertained. The majlis is where the community gathers to resolve problems, pay condolences and hold wedding receptions. It is typically a large space with carpets on the floor and cushions against the wall. There is usually a stove or fire to prepare coffee and other hot beverages. The majlis space is open to all people and may be frequented by family members, tribes and inhabitants of the same neighbourhood, and other remote neighbourhoods. Community elders are considered true bearers, especially those with extensive knowledge concerning nature, genealogy and tribal history. Judges and religious sheikhs have special importance in the majlis as they adjudicate on disputes and clarify political, social and religious rights and responsibilities. Women have their own majlis, although some prominent women attend other majalis, which are particularly academic or literary in nature. Majalis also play an important role in the transfer of oral heritage, including folk stories, folk songs and ‘Nabati’ poetry. As majlis spaces are open to all age groups knowledge is mostly transmitted informally as children accompany community members on their visits. Through observing elders in the majlis, young people learn the manners and ethics of their community, dialogue and listening skills, and respect for the opinion of others.

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

R.1: Transmitted from generation to generation in a non-formal way, majlis is closely integrated into the everyday life of various communities and segments of society; it encourages socialization, conversation, negotiation and reconciliation, entertainment and the enactment of various other elements of intangible cultural heritage such as oral expressions or festive events, thus fostering community bonds and a sense of belonging and continuity;

R.2: By virtue of the element serving as a space of encounter and inclusiveness, a mainstay for the enactment of other elements and a junction of tradition and modernity, its inscription could encourage dialogue, promote respect for cultural diversity and raise awareness of the significance of intangible cultural heritage, while the multinational character of the nomination could contribute to the visibility of intangible cultural heritage in general;

R.3: While ongoing safeguarding measures relate primarily to tangible aspects of majlis, those proposed focus on raising awareness, education on social etiquette and traditions associated with the element, its enhancement in order to attract the younger generation, and research and documentation; all parties concerned actively participated in the elaboration of safeguarding measures and the commitment of the submitting States to provide technical, organizational and material support is well documented;

R.4: A wide range of parties concerned, including communities, non-governmental organizations and local and regional governments, participated in the nomination process and provided their free, prior and informed letters of consent, even though few made reference to the multinational character of the nomination;

R.5: The inclusion of Majlis in inventories of all four submitting States was carried out in conformity with Articles 11 and 12 of the Convention.


  1. Inscribes Majlis, a cultural and social space on the Representative List of the Intangible Cultural Heritage of Humanity.

DECISION 10.COM 10.b.34

The Committee



  1. Takes note that Uzbekistan has nominated Ropewalking (No. 01087) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

The art of tightrope walking in Uzbekistan, otherwise known as dorbozlik, is performed as part of traditional art and entertainment programmes on public holidays, at festivals and fairs, and as part of wedding celebrations. Practitioners perform a variety of spectacular feats on ropes raised 20 to 25 metres off the ground, demonstrating their courage, dexterity, skill and fearlessness. Displays of ropewalking form part of national and local customs and traditions, and are often improvised in the middle of open-air market squares, rallying a large crowd. The audience provides encouragement and moral support interacting directly with the performers, reinforcing a longstanding relationship that promotes and strengthens the identity and integrity of the art and its vital role in community celebrations. The main bearers are the ropewalkers – traditionally, boys and men of varying ages trained in the knowledge and skills from an early age – although girls from ropewalking dynasties have increasingly begun to take part in the art. Today, more than 40 troupes of Dorbozs maintain and popularize traditions of dorbozlik art by promoting the techniques among the younger generations. Techniques are transmitted from generation to generation within families using a traditional master-apprentice approach. All groups of Dorbozs recognize their art as part of traditional cultural heritage and as a marker of their identity.

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

R.5: The element was included in 2013 in the Intangible Cultural Heritage National List of the Ministry of Culture and Sports, elaborated in conformity with Articles 11 and 12 of the Convention.

  1. Further 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: The nomination needs to outline more clearly the scope of the element, its community and its cultural meanings, as well as to explain how such an art, which incorporates a high degree of peril, can be adequately presented and understood in the international context, in particular due to the involvement of children; furthermore, the nomination should avoid claims, even if posed indirectly and in passing, that relate to such arts or similar arts in other countries;

R.2: Instead of focusing on the element itself, the argumentation should explain how the inscription will have a positive impact on the visibility of intangible cultural heritage in general; moreover, the question of the scope of the element, including the issue related to the danger for children, should be addressed in view of demonstrating how the inscription of the element can encourage dialogue and respect for cultural diversity worldwide;

R.3: Safeguarding measures are overly generic rather than concrete and specific, and contain some repetitions, unclear language and misplaced information; the engagement of communities, stakeholders and government in their implementation is insufficiently explained;

R.4: Given that the scope of the element and its community are not clearly defined, it is difficult to assess community participation in the nomination process; additional information is required to demonstrate a coherence between assertions and evidence, in particular since families of ropewalkers and non-governmental organizations that figure prominently throughout the file did not consent to the nomination, while those offering consent are little mentioned elsewhere; in addition, one of only three letters of consent refers to an element with a broader scope.



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

  2. Reminds the State Party, if it wishes to resubmit the nomination, to avoid references to originality, for they do not conform to the spirit of the Convention.

DECISION 10.COM 10.b.35

The Committee



  1. Takes note that the Bolivarian Republic of Venezuela has nominated Traditional knowledge and technologies relating to the growing and processing of the curagua (No. 01094) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity:

The traditional knowledge and technologies related to the growing and processing of curagua encompass a complex set of practices concerning the cultivation of the plant and the extraction of white fibres, which are characterized by their strength, durability and softness. The fibres are woven into thread and used to produce a range of artisanal goods, such as the hammock – a traditional emblem of the region. Traditionally, men extract and process the curagua fibre because of the strength required, while women weave and manufacture the artisanal products. The practice plays a significant role in moulding the identity of the communities found in the municipality of Aguasay. It works as a mechanism of social cohesion that overcomes gender, ethnic and sociocultural barriers. It promotes diverse forms of cooperation within and between communities and family structures, wherein women take on an important role in creative labour and family income. The knowledge and technologies are passed on from one generation to the next, mainly through oral tradition, observation and imitation among family members.

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

R.1: Organized according to their roles in the production chain, bearers of the element usually belong to a family unit and transmission relies on oral tradition, observation and imitation passed from one generation to the next among family members; the element promotes cohesion within the family and community, intergenerational cooperation and gender complementarity, as well as sustainable use of natural resources;

R.2: Due to the element’s creative nature and transformative capacity, the importance of collective work and solidarity, cooperation and respect established along gender, ethnic and generational lines, and contributions to sustainable socio-economic development, its inscription could contribute to the visibility of the intangible cultural heritage in general and raise awareness of the significance of the latter;

R.3: As a result of a collective deliberation process, tradition bearing communities have designed strategies to keep strengthening the element and avoid any potential negative consequence that could arise from inscription on the Representative List; the support of local and national authorities is also demonstrated;

R.4: Starting in 2011, the process of creating a nomination came to fruition through a series of meetings and workshops, collective deliberations and group work sessions in which the opinions of various individuals, groups and community organizations were systematically registered and integrated into the nomination file; the final activities included joint review and approval of the file and appended documentation, as well as drawing up of a document wherein 33 people who work with curagua as farmers and weavers gave their free, prior and informed consent to the nomination;



R.5: The element was included in the National Inventory in 2014, as well as in the database for the register of cultural heritage; the inscription file demonstrates a close collaboration between communities concerned and the institutions responsible for maintaining the inventory.

  1. Inscribes Traditional knowledge and technologies relating to the growing and processing of the curagua on the Representative List of the Intangible Cultural Heritage of Humanity;

  2. Congratulates the State Party for preparing a nomination that can serve as a model, especially as regards community participation throughout the nomination process, bottom-up design of safeguarding measures and contribution to ensuring visibility, awareness and encouraging dialogue.

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