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Representative List ICH-02 – Form

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Representative List ICH-02 – Form Representative List ICH-02 – Form REPRESENTATIVE LIST OF THE INTANGIBLE CULTURAL HERITAGE OF HUMANITY DEADLINE 31 MARCH 2016 FOR A POSSIBLE INSCRIPTION IN 2017 Instructions for completing the nomination form are available at: http://www.unesco.org/culture/ich/en/forms Nominations not complying with those instructions and those found below will be considered incomplete and cannot be accepted. States Parties are further encouraged to consult the aide-mémoire for completing a nomination to the Representative List of the Intangible Cultural Heritage of Humanity available on the same webpage. A. State(s) Party(ies) For multi-national nominations, States Parties should be listed in the order on which they have mutually agreed. Germany B. Name of the element B.1. Name of the element in English or French Indicate the official name of the element that will appear in published material. Not to exceed 200 characters Organ Craftsmanship and Music B.2. Name of the element in the language and script of the community concerned, if applicable Indicate the official name of the element in the vernacular language corresponding to the official name in English or French (point B.1). Not to exceed 200 characters Orgelbau und Orgelmusik B.3. Other name(s) of the element, if any In addition to the official name(s) of the element (point B.1) mention alternate name(s), if any, by which the element is known. Form ICH-02-2017-EN – revised on 07/11/2015 – page 1 C. Name of the communities, groups or, if applicable, individuals concerned Identify clearly one or several communities, groups or, if applicable, individuals concerned with the nominated element. Not to exceed 150 words The community consists of around 2,800 professional organ builders employed in 400 organ construction workshops in Germany, about 300 specialist organ consultants, roughly 3,500 full- time professional organists including concert organists and several tens of thousands of part-time organists in churches. The number of people who listen to organ music cannot accurately be estimated. It is likely that on some Sundays up to one million people attend church services with organ music while more listen via public service broadcasting. Organ music is also experienced in public concerts, events, on TV and radio, and via the internet. D. Geographical location and range of the element Provide information on the distribution of the element within the territory(ies) of the submitting State(s), indicating if possible the location(s) in which it is centred. Nominations should concentrate on the situation of the element within the territories of the submitting States, while acknowledging the existence of same or similar elements outside their territories, and submitting States should not refer to the viability of such intangible cultural heritage outside their territories or characterize the safeguarding efforts of other States. Not to exceed 150 words Organ construction workshops, organ concerts and church services accompanied by organ music can be found throughout Germany and in nearly all European countries. Organ craftsmanship and music has been exported from Europe to many countries around the world. Since the Middle Ages until the present day, however, all the essential stages in the development of organ construction and the composition of organ music have been carried out in Europe. Over the course of centuries, country- and epoch-specific ‘schools’ have formed and mutually influenced one another. The majority of historical organs that are still intact can be found in European countries. Europe is also the front-runner for a number of recent organ constructions and organ compositions. Germany is amongst the most important countries in which the further development of skills and innovation around organ craftsmanship and music occurs. E. Contact person for correspondence E.1. Designated contact person Provide the name, address and other contact information of a single person responsible for all correspondence concerning the nomination. For multi-national nominations provide complete contact information for one person designated by the States Parties as the main contact person for all correspondence relating to the nomination. Title (Ms/Mr, etc.): Mr Family name: Hanke Given name: Benjamin Institution/position: German Commission for UNESCO, Programme Officer Address: Colmantstraße 15, 53115 Bonn Telephone number: +49 228 604970 E-mail address: [email protected] Form ICH-02-2017-EN – revised on 07/11/2015 – page 2 Other relevant http://www.unesco.de/kultur/immaterielles-kulturerbe information: E.2. Other contact persons (for multi-national files only) Provide below complete contact information for one person in each submitting State, other than the primary contact person identified above. Form ICH-02-2017-EN – revised on 07/11/2015 – page 3 1. Identification and definition of the element For Criterion R.1, the States shall demonstrate that ‘the element constitutes intangible cultural heritage as defined in Article 2 of the Convention’. Tick one or more boxes to identify the domain(s) of intangible cultural heritage manifested by the element, which might include one or more of the domains identified in Article 2.2 of the Convention. If you tick ‘other(s)’, specify the domain(s) in brackets. oral traditions and expressions, including language as a vehicle of the intangible cultural heritage performing arts social practices, rituals and festive events knowledge and practices concerning nature and the universe traditional craftsmanship other(s) ( ) This section should address all the significant features of the element as it exists at present, and should include: a. an explanation of its social functions and cultural meanings today, within and for its community, b. the characteristics of the bearers and practitioners of the element, c. any specific roles, including gender or categories of persons with special responsibilities towards the element, d. the current modes of transmission of the knowledge and skills related to the element. The Committee should receive sufficient information to determine: a. that the element is among the ‘practices, representations, expressions, knowledge, skills — as well as the instruments, objects, artefacts and cultural spaces associated therewith —’; b. ‘that communities, groups and, in some cases, individuals recognize [it] as part of their cultural heritage’; c. that it is being ‘transmitted from generation to generation, [and] is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history’; d. that it provides communities and groups involved with ‘a sense of identity and continuity’; and e. that it is not incompatible with ‘existing international human rights instruments as well as with the requirements of mutual respect among communities, groups and individuals, and of sustainable development’. Overly technical descriptions should be avoided and submitting States should keep in mind that this section must explain the element to readers who have no prior knowledge or direct experience of it. Nomination files need not address in detail the history of the element, or its origin or antiquity. (i) Provide a brief summary description of the element that can introduce it to readers who have never seen or experienced it. Not fewer than 150 or more than 250 words The organ is a musical instrument with natural sound production: air is compressed in bellows and emitted through pipes to create different sounds. Valves for each tone are connected to a keyboard played by the organist. Organ craftsmanship and music are closely related: each instrument is unique because it is created from scratch for the architectural space in which it will be played. There is a diversity of traditions around constructing and playing the organ in Germany. The highly specialized knowledge and skills used in organ construction and organ music have been developed by craftsmen, composers and musicians working together throughout history, and create the group’s common identity. Organs were invented more than 2000 years ago in Hellenistic Egypt and came to Europe via Byzantium. Since the Middle Ages, organ music has accompanied the Christian church liturgy and inspired many composers in Germany and beyond. For the bearer group and for the many other people who listen to organ music, it has a special meaning: it is described as an ‘eternal’ sound. Technical and artistic Form ICH-02-2017-EN – revised on 07/11/2015 – page 4 traditions are passed on through the close relationship of masters to their apprentices in organ construction workshops, and of music teachers to young organists. This means that a contemporary adaptation of inherited practices continuously takes place through both formal and informal education. A creative interplay is characteristic: organ craftsmanship integrates innovative techniques and knowledge about the nature and, regardless of how elaborate the musical score is, creative improvisation is integral to performing organ music. (ii) Who are the bearers and practitioners of the element? Are there any specific roles, including gender or categories of persons with special responsibilities for the practice and transmission of the element? If yes, who are they and what are their responsibilities? Not fewer than 150 or more than 250 words There are 400 medium-sized craftspeople’s establishments in Germany with a workforce of ca. 2,800 organ builders. The majority of these are medium-sized companies with between 6 and 18 employees. There are also some larger workshops of between 30 and 60 persons, some of which are family-owned companies since several generations. They transmit their knowledge and experience of building, renovating and mending organs through formal and informal, orally transmitted training. The organs in Germany are played by ca. 3,500 full-time and several tens of thousands of part-time organists. Organ studies are offered by both public- and church-based universities for music. In addition, organists offer a broad range of individual tuiton for part-time organ players, both semi-professionals and amateurs. Men and women are equally represented as organists (approx.
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