Tijdens de jaarlijkse bijeenkomst deze maand heeft het Intergouvernementeel Comité voor de bescherming van het immaterieel cultureel erfgoed vier elementen toegevoegd aan de UNESCO-lijst van immaterieel cultureel erfgoed dat dringend moet worden beschermd, waaronder M’Bolon, een percussie-instrument uit Mali. En zijn er 39 elementen aan de representatieve lijst van immaterieel cultureel erfgoed toegevoegd.
Een van de 39 elementen is de bloemencorso uit Nederland. Hieronder zijn de muziekgenres op een rijtje gezet:
Democratic Republic of the Congo, Congo — Congolese rumba
Congolese rumba is a musical genre and a dance used in formal and informal spaces for celebration and mourning. It is primarily an urban practice danced by a male-female couple. Performed by professional and amateur artists, the practice is passed down to younger generations through neighbourhood clubs, formal training schools and community organisations. The rumba is considered an integral part of Congolese identity and a means of promoting intergenerational cohesion and solidarity.
Check ook het radioprogramma van Stan Rijven over de Congolese rumba >>> Mariama Concertzender
Plus het artikel van Bram Posthumus in De Groene Amsterdammer >>> De Congolosese rumba is nu werelderfgoed
Ecuador – Pasillo, song and poetry
The pasillo is a type of music and dance that emerged in Ecuador in the nineteenth century. It is a fusion of elements of indigenous music, such as the yaraví, with a variety of genres including the waltz, the minuet and the bolero. The music is usually accompanied by guitars and performed in ballroom dances, public events and outdoor concerts. In terms of lyrics, it is essentially a musicalized poem, with lyrics relating to love, the homeland and daily life. To Ecuadorians, the pasillo is an identity marker and a form of collective expression. It is transmitted within families, in formal training centres, and through musical groups.
Gamelan refers to the traditional Indonesian percussion orchestra and to the set of musical instruments used. The ensemble typically includes xylophones, gongs, gong-chimes, drums, cymbals, string instruments and bamboo flutes. The music is played by men, women and children of all ages, and is typically used in religious rituals and public events. Gamelan is an integral part of Indonesian identity dating back centuries. Transmission is done in formal contexts in primary through to tertiary education and in informal contexts such as within families and during workshops.
Syrian Arab Republic — Al-Qudoud al-Halabiya
Al-Qudoud al-Halabiya is a form of traditional music from Aleppo with a fixed melody. Sung for religious and entertainment purposes with the accompaniment of a musical ensemble, the lyrics vary according to the type of event. Although it has been influenced by social changes, the qudoud has retained its traditional elements and continues to be performed throughout the city. It is a vital part of Aleppan culture and is viewed as a source of resilience, particularly in times of war. The practice is transmitted informally between mentors and youth and formally through school curricula, media broadcasts and programmes.
Finland — Kaustinen fiddle playing and related practices and expressions
Kaustinen folk music is a Finnish tradition of which the fiddle is the leading instrument. Based on playing by ear, it is characterized by syncopated and accented rhythms that are easy for people to dance to. Most inhabitants of Kaustinen and neighbouring communities consider it an essential aspect of their identity and a symbol of equality. Its distinctive style and technique have been transmitted formally and informally for over 250 years, and the music is performed in public and private contexts, including at the annual Folk Music Festival.
Denmark — Inuit drum dancing and singing
Drum dancing and drum singing are traditional forms of Inuit artistic expression in Greenland. Frequently featured in celebrations and social events, they can be performed by an individual or group. During a drum dance, the drum, or qilaat, is moved in different directions and its frame is struck to produce a sharp, echoing beat. The drum song is a lyrical narration of daily life. For Greenlandic Inuit, drum dancing and singing represents a shared identity and a sense of community. The practice is passed on through cultural associations, clubs, dance studios and institutions.
Malta — L-Għana, a Maltese folksong tradition
Għana is used to describe three related types of rhymed folksong in Malta. The most popular form is the ‘quick-wit’ għana, an improvised duel between one or two pairs of singers, focusing on rhymes, convincing argumentation and witty repartee. Għana sessions are held year-round in public and private venues and are viewed as a platform for informal social and political debate and reflection on shared history. An integral part of Maltese culture, the practice is transmitted through families and is considered vital to the preservation of the unique Semitic Maltese language.
Tajikistan — Falak
Falak, meaning ‘heaven’, ‘fortune’ and ‘universe’, is the traditional folklore music of the mountain people of Tajikistan. The expressive and philosophical musical genre may be performed by a male or female soloist, a cappella, with a single instrumental accompaniment or with an ensemble and dancers. Characterized by their high range, falak songs most often relate to love, pain, suffering and the homeland. The practice is viewed as a state of mind and an identity marker for mountain communities, and it is passed from one generation to the next within families and through formal education.
Bulgaria — Visoko multipart singing from Dolen and Satovcha, South-western Bulgaria
Visoko is a traditional practice of multipart singing that is unique to the Bulgarian villages of Dolen and Satovcha. There are three types: low-pitched, high-pitched, and a combination of the two. Visoko songs, also known as summer songs, were traditionally sung outdoors by women working in the fields. Today, the practice is passed on to women and girls through local singing groups. It is emblematic of local musical practice and creates a sense of community among singers in the groups while contributing to social ties between the singers and their audiences.
De representatieve lijst heeft tot doel de zichtbaarheid van de tradities en knowhow van gemeenschappen te vergroten. De lijst telt nu 530 elementen.
Check hier de lijst van alle nieuw toegevoegde elementen >>>