0156900011
CIH/fTH
Le Syrian Arab Republic
Ministryof Culture N0......
No: llGl/a/711
Date 13/03/2019
Thé Ministry of Culture in thé Syria Arab Republic works to safeguard Syria's cultural héritage éléments, by supporting and promoting thèse élémentswhich include traditional practices, crafts, and oral expressions.
Thé Ministry of Culture safeguards traditional crafts which are symbolic of Syrian cultural creativity. Thé craftingofOud isan important craft that's historygoeswaybackintothehistoryofSyria. This particuiar craft and its artisans hâve amassed wide attention from thé Ministry because of thé cultural and social links it bas with Syrian society as it is always présentin social events, célébrationsand family gatherings, where thé Oud is played and songs are sung.
Thé Ministry bas also supported îhe présence of artisans at régional and international festivals TO promote thé crafting of thé Syrian Oud, and spread awareness amongsc other communities about thé characteristics of thé Syrian Oud and how it has developed with thé crecitivity ofOud piuyers.
Thé crafting and playing thé Oud is présent in other countries, and therefore, thé Ministry of Culture encourages and support thé nomination of "Crafting and Playing thé Oud" with fhe Islamic Republic of Iran, for its inscription on thé UNESCOReprésentative List for thé cultural héritagefor humanity. This inscription wilt promote awarenesson Syrian culture and its ownership by communities, which wili encourage thé sharing of Syria's héritagewith thé world.
Thank you for your coopération
MinisterofCul'ture
MohamadAhmad :î l .à i ï .J ^ ^ ^ . 1. ^ .^ fo î l 0 '^ l } . ^ -?" ^ . V, \ 1 f 4 ^ 11^ ^ ^ -^ ^ i i5 <ï l ^ s ^ v ^ ^ s ^ ^> -bï , 0> ^.f '>ï 3 i 3 4' (|î l î i ^ ^ KJ "}T ^ J 3 ^ . «), -j ^ ^. u -^ .f f ï iiî ^ ^ ^ l ^ ^ i?î ^ 'î i1 ^ ^ -Tl i J . . ! 3" ? i 3 ^ ^ .r 7i' ï -ï» Ï ^ i iî 1:J' < 4 ^î ^ 3 ? J y ?î ^ ^ . ^ -^ 3 %t i- 1^ i-^ ^ ^ 1 . ^ ^ i i ^ '.i, ï ^ ^ ^! ?. ^ 'l; 't ^ «-T» -? l .^ ï ^^ ^ 3 '. 1' H -3 ^ ! ^ ^ ^ «-3 ^{^ -T" 'f?' ^ . y. i "). ^ ï'î i ^ t ^ j ^ '^ i s ^ ^ '")* ^ î lIl ^ ?^1 ^. l l 3< 3^ -L u. ~^ J- ^ ^ t! ^ .t . ? -f l -? s l 1- ï l -}. ^ No. Date: Syria is recognized for its cultural & civilizational diversity. It is also famous for thé créative skills of its artisans in various areas of craftsmanship. Thé Syrian craftsperson is world-renownedfor meticulousness and perfection, and forthe characteristic 'touch' that demonstrates a distinct identity. Syrian Oud manufacturers are highly respected among musicians and connoisseurs, regionally and globalty. Their products hâve made an impact in various héritage gatherings, and craftmanship events held around thé globe. Thé Ministry of Tourism in thé Syrian Arab Repubiic works tirelessly to provided sustained support to Syrian Oud manufacturers. Thé Ministry seeks to make their présence known in various Arab and international fora, in orderto promutgate thé Syrian expérience in this age-inherited tradition, and to exchange expertise with Oud artisans from countries in which this industry exists. Thé Ministry ofTourism also supports Syrian Oud musicians who are as noteworthy as thé artisans. Syrian musicians hâve incorporated new and significant techniques on thé musical scales of thé Oud, as this instrument is one of thé most distinguished in inherited Syrian traditions, and a locus of attraction and interest fortourists and visitors of thé Syrian Arab Republic. In conséquence of thé aforementioned, thé Ministry ofTourism in thé Syrian Arab Repubtic supports, and stresses thé significance of, registering "Crafting and Ptayingthe Oud" togetherwith thé Isiamic Republic of Iran. This component embodies values that elevate humanity towards enriching its cultural répertoire in order to use it to enhance and support cultural gatherings and to exchange and spread cultural traditions. MinisterofTourism Eng. Muhammad Rami Redwan Martini ^Jj^uJt A-ujx^l ^ALuiII Sj^j :^I) :^1 ^uaj__aj| ^j_a A_c. ^&II 5_Lalîi^l ^_jIL ^J-JÛj1-aS '(^J^-^a^Jlj ^\ -£11 1-ê-e-_?AlJ ^L>J-LJ' J^-^6J l_al tL-Lallfi. ^jj . .1^ ^_âj=JI ^_uil ?-Ab JlJ-Jâ À^ l-J^L-a^l 3-àl£ ^__à Ijc-^-;! ù^-^-!l ^. b-^a31 . ^aLaJ) ^^ <-1^ û;^a-all 2... ^^1j J^ylj O-lil J-a Ajla-lla ^ 1&. \^\ i^i^ [ JS _ . i^lA Q ^ ^ .... ^'.. il <:U l "" ' ' ^^ *"i. -»'i . O^AJ) ai& JJ^aLj a**2. ^J" ^''. JI!;'''J ''j*^ ^ll) ^_^î ^-Jâj^ jjUl .ij-til 4-JÎ ^J& ù^jL^ ^-^-11 ^ . ^ ^-S& L-^ajî J_^U L^î L-eS ^-îc. A-a^a t_ÛLS-kÎLy a 1 J, 1t 1-aj-& (-)1-^jSù J1-^\ J-a (^)j-uiîl t-S^l-»jl ^UaJ-uil ^-Sa t\ -fr^â^, ^j^__^l J-il^L-i2 ^j^l Cj^^l ^_AÎ -L-s.î J--^ j -; (j^JI -ij^^-? 4-^i^Jt 2;°; ...j-" <_j^l 2 ^-Laâj ^"^ UJÊ ^'?' (^_^] ùJJ_s^lj ^"^_^1 (J_^3 [j_« ç»^- . Sjj^Ull) ^_Se. " <^'"'j (»fr^_^ dLl3 " ^i) Dj)i^ (.s-a ^. ^J-u^^ s^i)j ùi-a ^-^û&^l s^-& ^-Se. t. \ -Ijj 1_al tjjj-i]\j_3 ÂAA^SL-uiy) ^-^jj^-uaJI ^-_a "L-^îc. t_aj-«Jlj ^Ij-c. ^1 . lAj^j '^[ft\ 4il£ll J^Luj l^&^j ^l£II ^ '. l Ji^û ^A . t JriJJ^1 ^AUJ^ ' ^âj ^aî; 4AA-a ^al\ 0156900016 Reçu CLT C!H / ITH Syn,n*r, bRepublic i . 18AUUI 2019 Ministryof Education N ...... ,...,.. No. : 104 Date: 14/03/2019 ThéMinistry of Educationin théSyrian Arab Republicis responsiblefor thé schooling process (primary, middle, and secondary) which aims to develop thé sentimental, educational, intellectual, social, psychological, ethical and physical wellbeing of Syrian students, through deepening their knowledge, skills and sensé of direction. Thé Ministry also carries out musical activities and lessons to ingrain ideas and knowledge of music, it also encourages talented students to learn to play musical instruments, including thé Oud, which has a deep connection to thé roots of thé Syrian people. Thé Ministry of Educationconfirms its unwaveringsupport to théjoint nomination of thé élémentof "Crafting and Playing thé Oud" with thé Islamic Republic of Iran, which would reinforce thé bonds between Syrian and Iranian communities. Thé Ministry also commits to implementing its rôle within thé suggested safeguardingplan in thé nomination, in orderta strengthen and promote this élément,due to whatthis élémentrepresents thé identity of thé Syrian nation and thé Syrian people. Thank you for your coopération Ministerof Education Emad Azeb Syrian Arab Republic /.t^. If. . )... ;' ( Kîs? ^Uj^uilt ^i^\ Ajj^AaJt ^/Ï/i'?" t AA^> ïiîî'î?'' Pnûiffi11 inistry of Education ÎM UïS ^u>îlt SjljJ ily%. y^'v^ inister, s Office X^l^l'. ^ }ii. / f :yJ^\ ^ t alfi'i (^-iSlj '((^12 - ^juiU) ç>^ir"lti J-^l^a ^& . C-ilAl^j^lj ^â]lj (-iljl^&llj (--il^AsJlj i>-ajlaA]l ^uijSj ^jA t"";-- t-jlj l ^j-aJI ÏJI Laj^.^ (AjâA-^ASI <-i^^l 1 ° <^-lc. t_a). JI çjiû ^Je. J^jJkjJI i-ùUJI . ('^D^J ùji!^* Jj^ À^b (JÂ^^-2a4b^* 4J& t-âjj^ij ^A-^j^t jt^^t ^iL»d j . ^IJAJI lâa»yJfr (^jjAdll ^At; ^jbt. SûrijS^ Wî'jrilî uj-^1 . !<-a& E-mail: moeisy@net. sy Tel : 3349025 Fax : 4461781 www. moed. gov. sy Thé Syrian Arab Republic is distinguished by its diverse cultural héritage, whether it be traditions practiced by communities, or thé skillful crafts which Syrian artisans hâve created, carrying Syria's cultural identity. Thé Ministry of Information in thé Syrian Arab Repubtic has reflected this identity through programmes shown on radio or TV outlets, and also through publications in traditional and online magazines, which hâve reached audiences regionally and internationally. Thèse include traditional craftsmanship éléments, in thé aim ofsupporting thé craftsmen and craftswomen, and to help thé transmission of thèsecraftsto future générations.One of thèse crafts is thé craftingofthé Oud which in Syria is known for its high quality and expert craftsmanship. Thé Ministry does not only support thé artisans, it also supports thé Oud musicians and their efforts that involved devetoping thé art of music. Thé Ministrysponsors and organisesfestivals which help thé promotion of thé Oud, and consideringthé cultural significance of thé crafting and playing ofthis instrument, and thé strong cutturai meaning it bas for Syrian communities, as it is always présent in family gatherings, célébrations and is irsherited across générations,young people continue to learn thé playing ofthis instrument. Thé Ministry of Information in thé SyrianArab Republic réitérâtesthé importance of nominatingthé "Craftingand Playingthe Oud"withthe tslamic Republicoflran because ofthe spread ofthis élément in Iran, thereby providing a common cuttural link between thé two countries. Thé nomination ofsuch an élémentwitl open a path for similar éléments in other countries and communities to follow thé same path, and encourage thé exchange of expériences between différent cultures. Minister of Information Emad Abdullah Sara 'Lj^itJI 4.uj*J) 4-ijj^AaJ) ^Ï SjljJ C './^} O'T.. . ^11 T ' ^A /:s- / ^ '-w^} ( al^AAJI â t-il^LJLi j) (jj t> ^"j^^l ^ll£llj jl^ ftt^ui t ^[^\j ^^ 4A ^Li AJ^JI ^JJ>*JI 4jy^Aï>JI jtlaj 4.i3l£II 4^J| ^ l.y^ L^JJ ^Sj ^llj ^Jl 4i . 4j laj Lull \^ ^^iJt A-^^yi CjLk^J) ^3 4^al^ ^l& 4^j| 6^> ^Àu^j^ill Ajjjijl 4jj^^j| ^a ^^1 Sjl^ ^£û j^U*JI <^>l^j (L^I&J Luja 4^& (_a^ul| ^ « 4JJJJS]1 JÎ Lly I)-IL^ i-i'sL^ ^ alj^^i^l J^ t>j Ajj^îlj 6^ t ^^'ïlLj) !ïU 4. t dij^ i-^pJ) t>j Jlr?. ul^îl ^pJI 6;iA JAJJ s^all JJ^J) ^-J éiîjj Ajj.ull <_àjaJL ÂAklJI Û^LLJIÙJÀPJL1 6;li?11 (aLUAI J^alAJ^ ' J^SI ^â-L?^j'^^1 S-ij^-i^j^i 4. 1 j^-i.ju ^lîl A^^all . l|^S?l ^.^a'i Oj^L Cj^l^-ll t> 4J l^«ll Laj t 4j^l a;lA ^1& ^Jî J^jlA all j^âjlLÎI Ljajî JA.JÛ jj ^L^l ^^1 4&ll^i ^ . i-a)xJI tjâ (> . ^ s^1 ^J& -1-?'-115jî ^ LJ>JL1^-uu Lflll 4Jâl£31aLâlLJ^ oUL=. j^]| ^^ L^î ^yi sjljj ^ LS . (_j). iLJlj 'IKUJ ^\SA\j iuj^ ^ilS ùjjp^ t> Lalj Wc- ^-S>JI ^>k? ' ^ . ^1 JAL<^ tj^4) 4:l>b:J -^l ^c- t-â>tJI çalxJ 4juliA l AjLlII JUa.^1 jl^aju^ AâLol ^frii^i " . S-l^uJI 4.l3l£I) L_il»^tn11 j jj lAjJjLjj t_l]^:JI J.lLj '^yu ^r- (JAKJ j^^lllj ^\J^\ Jj^i IjLdÀSj fs^yi ' 7^^'^s^. f/ S5Slh\ -^:' ûj Music is considered thé oldest language since thé genesis of humanity. It bas accompanied humans' cultural and civilizational developments. SinceSyria is thé proprietor ofthé oldest musical note, music bas always been an idéal witness of thé culturat developments of this land, and of its cuttural diversity embodied by its social composition. Oud was, and continues to be, one such witness. Syria has demonstrated continued technical developments on Oud, whether in manufacturing methods-combining strength, durability and melodious tunes-or in musical techniques that hâve developed to become more methodical and académie. Thèse developments make thé Syrian Oudists stand out among their peers. Thé Directorate of Musical Institutes, Ministry of Culture, in thé Syrian Arab Republic strives continualEy to préserve and transfer this cuttural héritage to succeeding générations through musical institutes around thé country. Thèse institutes (Sulhi Wadi,Sabah Fakhri, Farid Atrash institutes, among others in différent governorates) nurture young talents and work on adding an académie character to existing talents, depending on a number ofspecialized instructors. Because of thé paramount significance ofOud within thé cultural and social fabric ofSyrian society, and because of its inherited cultural value, thé Directorate of Musical Institutes stresses thé importa nceof nominating "Crafting and Playing thé Oud" jointly with thé Islamic Republic of Iran to UNESCO's Représentative List for thé Intangible Guttural Héritage of Humanity. This joint inscription will highlight thé importance of thé exchange ofcultural and educational expertise in thé area ofOud music, expands thé horizons of students and instructors in a manner that enhances thé rôle of héritage in goodwill among nations, and stresses thé importance of music as a language of dialog and peace among human communities. Director of Musical Institutes Nisreen Hamdan 21.2. 2019 - . i/^-^ L^Ju 4^^" ^JJI tJl^UI ^dl ^j ^^ &JLA«b-jL^, ^JJI ^jL^JI jjLuLJI ^ 0^ ^J-" (j <^^ ^ J>^->L>A '(JLa^lJ^I^II IJLAJ^. JLAl^AJIJL>. Î 3 ^^,^11 ^1 ^Jî trJl}L>j t_uKs S\ . ^^\ J^o^JI 4J5U 4JLL. -î ^^\ ojuj LIJ S^JI ù^ ^, t^1 ^4=^1 ^^î Sl^- ^ut. LLa ^dj- ^Lj ^1 -^ ^jj^JI ^àjL^lj^i L IJAJ . ^- c>£- yLj^-LwA JSLîtJJ J^Aj ^^^ . Ù^alsell tJi-wj^JLI t>a ^JLC. J^C. t^LAi-u»jj>l S^â ^ «USLîJ Lj <^jj-^l ^.=^1!(jLiUlj ^L.^ t.,.^iJ] ^^^^ ^Jl 4JÎ L^Sl^- ^Jl <^ASU t^^ ^alA ^yj 4.«>A1J& J^î ^j^JI 4.u^tJI 4jjj^5jl (J ^i.i^^l. l JuaL»ll 4j>jjLa ot.S ^jl^-La ^Lr^l L . 4^L JJ^ U-^l ^<*JI S^ '^'. 'S. , p^'^ ùl^ ^ ^ , ^ ^ * ^.^.^-''J-^y ^( (^ Dani Haddad Oud InstructoratSulhi AI-Wadi Institute, Damascus B.A. in Music, Oud Division, Faculty of Music, Albaath University, Homs Currently l teach at thé Sulhi AI-Wadi Institute in Damascus, Oud Division. Thé student âge range is 10-17 years old. We hâve noticed a marked increase in thé number of students who want ta learn how to play this classic instrument because of its cultural and spiritual bond with people. Oud is also appealing because of its ability to perform ail thé musical scales of oriental music, to effect harmony with vocals, because of its centrality in composing Arabie music, and its being one ofthetraditional instruments of oriental bands (takhet). t, therefore, stress thé importance ofthis instrument and thé importance ofits joint inscription with thé Islamic Repubtic of Iran, to UNESCO's Intangible Guttural Héritage List for humanity sa that thé world gets more acquainted with thé héritageand culture ofSyria. Singed: Dani Haddad 18.12. 2018 Signed and Sealed Fadi Attiyah Director, Sulhi AI-Wadi Institute ^ ^ . A< } à-^ .^' :?'i -î° ^ vi'^\ *A ^ . -t '-'^ 'ù-î i'î . .. 1 ^ . -î A) J:. r ?. "' - .î . ^ !?. -fi' ^ Ï !î' ^ . . '' -V 3 ? :?4' . ^, 1-^ "-^ ^ À -: ^ :\: ^ ^- -^ .-i y 5-. ;i ^ :i' 1. «-^ -'' Jïl . i? ^ ^ »<»» . ^ -^'- 3 -1 ^ . xt* Al ^i" ^^ , ^. n: :' û- y '^'M'' d ^ -; -; < ^. ^ ^' ^ ï . .\ '5' ^ .0 ^ ^ . ^* ^ -V ..') ^ . 3--ï :s>~ ^ '^' "l WM ^ $ )\ We are a group of musicians from thé Sulhi Wadi Institute in Damascus, where we learn to play thé Oud. We hope for thé inscription of "Crafting and Playingthé Oud" with thé Islamic Repubtic of Iran so that thé world will get to know thé children of Syria, learn of their musical interests and how we can engage in thé language of music with thé each other. Name Age Signature Kabi Rizk 14 Fehmi Daoud Rajiha 13 Fayez Farrouj 14 Hala Hambashou 15 Farah Baliki 14 Ous Rashid 11 Adam Abu Khair 12 Reda Qadamani 13 Alaa Battan 14 Zena Amouneh 15 Ziad Amouneh 13 Hamza Safetli 13 Satah Qabbani 8 "V- ^. ^^ '^ -îs ^i -N; t ^f ^: îi^^' \'î> -; J^' .' ^ il . %^ -->% t < . o; . :^ , T~; 'ç. ^^ ^*^- . ^?--' '', ' - "--< f-s' ç ^, . <.*? 'Si*. i t. ^; l- ^^.^ ^ -^ ;f ^ *a=l (^ ^fî ^ '.& ^^r;. ^ J S-YV e, r^ ^ S-. '^ ^ ^- , \- c_ t ^ -c~ , ^c\ 'r "r ^s- 'iB ç ^.-y 7 <; ^:i 1-. Sami Mawwas Graduate of thé Higher Institute of Music, Damascus, 2015 l hâve been working as an instructor of Oud in various conservatoires since t was a student. l became a member of thé Syrian Artists Syndicate upon my graduation. l hâve participated in various concerts and activities held at thé Syrian Opéra House. l am a member in many musical bands Since Oud is one of thé most ancient and indelible musical instruments in thé Middle East, and thé wortd, a musical icon in eastern countries, and has a particular significance in Syrian society, l support tojointly nominateto UNESCO thé 'Thé tradition ofcraftingand playingofOud' withthe Islamic Republic of Iran so that thé world gets acquainted with Syria's culture and its musical message to thé wortd, a message of peace and goodwilt. Signature: Sami Mawwas Signed and Sealed FadiAttiyah Director Suthi AI-Wadi Institute yi/>\/v<<- ^ IW <<0 °^(-<> ^ Y/^^ ^ .fl. - ^^(T^ ^ ^^, /C-rv? (-^0'\ <ëîae-:3' '^- ^ - .^.- ^ i '^ ^[ l ^ "rc'v^ -^[>r^r ^ ^-^1^-/-^^ ^>^^ ^ ^T - ^ ^-^ ^ (r-- ^ ^^ «^tc^-1^-7 -^ ^--/r-'^ A' r^^^^^^'r'- * ^^r?^îîrT ^ '» .^ .^^-r-^^^^^^P^ ^ ^ ^ ^ ^. ^ ^^ "n ^^ ^ çr^^- ^ j -^Y^\r^r ^ -^-^7^ (^^^^fy^^^c^n-^ îf^^r^^^ ^^ - SY^ ^^ ^ ^\ ^ t^'\ ^7 c^ ^-^^ ^ ^-^^~î rr^ ^ ^ (rr^(ry \f^ (^r" ^^ ^ ^r-i <^ ^r-^-y^ ^ c^$ c'^ ^ ^\r^^(ç^^~>^ ^ ^ ^-T ç-^ »^ , c-0 Syrian Arab Republic Ministryof Culture Directorate of Musical tnstitutes & Ballet Sabah Fakhri Musical Institute-Aleppo Music characterizes Syrian society in général and thé society ofAleppo in particular Aleppo has been recognized, across thé âges, for its musical héritage and richness which made it a mecca for leading musicians and thé haven of musical creativity and innovation. Throughout thé âges, thé Oud has been of utmost significance to thé musicians ofAleppo. This is due to thé importance ofOud cadences in oriental music, and because ofthis instrument's centrality in musical traditions ofAteppo. Because ofthis, Oud manufacturing and music were noticeably developed in thécity ofAleppo. ThéSabah Fakhri Institute wad dedicated, since its foundation, to attract young talents, mâle and female, who had an interest in playing thé Oud. Thèse talents are developed academically by a cadre of distinguished instructors who hâve their own distinct styles of playing this instrument. Numerous students graduated to become renowned Oud players in theArab région and internationally. Since music is an international language and a venue for coopérationand partnership with other societies, and since Oud has its own culturat and social position in Syrian society, thé Sabah Fakhri Institute supports and encourages thé nomination of "Crafting and Playing thé Oud" in collaboration with thé Islamic Republic of Iran. Such inscription will encourage thé exchange of expertise and know-how among musicians and manufacturer in both countries, and with other countries that hâve similar traditions. Director, Sabah Fakhri Institute Abdut Halim Hariri 4. 2. 2019 *^ sniMKwiw .^ KIIIMSTiV:: ^ILllj ^^^1\ ^AIJLJI^^ 4*ÎAJ yAU-^Alî (^Ja^ CL^ .^*A ujUjLS »jdl> JS»-*u^ t^scJlj S-ttLA (^jj-wJ) ^a. tfle. *!! î-aL^JI i_»L<-wJt (^J^j (^i-utj. tl JJU 1 t-ulSlâ i_J» LaUju uJl» laftJlJLIj 1, irtrtlt Jj tJlAÀi-*UJ-l'l ^ JLSl^ J<ïl> ^A ^i-uij. LI j»j_(AxJtjiA .j&u>y1j^lj4>U ^ LyssS^L*A&/ i-Jl> (^ârf-UIJ-9(^jj J(^S'S-l. oAl jL& AJJLÎI Uî <-i3j^e3-w\ (jl-apl JÎ^S .^-Jl» S-uJ^J a)><' (>» frlj-Xl h-J» ^JuJL» ^ Ùs^sjL» îj»^la3 (J<ï<3 u\ îJjY 6JLA i-ji£llaji-«i) SAAAYI ôJL^J ^fluLj . L^JlA «-SJAJI iljLj»- (>9JÎ t^uL(AiJI «lu» F3 JLàlsYl JA». (^a t-iAlj-t, ) y-^au U^ûlseS. \ SjjLoYl (>B AJL&jlA LAJ^KI Lftjj^Lj ^f. JL^aJll J-aAg . AjJtJI SJÎ jLfe hijAJL ùi'»1^! ^^ls t^JJI tyt^tLJI ^-a Jl^JU» ftLo-wi g>»3 |»*â tt^JLfc ijjjttl SA^LJ .yjLtl Uï 5ji .LXL^L^. ^1 ÏUif yti. ùiâjbtJI^tî ^ l^^î <..>LiL**aeJll ç-» dJjl-iSJj ùjLu (^AAfluS Jj J*J-wJlj (ftJLaJI îLàJ (^ ^ijJtJlj yâ.i-uij.ll (j^ t;>2t*:ïj'* ^L!A^l>t tSuLsLââ îjjj^*seJI y "L^JLfciJjJiJlj AljAYl ^, LL(A"j»rt1f.Çii-Ajj ç-îe^SiJj (OAJU(^>sttâ ^. 4^a ^4JU>ù^â ^flB. Aï ^ J^. «, îtl IJL» tç;Ub» tfc^ i^JL»; (^Jl (^>S1 ^IjljJlj t>iJlJL . ^IjUI IJL^ ^l2. 1tof^ '^~ïs^y My name is Sarah Sankari, l am a seventh grader, 12 years old. l am learning how to play thé Oud at thé Sabah Fakhri Institute in Aleppo, because Oud has such a tender sound that is close to one's heart. l like to see Oud playing at UNESCOwith thé Republic of Iran, so that thé world gets to know about Syrian music and héritage, and so that children learn to love music Sarah Sankari 1.12.2018 -J -^l ^ - ^»Q ïfi^^ II J' -a 1^ , ^^ 3^ -^ ^ -j ^ -3 "s-î '-\ l ^ l î);it'-}^ 1*1 Children will learn how music stands in thé face of war and crises Rami Sbahi 2. 12.2018 ..-.-, <', ^''^, //' :ïï-^:>'.. f t ' ( ," / . ~. '^'\\ u >./ ^ /z'\ f ^\n r ^ <7^ ^° ^^'"^î: çrwr/Jnp fn^^ !^ (^'~TÇ\ T-ç'f;pw ^<^ r\ f"rs> ^ if^-e i^^ gj^^, (^^ \"<^ (^^1^^ ) jT\ }^ 1^ j '? ^^ i<0 ^ ir KarimTutanji Aleppo 1. 12.2018 ^. - ^ <_ . -. ^/v/\^£?/ ^1-P , <^^ ^_^ VVo^ ^^^ ^^ \. \ e /. ^^^-^^^^'^\^^^?^^5J^\^>^L^^^ <^J T Lr^^^ ' ^ , t - ^ ^ ^r. ^ f . ' \ ^r ^-\ ^ \^° ^r . ^<:'JP. ^-^ . >J, Z^. ^^^^>^^ ^^^^'y-^ \^ ^^J^-r- C^-^^VJ^' -_/ ^. ^,.^^^-^r^ \^^c^^ ^, ^^ .LC .\i^-^^^^^^^/^^s^^ ^^^^^>^^ A \ e/ \ <_J_? -^ \ '^ ".",.;. .- / .;' / /' ..' / ^-c^- Syrian Arab Republic Ministryof Culture Directorate of Musical Institutes & Ballet Farid Atrash Institute for Music- Sweida' No: 6/S On: 28. 1.2029 Institute activities: Many musical groups were formed by institute students: Chamber Group, Oriental Group, Cello Group, Guitar Group, Wood Pipes Group, Choral Group, thé Oriental Orchestra which includes instructors and outstanding institute students Thé institute holds year-round concerts in most cultural centers in thé governorate ofSweida' Institute students participate in thé annuat concerts held at thé Damascus Opéra House for outstanding traînées Thé institute's mission is to support oriental music, especially Oud music since this instrument is thé most ubiquitous in thé governorateofSweida';its tradition canonized bythe late musician Farid Atrash, a local of Sweida'. In light of Syria's efforts, through its musical institutes, to support this instrument's manufacturing and music, and ta préserve it through availing it to thé young talents, thé Farid Atrash Institute supports thé registration of "Craftingand Playingthé Oud",jointly with thé Islamic Republic of Iran to thé Représentative List for thé Intangible Héritage of Humanity, sa that thé world would become more aware ofthé importance ofsharingthe cultural héritageofvarious communities, ail in service of thé advancement and wetlbeing of humanity. Institute Director Muceen Naffac Î\S" ' '. '^? '^ '. ^ -vv. ^, + 0617 OTZ 9T £96+ :xej \\, î -\^ \\ V^\: + T6t' OTZ 91 £96+ / 06t7 017. 91 £96+ :|91 UÀÇ- EpI 3MÇ V)"^ .. '\-5 '\\ '^ ^l^ + "~(rn - ir^Ti" s^-^, ^^' ir;1 t!} (l |[^rV pff1c^V| ^ r"Trp rc^TcT r^Tt^ lf Frrrc^ ^ Ç^w-i r^» rwTr^ r»-r^wvi |^i"i6^ ^0 r'3^ ^TC |^^ t^? ^71 l[ïrrn-3V ^Iptfp ^irtTlnrP ^ »nç"i?cr? ir^Ti^ ^i^^ t"Tro rh (r<>^'lrr'tir i[ri'cf ?r'T i^cîr'^> iro w» ir'^çr? ç\rc^[vrl rf - rîrr^ (ft^r ^r^r-i . s^ ~ ?r?? \rçvrî ~ i[?r?? irrrçr? ?r^ (HWTïï^vir'> ~ ?r?1? irxT:ririt"~) ?r^ i[TTCri(-' ircr"rr^ TSF""' vrl cr^r-> irtnr^' irlcrT v<~1 i^rr ' ("TCT^ l . (^ (^r^ (^rry ^TW^ ^<^. - V=> / \ /V\'^ ^^: V- / '^.^ VAV-S <<^î isïT<1f> rp^w^?> ip^^îi? V^W^ ~[^3^V^ 1[V^W'^<.iX ^1I l chose Oud because l am thé daughter of a family of musicians. My grandfather is Sheikh Ali Darwish, and my father was a musician and composer, l was brought up listening to Oud music. My passion for this instrument isevident from my choice to study it. It is also apparent in my son Samih who loved this instrument and learnt howtoplay it at thé âge of8. He continues to playthe Oud, and iscurrently teaching it at thé institute. This instrument exists atmost in every house in Aleppo because of its age- long association with Syrian culture and héritage. l, therefore, support thé nomination of "Crafting and Playing thé Oud" in collaboration with thé Islamic Republic of Iran to UNESCO's Représentative List for Intangible Culturat Héritage of Humanity. This will reflect thé importance of héritage élémentsin bringing communities doser to each other, and in thé sharing of expertise and cultures for thé cause of advancing art and humanity. Let music be Syria's message to thé world. Hala Masri 4. 2. 2019 ' û^^^/:^ ^ ^?-^^ ^< ^- ^^ \^ -^ -^\- ,' ^ ^^- ^^&--(^^- ^ ^>i^\A^-^-^\ ^_^^^^ -^v 6- f,îyy\ - ^ ^ .^^^^ ^^^ ff ^j^ ^y\ ^ ^ ^^^\ Î3V. i^^^; //U^^ ^V-^ ^^ ^^ ^ ^ ^^- ^.w? -^ ^'^ ^- ^ u---^ ^ .^ ^ C;7-^C t/ ^^a- . ^\ '^ ^-^^ "^ C^-^^ '-<^^-<^ AV ^ u ^ ' ^^. --' ^ , \ ^ ^ ^ -î.~ ?J^^ :^'-^ ^^-\ v^^ ^tc^^^^ ^;--. ^^ / -. \}^^k. ^^ ^^ '^-.^-^ ;^ . ^" /^y' ^^y^^-Jy {rU' ^ ^v^ °. ^.u- 7^^^ ^°^^ ^^. "?r<^^^ y;^'/^ ^\ ' ^ "^ < " ;^^ <^^ ^ ^^N ^^ ^ ^ , ^^ ^'^^ ^-^;^ ^---^:"^ ^, ^^, ^^- ^^<^^ --^^^ ... - -. ^ ^\^^ f^3 ^ J . ^^^^W-^' - y f^^v^ ^^- -J"^^ . ^--, \, ^^^^^^^ G ur.. \^\ ^\^^^ ^ ^^l'^'<^/ ^v. '^^ ^-^^^^ ^J?'v °^^ . ^v^1 "^ -^^^^Y^^^^ . \\ v - ^ If ^-^Y? \-3 ^ ^ ^ ^^ .^v---. ^ ^ f^\^^^ ^^^ çV-r^ ^ - --- ^ ^, ' ^) -^. ^^'y"" ^ " . /'---^"\ 0-^' -cr^Y^ t ay^:^ ^ t l ^ "^\-''yït'Ï:\'i!i:''u<^Sî/^ l ^ e ,VCV/c/^ ? v-...,.,.;u'.^'";; Syrian Arab Republic Général Union of Artisans 28. 2. 2019 Greetings Thé Général Union of Artisans (GUA) in Syria was founded to support créative artisans who hâve thé expertise in traditional Syrian handicrafts and their techniques which hâve been passed down across générations with much love and respect. Since its foundation, thé Union is committed to supporting artisans and practitioners of thé various héritage handicrafts. Through our union, Syrian artisans were enabled to préserve their traditional professionsand to pass it downto succeedinggénérations. GUA is actively présent in ail héritagefestivities and célébrations, whether held in thé Syrian Arab Republic or abroad. This ensures thé widest possible outreach for traditional Syrian handicrafts which exhibit thé brand of skitl and creativity that draws international interest. Oud manufacturing is one of thèse traditional crafts whose artisans are members of GUA, and which receive gréât attention from our union for its position in thé popular music répertoire. A gréât dealofcare goes to manufacturing this musical instrument. Certain familles were famous as Oud manufacturers in various régions ofSyria. Thé Général Union of Artisans seesthat nominating "Craftingand Playingthe Oud" in collaboration with thé Islamic Republic of Iran to be part of thé mission of GUA in preserving this profession, promoting it, and paving thé way for artisans to hold joint workshops with their colleagues in thé IslamicRepublic of Iran, ail towards sustaining a comprehensive and developed industry for héritage instruments in both countnes. Long Live thé Union Struggle GUA Président NajiAI-Hadwah ^j^4^ Jt^^SI Général urijon C^ja^^^^\ l ' '. . '' . '...... ; '. '. . .. . -, ^ ' .'.. . -. forcraftsmçn DA S-SYRI ^* v^ /ç /<^ê^t Â^m ^j^it ^z.^ .^j^A.^ ^.sl. <. \'^1 \:^\\ -ÙJ'la^ &^^tJ ^-'4^1^^^' ^jt3 ^, tttC. -ï . AJ^JJ^ ^ J^j^'^l»Jl aJYl, :Lj.la^^ : . '. . ;\pLaJÀ IjAja.-a (J^ LÎJA' 'Jîu -^±?' ^^l^i-all L^â^Jaj 4.LSjJjj 4-uljlSI L-jls^u. ttll (J- ^i ç»jb JSj^u ^. IjlSl ^Ic- (_y^àj. sJl ^LtJl -il-^^l (J-û3tjj ^ tÂia.^lall JUa.'ïU l^-ujjjj tL_g-=>. jl-s>. jî 4Jjj__uAll A-uja-Sl 4_3jjg ^-\\\ ^j^alji J.;». !^ çalSj (^lîl 4.u|jjll t-lULa. ^-Allj L-i^lil^^l 1^^^< i-sU"^"< tLajAl l^U.^^ C. l'i^lj jl'o'^t JA ^^\ .^LJUI c^lâl^l -lllj ç»L»JI -iL^j^l ^S] ^-lâj;i>- u, ^''; (^^ Sj'i^o"'^ i-ajsJl L^-12'-] (^A <^^ij-<^t ^ljc-^1 Ac. l.L-aj Âjiill o^À Wia ^. O^pJl ÙJJ t^a .:1^-;>~3^1 ^-j (aj^J L$-^^ J- . jj-iLll ^£ ^à <^\jft\ ^Ï^J OJ^laj Ual^lû ^U^i (jlsu L^ A-ui^i ^r^yi ^Jjlju.tt UlLa3JI JjIàJtj C^j^l ^d\ Jbu^l c^J S^JhaJt^A Email .Gfcraftsl970 hotmail. com WebWWW.Gfcrafts. com TEL-9630112318205 0112318206 FAX-2312034 PQ.-3049 Awtar (stnngs) Mazraca- Shallal Str. Damascus-SyrianArab Repubtic Tel. +963 11 444 0368/ Cell. +963 930 999 077 Awtar is a musical institute dedicated to developing musical talents and to teach techniques of playing musical instruments academically so as to elevate thé students' expérience and talents in line with international standards Music is thé first language of humanity. Since thé dawn of time, to date, it bas been our companion in expressing a wide range of our feelings. Because music and thé arts are ingrained in Syria, successive générationscorne to learn music, particutarly playing on instruments that are connected to thétraditional and cultural identity ofSyria, especially oriental string instruments, most important ofwhich is thé Oud. Oud has been a companion of thé cultured Syrian who has managed aver time to incorporate numerous techniques both to Oud playing, through formai éducation, and to Oud manufacturing Awtar institute is committed toteaching Oud musicto préserve it and to pass it to successive générations. It is also committed to developing thé techniques of its music academically by a number of skilled and innovative instructors. This commitment results from Oud's inherited cultural and social traditions, in Syria and neighboring countries. Because of thé importance of Oud music and manufacturing, Awtar Institute supports and stresses thé importance of registering ""Craftingand Playingthé Oud" together with thé islamic Republic of Iran. This joint nomination will promulgate thé common musical culture of both countries, will expand thé venues of knowledge-sharing, and serve thé advancement of humanity and thé culture of dialog. Director oi Awtar Institute Amir Karajoli / I^TeT^-^ rn^r^ f^vî -s^ ir rrctri fîvvrï irï tr*rr *<) W7 Bnn'-çh ripC" -v'h ç" -s^ irr'nTçi ^ «^r i^r tTr'nTp F"T<Î rl!rs<' '^ n i7CTT' vr» (^ '<' f^T ^ ^^-1-^' "f^"' ^«WT^ f '^ inriC' tréirrs' "^ 'rn irrK'crs' rireyp 13îy' sB[r?(~ [T"T:' tr'c'T' '3^\ rîç) i5T^y' "3[^' iFrr' ir^"[T i^'"Trc ir^rs ^("r'sîc'' rc[ri Sfvf^ w9v ^~r^~ Ç(»r"n^ tpcl'rl rï'rrc çy> "cp^ '^yy1 r^nTP (p'Tï"' "3Ty> t^ (pcrt" r?rT' (""^(C (C1(-Ç^PÇ'ctTT °<' yp " '"*' \vT y irTTCrs "3i?^ "ri* n'cî> ipirr~' ri("T) i^''"^' ir TI^T ;. w» i^' w^ ^ v<~çr rl vrl '""vp wç l^.iï llry? 5lrr~' °T(~lwï iA"^in ir<~r5:} "?s[<~r'i^ iryr""n: (~tps'> i"T'=n^ vfv FTf if1 1^ (l[ï 1^)' ryo içmn-r; irc!TTV t-^r?V l{tc|"> rlCTçi> {f^0 ipn<~r^'» rr"5T .^lyo -3i^ i^. ^." trc"w^ iicsn> tFTCsi> r'-' rr"-é> n'<~5rrï ir<~n> )rr""Fï ^rr'nwi rii?p' "r'j <^'énp irrK'crs nÀsrf' ~!f "^ irrnTn r 'CTT7 "T irr""n iiï*ï iisrr?> rK"^in' r^rr~' °rrirot p 'Tr iirri?it-> i[^ Fr'rri 5rF^tï nnE"r "3n '"^.^o irn<'cs' irc'TTr"> rTCF i^F"> tcss'> nTcrr(t^ irTK"^ rtrrt i"-^ ((""T"' irrT>' "ers^ i FT w9v \S~r^~ ^ffc"n^ çs!' r TO<^: 6ÏOZ/ÎO/8Ï ÂA-VV^ '^' VTW": Vl. A'??? 11' pmÇ*- yvvVCf^ V^~irÏ y(~c^> >pfp ^^ "T? 1^-éiTp[pF T-< irrr'-°v - nr-'3 ifrKp HV1MV f'-f Syrian Arab Republic Ministry of Culture No. Date: Thé Approval of thé Higher Institute of Music "Oud manufacturing & Music" Thé Higher Instituteof Music (HIM) is a public académieentity of thé Ministry of Culture in thé SyrianArab Republic. Since its foundation HIMwas dedicated to academically support, embrace and nurture young musical talents. Thé Higher Institute of Music graduated a number of illustrious names in music, nationally and internationally. HIM a\so ptayeda rôle inopening up to westernschoois and institutes, and ta their pedagogical approaches. Yet, it did not estrange itself from thé soûl of Arabie and oriental music, and stressed thé importance of string instruments, particularly Oud, as well as original Arabie rhythms and singing. H/M stresses thé development of thèse instruments, asthé core ofdeveloping oriental music, and in order to effect harmony with other orchestral instruments such as viotins, violas, celles, and others. Such diversity enrichesthé académiestudy of students in thé music department by exposingthem to thé cultures and arts of thé world without losing their eastern and Arab identity. Thé Institute created, through its instructors, a number of Oud ensembles, because this instrument embodies acultural mass and a strong connectedness to Syrian society. Thé Higher Institute of Music strongly supports thé joint nomination, with thé Islamic Republic of Iran, of thé élément of "Crafting and Playing thé Oud" to thé Représentative List of thé Intangible Cultural Héritage ofHumanity. Such registrationisof gréât importance in musicwhich dépends greatly on transfer of expertise and exchange of expérience. Furthermore, such registration engenders a language ofdialog through musical assets for humanity's élévation and goodwill, and stresses thé rôle of music in promulgating peace and creativity. Dean, thé Higher Institute of Music André Matuli Damascus, 27. 2. 2019 SYRIANARAB REPUBLIC MINISTRY0F CULTURE S^j^wJl 3-ri^xJl A^^J-I SJlââJlâjtj^ REF: :^1 DATE: U) :cy', «l^JLp ^' Ij ^<^1 APL^» Ifl^ijJU Jl^t ^Ll 3^^ A^tll ^j^-oJ-l J ^L^ll »;1^ ^1-^1 S-.C^^Ij 4^11 ^Lfr4-l J->-î Lâ^-jJLS JL»JI JLfrxll -lu L^li^j L^ijîj ^iLîJl ^a^^. 1 L-^AI^.I ^Lc^ (AîLâJ JL» '^Jlp ^LF JL>-Î (^JJtj <;jj-Jl 1 ^a>ïUl fr'^^1 -UJLJJI -a L^'t^l.LJl^ ^1 ^^. ^ ^-^t J^- t) ^ £^ Gr< JLJI JL^1 ùsca Jl^J. 1 J^i ^. ^ (Lfes i^J^ll -I^LCÎJ A^xJl JlAlxLlj ^)l->il J^ ^-LÀi^l(J jj^ JbJl JL^JU ùl^ «^^»Jl» îJT ^yLy J^-^ij ^/jJl t-'^^l (j-^)-^' ^Lf oJL^'î^ i^jLi^ ^â^Jlj ^«Jl L^^. 1 ^-jj j^- C-'^^l oJlA <^. s ^-iJl La^o^lt ^iaï y!^>- ^y IS'ïUaul ^. ^izîj Ji-^-^l yl^* î. LJiJlj ^L^'^l (J^ îiL^^ . LA^-J ^L^j^Jlj >ï(^lj ùLo^lS'^Jl^^ijS'l ^^>is/l ^ ^o S^l^' JA>"J ^S- 4>-llâjL) L^jJ. 1 j^^S i^JUaJ Ï^S. ^\S''^\ 2L«[, jJt ^ ;L^a^ ^- AJl^ ji^ ^jjl ^-j^il IJLA jl. LxJl -i-^*ll (_^-»-a . ^ri/LSl . -caLâJ'^s- i^jj-^l ^-o-^Li ^Ï -l°L*;j[5 c)^ (^'ù^' ^* OJLA à^~ ^ ^i^-^i ^-L^» ^2^' jï:"-^j ^-"y 4^-a-f' j^ J^^j i*^'JLi L^j^-u JL^I -4^. 1 ù^ ^LjîLL. (J ^LJ);) C-'I/JI ^îLl»J U^oJl S-ojL&il ^IF ^^1 ^.ïL-^l ^^J-l ^.o Lé-JLp i3^Jlj J -1-»-^ 3'^-^* IJ-& l^ JA ^S- j^ J^^i iS^ L£^^ ij^;* (3 iJLn^' ï^ iV Ji <^>-^ (^~-'jJl ^\^-\ 4xJ ^>--îJ ^L& J^-<«- ^Llll Jî?^Jl ^» ^1 IJLA J^> ùtj L«^' ti-^L>^ll J^Lïj i-'l^-l . ^|jj)?lj j>"ïUl ^ÎJ J L2^>^. 1 jj3 ^IF JlS^j tLêÀJ2^r-U jy>- ^ L£ ÏL^^J. ! ^LAlil C-'KLJ.L <--v-. lA^jJU JbJl J^F ':-^<. M JjJùtLl J^\ . ^ ^ ^.'.<.. ;...':?/ ^ Y.'y l am Mohamad Osman, Oud instructor at thé Higher Institute of Music (HIM), Damascus. l am thé founder ofthé Syrian Oud Quartet (founded in 2014 at HIM}. l hâve atso authored three advanced texts books about Oud and thé Oriental Mandotin. Thé aim of thé bocks is to assist students in honing their technical skills when playing thèse instruments. Oud is a major instrument in Arabie music, and is very popular in Syria. This is why studying Oud and working on refining it hâve become major goals for me as a human being, and as a musician. Consequently, t support thé nomination of /The tradition of crafting and playing of Oud', in conjunction with thé Islamic Republic of Iran, since it manifests common aesthetic and cultural values between thèse two countries, and since Oud has always been a facet ofSyrian social life throughout its history. Signature: Mohamad Osman 16. 12. 2018 ^ ^^ /) . » . < . i ^*' -»' -' '14 <îl*i' -i-Jl ^ ^i J ^ ^}?' l H'^i' ^; - ~^ ^ s (" ,^^' ^^, iX 3 l'j '; -^ ^ i' -i' <^ "31 _'' Ï' ^ \ :l ^ -^ ^. ((i -î)l ^. J ^ <,? '^ ^ ^ *ïl ^' << ^ '^~t^ ^ ^ \- ")' ^ ^ ~?-^} ^ i< <0 ^ J ^^! ^ »\ ? { . ^'! ' ï^ c{^!-^ ~^' <.v . - ^ 1'' ^ ï <:" \\' *^ "^ l^ . -? ^ ^. ^ ^' 10 ^ "^ <\ " "'' i ^ Ï ^. ',} ^ ^ ^ . } ;4.3- 5' (Y ^ ^ "'' -^ .. . -^ -' ^ ^ \ i '^', ) ? a s\' '? ?Jz Ll ^J \ ^^ ^ Adnan Fathallah: Director & Conductor, Syrian National Orchestra for Arabie Music; Chairperson, DepartmentofArabie Musical thé HigherlnstituteofMusic, Damascus;0ud instrumentalistand musical composer Oud is an essential part of thé musical culture ofSyria. It embodies gréât cultural, historical, and social values in every Syrian house. Oud produces a sensé of authenticity and belonging among Syrians, a sensé of thé enduring civilization and history oftheir country. As for Oud's auditory présence, it constitutes thé most intimate musical sounds to Syrian ears. As a musician, l am preoccupied with thé effort of developing methods of playing this instrument, and with devising new techniques and approaches to utilizing it. l hâve composed numerous notes for Oud, including a solo with orchestra entitled (It Was Thus). It was performed with thé Syrian Philharmonie Symphony Group. This pièce is considered a new vision to utilizing Oud as a solo instrument with orchestra, l hâve also collaborated in thé first public show of thé Syrian Oud Quartet in order to présent a new paradigm for playing this instrument, and to manifest its unlimited potentiatities. Therefore, nominating (Thé Tradition ofCraftingand Playingof0ud)with thé Islamic Republic of Iran witl contribute to its international dissémination in various cuitural arenas. Signature: Adnan FatHallah 17. 12.2019 J vi>5. ) -Jt -C, / *J) ^ 'i ' ^ ;' cv j < ^ r^. ï. F J'l'îî'^4'- rb T 11^?! ^. ^' À ??-^ t-^-<* ? ^ 01*!' ^);i^ 5 J;' :?-'^^^- e- -, ^ V ^/ ^* V) "l ^ n ^cl) " ^ j^'-t' ^ ^ ^ -4. ^- j1 ?~~^ <§ ^ -^- ^-1: -ï i: -i l^'t ^-^- ^ -? ..f 1Ï~ 5-^ Ï °'-i '^ -^ ^ ^ fïti. ^ ^^ -^ $^ lt:'-flijJ!Jim.l T^' l^' ^ -t^'ït'iti^l-IÎ, j;B ./ ^. ^ .' ^7 Ï- t ~î-îîiiï'ï-MHïï . ^ -^, ^ (^-^- ^rî . ^-'^-i Y- \ tï'.^< ^-^-^ . . ^: . H^îi^ttl ;"^%^'ï '^~f^. r. ^ ^ - ^ ., '^ . ^e?. <â î' ^ < ^. ;^ > ^ ^- '-^ î ^ ^?' ^1L 'Y^. ^ . âù '.^ f, ^ $ "-i^jï-i j'[^ î^ March 4, 2019 To Whom It May Concern: Thé Syria Trust for Development, in its capacity as a member of UNESCO'sforum of non-governmental organizations, bas launched thé "Living Héritage" program as a work platform through which it implements thé stipulations of thé 2002 Convention for thé Safeguarding of thé Intangible Cultural Héritage. Everyyear, the Living Héritage Programsetsa numberofsafeguarding procédures and promotional plans for éléments ofSyrian héritage, in accordancewiththe nature ofeach élément within its local community, and in a mannerthatensures thé safeguardingandsustainabilityof thèse cultural élémentsin partnership with, and with thé consent of, thé practicing local community. l n affirmation of thé vision of thé Living Héritage programofthé SyriaTrust for Devetopmentthatcuttural héritage is one venue for bringing communities together, and for their development and advancement, thé Syria Trust for Development has prepared a file to nominate thé élément of "Oud manufacturing and music. This nomination is a response to thé cultural and héritagevalues that this instrument embodies in its manufacturing and music. Thé nomination is done in partnership with thé Islamic Republic of Iran, since such a joint effort affirms thé importance of enhancing dialog between thé two countries, particularly among Oud manufacturers and musicians, and for thé exchange of expertise and thé knowledge-sharing it achieves towards thé goal ofdevelopingthis répertoire ofcultural héritage in a manner concomitant with thé fastpaceofadvancing technologies. Therefore, thé Syria Trust for Development stresses thé importance ofthis attempt of joint nomination with thé Islamic Republic of Iran in order to underpin thé concept of partnership in muîually practiced cultural élémentsamong societies. Such partnership is a venue of elevating human endeavors in thé fields oftraditional industries and musical arts. Fares Katlas Sécrétary Général Syria Trust for Development qJLoAJI qjjqiuJI âi^iïll .. - Syria Trust for Development r. iqjhî04:cujlill j-olJI CLoAj CK) oJ! tjSL^JI ^jj S-ui^S^JI j_^. ^L.ut^;tJI ^jL^-ui tjSJ-(A(- UjLi£Li (S-uuiU 4jjj-^JI 3-sLa^l, ". slLÎ 2003 - 4_1>^> 1 LLI^JOI ùj-f^ ^-iiLiJl ^j_u (3-uLj ù--» f^-ï J-a^ ^-. n ÙJ-^J"^1 ^L>- . 4.uA^ ^jLilt ^Lt-LI ç-s-LîfcI. I ^a dJI^^L; ^-&\ ^> j-oju (JL^JJ éjL^blj 4 -. ^îïj jLâUI ^1^1 ^, Li^JI ùL) ^1 ^I^Ut ^L^ ^ ^- îj-^Uj ^-o^cll ^-9 4-jA^j t3_L . LL 4jyi ^Lfl^ 4-ul^J ç^ ^ LyLJij L^£. -fâ 4^k; ûjuii 4lo. aJ U. 'L^JL£ ^ijjLjlj \ IJL^> . ^L . 3-^u,jJ. | ùjjLûJlj ^u[/JI t.-iLc. L^aJI JLîtA j 4-uLuJ)?L ttâj^^U^Lj-" ^-u ^ ^^ cULoi^l OjjgxuJ QjLolLI laJjjQULuiUll ^olïll Syri|Trust (or Developmcnt ^>--^.- T:+963 11 6125026 âjjq-uj .iQ lïi pi iQiflj_Lu ôj-o .â.ij'i ISiiiMI iCjLiu .2783 . i-j. ua www.syriatrust. sy F:+963 11 6125030 P.O.Box2783, Alexandria St., EastMazzeh, Damascus, Syria [email protected] Nehna Cultural Association No:1903/05 Date 19/03/2019 To whom this may concern 'Nehna' is a volunteering Syrian community cultural association that works on créative development, and on thé use of art, culture and technology in thé process of development and positive dialogue for thé benefitofSyriansociety. We do thisbyworkingalongside officiai bodies, as v/ell as locai organisations with a similarfocus. Thé Nehna Association believes that thé war in Syria has impacted thé culture of thé Syrian people, and it is only through music that thé Syrian people can heal from this war, especially through traditional music, including itsvarious musical instruments and musical pièces, most importantly, thé Oud and its tunes. Therefore, thé nomination of "Crafting and Piaying thé Oud" with thé Islamic Republic of Iran will empower thé cultural exchanges between thé two countries. This nomination to UNESCO's Représentative List witl contribute to thé development and progress of thé goodness of humanity. Président of Association Roula Sleiman IF*'"'IWrrrA: m03-IIl'mS@UOItEI30SSEBU^H |["<'|1? ite'Cr^': SJO-BU^U'MAIM 'V'-S60SîW-\l- £9600 iry ff^vfff i^^ fT3 ([Tr. D, r,r, rf-^, (.^rfl, n<-n^ nrr^vv3 /o\. ^\ ^r^rl ^WA' i/ ^» vr^v}^ (^mr0 ^ rçr^l rçrfp ^rP ^^T^ l^prr^ rlprl^ ?^ !^<~r rrF-'1 |Àm"^r^^" "rr \\^iv^\f> "p 'wp \° irr"<:"> |^Fn 5^ jO «rp w| |^"T:2 ir7rr[?' \^v> ipy"n ^ y^T> rîT[F' ?ini^"r2 ^wr u'wl-^\^y ir^-^T^ ripcTp-sr^u ^ I^WTPy^^^v ^rT^ ^?^r> i7cr^ BT^' r'n^Tv rB in n mTf1 ^r"<^ if|^<) 1^^ TC^^^ ^"f?r> r^ r^ 1^ |^TC rir^r^' ^ r^^ ïf> '' ?6^ ^T^ irv in in[> itr5 ^ \T^ \^(~^ <) ^[> C-TT^ ^ ^eT>, ^ F^P ^ [Tr"^ |^r~) |[T"vf> r|^ ^T" ir^-i^r?" ?l°T> ^ WTrv en' »-? 51^1^ IPPT> ç\rc ç\r \^\^ n CWT^ ir^r? i^r^î rrçp ^? ^çp |pnr^ 5^^ ^=n ww> ^"^ \vnv vcc^. !xîr^ r^ q[TT^ |^| ^> ^n^f -^ |'^=T|<1 |^e> r|^ <~|[T5^^^n |^TiT> \f)^>r9^ (^ n^-' 6ï/£0/6IOZ rF>: ^ S0/£06ï y"? sz/fr/sioz i^r-rr>/68Z,/ NOIJ.VI30SSVT[VWinn3VNH3N United Arab Association For Letters and Arts(UAALA) Founded 1959 Tel. 264 1817 Fax 221 9373, Cell. 955 864 686 No. 3/S On 2. 2. 2019 A Letter Endorsingthé Oud Nomination to UNESCO Greetings Across allstrata of society in Aleppo, music is an important daily affair. This is due to Aleppo's history and to thé city's openness to thé world, commercially, industrially, culturally, and through tourism. As a result, Aleppo distinguished itsetfby combiningtrade and industrywith musicthrough professionsconnected to music. Hence Oud manufacturing. This string instrument accompaniéssocial and artistic life in Aleppo. By social,we mean homesand familles, by artistic we refertothis important instrument in musicand singing. Aleppo is famous for ail types of oriental music. Since its inception, UAALA bas paid attention ta Oud, training young women and men to play this instrument with thé help of thé most capable instructors, making sure that it is présent in ail concerts, holding lectures and forums about it. Thé Association incorporated Oud into literary events as an accompaniment to poetic and story récitais, a trademarkof UAALA's diverse weekly cultural agenda. We continued to hold thèse events every year to date, even during thé war in Syria. UAALA, therefore, endorses thé nomination andregistrationof'Craftingand Playingthe0ud"jointlywith thé tslamic Republic of Iran. This nomination affirms that cultural héritage with ail its traditional éléments, is a driving force in humanity's welfare. It fulfills thé vital goals of exchange of expertise among countries that share common élémentswhich articulate human creativity. Président of thé Association Abdul Qader Budoor ^\^-ï>. aJ^.\ ^\ î. xJrl ^i^^. ^i^a^ Ù^ÀÎIj ^b5U nel (.if. *._.G . ^ooA'MIAI: Jljs--^T^^rvr : ^â-Tli^A^V :A ^/r:^i T. ^ /T/ Y: çijUl Î\^S'^\ <»À1L j^wjjjl 4ioJa*a (^jJ t»JL?- ^-àjî ^^ ^laS' U? 1^ ^jL4^-l ^.Jl?- ^ujÛJl JLJ^ Syu , ^Lftj ^j ^Ls- ^atf. A-J^. ) oJLaJ Obto. ^1 JS'^^J S-^" (J La-»^.! LAj^> (S^L^Jlj ^lââîlj SsPlL^Jtj Ajjl^l) OLA^I jTjj OLa^l jr^a ^bJl J^^- ^-J^ ^LAIj j-»j , i^y ^£ ^^ IA^>^ J^cûC»IFLL^> J'ïl?" j-a lA;--ijî. b OjL?iallj AFL-tfJI ùjA ùî i^JL?- OlFllas-ol ^JIP^J?- J A^lj ^U^^l O^lJ-t JS3Aflàl^. l ^1^1 A^l U.^jl. l âJ^tjcaû ^îl (^jxJl AJÎ) AFL^JIÎÀ ^-i^ frLyiîlj J^jtîl J S^lAl SJ^I ^â 4.Â]1SJli-1 Laî (j-^lj ^>IJ-»Î') S-iFU-a-^b ^ ,,flflllj ^j-^i-1 OL^wa^l o>iLA l< S^-^Ll JJ^ La^-j ^Lfr j^l j ù^6JLÎ'1 J^ J<^!" JA ^1 ij^ t-ÎJX (J^ JL?S^IJ ^ti^ â^L^Jl J Ij^a.?- AJ^I oJLS»J^- ùî C^llax^l S^toJrl ùî ^- , ^1 4JÎ ^. OljjJlj ^lj^b!sl lalâlj , ULadlj Lié flflll ^L^^^b tîl AJT J'i^- ^> ÎLA^-I o^x-àl ^Jl S^,rî,, J ^(-Jl Jljlj y ^jjtîl ^I^ÀI J'ïU- j-a A-J^I ^IF ^J-l ?. LÎÎ ^Ââ^u^ IJlALla^ ^- ^^> JSLîj ^l&l Jlj^ ^.U*J(. ^.^-^1 ^Î. (JJ^t-l' J'^< t^^ . ^^> «JjxJlj M<-<^1 ^^S!l APL^?" j-^uf. Jsî-b-Jj ^s-àjï ^.«^ï ù^Âilj i^)b5U oJLycil îtjyt il Ss*Jrl ùlà dllJJj fl^Lau Jl^lt ^IjJl ùî ^IF JlaS'UlJ S^î j^ ^-^1 IJL»*JL<>^ il. «. ^^t 4<»'sL>^t2ùj^Jrl ^-a"^Jlp J AyoLd^l iJlJU&^l ja^ ç»sjj tOlf-L». ^! oJLAjJ-1 Jdis b; S^Jt OUto. yuJi ^IS^st ^î JA jcau UljJl , ÙLJ^»OlFljùl ^F j^" ^Jl ^»Ly(Jl oJLaJà» jLlafi ^Jl JjJl ùu <-)^t J^LJ 4^^-t ^j ^J^1 . ^ -\-k J^l ^L^U) <3')Uail ^. i_J^- -^ ^o^/^/^r^yb (T\) ^-Ajl ^j -ù^lj i->b5U SJ^l. 1 î;^«Jl l. :^J-\ . '\ooA-\£'\A-l :JI^- -/. T. r-. V^Y'^Y-. . T/ (r)t$jj-Jl (^, L?JI ^^. 1 J 4,^1 ^L^. - / ^TYV / ^<^ Ain AI-Funoun Association atjisr alabyad-Damascus No. 20 23. 2. 2019 Cultural héritage is a main constituent of human development and advancement. It opérâtes in ail its facets to unify cultural communities in ail countries, thus ensuring enhanced coopération and development. Because of its agility and thé ease of its prolifération, cultural héritage, since thé beginningoftime, bas been able to cross borders and vast distances to bring peuples together. This is thé case of music as well, for it bas been, and still is, thé easiest language and thé most intimate to human thought, passions, and aspirations. This is particularly true in thé case of Oud for its fresh mélodies and intimacy with thé human voice. Oud cadences hâve thé ability to attract musicians and connoisseurs of music. It has also triggered thé passionsof manufacturersto develop it, andto labor persistentlyto endowit with thésoundsthat express thé soûl and its émotions. Oud hasbeena perennialaccompanimentandfriendofSyrians, spreadingtheirlove, melancholy, agonies and hope wherever they are, and in ail their gatherings. Until this day, this instrument is passed down from grandparents to parents to grandchildren. Académie instruction is incorporated today into teaching thé art of playing thé Oud to achieve superior techniquesthat combine talent with technology. As part of our sustain to thé présence of Oud within thé various strata of Syrian society, AinAI-Funoun Associationseeks to support ail cultural activities related to Oud music and performance, andto promote them to reach out to thé widest range of interest. In conséquence of thé cultural and social values associated with Oud and its music in Syrian society across its history, Ain AI-FunounAssociation affirmsthat importance of nominatingthé élémentof "Craftingand Playing thé Oud" in collaboration with thé IslamicRepubiic of Iran, to UNESCO's Représentative List for thé Intangible Cultural Héritage of Humanity. Such nomination enhances thé cultural dialog between thé two countries, and facilitâtes thé transfer of skills and know-how among Oud musicians and manufacturers, thus consecrating music as an international language for understanding, coexistence and goodwill. Sécrétary Fadi cattiyeh Président Talal Mucalla . - \ / ^. /:^1 .o jjiàll ^jjc. ^iit. as». ^. n/v / vr :^jU]i (^ay^l. ^juiaJI - (jjÀ-a^ ^ ^jla^lt A^r\\\ ^j^uill ^L»^( ô^Lutlt . ^tj ^ 4 l^'l (JAXJJ tl^jâjj ^J^jJljll JJ^a"j (^a '^-^^\ t-lUj^alt ^A. i ^àLâjil l^-lljliJl ^J jjbLlII ^i oj.bj (Jiii Lu ^l£ jl^LÎI ^ Ul^ll CjLi^l^l ju^jj ^L A^jjà . ^jL^llj jlu. a. t ^Sc. Ij-lla ajLÎLul <îj^uij Ajjj^-û t--i.i.-LU Jj^ l Jllu (^^^ (-llj:^^ c")1l^a îill ^L_ij»,, >, (jjj Ijjl-a (J-iLaLA Allj ^j^A^I j^ill ^ bja ^^lj, J^Ïl ^ll1 ^tj ^j ^^à ^>Jlj l^^l Jl^ |JIA,J <^îlaj Lai ^ UljC. (j-a ^«-aâ^ ^aj ^Js^l Cu::21-^ J<^A1J '^^J A^a-lLall JjxJI (j-a (jlsJ^I oJ^-S jl^à ^j^dll CLlj>^Vl (JA L^jâj (jlA-S^I ^JJJ:-C- C>d (jJxjL-aîl (j-a (. î» iTi C-iâ^ La$ tlâluijAllj ^jAAl^-ûllj ^jjàjbt JI ,aL ^a3l (je. JJXJ (Jjâlj jj l-lJ-L-a fr^aC-J <^- ^0"' > ".AÎI J- ^l ^11 (^jjj jluU^U ^\^\ (jj ^^allj ^Ij^l ^A J^iJl C_U1^â . Uj&Llaj jjiàjl) t ^ll -als^l ^ . tAjllâj 4jUjS-a J^J (^jjj ^. (J-a-^a ^^ <-JlJit^^J -ijx^^ 1-^J^ rkc'^J JL^o ^s ^ ^\ A^m\ CjLLiLî^l . ^ c5jl c^x^J ùy^* ^'Jc ^.^^ ùlà .. \ . ï /v ^. >-. n/oc<"< t_jU=ÀLu^ ^jailj ^jUaJ ^ÎC IÀJÂJç»jiAj Lu l^î ^ujj^îlj ^Ijc^l ^1& <-àjxJl AjcLQ ^jàlS UaJJj^ l^lj ^aS ^a l^ilc- <-â3»11j ^jiJI 5JÎ 'dAs^ U IjJaJo .(j^u^Jl ^,jj A^&\ ^lc ^ J^Âl) J^ <^A^ ,j]i ^jU jjc. (jjjx. JI ^AAAIL ^La^Luiyi ^Jjj^AsJ) ^a " l^jlc- t-à^xJlj 4-;"lLuijAl) . llj&^l A^LL-a " j, -.<- ijiuuj^l A^^ ^3 ^^\ ^à^îl ^ilj2]l j^>U*l ^J^l ^1^1 ^ Ajjijjyi ^s^j Jâj (> L>j tj^-iLll j^ ^àlSl) jlj^l] jj^ ^ ^j3ll I;SA Alûsu U LA ^y ù^ J>J J >ïjxJI ^ tJ;»i>^. ^lj j^àjLtll jjj La UijL«^]lj djljl^d] A^ . ^jL^yi ^hlij cAjbtjîij ^luil ^si^ io;..^| ^J***'>^ L>JJJJJ ù^û^ ^^i^L e. 1 J ^// "^. r. ^^" We are thé members of thé Syrian Oud Quartet: Mohamad Osman, instructor of Oud & Mandolin at thé Higher Institute of Music (HIM), Damascus. Faddoul Saad, graduate of HIM Anas Al Awdeh, graduate of H l M NawwarZahra, 4th year student at HIM Thé Syrian Oud Quartet was founded in 2014 by HIM Instructor Mohamad Osman as an added step to develop Oud music and ta contribute to efforts of elevating oriental music to enhanced group work. Thé effort was based on our musical and cultural héritage, and on our collective académie knowledge. Since thé Oud holds particular importance in social life, and since it is an élément of thé cultural héritage of Syria, thé Syrian Oud Quartet stresses thé importance of inscribing this élément, in collaboration with thé Istamic Republic of Iran, to UNESCO'scultural héritage list for humanity. Signatures: Mohamad Osman, Anas Al Awdeh, FaddoulSaad, NawwarZahra c^ ^ ^ ^ ^\ <^o \ - r^\° .. N-^-c^r'^f^^' ^(^\ ' {r^^ ' ^^( ^"rvr ^ ^^\n ^^î^^<. ^^<7^ ^ ^ ^ ^^ ^^ .^^ ^l^^w';^'^"'^< ^<, f\r^^^ \^ ^ - ^ '^ "_^ ^ ^ ^^ ^^^^^^^ zs:^^:y^y. ^ ^^ ^^^;^^^^^^/^^r\ .^^e^^^^^ l fell in love with Oud since l was young. It's such a wonderful and comprehensive instrument that can perform various musical scales. A singer can play on it while singing to express thé whole range of human émotions. It is harmonious with thé range of human vocals. This is why most Arab and Iranian musicians use it in thé compositions. Thé prevalence, of late, of electrical instruments such as thé electrical organ has not displaced thé ambiance of listening to, and learning how to play, thé Oud for thé majority of Syrians. This is due to its attractivenessandtender tunes that are wetl received by différent types of audiences and practitioners. As a result, Oud manufacturing has proliferated in Arab countries (Iraq, Syria, and Lebanon) and in Iran as welt, because thèse régions resort to thé oriental scale of music which is suitable for Oud. Therefore, l encourage and support nominating thé élément of "Crafting and Playing thé Oud" together with thé Islamic Repubtic of Iran. This registration at UNESCO confirms thé importance of exchanging expertise and techniques of manufacturing, and playing on, this instrument. Mustafa Abdul Qader carab, Music Researcher Aleppo30. 11. 2018 \. ^-y\y^ . ^ ^\ '' . :^ ^^y -s^'\ t-" :^^(^-^ ..< f^^^.^^ ^^ l; \>^ . ^Â^\^^ \ ïJ --^^ '^^ ^ ^^ ^ ^_J?>L^1. JJ^l^ ^UL^I û ^f ^ <2-^~ ^ ^<^s3\^ s^^^ -^> ^-^\^^\ , ^^\ _^^ r^^.^ ^\ _ ^^'^^^l^ ^>w °^^^'^ -^^< ^^^< ^^ ^^ j^-^^>\^t r^'^L-^^i -^J'^^^^, - ^^ ^y^^^ ^-^^ ^, ^/ ^ ,^ < ^ - -u'^ . ' l - \1^-^ ^^^tl) V/^J>1 ^^} ^^ ^ ^^\ ^\^ ^ t^' \ __L^^j y^^ ^yj^ ^ 0^ o^^ ^^\^ ^ \^ - <^ ^>^^\ C.^> ^ ^) \ ^ ç^^l^l/ ^^» ^£^-; ^ ^ ^^^>^-C^^J, ^ ^ ^.^ ^ ^ ^^J^^^jA^^» ^^^^-^^As ^J-<^ ^^>1>^- . ^^'y , '^'-^^-u. ^ à>^l> rf^' -^-<-;-^'^ ^j-y < ^3' <<-' . ^\^^ -^/J>\ ^^p /^y^ ^^^- , ^^^ \ >î/^y^.. -^> . \^ <. ^ î ^^!^l^ii LS'J 0.L'-^ l am Muhammad Hamdi AI-Shater, born in Aleppo in 1978. My hobby and my profession, since l was five yearsold, isto playtheOud. t was influenced bymyfather, OudistAsaad Al-shater, aswetlas bymy family flair for music. l became a professional Oud player and instructor, and therefore, got more attached to it. l advocate learning how to play this ancient instrument which represents Syrian traditions, particutarly those of Aleppo. Currèntly, l transfer my knowledge of this instrument through teaching at thé Sabah Fakhri Institute. l hereby encourage nominating thé élément of "Crafting and Playing thé Oud" together with thé Islamic Republic of Iran. This nomination will enhance sharing of expertise, and advance dialog among societies that possess similar héritage. Muhammad Hamdi Al-Shater Aleppo 1. 12.2018 Director ofSabah Fakhri Institute Abdul Halim Hariri ^^. n f^J- ^ \ rr^n ^tf? C^^- -^ f^^ ^ ^T^ ^-^ç^ 7 -^ r^ -^^ ^ ^» ^-^1- ^ f<<7 ST^n ^ '?f^-^ c^l S--'/^^. ^ ^ ^3-p^> ^ r^? ' ^ ^^'--^-^'. ^ ^-^^ ^" e -^0. ^ "7 - ^y 9/ ^^^ ^ . ^C"^ " <^^no^^?^ 0 - Signature and Seal HusseinSabsaby, Damascus 19. 12. 2019 . J-r '" ^<3 ^ ^'k ^ ^ r - . ^ ~^ J- l ^ -n' J > ^ ^ ^ V. V , ^ Z ^ --- --^ A \. ^ -'. -^ -^' ^ < ^ Y^ ^ ^ -v - ^ 3.. ^ . ^ i ^ ' "v,A l learnt music on my own, through my arts-oriented family l studied thé Egyptian, Turkish and Iraqi schools ofOud, and thé proceeded to compose pièces specificallyforOud. Currently, l am writing a book about playing techniques. l participated as an Oud sotoist in international musical festivals l performed with thé master singer Sabah Fakhri, and with a number of Syrian singers l formed few musical groups At thé beginningof my musical career, l played on a number of instruments, includingthé guitar and thé buzuq. However, l loved Oud's form and performance because of its wide range of musical scales (Oriental and Western) l hâve taught Oud at thé Arab Institute in Aleppo. l encourage whoever loves music to study this authentic instrument because ofits wide range, because it bas influenced Arab consciousness everywhere, and because it has an évident impact on oriental orchestra (takht). During thé Baroque period Ouds were manufactured in England and Germany (lûtes). Prominent European musicians composed pièces specifically for Oud. Because of thé its importance, l support nominating "Crafting and Playing thé Oud" in collaboration with thé Islamic Republic of Iran becausethis nomination is vital for exchangingexpertise and sharing knowledge between thèse two countries, and because this joint nomination can be an examp!e to fotlow by other countries that possess mutual élémentsof héritage. Bashar Hassan 2. 12.2018 ^s u. L>^J '. cry ^ ^ *. -^\ '^'... ^- , ^^, ^->-& ^ J. ^t. . J^J l -^J. V»- -u. ' ' -^'J-^. o^ .^,, J - <-^e^-- ^ Lu.,^ ./ ^^J_"^t l, l, -^^ ^ , ^ ^^, _^^^ r- ^ -^^'^^'^^'^^ '^^ ^^^>^ ^^iv LU Lj\4- \^ " ^>J, ^'^ . j^ -^ >> L^^J^ ^/.-» . /y)-^ r *'i^^j. x -y' ' ^^\^ y ' -T^^^-'^Y-;'. ".;./-^ -'1-.<-^ t-^tJ, <-^"^:^^^.,. û ^ -\ .. >",, -^. _^ , /. . .- ^ "" ^ -^. '^^ ^ ^^>? <^^^^ ^^t^, ^ f^ ">WN l » ^/^ <^^^^ * ^ / v*>^<^ '^«»* ? » u ^ , <^j ^ i^» ^7 -L^ ( ^ -^' ^t3 f^^^ ^/^, ^ ^ 'W W ** t» . ^-" ^ -*'. '-<. . '' - -. . " ^-^ ~<^ ^ ^ ^ ^^- l <. v^ ^ yç/^ My name is Abdul Basset Bakkar, born in Tadef, Aleppo in 1962. My passion is to play, and instruct, thé Oud and thé violin since thé âge of 15. l was influenced by my family and by nature. Music is nourishment of thé soûl and a reflection of thé cultures and civilizations ofvarious peoples. Thé ancient city ofAleppo is famous for masters ofOud manufacturing and music (names such as Michel Khawwam, Georgi Hayek, Jamil Qandalaft, Hassan Hamzah, and Ibrahim Sukar). l callforthe nomination ofthis élément to UNESCO's Représentative Listforthe Intangible Cultural Héritage of Humanity, jointly with thé Islamic Republic of Iran. This nomination enhances dialog among cultures that hâve traditional éléments which constitute a part of its national identity. Abdul Basset Bakkar Aleppo 2. 12. 2018 /... . . ^^^- ^J^-^ ^ . ^^ ^^\ u^^^ \^^ ^v^^^^ <^ '" cr fu\/^^^ OUÎL^ i^rc^ ^E> <^-<^\; c^J'^^^^UI^'1. ^^-^ ^ " ^^^^cr^^js ^^^ ^-^Jf^i^ ., ^ -'^fc.;^ (^^\^^^ ^, ^\ ^^ ^^^. -^^ ^^^^^ ^ /_ c^-^. ^.^ ^^ ^ ^^^0^-^ ^^^^ ^. ^^^c^^^l ^^^^^^^^ ^1L <^J^ ^L^<^ ^^^ 2- Û-^Jj^^JJ ^^^^y^^^^^^^^^^ _r> ^J^ . C^, ^G>^^ ^~"^^^'<^ÛL^ ^ ^\^\^ y . ^ /-/c^^ Syrian composer Itham Abu Al-sucood, Syrian national, DOB: 1931. Thé first Arab female maestro, thé only female composer in Syria, a music researcher. l fell in love with music since my tender years. l believed in its rôle in nurturing a mature, intellectual and sociatly compétent génération, l hâve composed many pièces for children. l hâve always advocating giving music more prominence in school curricula. l hâve participated in many workshops and gatherings dedicated to supporting music. l obtained many Arab awards, of which l am very proud, and which is thé fruit of my dedication to my work. Music is my life. It gives me peace of mind when l listen to it since it pénétrâtes thé very fabric of my soûl. If music is a cure for some illnesses, and if it helps certain plants grow, then no wonder how subliminal is its effect on humans. It bas been our companion since time immémorial, in our times ofjoy and sadness, and acrossthewhole rangeof our émotions which are articulated by musical instruments. Oud is of paramount importance in ail thé developmental stages of music. Syrian musicians were able to express their innermost feelings through Oud. tt triggered their innovation in manufacturing and music. Syria is famed for a number of Oud manufacturers and musicians, and for a number of musical groups that hâve developed thé playing techniques of Oud. Because of thé inherited social and cultural importance ofOud within Syrian society, l acknowledge thé importance of nominating "Crafting and Playing thé Oud" together with thé Islamic Republic of Iran to UNESCO's Représentative List for thé Intangible Cultural Héritage of Humanity. This nomination reflects thé importance of making héritage a venue for constructive dialog among humans, and for thé exchange of expertise between thé two countries. Elham Abu AI-Sucood 28. 2. 2019 1931 4.u*l5cJI j^a^ -LJI^» 4j^-«JI - .yjt^JI ^jî ^L(JI ÏLSjLJtj 4-L%1 Lsji5j^ ^lal^ t^*-!^!l J^i Lâ-L^^JIi-^-^ . yû.^jAJI (JL^I j ^l^Lj 4jj^< J SjLo-jJI4. La-LaJlj .4.u^-^^LojL Jgl ^î. ^<-LM^> J^LI tl^st-^5 t(JL2LyL <^L;cJI JLiJiAjl '~")"i LcLu. (^Lt^l ^ ùi^h" ?. )^ Lj^a (j^i ^bLi J^- 41^1; j . ~eu^!^ S^LJ C^' s)lî5 J 3-As^y-JI 4^UI ^1 ^j^JI ^ .^Ul ^iLJI J ^1 S.uuiiî LA.^J^JI jL.i.L- j . L) ^IfrlA \^J-^ Là-i^J^JLi JU ^Jl UI^ ^Ij^iîl J^ j ùl*aL^»J^ o<^L*JI ^ ^9 L^' L^:<-L"5 L?ÎLP- C?' Lâ-i-^î-^Là . J^I^LoJI yâ^^JI J frLi^JI J^-L . J^-LWAJI aJA 4-a->^î ^J ÏLL-wjJI t_ul? â^S^ , ", JI Là . dl ^^^«jjl 1^1^ ^ ^jl^JI ^âjbt ^lL-L«, Lâ-L^JJ 4^k. J^I^JI ^«.> J ^^1 4-uui^l . y^JI 4JÏ jlS.S ^ JJ^- (La-wL; 4£L^JI Lli.u.. t .. 4JI jl i^JI J^ ^àjA ^ ^^L (jjl 4^L^^>JI (3^JI ^i .sjLt- J] 4âL^j ùi^l ùÀL^tj ^L^J " jSLtJ^JI j ^l^iJI 4^uli Lû. yiLJ)fl J^. .S-ut^yi 'ïL<)?l 4^^-?-II ^ L^ ^SJJtJI^ 4.. j.. . ol-Lkîl ù^ ^1^1 J-sLuS4. "L^>U»1-4JI jijl-ciU 4L-<^^I^JI J^ j ) ^ ^ J / Ifwe want to know something about thé civilizationof a nation, we should get acquainted with its music since it is an important indicator of a nation's civilization. l advocate learning how to play thé Oud. Since l play thé violin, l managed to learn thé Oud in a relatively short time, in order to préserve our wonderful musical héritage. Aleppo is famed for its master musicians and manufacturers such as Michel Khawwam, and Jamil Qandalaft, and others. Thé craftsmanship today is developed by such skilled artisans as Ibrahim Sukar and NaceemSukar. l therefore call for thé nomination ofthis élémentto UNESCO'sReprésentative list, in coopération with thé Islamic Republic of Iran. Muhammad Ziad Zeitooni Aleppo, 30. 11. 2018 Y -J , :î Ï^îf. -?.? ^ ^v\ ^ ^ ^ ^ v ^ -i- ^\^' -^- i -? ^' ^' ^ (\. r. =, Y \ ?'5^ ^ ^ ' -^-î ^' ^ - ^ . :3 ^ ^ ^-^'^?' .\ \' -' ^ L' a< ->\ . j ^ ^1 \^ ^ ^ ^ -} ^ ' !' ^'?^ ^ îl S} k \ i : +^''î^ ^ \ 'i[^Ï ^ ~\ ^ ^, 1-^.'s'^ -'l '.^. '^. ^ * ^- ^" ^ -^ y î ^,?:îsl t'/ L\ J^^ -^ J ^ ' ^ ^ . ''3 ï ^l-l;!^'' ~b1 î: ^r \N J^^ ^ . \' ^S^s ^3N ^ '). v Consequently, l encourage nominating thé "crafting and playing of Oud" in collaboration with thé Islamic Republic of Iran, so that Syria's message to thé world is one ofamity and peace. Signature: Mohamad Sabsaby Damascus, 19. 12. 2018 ^sP ^\^\\'\ '\r ^ ^LÀ^ ^ ^&3 \ ^J { ^ a^( ^J-^ \. "^\ (^ (^<^<> ^-^-0 ^ ^ (^^ ^ S/ ^ ^ 3^>A >< c^'^t ^^^ ^^ X^^^ <-Uî'^>'^ ^ \ ^>\^^ -^ ~~ ^ \ ^^^^^-WA.-, ^,,^ ^ '. ^ . ^ ^^^<, <^. /v^/^i L^ 6^j^v^ . ^^ô-^^^^^\^^ . ^^^^ f *^^/^ \ \ ^ ^ ^ z- \J/ \C / \û( ci^^ Syrian Arab Republic Ministryof Culture] Thé Public Corporation ofAI-Assad House for Culture & Arts No. 348/S.A 11.03.2019 Jwan Kara Juli, Overview: JwanKarajoli studied at thé InstituteofArabie Musicand at thé HigherlnstituteofMusic(HIM), Damascus. He graduatedfrom HIM in 1997, and received his training at thé hands ofthé most illustrious Arab, Turkish and Azerbaijani Oud masters, suchascarefAbdullah, caskarcaliand Munir Bashirthe foremost Oud player in thé wortd. Karajoli participated in numerousworkshops, includingtwowiththe\nàïan sitar Maestro DebuChaudhuri (godfather of Indian musicians). He also did a solo performance with thé Syrian National Philharmonie Orchestra, and with thé Turkish Tekfen Philharmonie Orchestra. He performed in many countries, regionally and internationally as well, and partidpated in thé opening concert for thé young entrepreneurs' conférence, held in thé Conférence Palace, Damascus. He isaco-founderoftheAfau/C/io//7 Al Qabbani Héritage Group. HetaughtattheSulhiWadi Instituteand HIM, and taught music at HIM's Ballet School; a former director ofSulhi Wadi Institute and of thé Directorate of Arabie Music institutes, Ministry of Culture. Currently he runs hisownonline musical institute in addition to a music-therapywebsite. Heâlsoholdsthepositionof Director-General of thé Public Corporation for AI-Assad House for Culture & Arts. Oud is thé most ubiquitous musical instrument in Syria, socially and culturally. Socially, it is présents in home gatherings; there is an Oud almost in every house. When friends congregate for at-home evenings or for picnic, their songs are usualty accompanied by Oud. It is also a trademark of women gatherings. Culturally, Oud is thé main instrument in musical ensembles. Outstanding Oudists inciude cumar Naqshbandi,caziz Ghannam, and Najeeb Sarraj, among others. l, therefore, support nominating "Crafting and Playing thé Oud" with thé Islamic Republic of Iran to thé UNESCO Représentative List for thé Intangible Cultural Héritage of Humanity. Such joint nomination is vital for thé exchange of musical and manufacturing expertise between thé two countries. Director Général,Al-Assad House for Culture & Arts Jwan Karajoli ^"-> . '.3 ^ 1 ^. ^^ ^..J . 3) -? ^ ": îî:. î^l ^.î^ î î . ^'°' .: ^ ^ ^ î î -?. j: 4 ^ .J.:,? i î ^^ttfs ^ ^ ^ ^. 3t ^ 'z ï ? ê'> ^ ^ H t î ;i ..^ .< 'G ^ ^ ^'r : 31 ^4. l» <1 -»^ . ^ ^ - _ - «^ t< =^3 -- '^ î,5 .^ l^. ^"-? 3.^, -3) ^'j' li^. ' " ?>aî U 3' = ^ "^ ï ^ -^ .l l^ s :3: .î I3 .ni . a ;1 ^ -^ « [% . ^ ^ ^ f 4l ^ 5 ^ ^ %-3^ . '^ J JJ *) ^^ . -n.^ . l -:- ^ -'. l îj* ^ î n ml . -!;1 . V' . .' '. ' î ^ ^ 11 : Xl ^^ 5 . . m j J 1 3 "":' ^ '3 ï J ^.i ^ "°b'J "l ^ . ^ ^ l5! 13 :'3 ' ^1 5î n d. d. 3 ~^l tty^ ;t 3^ à ^ 7 ? ï .ï ^ 3Î ^ ^» ^ ^ "b.^ ^ ^1^ "^ i5 ^? .^ it ï . 1- -Il .^ ^ ^ s q ^ "3 L -0 -^, \^} 'l T î °^ .n !'-? ^' °> <1 ^.î ï ^ . ?1 . ^ lîï :^ ^. '.l ^ ^' l: 1 % î ^ -d) "^ °^ l î ^: l 0 ï «l D '-' U-) . " >, 'ï ï s >;m oo ç^ ..? ^ Jn'? *.î 5^* ^ î i 0 S °° s. vçS w» w) », ^ oo\o '" . î. ^ ^ si _ >n >n cd M t-àJxJb ^jj j .^i^i^ûll (jjâll ^ ^juij'ijîl 4j^| ùjxJl jzyu '\^\ \;- . ^^ j . ^J^-J ^^ L-JJ3JJ^ J^J^JL$-û^a J^ f^ ÙAm^J^tt>JJ!^11 . (-à^SLSlj ^JJAA ù^i* tj ^iâ^ ^t j^ 2u^\ " \ Ù^^Jâ . / / J^^ ;'-w/. ff \ '* * -A ^ ^ .V ^ ^^ S yria - Damascus Omayyad Square Tel. : +963 11 225 8031 Fax:+963 112256685 P.O.Box: 6875 www. opera. sy l am ManarAt-Shaccar, from thé Governorate ofSweida', Syria. l teach at thé conservatoire in Beirut. In 2013, l founded thé Swallows choral group with partners from five countries: Palestine, Lebanon,Jordan, Thé West Bank, and France). Thé show featured 375 children and was broadcasted via satellite. Thé show was sponsored by thé Rostropovich Franco-Russian Association. l founded thé Manara (Lighthouse) choral group for sixty children. It performed in seven languages, was met with gréât success, and ranked in thé first place in thé Arab world. l also established thé first children's orchestra in Sweida', as part of thé 5/îog/ïo/musical event, sponsored by thé Ministry of Culture, l hâve organized choral performances, musical events, Oud and Organ instructionat activities, in collaboration with various entities including UNRWA, thé Syrian Patriarchate, UNICEF,and associations caring for disabled persans and children with spécial needs. As part of my rote to transfer my musical knowledge, l hâve taught at thé Farid Atrash Institute in Sweida', and trained thé Manara choral group. My efforts were born out of my beliefthat music enables people to overcome diffîculties and thé conditions of war in Syria. Since l was young, l hâve learnt to love music and playing thé Oud. This instrument has always held gréât importance in thé cultural and social life of Syrian, and across successive générations. There are many illustrious Syrian Oudists. Thé Oud bas a gréâtappeal to local communities since thé Syrian Oud isa constituent of thé cultural and héritage identityofthiscountry. Oud manufacturing isan académieindustry. Many people hâve inherited this profession from their ancestors, and transferred their knowledge with love to thé world. This is due to their passion for music and for this instrument in particular. Many Syrian cities, especially Sweida' are home to many skilled manufacturers who enabte musicians to promote music and peace. Because of thé traditional significance of Oud in Syrian society, because it is a permanent and ubiquitous présence in Syrian homes and activities, l stress thé importance of nominating thé élément of "Crafting and Playing thé Oud" , in collaboration with thé Islamic Republic of Iran, ta UNESCO's Représentative List for thé Intangible Héritageof Humanity. This joint registration is significant as it expandsthé scale of partnership of common cultural and héritage éléments among nations. It further enhances thé exchange of expertise among musicians and manufacturers in both countries. Such promotion of traditions serves thé advancement of humanity. Manar Muneer AI-Shaer 18.2. 2019 LlJJ-U) - S. ljLlJ./vJI âk At-s-a ^a jLfc^SJIjLLa Lii Jtj^ (^<-o-> ^-o dJ[/Lw^L 2013 jaL»J jJj-L^JI (Jljj^ ^i-LuLu L-Lai J-Sj t-ij^ '^tl 4JJI ^ÀJLJ JAAJI ÙjS^ â^^l'. jLi-3^1 J-%^ej (j^-*-îl ( ^.L^JjjiJt ^.i-wj^JI (j5J.tà^Jjj;L^i. ij 4.tjLA-> 4jL^ J^jtJlj dJ^Lîuo JAL375 tjSj t-A. Li^.LÎI i_jL»J L> 60 ^c. Jj^| , />;;^ |^u^' L>L;u (J>^ jJj ^-«j ùfrljt (^ji.>j t_j<^tjj^ t-iL^ufj-LI (j^» ^^t ç-<»t-i-Lo^. <^Lalîl k_jL>Li-i-><^l I-|LL ' " . tj^Sj-a-llj 4-^L.îcJI L$J^ A- S-LA. I IJ-a J 4-ul. J ^jJjJlj <-Luii JAÎ ^j-»JI 5JI (^L. ^ij-*JI i LU)LU 4là^LtA îl-LAAL LLa Lj Lo-il tûftL^a-C. k-ujjjj SjL.LI Jljj^ ^*. 1-1-0-39 teljJj-A«JI (J (jSijlsÏI Jj^3 JL^*-a I-JLJ.LJI Lâ. . 4-ijij-u) (^LC. ^j-%II 4JL>J t-iLj-a-^aJI (^LC. (J i_3JAjl^ i-uij-ll ûLpcJI J ûj^' 1 ÏLC. [^ JLLJI IJLA sy 4. io-w (J^L. ) (0-u JiJJfcJI Li-^ (JÏ jj ïLiLllJlj ^ûJUt(j (ftjljJljj^-t-wJ. ) LajL>lj-iJ'Lîe. tLj ^jj-wJI ç^.l.-ie.ftll ÏLuljJ ÏLuij&l ^a >>JJLÎI4JÎ '^c. e. ïLui-al ÏLAL. LS^I ^l^&^l [i^a" j.^'i y-^y (JA J^ij )OA^^ (^Lâ '^J^o J JiLeI.lj U^LJI . ^SLwLi^.JI 2,Ui^ j ^Lu3)?l uljUI ^LâJ 2LuljJ^I . Laj^lajj ÏLuLj^l jt^J/ ^ ^" ^ 1. ^^/Z/IS Dr. Hiba Awdeh-1 am 26 years old, a graduate of thé Sulhi AI-Wadi Institute (2010) and thé Higher Institute of Music HIM (2016). My connectionto Oud goes backto my birth. My fatherwas an Oud instrumentalist (self-taught). Oud melody was always heard in my home. Encouraged by my family, l started to learn Oud at thé âge often in Sulhi AI-Wadi Institute with instructorsJwon Kara Joli and Adnan Fathallah. In 2011, l enrolled in HIM, and was tutored by instructors Issam Raficand Muhammad Othman. Oud contributes to thé manifestation of thé culture and héritage of Syrian society. This is why l support thé collaborative registration, with thé Islamic Republic of Iran, of thé élément of thé crafting and playing ofOudto UNESCO.Thisnomination reflects thé importance of héritagein thé life ofcommunities and their cross-cultural harmony. Hiba Awdeh 28. 1.2019 .\. ^^ \^^ ^\ ^^^^ ^> . '-L^^ Ç>/<^^-^^> ^Jt ^'C-. N'^ f\>Ç--<^_-^UÎ^^^-L\^-îy^ ^, ^\ >^;\S^^Ç^^ , ^^ ^ >^^ ^CS^/^'>^^ ^^ y^> ^ ^ ^ ^ "' , ^y"^ ^^^^'^c^^-, 'J-^' /^ 0'^ ^^'^ ^>I» ^'^» M ^ ^'- N .^ ^^' '^^ ^)\ ^5^ ^.J^^ ><^^ ^O^^A^ c^j> ^. \N ^ ^ ^>'v;'^' ^<>^^ . ûV^^? ^L>l3^ ^/ f^^^> a. ^^ ^ '^^ -^ ^l-^yî"^ ^. ^. -^ ^^^ ^c^^ ^^^c^^^ ^r" <-^ û-^ ^^ ^^ y^ ^^^>^^ . S^^ ^A^ '-^^^ ^lÔ^v^^U^ ^l^J?^ ^^^ c^^1 . ^ /\/^ t am thé craftsman Antoine Ibrahim Tawil. l am a manufacturer of Oud. We hâve had an Oud in our house since l was a young boy because manufacturing Oud was my father's profession. Since l wasthé youngest and only siblingwho stayed home with my parents, l started to work with him. With time l learnt ail thé stages of building thé skeleton of thé Oud. My daughter. Marie, demonstrated a désire to pursue this art because of her hobby in drawing geometrical and floral patterns of oriental flavor. She continued with me titl 2008, and had thé honor of participating in most of thé activities and exhibits held by thé Ministry ofTourism, thé Ministry of Culture, and Damascus Governorate. l am to date still working in this field in my workshop tocated in thé Crafts Market in Damascus. Because of thé importance of Oud, and its hereditary significance l do hope that thé élément of thé crafting and playing ofOud be inscribed in coopération with thé Islamic Republic of Iran, as a token of récognition of thé social and cultural importance ofthis instrument in Syria. Signature & Seal: Antoine Ibrahim Tawil 29/01/2019 ^^'.%7^^, rwiw:l^ y f W^'- - v>A/<\^ïrl ' -"'»' ^;T^^. i^^y^ ^ï ^^\^/\<^<1< ^ ^? ^///-rî ^ /^ <^r-^ ^l^\t ^«^. /^^ . A^^^^^^ , ^ \^^ ^^r -^/^ ^ \ "^..<* ->l », < <- ' ' <^T^' r(^^^')^^^// ^<^^^^^^e - . ^ - ^ . << <^-', r^^^<. , ^>^o. '» . ^ ld^" \^? ^a ^\^' \ ^r^ ^-0 <^ t ^9 t^'/^\ Oud manufacturing has been in myfamilysince Iwasachild. Mygrandfatherwasan Oud artisan, and l used to watch how he made his Ouds. Then in 2008 came thé opportunity to learn this craft from my father. l started with thé basics like drawing, drilling, and purfling, then making thé face (soundboard). l hâve become very good in making Ouds, except for thé part offixing thé semi- aval back, since this stage requires high physical strength. My flair for drawing enabled me to draw on thé finger board, drawing thé sound holes, and manually drilling them with a basic wood saw without resorting to machinery or laser cutters. l think that my profession is vital since it is connected to our héritage and civilization. l encourage passingittofuture générations,especiallytowomenasit isa beautiful endeavorand notdifficult for women to engage in. When women create anything, they add a bit oftheir soûls into their actions, thus giving their product a féminine touch. l would like to add that thé Oud in thé past was an instrument that women used to play in weddings and other festivities. l, therefore, stress thé importance, and support thé nomination and inscription of thé élément of thé crafting and ptayingofOud, in coopération with thé IslamicRepublicof Iran, sothat thé worldwould knowthe importance of our cultural éléments, and would know about thé important présence of women in thé transmission and practicing of thèse facets ofour héritage. Signature &Seal: Marie Tawil 28.01.2019 a- uv« ^ . \ -^ ^ ^, ^. ^ ,î '-3 -î ^ 3 -î :1 ^ -î \4 -0 ^ l/ l-^ ^1 ^ ^ ^ ^. .1 'ï \ \ -? -^ ^ J1 ^ IPi^. ll11 v '^ ^ ^ y tîl i\ . UIVIÎV ^ =\ -^ A' <^ ^ ^* >\ } ^- "^ ^ lit ^ "\ "^ ^ ^ 'l 5^ ? ^' ^ -^ j . '>* ^ ^ , î ^ ^ . r ^ 3 ^ '( j(<< l_<» -^ ^ ^ 'i^i ^5 ï îî -s . ? ^ \- !. < ^ ;î - to> \ l'ill-liliÙO, ^ '° ^' 'r s, t; 5'î ^' ^ ^.. ^ ï'=î^ ^ ^ ^ .'-î ^t -^ j .( Ï^] <^ .: Ulîltll ï ^ ï ~î '? ^ t&-^:ï 'l. ^^' '?. t '3 ~à^ '-\ ~ï '^ .} *\ i1rl . ^.f ^ ^ ^ ^ ï . ^^ . -i ^ ^ ^ ^ J- ^' \îîM i' ^\ *\ .^ i "i- ^ :<"-^ '^ ^ ^ ï î^^ î ^ . ^ î- 5°,. ^ 5 -i,} -ï'. '3 fît ^ n .1 :? ^ j J'?^' f ^k ^^ -?. => '.^ i] . î 1 HT 'ï :i I. '; ! î v w ^ ^ 'ï Ï \ ^ 'i l- -l ^ 3 . '} V . .-: ^ ^ J -5 ^ 3 ^> Ï ^f ^ ^ 2>1J. \s Oud manufacturing is an important hereditary industry among Syrian families, particularly Damascene familles. A number of families from Damascus hâve corne to prominence as practitioners of this profession, and as innovators who added many techniques to fine-tune thé manufacturing of thi instrument more, and to make it produce strong and adéquatetunes. A joint venture of thé Khalifa brothers, cali, Muhammad, and Muwwafaq, was launched in 1948 to manufacture superb Ouds. Thé Khalifa Ouds became popular in thé Arab world during thé 1970s. Thé businesshad to be expanded and a workshop was established to meet thé demand from abroad, and to satisfy thé tastes of musical stakeholders around thé world. This instrument, its mélodies and strings emulate Syrian cultural héritage, and thé collective memory associated with Syrian traditions and habits, including communal festivities that reflect strong bonds within a society. Oud has been, and still is, thé most prévalent instrument in Syrian music, and thé one most capable of effecting its présence in ail musical scales. Ail is possible through format training in manufacturing and through playing thé instrument. This is why thé Khalifas emphasize thé importance of registering thé élément of "Crafting and Playing thé Oud" jointly with thé Islamic Republic of Iran, in UNESCO's Représentative List for thé Intangible Cultural Héritage of humanity. This joint nomination reflects thé importance of cultural héritage in sharing values among différent societies, and it contributes to broadening thé horizons with musicians and manufacturers in countries which hâve thé same héritage. Ail contribute to exchange of expertise, and to thé enhancement of dialog among societies in thé service of thé advancement ofhumanity. Ali Khalifa 27.2. 2019 . ^ ^.f ^ /^/ ^' irw^T^ ^n^ i^rn">rrc[ I^PTjrry -sf^ ^^ IPV"T> P(rtc^c \^c^ 1^1?^ l^nrT^ ^ BTCTV |^n^i ^ nrncfp ar^rT . i^Ti^v (^^T|ç- l^imTT^ r(p<~s-^ ^r^ "<>-?(Fw^Tri^ j^i^ç»rv r^: i^ <) 'c"? im'ï> fipcrr^ ^i ^ ip Tff^ ^fn ^ |^> r^rrrg \rçr^ ç\^î ^ S[^!^ ^ 5T i^rncT ir^[r^Fv' vO Fwp, ^5rrlr~> yr(TTT> Trlî'|r7> rlp?yT irTrr?V î ^ ^"^ SSm' B<' ^-|[V t"c!n'3<> imri ^^ wci^[v (^«r^^ i^ r^s) y^r^ ^r^^ i^rr^ i^i^ \r^c^ rn "' rrTr^ trmrrl ir^r'éf> ^ ^<î i^'3^)1"' rfïtri-5 i^f irr'mt5 ^". s>^rr> vo ^iç> |PÇ~I< <^5 Ji»U'*r^r?î w-^ ^fny-T^ (^inf? ^pwp ^ccnr^ rr^> ^u/î i^^tî' tr<~!rTTT?v vr\vy^ ir^ir "?s^ j[>i[»rr ir^(r^ ^rcsr|"wc^ i^r|r (p Tff^ç^ ([^^P )^Tr^ ^ rwp CTTrî? ":r) i^^s ':îr^ ' ywT r^çf .^TFVI-w^ ^ ^^ ^ jp l am a mechanical engineering. My hobbies are singing and playing thé Oud, since l descend from an artistic famity. My maternai grandfather was thé master réciter ofAleppo, and my paternal grandfather was a vocalist. l hâve been singing since an early âge, l memorized thé Aleppo singing traditions, and thé legacies of thé master musician Muhammad Abdul Wahhab, and leading singer Um Kalthoom. No wonder for l am a native of Aleppo. My city has been historically thé house of bliss. It is thé city of singing, music, and manufacturing ail kinds of musical instruments. l strived to develop Oud and thé oriental zither (Qanoun). l collected information Ouds of différent origins, and passed my knowledge to my son >4ymon-4/-//s/'/whohas been an Oud manufacturer for thé last ten years. Mis Ouds are considered to be among thé rarest and most vatued. Our héritageis variedand very rich, especially élémentsassociated with musical instruments that we would like to use as a vehicle to share this héritagewith other countries. What we hâveto offer is of gréâtvalue, aesthetically pleasing and thoroughly studied. l hereby support nominating thé élémentof "Crafting and Playing thé Oud"jointly with thé Islamic Republic of Iran because such a joint nomination will présent an opportunity to expand thé techniques of Oud manufacturers and will introduce them to new techniques in thé field of musical instruments. Ahmad Zhafer AI-Jisri 11.12.2018 a ^ ^ ^ ^'.^ 'r.< < ' ^ ^»^ ' ^ ^ . ^ ^-.^ r ^- ^ ^ ^.. < v < / ^ ^ 0 / . ^ N, . (' ^; ^ v r> ^ ^ r v ^ .^ ^. -Ï ^ ^ V 'S ^ ^ \' f' ^~ .\ ^ ^ ^'r ^ <- r-. ^.^ 'L~ ^ i Ci v ^ ^ (' r <. ^ r \ \- ^ v V. ^ t ^'^ |û- <» ^ ^ '\7 ^ i^ ^ ^ r Ï-^'^ I-1' t <. ^ ^ ^ ^\\ v ^ ^- F- ^ l L t' [:. ^-"ï. (' ^ ^ (LF~ r^. G l: ^ ,l ^ t ^ .. \" ^ ^ S-. ^ ^l- : ^ \ ^L- s, -^ ^ ^' ' ,- î ^ r: <- ,*' ^ <- S -G ^ . ^- (. . L ^ -r ~~^ \- \. ^ r ^-. [' ^ C 1. ' ^ ^r. '^1'^ \ ;; ï f'^' , ^~ ^. l c1'- ("-''l'y -r' ^ ^' ^. \l\^-^. [i ^ f ï^ , \- r ^ v ^ L- ' [. . . ^ (.' L ^ ^. ^i , r-_ ^ ^ - i-< Ï^i , ^- ^ . r- ^ ^ ^ c- ^ '^ l\' ^' ^^ ^ ^ -L- ^ \. l am Naceem Sukar, an Oud manufacturer from Aleppo. l had thé talent instinctively. And then learnt thé manufacturing of Oud through contact with musicians and thé gréât manufacturers of Aleppo. l also studied music. Thé Aleppo Oud is distinct by its measurements that set it as an international standard, and for its tender and melodious sounds. l use walnut wood to make thé back, fir wood for thé soundboard, and ebony for thé pegs. There are two known types of Oud; thé commonly known as "oriental" is used in musical groups and to accompany singing; then there is thé "pulled" Oud which is used for solo performances, l prefer thé oriental type because it is a warmer accompaniment for singing. Becauseofthé importance ofthis instrument in théculturaland social répertoire ofSyria, l support, and stress thé importance of, nominating thé élément of "Crafting and Playing thé Oud" with thé Islamic Republic of Iran. This nomination is important for sharing expertise among Oud manufacturers in thèse two countries, and in transferring this knowledge to other countries that hâve a similar cultural héritage, a tradition that élevâtes humanity. An Oud was once asked: is there a more sublime instrument than you? Thé Oud lifted its hand uoward and waved "no" Naceem Sukar 3. 2. 2019 ^^eJ^ J rf ) t » / J^. . t J -- ^i/^i^yb ^\^}'-^'c^v^ ^>^y ^\s^^y^c^j> i^\^> ^^L^ " 0^5 L^ ^Lp ^> cJV^/^l , ^> ^i ^JÛL^)j> ^ ^^//^^^ * ~ ^ ^~ /- ^^^^^y^^^i^^^l^c^^^^--0^ ^o^^' ^ " ^^^^. -^^^1'-'1-^1"XJ^^ j)( ^ ^y^-^^-^ ^- .... - ../^. ^ ^ ^ ^^ '' ' ,., ^I^.J^^^'-,. > - ^ C^>1 ^^^^^ ^'1- / , t^ ^y^^< ^^'^ ^l^ ^^^-^ ^/ l'^U^f^^ ^^ /^> i^r^ c^'^ <^\ s/u ^J1' é^ f-J}e f^l7/^2J <-^ ^1 >^t)\ cJU^/ ^ ^> j ^ ..^ " ^-' ^/^ j< . ^^ ^ ^.'^^ i ' '^'' v ^l l am Ibrahim Sukar, a mechanical engineer. l manufacture musical instruments, especiallythe orientât Oud ofAleppo. l started making Ouds in 1988. l managed to create a mold for Oud by utitizing my training as a mechanical engineer. l added a mechanism of finetuning thé neck of thé Oud in 1992. l made thé instrument in international standards %, ,2, %, 4/4. l reinvestigated thé inner bridges for balance and stability, and added a fiberglass bag in 1996 to elevate this instrument to its worthy place. l hâve incorporated thé manufacturing of thé strings. Recently l made a horizontal saw to convert walnut wood to industrial grade wood, so that it become fit for making musical instruments. Currently, we make Ouds in our workshop 'from scratch' while maintaining thé handmade ethos, and using paint as ???? . Today, our "Oud Sukar" are in international markets, used by gréât artists around thé world. Becauseoudconstitutesapartoftheculturaland héritage identityofSyria, l support registering"Crafting and PlayingtheOud" in cooperationwith thé IslamicRepublicoflranin U N ESCO's Représentative List for Intangible Héritage of Humanity. Let this registration be an example of thé importance of common éléments of héritage for its rôle in sharing expertise and dialog in order to etevate humanity through music. Eng. IbrahimSukar 2. 12. 2018 *\ s- ^ ^- -î ^ ^r ^ -"; JùL ^ -^---y -ï- J ^ ^ :^- ^J -^ ^ ? ^ a; ^ ^ *^. .^ î. ?.^ ^.ï ^ ? l manufacture Ouds because this instrument triggers passion and a désireto learn, and because its tunes manifest an oriental magie harmonious with thé soûl. This instrument bas been my first source of inspiration to innovate and develop technically leaning on methodical académie approaches. Oud bas been thé haven for my passion which motivâtes me to produce strong and melodious sounds. l studied Oud and its manufacturing methods, having at thé same time full faiththateverypartofthis instrument represents éléments ofSyriandiversity. Thé harmonyofthe parts produces thé most beautiful music that imparts thé story of Syria, and reflects thé joys that bring thé Syrian people together in festivities and cultural activities. This instrument has always been thé locus of interestof Syrians from ail âges and backgrounds, men, women, and children alike. It is atso ofparamount importance amongtraditionat artisans, especiallythose who hâve thé musical expertise needed to manufacture this instrument, and to promulgate, worldwide, thé Syrian know-how in thé field of developing Oud and its tunes. Thé Syrian Oud bas hada présence since early times, and bas peeked interest around thé world because of its meticulous manufacturing techniques, its ability to produce musical tunes, and for thé aesthetic value of its purfling which is drawn from Syrian héritageand culture. As a Syrian manufacturer of Oud, and a practitioner of this traditional industry, l support nominating "Crafting and Playing thé Oud" in collaboration with thé Islamic Republic of Iran because such joint nomination paves thé way for manufacturers in both countries ta exchange expertise and skills, and to synergize their efforts to sustain this traditional profession and to pass it from génération to génération while keeping pace with advancements in technologies. It is support for music, through its instruments, in order to proliferate it as an international language for dialog and understanding. Hafiz Suleiman 24. 2. 2019 >. ^^'^v^^^^^. ^ , ^.<<-- . ^.:-,.^.. ^' 7Z^ :-mr't^tr5Ti5ir Tr».ih ir-r<«"is «/11^- ^rT?if> tp- rf^ ^"' «*Tr TF»» . r|f"» ^s i{ï-"'i;» ('^i-r» ^t i«Tf53 ; ~ VT-S * î * î;ul ;*'i '51" irn<*' »n yt"? <-<* .'h rr's'' .?fn -<* iT3<<: (p-ïr?- npr^ 1^ hnf^ »-^fo Î{{T<-*-|P. i<»r * rçir-? jpç |pr wt n--. '. rî f5ir-- t<, i-( 't4^^ t^P tVWÏ t1 rT'^'T ^ 'ïïP ^^ . |ps7<;<' (Tr^ . 1?^ i,^S1rh^ (?-?*î- TTiy»» rï' (r'C» -»- -f -^^ ^T<(T n<~-r^ ^ ?^p> «-n %> ^: ?w- f<- (T-rpl. î-n r^rp, -T ip^A, ^ ^«cr-<^ jH Thé sound of Oud was a childhood companion, together with traditional singing (tarab). It bears gréât cultural and social significance in Syria, and is very popular among women, men, and children because of its sweet tunes and mélodies. Because of my passion for Oud manufacturing, l hâve labored to develop this instrument and improve thé quality of its sounds and ornamentation to blend perfection in manufacturing with an aesthetic appeal. Ornate purfling, perfection in manufacturing, and melodious tunes are distinct characteristics of thé Syrian Oud, making it a desired artifact around thé wortd. Because of thé importance ofthis traditionat industry, and because of thé splendor of belonging among Syrians of différent backgrounds, l support and stress thé importance of registering thé élément of "Crafting and Playing thé Oud", together with thé Islamic Republic of Iran, to UNESCO's Représentative List for Intangible Cultural Héritage of Humanity. This joint registration opens thé doors for manufacturers and musicians in both countries to exchange expertise and hold joint workshops for thé purpose of continually developing this instrument, and its techniques. Music is thé most sublime and elevated message of any society. Mansoor Fu'ad Haydar 11. 3. 2019 . jJLo jj (^"i o (^jj-MiJI i_â3L*J[g^ljx5?l ç-iL(£» Lii 1 sjj a LaLc. ^a 4. ^1 â&l-, tjjLO ^I^.SjAUJI t^-lJ^ (jA 41^. i-ujj jij . o!^^ t>9J^ Lli.«i^XI .llj^. ^ j JAAÎ t^cUuaj i^-^) 4^LaA (J l^J^-l iS-Lui 15j-aX. J-La LjJl£. i-àjjtJlj A^£L^W^\ ^gj ijl SJI â^lîi-- j«t»5 i_UtIai-uiLà . L^^aj 9-L 4jgjl£ ^ 4^Lu U, JLalayij JL>j-Ilj ftLwdLll ^a S^L^ 3^;» <îl tlulà-ai >^$J^-M>JI ^-u.îe-LI (j^-fÀ 4-LC.LajL>lj . t_)j^aj[g jl . "' 4i. i. 3JÏI LLJLOX. 3-La. ll ïl 3'-l". 1|;* i^> >j Ly:3-f<3 lj-> tjjL ^uaJj ôJLa^j^laj (^LC. tLy yûJLwj s-wg. jl^c. [.->; yLrf J>^->J . iJLo-scJlj (jLàjyi u\j ç-o-scll Ljî3^». j Ù-w>5 LaLa l^c. 4-La t^i*-> (^Jl (^j^-uiJI -yjJI trj [;i- . ( jî îlâLiLÎ LÎI 4-t. ^. (1 uug j " Sel-, i±)[^JI S^uLâ (jA<â 4-ul^^l 3-u^Luyi 4j)^A3c!\ pjs L^jLc. i_3jjij[g Sjjn^uy-LI ^t^c.yi ^ "j^aic. (Jx3c-KJj<^ ^[l^a ^aLai (JI-scXI ^-LaJ4^uKdJ ^9 ^jUI (j^j ^JyLw.LI ijxse-wlll ^a ^-LÎI l>iâ 4-»-i-u U tjSLuiJj-JI i-a^jtJI tIjLlûjg 4JÏI 6jLa^t-i7t^o7;«ll J . CjLuu. aJ. I ç^a-tJ Jj^l^ i5s^^l 4JL<^tl (^LS. «^XI ùj^lî L^ /" ^^/ ^^ "^"^ î ^^ \ ^ '^b -Ï^. . 3- We are a groupofworkers in théworkshop of artisan HusseinSabsaby. We work in manufacturing Oud, a profession that we see as part of our héritage and cultural identity. We, therefore, support thé nomination of "thé crafting and ptaying of Oud, " in collaboration with thé Islamic Republic of Iran. In testimony thereof, we undersign: Mohamad Hassan Amin, 33 years old, signature. Ali Barakat Khareeta, 16 years old. Mohamad Jallour Ibn Fawwaz18 years old. ^.lr^f\r - ^/^ ) "l -\>l À^ ^ -<> ^^ ^ ^\(< ^-. ^ ^^-^ 3-\ <^ \ cr^ ^1 ^7r; c^^<^< ^ ^ .. ^ l . -> Tr\\ ^ ' ^ . l ç^ $^^\ <-^ c^ ^/ l^-| c-7 n y V We are a group of workers in thé Oud workshop of Eng. Ibrahim Sukar. We acquire thé knowledge and thé spécifietechniques ofmaking Oud through thé expertise of Artisan Ibrahim Sukar. This instrument is greatly associate with thé cultural life of society of Aleppo. Therefore, desiring to continue to thé hereditary tradition of manufacturingthis instrument, and of playing its music, we stress thé importance of nominating to UNESCO thé component of "Oud manufacturing and music," jointlywith thé Islamic Republic of Iran sa that thé world becomes acquainted with our cultural industries that we share with neighboring countries, and to know what Syria and thé city of Aleppo hâve to offer in thé field of music. Bilal Hijazi Abdul Rahman Haj Rahim Ahmad Al Naqur Bashar Najjar 0 t^^!^. (^ 's^'r^< ^! rr^r à^/^ -Y^^l^ ^\^\^- I" --^îfcï» --ÎP^t^^O d\y;^§:=^'^^>^/> ' '> f^^^^-n?j=^7^^^-nr^=^^ \, s^ry ^T" ^ c^^ - ^ S^^^>^SAV^^^ tf^4^ r. f^ --,-' f^^^r^^y <^°^<-«?^ ^^-?^ -in^^. \^)\ -^^ . v '- . ... . ? ;^ <^o ^rç^ ^^) ^ (-^S:^. <^n y?f^^tTMS^S çv\sn£3 . , ^<^^$?^^^^ -<^-^ ^^, --^^^^ . - . \" / . \'rf^r^^ _- r° ^-^^^-^ ^. ^^^^ç^-^, ^^^rr^nç My name is Muhammad Samih Karro, a student of dentistry from Aleppo-Syria, an Oud player and instructor, grandson of thé late artists Nadim Darwishand Ali Darwish. l am 21 years old. l started to learn howto play théOud at thé âge of eight in thé Sabah Fakhri Institute (formerly théArab Institute). l graduated in 2017 and started teaching at thé institute in that same year. l participated in numerous musical workshops, festivals, and compétitions, includingthe Arab Gathering of Junior Musicians (held in Sfax, Tunisia, 2009). l ranked 2"d in thé Arab world for âge group 12-14. l hâve also participated in playing music for a number of pièces in thé QawacidAI ishq album, in addition to thé thème music of Syrian TV séries(Fawda Séries). l hâve also composed few pièces. Oud is a friend to whom l relate my agonies. Music in généralis a source of peace for thé soûl. It has a gréât positive effect. Oud is considered an élément of thé gréât héritage ofAleppo. There is an Oud in almosteveryhouse. l support nominating thé élément of "Crafting and Playing thé Oud" with thé Islamic Republic of Iran to UNESCO'sReprésentative List. Thiswill reflect thé importance of héritageéléments in bringing communities doser to each other, and in thé sharing of expertise and cultures for thé cause of advancing art and humanity. Let music thé message of thé world. Muhammad Samih Karro 4. 2. 2019 ^ . ^y^'^ :?^^^:. / A '\'-<- \ ^s^ ^S%%J -\n^ .- \^^^s _ ^^'^^ c^ '^"T'VJ^- ( ^ -_^J ^0 l r^ fr^< ?rT "y' ) nr- J ^-7 ^^^^r-^«-^nr^PV" - ; ^J-^ \-b 1^ lfr/^ . .J '^^^^- ^^^\ -c^ /' Thé tunes of Oud hâve thé ability of invoking thé past and thé traditions associated with family gatherings, and with evenings ofsinging and music. We are a group ofSyrian citizens who love thé sounds of Oud. We stress thé significanceof nominating thé élémentof "Crafting and Playingthé Oud"," in coopération with thé Islamic Republic of Iran. This nomination promulgates Syrian Oud traditions. It allows for sharing our héritage with countries that hâve similar traditions. Habib Jrei'a 65 yrs. Tartus AmalAbdullah 60 yrs. Tartus HaifAlmahameed 38 yrs. Daraa Faten cassali 65 yrs. Damascus Nisreen Hassan 35 yrs. Damascus Ayman Shihab 37 yrs. Damascus Countryside Yassin Hammoudi 52 yrs. Damascus-kafrSussa Fadi Zein 37 yrs. Damascus Countryside Habib Zein 17 yrs. Damascus Countryside YaramAl-lbrahim 27 yrs. Homs Rasha Nader Barhoom 29 yrs. Homs JackWahbi 36 yrs. Daraa-khabab SomarAbuZeid 29 yrs. Hamah Rima Tutanji 19yrs. Aleppo Abdul AzizShweiki 22 yrs. Aleppo IbtissamWilyu 51 yrs. Latakia Ayman Zeino 54 yrs. Hamah KancanAt-Ahmad 27 yrs. Homs Mais Nayyal 30yrs. Aleppo Nagham Hariri 34 yrs. Aleppo Raghad Badoor 22 yrs. 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