ich.unesco.org · Web viewThe batik community noted the younger generation’s interest in batik is...

ITH

ITH/6.COM/1.COB/3Paris, 23 December 2010

Original: English

CONVENTION FOR THE SAFEGUARDING OF THEINTANGIBLE CULTURAL HERITAGE

INTERGOVERNMENTAL COMMITTEE FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE

Meeting of the Consultative Body for the examination in 2011 of nominations for inscription on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, proposals to the

Register of Best Practices and requests for International Assistance

UNESCO Headquarters17 and 18 January 2011

Room XIV, 10 a.m. to 6 p.m.

Sample files for examination

ITH/6.COM/1.COB/3 – page 3

Sample File 1Wooden bridges in Country E (Urgent Safeguarding List)

LIST OF INTANGIBLE CULTURAL HERITAGE IN NEED OF URGENT SAFEGUARDING

DEADLINE 31 MARCH 2011

Instructions for completing the nomination form are available at:http://www.unesco.org/culture/ich/en/forms

A. State(s) Party(ies)For multi-national nominations, States Parties should be listed in the order on which they have mutually agreed.

Country E in East Asia

B. Name of the elementB.1. Name of the element in English or FrenchThis is the official name of the element that will appear in published material.

Not to exceed 200 characters

Wooden bridges in Country E

B.2.Name of the element in the language and script of the community concerned, if applicable

This is the official name of the element in the vernacular language, corresponding to its official name in English or French (point B.1).


Woven Wood-Beam Arch Bridges with Covered Passageways

B.3. Other name(s) of the element, if anyIn addition to the official name(s) of the element (point B.1), mention alternate name(s), if any, by which the element is known.


C. Name of the communities, groups or, if applicable, individuals concernedIdentify clearly one or several communities, groups or, if applicable, individuals concerned with the nominated element.

Not to exceed 150 words

The community concerned comprises the master woodworkers who direct the making of the bridges – currently only four masters remain.

D. Geographical location and range of the elementProvide information on the distribution of the element, indicating if possible the location(s) in which it is centred. If related elements are practised in neighbouring areas, please so indicate.


Most of the covered wooden bridges are located in the South-East Province of Country E. The locations of the bridges range between 000 East longitude and 000 North latitude.

E. Domain(s) represented by the elementTick 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 ‘others’, 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) ( )

F. Contact person for correspondenceProvide the name, address and other contact information of the person responsible for correspondence concerning the nomination. If an e-mail address cannot be provided, indicate a fax number.

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 and for one person in each State Party involved.

Title (Ms/Mr, etc.):

Family name:

Given name:

Institution/position: Department of Culture

Address:

Telephone number:

Fax number:


E-mail address:

Other relevant information:

1. Identification and definition of the elementFor Criterion U.1, the States shall demonstrate that ‘the element constitutes intangible cultural heritage as defined in Article 2 of the Convention’.

This section should address all the significant features of the element as it exists at present, and should include:

an explanation of its social and cultural functions and meanings today, within and for its community,

the characteristics of the bearers and practitioners of the element,

any specific roles or categories of persons with special responsibilities towards the element,

the current modes of transmission of the knowledge and skills related to the element.

The Committee should receive sufficient information to determine:

that the element is among the ‘practices, representations, expressions, knowledge, skills — as well as the instruments, objects, artefacts and cultural spaces associated therewith —’;

‘that communities, groups and, in some cases, individuals recognize [it] as part of their cultural heritage’;

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’;

that it provides communities and groups involved with ‘a sense of identity and continuity’; and

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.

Not to exceed 1,000 words

Since the tenth century CE, many hundreds of covered wooden bridges have been built in Country E, of which over a hundred remain today. Several of them are listed as National Cultural Heritage. These bridges, both beautiful and rare in their delicacy, are considered by experts to be a world class example of engineering prowess. Their fairly recent discovery has contributed significantly to scientific knowledge of the history of engineering. The existence of the bridges demonstrates the importance of rural engineering in the early phases of the development of modern states like Country E.

Covered wooden bridges are usually built over streams near villages or over impassable valleys. Traffic flow, feng shui and terrain would be considered in the selection of sites for building the bridges. Depending on projected daily traffic and other purposes for which the bridge will be used by rural communities, the passageway on the bridge may have single or double eaves, two or four columns. Construction is done entirely by hand, and includes sawing the wood, and building abutments, arch supports, and corridors.

Not all of these tasks are performed by the master bridge-builders: apprentices, and assistant woodworkers or stonemasons are also involved. The arch supports are the most important part of the construction process. ‘Beam-weaving’, the core technology used in this kind of bridge construction, is fundamental to the construction of arch supports. Beams are composed of upper and lower layers. In the lower layer, three rows of wood are jointed longitudinally into a 八 -shaped arch support system. In the upper layer, five shorter rows of wood are jointed longitudinally and then intertwined with upper arch supports. Mortise and tenon joints are used in the construction of the bridge to form it into a complete and solid whole. Traditional rulers, ink containers, sawhorses, axes, chisels, saws, planes and other traditional tools are used in the construction process.


The skills used to construct the bridges have been changed over time, and changes also have occurred in the mode of construction of the bridges, threatening the authenticity of the element. A return to fourteenth-century methods of construction (representing the golden age of bridge-building) is thus required, restoring the purity of the art form and its value to the history of science. However, this traditional method could be restricted to repairs in museum collections soon, as the demand for building new bridges has been decreasing. Existing bridges, falling into disrepair, should be dismantled and removed to museum locations.

With the development of science and technology as well as rapid urbanization and the advancement of bridge architecture, many bridges have fallen into disrepair. The arched bridges cannot meet the demands of modern traffic and the timber used for building such bridges is scarce. The bridges are therefore no longer viable in modern society.

[Word count = 465]

2. Need for urgent safeguardingFor Criterion U.2, the States shall demonstrate that ‘the element is in urgent need of safeguarding because its viability is at risk despite the efforts of the community, group or, if applicable, individuals and State(s) Party(ies) concerned’.

Describe the current level of viability of the element, particularly the frequency and extent of its practice, the strength of traditional modes of transmission, the demographics of practitioners and audiences and its sustainability.

Identify and describe the threats to the element’s continued transmission and enactment and describe the severity and immediacy of those threats. The threats described here should be specific to the element concerned, but not a generic cause that would be applicable to any intangible heritage.


Covered wooden bridges have been in use for over a thousand years but are not viable to carry heavy vehicles and cost much more to maintain than modern bridges. They thus require urgent safeguarding by the government.

The viability of the skills associated with building the bridges is threatened by urbanization, migration, globalization and scientific advancement, by global warming, woodworms and mechanization. The lack of timber and problems using the bridges for heavy traffic has had a negative influence on the construction of new wooden bridges.

At present the only woodworking masters who know the traditional skills for designing and building these bridges are Messrs. AB, CD, EF and GH, all over 75 years old. These men are members of master bridge-building clans, who traditionally pass down their knowledge to apprentices.

Without safeguarding interventions the skills to build these important bridges may be lost.

3. Safeguarding measuresFor Criterion U.3, the States shall demonstrate that ‘safeguarding measures are elaborated that may enable the community, group or, if applicable, individuals concerned to continue the practice and transmission of the element’.

3.a. Past and current efforts to safeguard the elementThe feasibility of safeguarding depends in large part on the aspirations and commitment of the community, group or, if applicable, individuals concerned. Describe past and current efforts of the concerned communities, groups or, if applicable, individuals to ensure the viability of the element.

Describe also past and current efforts of the concerned State(s) Party(ies) to safeguard the element, taking note of external or internal constraints, such as limited resources.


The Government has taken various steps to safeguard the element since 2006:


Bridge-building craftsmanship was inscribed on the National Intangible Cultural Heritage List.

From 2006 to 2007 a project was established investigating the locations of covered wooden bridges and collecting historical documents and traditional tools.

In 2008 five craftsmen were appointed as apprentices to the master woodworkers.

A digital database for the bridge-building craft has been set up and a website designed on the bridges. Publicity and promotion of the bridges has been sought through coverage in media such as TV and newspapers.

An investigation was undertaken to determine whether the traditional look of the wooden bridges could be replicated in concrete and steel to reduce reliance on wood in their construction.

At the recent World Exhibition a traditional arched wooden bridge of 412 meters was built linking the Asian pavilions to those of the rest of the world; this was the largest wooden bridge of this type ever built.

[Word count = 166]

3.b. Safeguarding measures proposedThis section should identify and describe a coherent set of safeguarding measures that, within a time-frame of approximately four years, could respond the need for urgent safeguarding and substantially enhance the viability of the element, if implemented, and provide detailed information as follows:

What primary objective(s) will be addressed and what concrete results will be expected?

What are the key activities to be carried out in order to achieve these expected results? Describe the activities in detail and in their best sequence, addressing their feasibility.

Describe the mechanisms for the full participation of communities, groups or, if appropriate, individuals in the proposed safeguarding measures. Provide as detailed as possible information about the communities, in particular, practitioners and their roles in implementing safeguarding measures. The description should cover not only the participation of the communities as beneficiaries of technical and financial support, but also their active participation in the planning and implementation of all of the activities.

Describe the competent body with responsibility for the local management and safeguarding of the element, and its human resources available for implementing the project. (Contact information is to be provided in point 3.c below.)

Provide evidence that the State(s) Party(ies) concerned has the commitment to support the safeguarding effort by creating favourable conditions for its implementation.

Provide a timetable for the proposed activities and estimate the funds required for their implementation (if possible, in US dollars), identifying any available resources (governmental sources, in-kind community inputs, etc.).


The Government guarantees appropriate support to safeguard the covered wooden bridges as part of its commitment to fulfiling its obligations in terms of the various UNESCO Conventions for Cultural Heritage.

To effectively safeguard the bridges, further research will be done in the future and the bridges will where necessary be removed to safer sites for better conservation. This will cost US$50,000 in additional government expenditure and US$50,000 in private sector investment.

The specific safeguarding measures are as follows:

Research and documentation: Data gathered in the research process detailed above, and through a planned Symposium on covered wooden bridges will be housed in a special documentation centre.

Protection of the bridges: Bridges, when falling into disrepair, will be removed to museum


sites for better conservation. Restoration of the bridges: Existing bridges requiring repair will be restored to their authentic

forms, i.e. the forms they had at the end of the fourteenth century, the golden age of bridge building.

Transmission of skills: Miniature scale models of the bridges will be produced by pupils of vocational schools in the provinces concerned to sensitize young people to this craft. The profits from the sale of miniature models to tourists may be mobilised for further awareness-raising activities.

[Word count = 208]

3.c. Competent body(ies) involved in safeguarding Provide the name, address and other contact information of the competent body(ies), and if applicable, the name and title of the contact person(s), with responsibility for the local management and safeguarding of the element.

Name of the body:South Eastern Province, Department of Culture

Name and title of the contact person:

Address:

Telephone number:

Fax number:

E-mail address:


4. Community participation and consent in the nomination process For Criterion U.4, the States shall demonstrate that ‘the element has been nominated following the widest possible participation of the community, group or, if applicable, individuals concerned and with their free, prior and informed consent’.

4.a. Participation of communities, groups and individuals concerned in the nomination process

Describe how the community, group or, if applicable, individuals concerned have participated actively in preparing and elaborating the nomination at all stages.

States Parties are encouraged to prepare nominations with the participation of a wide variety of all concerned parties, including where appropriate local and regional governments, communities, NGOs, research institutes, centres of expertise and others.


The master bridge-builders Messrs. AB, CD, EF and GH participated in the application for inscription.


4.b. Free, prior and informed consent to the nominationThe free, prior and informed consent to the nomination of the element from the community, group or, if applicable, individuals concerned may be demonstrated through written or recorded concurrence, or through other means, according to the legal regimen of the State Party and the infinite variety of communities and groups concerned. The Committee will welcome a broad range of demonstrations or attestations of community consent in preference to standard or uniform declarations. They should be provided in their original language as well as in English or French, if needed.

Attach to the nomination form information showing such consent and indicate below what documents you are providing and what form they take.


Master bridge-builders Messrs. AB, CD, EF and GH signed their names on the attached document to indicate their knowledge of and consent to the nomination. They are representatives of the master bridge-building clans.

4.c. Respect for customary practices governing access to the elementAccess to certain specific aspects of intangible cultural heritage or to information about it is sometimes restricted by customary practices enacted and conducted by the communities in order, for example, to maintain the secrecy of certain knowledge. Indicate whether or not such practices exist, and if they do, demonstrate that inscription of the element and implementation of the safeguarding measures would fully respect such customary practices governing access to specific aspects of such heritage (cf. Article 13 of the Convention). Describe any specific measures that might need to be taken to ensure such respect. If no such practices exist, please provide a clear statement on it.


If the craft is to be safeguarded effectively, all relevant information and knowledge should be made available to experts and officials who will execute the safeguarding activities mentioned above. Since most of the bridges concerned have now lost their original function one cannot imagine that there are any secret practices left (if they ever existed at all).

4.d. Concerned community organization(s) or representative(s)Provide the name, address and other contact information of community organizations or representatives, or other non-governmental organizations, that are concerned with the element such as associations, organizations, clubs, guilds, steering committees, etc.

Organization/ Community:


Master bridge-builders Messrs. AB, CD, EF and GH

Address:

Telephone number:

Fax number:

E-mail address:



5. Inclusion of the element in an inventory For Criterion U.5, the States shall demonstrate that ‘the element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies) as defined in Articles 11 and 12 of the Convention’.

Identify the inventory in which the element has been included and the office, agency, organization or body responsible for maintaining that inventory. Demonstrate that the inventory has been drawn up in conformity with the Convention, in particular Article 11 (b) that stipulates that intangible cultural heritage shall be identified and defined ‘with the participation of communities, groups and relevant non-governmental organizations’ and Article 12 requiring that inventories be regularly updated.

The nominated element’s inclusion in an inventory should not in any way imply or require that the inventory(ies) have been completed prior to nomination. Rather, a submitting State Party may be in the process of completing or updating one or more inventories, but has already duly included the nominated element on an inventory-in-progress.

Attach to the nomination form documents showing the inclusion of the element in an inventory or refer to a website presenting that inventory.


The element ‘Wooden Bridges with Covered Passageways’ has been included in the inventory of the National Cultural Heritage.

6. Documentation6.a. Appended documentationThe documentation listed below is mandatory and will be used in the process of examining and evaluating the nomination. It will also be helpful for visibility activities if the element is inscribed. Tick the following boxes to confirm that related items are included with the nomination and that they follow the instructions. Additional materials other than those specified below cannot be accepted and will not be returned.

10 recent photographs in high definition

cession(s) of rights corresponding to the photos (Form ICH-07-photo)

edited video (up to 10 minutes)

cession(s) of rights corresponding to the video recording (Form ICH-07-video)

100 photos of the 100 different bridges documented, showing the different mortise and tenon joints

10 photos of researchers documenting the bridges

30 minute video, showing the bridges in their rural locations

Cession of rights documentation to follow

6.b. Principal published referencesSubmitting States may wish to list, using a standard bibliographic format, principal published references providing supplementary information on the element, such as books, articles, audiovisual materials or websites. Such published works should not be sent along with the nomination.

Not to exceed one standard page.

To follow


7. Signature on behalf of the State(s) Party(ies)

The nomination should conclude with the original signature of the official empowered to sign it on behalf of the State Party, together with his or her name, title and the date of submission.

In the case of multi-national nominations, the document should contain the name, title and signature of an official of each State Party submitting the nomination.

Name: Master bridge-builders

Title:

Date:

Signature:


Sample File 2Fonabal music and traditional chants (Urgent Safeguarding List)

LIST OF INTANGIBLE CULTURAL HERITAGE IN NEED OF URGENT SAFEGUARDING

DEADLINE 31 MARCH 2011

Instructions for completing the nomination form are available at:http://www.unesco.org/culture/ich/en/forms

A. State(s) Party(ies)For multi-national nominations, States Parties should be listed in the order on which they have mutually agreed.

Country F in South America

B. Name of the elementB.1. Name of the element in English or FrenchThis is the official name of the element that will appear in published material.


Fonabal music and traditional chants

B.2.Name of the element in the language and script of the community concerned, if applicable

This is the official name of the element in the vernacular language, corresponding to its official name in English or French (point B.1).


Musicas de fonabal y cantos tradicionales

B.3. Other name(s) of the element, if anyIn addition to the official name(s) of the element (point B.1), mention alternate name(s), if any, by which the element is known.


C. Name of the communities, groups or, if applicable, individuals concernedIdentify clearly one or several communities, groups or, if applicable, individuals concerned with the nominated element.


Fonabal First, an NGO concerned with the protection of the element, that prepared this nomination

D. Geographical location and range of the elementProvide information on the distribution of the element, indicating if possible the location(s) in which it is centred. If related elements are practised in neighbouring areas, please so indicate.


The area where the element comes from is a landscape of contrasts, which is reflected in the diversity and wealth of its natural resources: The territory is crossed by mountain ranges, rivers and huge sylvan plains. It presents an entire climate range, from the cold of the snow capped peaks and highlands, to the steaming heat of the valleys and the Pacific Coast; the region has volcanoes, depressions, and rainforests. In spite of this diversity, one of the characteristics common to the area is the large quantity and variety of water sources: estuaries, rivers and creeks, and the ocean itself. They constitute the main transportation means for people and goods; many communities live along the river banks and beaches, although in some points the mangroves and the land conditions only allow for very small and sometimes even temporary settlements.

[Word count = 139]

E. Domain(s) represented by the elementTick 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 ‘others’, 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) ( )

F. Contact person for correspondenceProvide the name, address and other contact information of the person responsible for correspondence concerning the nomination. If an e-mail address cannot be provided, indicate a fax number.

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 and for one person in each State Party involved.

Title (Ms/Mr, etc.):

Family name:


Given name:

Institution/position: Fonabal First CEO

Addre s:

Telephone number:

Fax number

E-mail address:


1. Identification and definition of the elementFor Criterion U.1, the States shall demonstrate that ‘the element constitutes intangible cultural heritage as defined in Article 2 of the Convention’.

This section should address all the significant features of the element as it exists at present, and should include:

an explanation of its social and cultural functions and meanings today, within and for its community,

the characteristics of the bearers and practitioners of the element,

any specific roles or categories of persons with special responsibilities towards the element,

the current modes of transmission of the knowledge and skills related to the element.

The Committee should receive sufficient information to determine:

that the element is among the ‘practices, representations, expressions, knowledge, skills — as well as the instruments, objects, artefacts and cultural spaces associated therewith —’;

‘that communities, groups and, in some cases, individuals recognize [it] as part of their cultural heritage’;

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’;

that it provides communities and groups involved with ‘a sense of identity and continuity’; and

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.


Fonabals originated in Africa hundreds of years ago. The knowledge of how to make and play them was imported to Central America when African slaves were forcibly brought into the region during the 18th century to work in the gold mines. The traditional music, chants and dances of Afro-Hispanic people, descendants of these slaves, are still widely performed in the southern coastal part of country F. The original African sounds were influenced by the music of Spanish colonial society and of local Amerindian groups. The music thus matches the rhythms of African drumming and clapping to the cadences of Spanish chants.

There is a close relationship between the environment and the traditional musical practices of the Afro-Hispanic community. As expressed by one maestro in traditional music: ‘The fonabal is the sound of rain, of the flowing rivers and of the jungle’. The melodies, chants and cadences of fonabal music have been shaped by their historical and environmental context, and for that


reason they are an important case study with a triple historical, anthropological and socio-cultural value for musicologists.

The music and chants of the Afro-Hispanic community in Country F are still widely performed with festivities and rituals practised in the south-eastern part of the country, between the ocean and the mountains. The music and traditional chants of the community combine Spanish words with African laments; the music is performed on fonabals, its rhythms reinforced by hand clapping, drums and seed rattles.

The fonabal is a musical instrument in the percussion family. Keys or bars (made of wood) are struck with mallets to produce musical tones. The keys are arranged as those of a piano, with the accidentals raised vertically and overlapping the natural keys (similar to a piano) to aid the performer both visually and physically. The bars, like xylophone keys, are usually made of wood, but can also be made of various synthetic materials. Wooden bars are preferred for concert playing, but synthetic ones are preferred for marching band and other outdoor use because they are more durable and less susceptible to pitch change due to weather.

The bars are wider and longer at the lowest pitched notes, and gradually get narrower and shorter as the notes get higher. During the tuning, wood is taken from the middle underside of the bar to lower the pitch. Because of this, the bars are also thinner in the lowest pitch register and thicker in the highest pitch register. In Africa, most fonabals are made by local artisans from locally available materials.

When playing the fonabal it is preferred to strike just off centre or right on the edge for the fullest tone, while striking the bar in the centre produces a more articulate tone. Playing on the node (the location where the string passes through the bars) is sonically very weak, so it is only used when the player or composer is looking for that particular muted sound. There is no standard range of the fonabal, but the most common ranges are 4 octaves, 4.3 octaves and 5 octaves; 4.5, 4.6 and 5.5 octave sizes are also available.1

[Word count = 517]

2. Need for urgent safeguardingFor Criterion U.2, the States shall demonstrate that ‘the element is in urgent need of safeguarding because its viability is at risk despite the efforts of the community, group or, if applicable, individuals and State(s) Party(ies) concerned’.

Describe the current level of viability of the element, particularly the frequency and extent of its practice, the strength of traditional modes of transmission, the demographics of practitioners and audiences and its sustainability.

Identify and describe the threats to the element’s continued transmission and enactment and describe the severity and immediacy of those threats. The threats described here should be specific to the element concerned, but not a generic cause that would be applicable to any intangible heritage.


The fonabal music of the Afro-Hispanic community is viable as a commercial offering on the world music stage because it represents a very special niche product from this region. It is also very viable as an academic field of study. When performed next to the music of the African fonabal, musicologists can track the continuities and differences between the two musical traditions.

The main threat to the viability of the fonabal music today is the fact that musicologists know so little about it, even as it is slowly disappearing as a musical form. It needs urgently to be documented and recorded, and given a broader audience, as urbanized young people from the Afro-Hispanic community are less able to and less interested in performing it in the cities of the region.

1 Information from Wikipedia.


3. Safeguarding measuresFor Criterion U.3, the States shall demonstrate that ‘safeguarding measures are elaborated that may enable the community, group or, if applicable, individuals concerned to continue the practice and transmission of the element’.

3.a. Past and current efforts to safeguard the elementThe feasibility of safeguarding depends in large part on the aspirations and commitment of the community, group or, if applicable, individuals concerned. Describe past and current efforts of the concerned communities, groups or, if applicable, individuals to ensure the viability of the element.

Describe also past and current efforts of the concerned State(s) Party(ies) to safeguard the element, taking note of external or internal constraints, such as limited resources.


Fonabal music needs to be properly researched and marketed on the world music stage because it represents a very special niche offering from this region and a unique opportunity to link academic research with the professional concerns of young musicians.

Ensuring the music is professionally produced in its authentic form for an international market has engaged the minds of many researchers and musicologists at the Arts University of Country F. They have come up with a strategy, driven by a new NGO called Fonabal First, expressing the needs and professional aspirations of many young singers and musicians in the country, broadening its appeal beyond the Afro-Hispanic community. Special courses have been set up to assist young people in learning fonabal music and in marketing their newly acquired skills for diverse audiences.

[Word count = 131]

3.b. Safeguarding measures proposedThis section should identify and describe a coherent set of safeguarding measures that, within a time-frame of approximately four years, could respond the need for urgent safeguarding and substantially enhance the viability of the element, if implemented, and provide detailed information as follows:

What primary objective(s) will be addressed and what concrete results will be expected?

What are the key activities to be carried out in order to achieve these expected results? Describe the activities in detail and in their best sequence, addressing their feasibility.

Describe the mechanisms for the full participation of communities, groups or, if appropriate, individuals in the proposed safeguarding measures. Provide as detailed as possible information about the communities, in particular, practitioners and their roles in implementing safeguarding measures. The description should cover not only the participation of the communities as beneficiaries of technical and financial support, but also their active participation in the planning and implementation of all of the activities.

Describe the competent body with responsibility for the local management and safeguarding of the element, and its human resources available for implementing the project. (Contact information is to be provided in point 3.c below.)

Provide evidence that the State(s) Party(ies) concerned has the commitment to support the safeguarding effort by creating favourable conditions for its implementation.

Provide a timetable for the proposed activities and estimate the funds required for their implementation (if possible, in US dollars), identifying any available resources (governmental sources, in-kind community inputs, etc.).


Fonabal First’s plans for 2010 – 2015 will focus on strengthening national culture and promotion of artistic entrepreneurship. Fonabal First aims to be recognized in 2014 as the main cultural organization in the country and as a music, song and dance research and production dissemination network. Thus, Fonabal First will aid in democratic citizenship building, preservation and renewal of the cultural diversity of the region. To support the integration of fonabal music into world music as a genre, Fonabal First will engage in develop new regional


management structures encouraging the performance of Fonabal music in world music festivals. Under the Fonabal First Researchers' Network four research projects shall be undertaken to produce a series of CDs and books on the history of fonabal music of the region and examples of authentic performances by professional musicians.

The State Party concerned gives every assurance of its deep commitment, and has agreed to fund the NGO Fonabal First.

[Word count = 154]

3.c. Competent body(ies) involved in safeguarding Provide the name, address and other contact information of the competent body(ies), and if applicable, the name and title of the contact person(s), with responsibility for the local management and safeguarding of the element.

Name of the body: Fonabal First NGO


Address:

Telephone number:

Fax number:

E-mail address:

Other relev nt information:

4. Community participation and consent in the nomination process For Criterion U.4, the States shall demonstrate that ‘the element has been nominated following the widest possible participation of the community, group or, if applicable, individuals concerned and with their free, prior and informed consent’.

4.a. Participation of communities, groups and individuals concerned in the nomination process

Describe how the community, group or, if applicable, individuals concerned have participated actively in preparing and elaborating the nomination at all stages.

States Parties are encouraged to prepare nominations with the participation of a wide variety of all concerned parties, including where appropriate local and regional governments, communities, NGOs, research institutes, centres of expertise and others.


The NGO Fonabal First is deeply committed to the raising of the status of fonabal music on the stage of world music.

The community did participate in the development of this nomination and information was collected from them with their full interest and appreciation.


4.b. Free, prior and informed consent to the nominationThe free, prior and informed consent to the nomination of the element from the community, group or, if applicable, individuals concerned may be demonstrated through written or recorded concurrence, or through other means, according to the legal regimen of the State Party and the infinite variety of communities and groups concerned. The Committee will welcome a broad range of demonstrations or attestations of community consent in preference to standard or uniform declarations. They should be provided in their original language as well as in English or French, if needed.

Attach to the nomination form information showing such consent and indicate below what documents you are providing and what form they take.


The community consented to this nomination. In local newspapers and on local radio the nomination plans were amply discussed, so all who wanted to know about it were fully informed before the nomination was sent on to UNESCO. Several positive letters from readers were published in the newspapers.

4.c. Respect for customary practices governing access to the elementAccess to certain specific aspects of intangible cultural heritage or to information about it is sometimes restricted by customary practices enacted and conducted by the communities in order, for example, to maintain the secrecy of certain knowledge. Indicate whether or not such practices exist, and if they do, demonstrate that inscription of the element and implementation of the safeguarding measures would fully respect such customary practices governing access to specific aspects of such heritage (cf. Article 13 of the Convention). Describe any specific measures that might need to be taken to ensure such respect. If no such practices exist, please provide a clear statement on it.


Most practices related to fonabal music and traditional songs have no restrictions on access. However, some musicians and instrument makers do not wish to share their knowledge with others. They are being advised that this is not the best way of ensuring the continued viability of the element as their secrets will die with them. Fortunately, researchers have the right to access information about the subject of their studies and will thus ensure the continued transmission of the information through publication.

4.d. Concerned community organization(s) or representative(s)Provide the name, address and other contact information of community organizations or representatives, or other non-governmental organizations, that are concerned with the element such as associations, organizations, clubs, guilds, steering committees, etc.

Organization/ Community:

Fonabal First NGO


Address:

Telephone number:

Fax number:

E-mail address:



5. Inclusion of the element in an inventory For Criterion U.5, the States shall demonstrate that ‘the element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies) as defined in Articles 11 and 12 of the Convention’.

Identify the inventory in which the element has been included and the office, agency, organization or body responsible for maintaining that inventory. Demonstrate that the inventory has been drawn up in conformity with the Convention, in particular Article 11 (b) that stipulates that intangible cultural heritage shall be identified and defined ‘with the participation of communities, groups and relevant non-governmental organizations’ and Article 12 requiring that inventories be regularly updated.

The nominated element’s inclusion in an inventory should not in any way imply or require that the inventory(ies) have been completed prior to nomination. Rather, a submitting State Party may be in the process of completing or updating one or more inventories, but has already duly included the nominated element on an inventory-in-progress.

Attach to the nomination form documents showing the inclusion of the element in an inventory or refer to a website presenting that inventory.


In compliance with articles 11 and 12 of the Intangible Heritage Convention, the element ‘Fonabal music and traditional chants’ has been included on an inventory.

6. Documentation6.a. Appended documentationThe documentation listed below is mandatory and will be used in the process of examining and evaluating the nomination. It will also be helpful for visibility activities if the element is inscribed. Tick the following boxes to confirm that related items are included with the nomination and that they follow the instructions. Additional materials other than those specified below cannot be accepted and will not be returned.

10 recent photographs in high definition

cession(s) of rights corresponding to the photos (Form ICH-07-photo)

edited video (up to 10 minutes)

cession(s) of rights corresponding to the video recording (Form ICH-07-video)

Since the tradition involves more than one domain, we have submitted 20 photos:

2 photos of Fonabal First staff members introducing and watching a performance of fonabal music at the World Music Festival;

2 photos of members of Fonabal First receiving an award from the Minister of Culture;

3 photos of an informal party performing the ‘Fonabal Dance’ showing the musicians playing and other community members singing and dancing;

3 photos of a boy watching his father, a Fonabal maker, manufacturing a fonabal;

2 photos of a fonabal performance (adapted for the occasion) at the opening of a new car showroom in the regional capital;

2 photos of 2 internationally known Fonabal masters in the radio studio of the provincial capital;

1 photo of a young woman selling a CD with Fonabal music in a music shop in the capital city;

2 photos of two girls practising Fonabal dance in their mother’s kitchen instructed by their mother;


2 photos of German tourists receiving instruction how to play the fonabal;

1 photo of car of inhabitant of the provincial capital with sticker showing a fonabal and the text: ‘Fonabal forever’.

For the same reason, the video submitted by us ‘Fonabal; yesterday and tomorrow’ has a length of 21 minutes.

Cession of rights appended, signed by Fonabal First on behalf of the rights holders.

6.b. Principal published referencesSubmitting States may wish to list, using a standard bibliographic format, principal published references providing supplementary information on the element, such as books, articles, audiovisual materials or websites. Such published works should not be sent along with the nomination.

Not to exceed one standard page.

None

7. Signature on behalf of the State(s) Party(ies)

The nomination should conclude with the original signature of the official empowered to sign it on behalf of the State Party, together with his or her name, title and the date of submission.

In the case of multi-national nominations, the document should contain the name, title and signature of an official of each State Party submitting the nomination.

Name:

Title: CEO, Fonabal First

Date:

Signature:


Sample File 3Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students,

in collaboration with the Batik Museum in Pekalongan (Register for Best Practices)

Proposal of a programme, project or activity to be selected and promoted as best reflecting the principles and objectives of the Convention in 2009

(Reference No. 00318)

A. STATE(S) PARTY(IES): Indonesia

B. NAME OF THE PROGRAMME, PROJECT OR ACTIVITY PROPOSED FOR SELECTION AND PROMOTION: Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan

C. SCOPE OF THE PROGRAMME, PROJECT OR ACTIVITY:

national

sub-regional

regional

international (including geographically non-continuous areas)

D. STATUS OF THE PROGRAMME, PROJECT OR ACTIVITY:

completed

in progress

planned

E. COMMUNITY(IES), GROUP(S) OR, IF APPLICABLE, INDIVIDUALS CONCERNED:

Batik Museum Institute in Pekalongan (the Batik Museum in Pekalongan henceforward referred to as the Batik Museum)

Management and staff of the Batik Museum

Elementary, junior, senior, vocational school and polytechnic headmasters, teachers and students in Pekalongan City, Central Java

Batik Community in Pekalongan City

Local and foreign visitors to the Batik Museum

F. BRIEF TEXTUAL DESCRIPTION OF THE PROGRAMME, PROJECT OR ACTIVITY:

Indonesian Batik is a traditional hand-crafted textile rich in intangible cultural values, passed down for generations in Java and elsewhere since early 19th Century, made by applying dots and lines in hot wax to cloth using a canthing tulis pen or canthing cap stamp, as a dye-resist. Patterns and motifs have deep symbolism related to social status,


local community, nature, history and cultural heritage. Indonesian Batik is nominated for the UNESCO Representative List.

The batik community noted the younger generation’s interest in batik is waning, and felt the need to increase efforts to transmit batik cultural heritage to guarantee its safeguarding.

The program is collaboration between the Batik Museum and elementary, junior, senior, vocational school and polytechnic, to include education in batik cultural values and traditional handcraft in curricula as local content or subject. The project has gone on for 3 years, and continues to expand to Pekalongan District and neighbouring Batang, Pemalang and Tegal districts.

Data and interviews with headmasters, teachers and students prove that the programme is popular and successful. The project is a good example of transmission of intangible cultural values to the younger generation by including modules of cultural heritage in the curricula of educational institutions.

1. IDENTIFICATION OF THE PROGRAMME, PROJECT OR ACTIVITY TO BE SELECTED AND PROMOTED

1.a. NAME OF THE PROGRAMME, PROJECT OR ACTIVITY: Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan

1.b. IDENTIFICATION OF THE COMMUNITY, GROUP OR, IF APPLICABLE, INDIVIDUALS CONCERNED AND THEIR LOCATION:

Batik Museum Institute in Pekalongan (the Batik Museum in Pekaongan henceforward referred to as the Batik Museum)

Management and staff of the Batik Museum

Elementary, junior, senior, vocational school and polytechnic headmasters, teachers and students in Pekalongan City, Central Java

Batik Community in Pekalongan City

Local and foreign visitors to the Batik Museum

1.c. GEOGRAPHIC LOCATION AND RANGE OF THE PROGRAMME, PROJECT OR ACTIVITY:

Pekalongan City, Central Java Province, Indonesia (see annexed map)

1.d. DOMAIN(S) REPRESENTED BY THE PROGRAMME, PROJECT OR ACTIVITY, IF APPLICABLE:

Oral Tradition

Social Customs

Traditional Handcrafts


2. DESCRIPTION OF THE PROGRAMME, PROJECT OR ACTIVITY

2.a. BACKGROUND AND RATIONALE:

The opening of the Batik Museum in July 2006 by the President of the Republic of Indonesia made the batik culture community, especially in Pekalongan, aware of the importance of safeguarding Indonesian Batik cultural heritage. The Batik Museum Institute and the batik community realized also that the younger generation had begun to be less interested in batik culture, due to the influence of globalization, modernization, technology, tendencies toward monoculture, etc. Although batik culture was for the time being in a healthy condition, yet without increased efforts to transmit batik cultural values and traditional handcraft skills to the younger generation, it was quite possible that batik culture could decline and even be threatened with extinction.

Until now, batik culture has mostly been passed from generation to generation through oral and non-formal transmission, e.g. from parents to children. Now the Department of National Education and its networks are implementing compulsory 9 years study all over Indonesia. Therefore, in order to guarantee the transmission of batik culture from generation to generation, it was felt appropriate that batik culture also be brought into formal educational institutions such as elementary, junior, senior, vocational schools and polytechnics, without changing the traditional oral methods of instruction.

Therefore, the management of the Batik museum, in collaboration with headmasters of elementary, junior, senior, vocational schools and polytechnic in Pekalongan City, instituted a programme of including modules of education in batik culture into subjects and curricula in the abovementioned educational strata.

Law No. 20 of 2003, Article 36 Paragraph 2 and 3 (d) direct diversification of education in accord with diversity of local potential. Article 37 (j) of the same Law establishes ”local content” within the national curriculum. This ”local content” includes local languages and culture. Law No. 20 makes it possible to include batik culture in curricula as ”local content” in areas having batik cultural heritage, such as Pekalongan City.

The main objectives of the programme are: to increase the awareness and appreciation of the cultural heritage of Indonesian batik, including its history, cultural values and traditional skills, among the younger generation at elementary, junior, senior, vocational school and polytechnic educational strata.

To increase the awareness of headmasters, teachers, parents and the batik community in Pelaongan, regarding the importance of transmission of batik culture to the younger generation.

To involve the management and staff of the Batik Museum in educational activities for students and the general public regarding batik cultural values and training in batik traditional handcraft.

The priorities of the programme are:

To train staff of the Museum for teaching batik history, cultural values and traditional handcrafts to students.

To prepare and distribute proposal invitations to headmasters, so that they would send their students to participate in the programme.

To train school teachers to become trainers in batik local content (training of trainers), and/or to place batik craftspersons in schools to give education and training in batik.

To organize tests for students participating in the programme, to evaluate the results of the transmission of batik culture.


2.b. SAFEGUARDING MEASURES INVOLVED:

Firstly, the staff at the Batik Museum was trained to give instructions in batik cultural values and traditional handcrafts. Teaching materials were prepared. The level of instruction and training was geared to the educational level of the participants. The programme used the exhibition halls of the museum for lessons on theory, history and cultural values of batik, while the museum workshop was used for the practical workshops in the traditional handcrafts of hand drawn and hand stamped batik.

Sponsors were sought among batik producers, to minimize the cost of the training for the students. This helped participants who were not well off economically. Support of the City Government was sought.

Invitation proposals were circulated to educational institutions in Pekalongan City. The training programme commenced in 2006, initially at the Batik Museum.

Later on, as the programme developed, school teachers were trained through a programme of “training of trainers”, so that batik education and training could be carried out at educational institutions having facilities, while the evaluation testing would be done at the Batik Museum. The batik education and training retained the original oral system of transmission. Some batik producers have also begun holding workshops for students, using the pattern established by this programme.

The theory of cultural values and practice of traditional handcrafts of hand drawn and hand stamped batik have been inserted into school curricula at various levels as “local content”. Some schools have also included material related to batik into other subjects. For example, language lessons have used written articles related to batik; biology and chemistry lessons have discussed the natural colours used for making batik, etc.

Students hear explanations from batik experts regarding batik cultural values, e.g. history of batik, symbolism of various motifs and patterns, significance of the special motifs and patterns of various areas, and also training in the stages in the process of maming batik, which they can then practice themselves, beginning from making natural colours, making patterns, drawing and stamping batik, hand-dyeing, boiling to remove the wax, up till the finished batik. Students can take home the batik which they have made themselves, to show to their parents and friends, or even to be exhibited or sold.

Teaching batik intangible cultural heritage as “local content” within the format of formal lessons as school is an innovative approach, because until now, education and training in intangible cultural heritage has gone on in an informal way, for example in “sanggars” or informal schools, or in homes, or in batik workshops. Several headmasters reported that this programme has helped very much to increase the awareness of students regarding the cultural values and traditional handcraft of batik. The participating schools have continued to send their students to join in the programme every year.

The following were set as the indicators of the success of the programme: - Number of students participating. - Number of teachers trained through training of trainers- Results of evaluation tests given at the end of training- Results of interview with participants.

3. WHY THIS PROGRAMME, PROJECT OR ACTIVITY DESERVES TO BE SELECTED

3.a. HOW IT REFLECTS THE PRINCIPLES AND OBJECTIVES OF THE CONVENTION:

This programme constitutes an effort to (a) safeguard intangible cultural heritage – by transmitting cultural heritage to the future generation (b) ensure respect for the intangible cultural heritage – by giving a respectable place for the cultural heritage of Indonesian Batik as local content within the curricula of various strata of formal education, beginning


from elementary, junior, senior and vocational schools up to polytechnic; and (c) raise awareness of the importance of intangible cultural heritage at the local, national and hopefully international level – by involving the community mentioned in E and 1.b above in a programme to increase the appreciation of the younger generation as well as the general public. These three purposes are found in Article 1 of the 2003 Convention.

As described in the Nomination of Indonesian Batik for the Representative List, Indonesian Batik is an intangible cultural heritage which falls into the following domains: (a) oral tradition, (c) social customs, and (e) traditional handcrafts, as per Article 2.1 and 2 of the Convention. This program for education in batik culture for students, constitutes an activity for “safeguarding” as described in Article 2.3; namely, “...transmission, especially through both formal and non-formal education, and revitalization”.

The activities of education and training in batik cultural heritage in schools and educational institutions in Pekalongan City are in line with Article 14 (a); namely.

1. educational, awareness raising and information programmes, aimed at the general public, in particular young people;

2. specific educational and training programmes within the communities and groups concerned;

This programme is also in line with Article 15 of the Convention, as it directly involves elements of the batik community mentioned in E and 1.b above in the activities of the programme. Batik culture experts and practitioners are given the opportunity to give education and training to children. Some of them have even been appointed as teachers in schools participating in the programme.

This programme has been proven effective in increasing the visibility of batik cultural heritage, especially among the younger generation who has participated in the programme. These students have also told their parents and friends and shown them the results of their own batik art work, thus raising awareness among the general public, in accord with the purposes of the Convention.

A seminar on this nomination file the Batik Museum on 14th February 2009 revealed that similar programmes are going on in the following places:

Table 1. Places with Batik Cultural Heritage Education Programmes

Place Institution ParticipantsSemarang, C. Java Ronggo Warsito Museum Students, Semarang Dist & City

YogyakartaBatik & Craft Training Office. School Students, Public

Paguyuban Segar Jagat School Students, PublicJakarta Jakarat Textile Museum School Students, PublicSurakarta Danar Hadi Batik Museum School Students, Public

3.b. ITS EFFECTIVENESS, EITHER DEMONSTRATED OR REASONABLY EXPECTED:

The largest segment of Museum visitors is school and polytechnic students participating in batik culture training (4815 in 2006, 12,905 in 2007 and 5749 in 2008). Many other visitors are also training participants, e.g. teachers undergoing training of trainers to teach batik culture in their schools (1053, 1798 and 925 during the respective years) as well as ordinary visitors to the museum who like to participate in the training. The numbers of students and teachers participating in the programme in 2009 is increasing more and more due to a larger and better equipped workshop and participation from schools in neighboring districts. These numbers indicate a significant contribution to the ongoing viability of batik culture in Pekalongan City and surrounding areas.

Out of 230 educational institutions in Pekalongan City, the numbers teaching Batik Cultural


Heritage Pekalongan City at all strata has increased from just 1 in 2005-6, to 100 in 2006-7, to 194 in 2007-8 and reaching 230 in 2008-9. This means that 100% of educational institutions in Pekalongan now teach batik cultural heritage to all their students.

Sampling of the Training Evaluation Tests in batik cultural heritage at the institutions mentioned in 4.a below indicated very high pass rates. Virtually all participants succeed in mastering both the cultural values as well as the practical training given in batik traditional handcraft.

Evaluation. Interviews were conducted on 30th January and 13th-14th February 2009 with participants and batik community members whose names are mentioned in 4.a. below: Their responses were:

All respondents liked this training programme. One elementary school student requested that batik training be given every day.

All respondents considered that the programme helped all participants to increase their appreciation of batik cultural heritage and traditional handcrafts.Headmasters and teachers considered their students enlivened by this programme, as it gave them a worthwhile skill which could earn them income in the future, and helped to develop students’ concentration, patience, self-confidence and collaboration skills.

The students began to spontaneously create their own batik designs, based upon what they had learned e.g. making a batik of their school logo.

Some students would work on a single piece of batik together in a group. This trained them in good cooperation (learning to live together).

The programme has been expanded to Pekalongan District, and the neighboring districts of Batang, Pemalang and Tegal.

Visitors to the Batik Museum are invited to join in the programme,

The students are allowed to take home with them the batik which they themselves have produced during the training, to show to their parents and friends. The students interviewed expressed pride in what they had achieved. This has also served to increase awareness among parents and the general public regarding batik cultural heritage.

The interviewer noted a sense of happiness and enthusiasm among all the trainers, teachers and students who participated in this programme at all levels. All expressed their resolve that the programme should continue and expand in the future.

3.c. HOW IT MAY PROMOTE COORDINATION ON REGIONAL, SUB-REGIONAL AND/OR INTERNATIONAL LEVELS, IF APPLICABLE:

Not relevant. But this programme may serve as a model (see 3.d below)

3.d. HOW IT MAY SERVE AS A REGIONAL, SUB-REGIONAL AND/OR INTERNATIONAL MODEL, PARTICULARLY FOR DEVELOPING COUNTRIES:

Awareness of the younger generation at this time is very much influenced by knowledge obtained while undergoing formal education at school. Their time for non-formal education regarding cultural heritage is thus very limited. If intangible cultural heritage is not transmitted to the younger generation, then sooner or later, it will be threatened with extinction.

Therefore, education in batik cultural heritage for students in Pekalongan City can serve as a model which could be adapted to other areas, even on a sub-regional, regional or


international level, especially in developing countries who have a wealth of intangible cultural heritage. Modules of intangible heritage in respective places could be included in curricula at various educational strata as “local content”, in accord with local educational systems.

The results of interviews with headmasters, teachers and students involved in this programme prove that such subjects are very popular with the students, and also give a positive effect on their concentration and awareness. This programme also increases their appreciation of their own culture as well as the cultural identity of their nation and state.

Taking as an example modules of batik cultural heritage in Pekalongan City, this method could be adapted for elements of intangible heritage in other countries, by taking the following steps:

1. Identifying the items of intangible cultural heritage to be transmitted to the younger generation, along with their geographical locations and communities.

2. Identifying institutions which could serve as venues for training, e.g. museums, sanggar (places of informal cultural training) etc.

3. Identifying trainers from the relevant community and preparing education and training modules.

4. Determining the appropriate subjects into which the educational and training modules can be included, e.g. art, culture, social science, drama, language, etc.

5. Approaching the educational service and headmasters in the respective areas, inviting them to participate by bringing their students to participate in education and training in the respective elements of cultural heritage.

6. Conducting training for students at various educational strata. The education is in the theory or cultural values as well as practice of the respective culture. In practical training, the students can themselves practice or demonstrate the cultural activitiy.. If possible, they should be given the chance to take home the result of what they have done, or to perform it. This gives them a sense of pride, which is important to build their appreciation and increase the chances that they will retain and remember the respective culture.

7. It is very good if the programme can train teachers in the element of cultural heritage through “training of trainers”.

8. A test or evaluation can be used as feedback to guage and perfect the programme.

4. COMMUNITY INVOLVEMENT AND CONSENT

4.a. PARTICIPATION OF THE COMMUNITY, GROUP OR INDIVIDUALS IN THE PROGRAMME, PROJECT OR ACTIVITY:

The batik community mentioned in E and 1.a above has been involved directly in the execution of this programme. This nomination file has been compiled based on data from the Batik Museum, the Education Service of Pekalongan City, interviews and seminars held with participants and community members on 20 th January 2009 and 14th February 2009, and a sample of some of the headmasters, teachers and students from some of the 230 schools involved in this programme, namely, SD Kandang Panjang 07 (Elementary)SD Kandang Panjang 08 (Elementary)SMP 06 Pekaongan (Junior High)SMPN 1 Pekalongan (Junior High)SMA ! Muhammadiyah Pekalongan (Senior High)


SMKN 1 Pekalongan (Vocational High)SMKN 3 Pekalongan (Vocational High)Politeknik USMANU (Polytechnic)

The following are the names of respondents interviewed on 20 th January, 13th and 14th

February 2009, for the compilation of this nomination file:

Government Officials

Mayor of Pekalongan City, dr. H. Mohamad Basyir AhmadHead of the Pekalongan City Education Service, Jalil

Batik Museum Institute/ Management/ Staff of the Batik MuseumDr. H. Mohamad Basyir AhmadBalgis Diab, SE. Sag.Ir. Erri GetarawanMM Soemarni, MMZahir WidadiJudi K. AchjadiAsmoro DamaisDesanti Filiani (25 yrs)Muhamad Yasin (23 yrs) Pengajar Batik

School Headmasters and Director of PolytechnicSMA N 1 HR Budiyanto W, SHSMA 1 Muhammadiyah Dewi MasitohSMK N 1 Pekalongan SuharsoSNK N 3 Pekalongan Mujahir (46 yrs)Politeknik Usmanu Sony Hikmalul (44 yrs)

Teachers/ LecturersPoliteknik Usmanu Muktadir (34 yrs) Staf Pengajar Teknik (Polytechnic) Agus (28 yrs) Asst. Director, AcademicSMA 1 Muhammadiyah Windo (35 yrs) (Senior High) Arif (29 yrs)SMK N 1 Pekalongan Bu Emut (38 yrs) (Vocational High) Bu Alifah (50 yrs) Bu Sandi (25 yrs) Bu Endar (46 yrs) SMK N 3 Pekalongan Bu Siti Wartiningsih (43 yrs)SD Padasuki I (Elem.) Arief A (29 yrs)SD Kandang Panjang 08 Tohir (27 yrs)

StudentsPoliteknik Usmanu Sujatno (20 yrs) Mahasiswa Teknik (Polytechnic) Asih (20 yrs) Mahasiswi TeknikSMA 1 Muhammadiyah Mohamad Fahmi Hidayat (16 yrs) Kelas II SMA (Senior High) Yulia Lestari (16 yrs) Kelas II SMASMK N 1 Pekalongan Dian (16 yrs) Kelas II SMK Jurusan Busana (Vocational High) Efi (16 yrs) Kelas II SMK Jurusan BusanaSMK N 3 Pekalongan Riski Fajar Budiman (14 yrs) Kelas I SMK (Vocational High) Santi Faradina (15 yrs) Kelas I SMK)SMP N 1 Pekalongan Cahyo Adi Saputro (13 yrs) (Junior High) Putri (13 yrs)SD Kandang Panjang 08 Fajar (11 yrs) Kelas IV SD


(Elementary) Sumilah (11 yrs) Kelas IV SD

4.b. FREE, PRIOR AND INFORMED CONSENT TO THIS PROPOSAL:

Appended.

5. WILLINGNESS TO COOPERATE IN THE DISSEMINATION OF BEST PRACTICES:

Appended.

6. CONTACT INFORMATION

6.a. SUBMITTING STATE(S) PARTY(IES): Indonesia

6.b. CONTACT PERSON FOR CORRESPONDENCE:

Iman Sucipto Umarc/o Yayasan KADIN IndonesiaMenara KADIN Indonesia, Lt. 29,Jalan H.R Rasuna Said, X-5 Kav. 2-3, Jakarta Selatan 12950, IndonesiaTel. +62 21 527 4484 Fax. +62 21 5274331, 527 4332,Email: [email protected]

6.c. RESPONSIBLE BODY INVOLVED:

Batik Museum InstituteJalan Jetayu No. 1, Kota Pekalongan, Pekalongan, 51111, Central Java, Indonesia.Tel./Fax +62 21 285 431 698 - Mobile Phone No. +62 815 732 65818Email: [email protected]

KADIN Indonesia FoundationMenara KADIN Indonesia, Lt. 29,Jalan H.R Rasuna Said, X-5 Kav. 2-3, Jakarta Selatan 12950, IndonesiaTel. +62 21 527 4484 - Fax. +62 21 5274331, 527 4332Email: [email protected]

6.d. CONCERNED COMMUNITY ORGANIZATION(S) OR REPRESENTATIVE(S):

Indonesian Batik Community Forum Secretariat Address. c/o Menara KADIN Indonesia, 29th Floor,Jalan H.R Rasuna Said, X-5 Kav. 2-3, Jakarta Selatan 12950, IndonesiaTel. +62 21 527 4484 Fax. +62 21 5274331, 527 4332Email: [email protected]

7. SIGNATURE ON BEHALF OF THE STATE(S) PARTY(IES):

<signed>


Sample File 4Establishing of the National Inventory of the Intangible Cultural Heritage of Belarus

(International Assistance request greater than US$25,000)

File no. 00332for Request for International Assistance from the

Intangible Heritage Fund in 2010

A. PROJECT TITLE

This is the official name of the project that will appear in published material from the Committee. It should be concise. Please do not exceed 200 characters, including spaces and punctuation. Names should be romanized, without special fonts or characters.

Establishing of the National Inventory of the Intangible Cultural Heritage of Belarus

B. SUBMITTING STATE PARTY

For multi-national proposals, States Parties should be listed in the order on which they have mutually agreed.

Belarus

C. BENEFICIARY COMMUNITY, GROUP, OR IF APPROPRIATE, INDIVIDUALS

Identify clearly the community(ies), group(s) or, if appropriate, individuals concerned with the proposed project. The Convention provides no definition of a community, but the information here should allow the Bureau or Committee to identify the primary parties concerned with a project, and should be mutually coherent with the relevant sections below.

Ministry of Culture of the Republic of Belarus, National Commission of the Republic of Belarus for UNESCO, Belarusian State University of Culture and Arts as the implementing agency of this project; communities, groups and individuals from different regions of Belarus - bearers of ICH, including in the Inventory.

D. IS THIS AN EMERGENCY REQUEST THAT MIGHT RECEIVE EXPEDITED PROCESSING?Indicate if this is an emergency request that might warrant expedited evaluation by the Bureau or Committee. You will be asked to describe the nature and severity of the emergency in section 1. If this is an emergency request, the information required in sections 4, 5 and 6 can be submitted at a later stage, if required.

emergency request

non-emergency request


E. PURPOSE OF REQUEST (CHECK ONE)Select one box to identify the purpose for which international assistance is requested.

safeguarding heritage inscribed on the Urgent Safeguarding List

safeguarding heritage being nominated for inscription on the Urgent Safeguarding List

elaboration of inventories

implementation of programmes, projects and activities for safeguarding

F. Scope of the project (check one) Select one box to identify whether the project is primarily local, national, sub-regional, regional or international in scope (the latter including projects carried out in geographically non-continuous areas).

local

national

sub-regional

regional

international (including geographically non-continuous areas)

G. Location of the projectIdentify the location(s) in which the project may be carried out.

Belarus

H. Proposed implementing organization or bodyProvide the name(s) of the organization that will be responsible for implementing the project. Contact details are provided below (section 7.b. and 7.c.).

Ministry of Culture of the Republic of Belarus

Belarusian State University of Culture and Arts

I. BUDGET OVERVIEW (IN US DOLLARS)This section is to provide a budget overview concerning the implementation of the project. Please indicate in US dollars the amount requested from the Intangible Heritage Fund and the amount to be contributed by the State Party.

Amount requested from the Fund: 133,600

State Party contribution: 35,400


J. TIME FRAME

Indicate the starting and ending months of the project. The time frame may alternatively be expressed in terms of the total number of months required.

November 2010 - October 2012

K. SUMMARY PROJECT DESCRIPTION

Describe the current situation, the main objectives and expected results and the activities proposed.

The Project is aimed to identificate, define and protect all elements of the Intangible Cultural Heritage (hereinafter referred to as ICH) to promote the cultural diversity through the registration and safeguarding of the heritage. The main goal of the Project is promotion and distribution of structured information about the intangible cultural heritage and diversity of the Belarusian people.Evidently the establishment of the ICH Inventory will provide the safeguarding of the information about ICH elements, its revival through their promotion and development of social interest to them. Good registration is a first step of preservation.The Project contributes to promotion of intercultural dialogue, intergenerational transmission of knowledge, reduction of poverty and strengthening of partnership on national and international levels.The Project is designed for 24 months (November 2010 - December 2011). It includes organizational activities on co-ordinating the Project, field researches with the aim of study and monitoring of the Belarusian intangible heritage.The creation of the National Inventory of the Intangible Cultural Heritage of Belarus should present a variety of cultural and educational products.

1. BACKGROUND AND RATIONALE

Provide a brief description of the current situation and the need that the proposed assistance would address. For safeguarding of a particular element, provide a description of the element, its viability and why safeguarding measures are required. For programmes or activities not focused on a particular element (e.g., preparation of inventories, strengthening of capacities, awareness-raising, visibility), please describe existing related programmes and activities, if any, and identify gaps to be addressed. For emergency assistance requests, describe the nature and severity of the emergency.

The Belarusian ICH is the living culture which requires careful attitude from state and society. It comprises a variety of regional and local features, archaistic elements and forms, modern types of culture, etc. The safeguarding of ICH in Belarus is regulated by the Law on Protection of Historical and Cultural Heritage (adopted in 2006). The inventorying of the ICH is one of the key objectives of the Law.

Criteria of the selection of the elements of ICH to the national inventory:

1) The elements constitute intangible cultural heritage as defined in Article 2 of the Convention 2003.

2) the elements should have significant local features, concerning with general national and regional traditions;

3) they should reflect traditional mentality and world-view (beliefs, moral imperatives, regulations, values, traditional behaviour, etc);


The main coordinator of the activity of ICH inventoring on the national level is the Belarusian State Institute For Culture Issues. It provided the regular work on the selection of the ICH data in six ethnic regions of Belarus over a period of 10 years. The great collection, including more than 600 audio and 40 three-hour video cassettes was formed. 40 audio and 20 video cassettes were digitized. The majority of these data were published in the 3 volumes of the significant publication entitled ‘Anthology of the Belarusian Folklore’. This work is continuing in partnership with other storage of ICH data. Among them are the Institute of Art Sciences, Ethnography and Folklore of the National Academy of Science of Belarus, which has more than 400 units of text records and 20000 audio and video records of ICH elements, Belarusian University of Culture and Art, which also has a collection of folklore data.

After the analysis and identification of all elements of ICH preserved at mentioned institutions we plan to provide broad field investigation (with the help of students and representatives of local communities) with the aim to know what elements from those which selected and described early continue to exist, what of them keep the viability and how many of them are urgent need of safeguarding. As a rule viable elements are the most stable elements which transmit from generation to generation and have the active form of their expression for today. They originate from the places where the representatives of all age groups are living. The youth generation constitutes the bearer of traditions. In this case the oral transmission of living traditions through the informal contacts takes place. The spontaneous appearances of traditional culture in the natural conditions of its existence are safeguarding. Disappearing elements keep only in the memory of the oldest informers – bearers of traditions.

Finally the Inventory will take account and mark out in the separate fields the disappearing and viable elements of ICH.

2. OBJECTIVES AND EXPECTED RESULTS

Describe what primary objective(s) will be addressed and what concrete results are expected.

The long-term objective of the project is the safeguarding and promotion of the living heritage of Belarus particularly through the promotion and implementation of the intangible cultural heritage Convention and enhancing complementarities of the Conventions of 1972, 2003 and 2005.

The mid-term objective of the project is the strengthening capacities for establishing of the national inventory of the intangible cultural heritage and promoting a crucial role of cultural diversity and cultural heritage for sustainable development in Belarus, in particular the implementation of the project will contribute to the following:

At the international level:

• To raise awareness about the cultural diversity and recognize the importance of the ICH of Belarus and the need to safeguard and revitalize it;

• To decrease the consequences of environmental changes.

At the national level:

• To build local and national capacities for the safeguarding of the ICH by laying the basis for the development of the legal and administrative measures for the protection of the ICH;

• To contribute to the preservation of the cultural diversity of Belarus;

• To restore the balance between ‘traditional’ and ‘innovative’ from the point of view of ethnic cultures;

• To strengthen ethnic and civil identity of the Belarusian people;

• To promote the participation of communities, groups and non-governmental organizations, as well as traditional artists and local creators, in the preservation of the ICH of Belarus;


The Inventory of ICH will be existing in the form of database. The data will be published in the Internet site (specially elaborated) and in the different publications. Among them are: 6 CD and DVD catalogues, represented collections of ICH elements from 6 ethnic regions of Belarus. The names of these regions: Paazerje, Padnyaprouye, Central Belarus, West Palesse, East Palesse, Pasozhzha. They formed historically. CD and DVD will contain the information about different forms of ICH, typical for these regions and reflect their cultural potential.

The next publication is the catalogue of the most significant elements of the Belarusian ICH represented as the album with more than 100 colour photos.

Besides we plan to publish 2 methodical editions which will contain the handbook on the national and international practice of selection, investigation and safeguarding of ICH.

3. ACTIVITIES

What are the key activities to be carried out in order to achieve these expected results? Describe the activities concretely and in their best sequence, addressing their feasibility.

The main goal of the Project is to elaborate and create the Inventory of the Intangible Cultural Heritage of Belarus. All possible elements of the ICH present in Belarus (activities, performances, products, cultural expressions) are to be identified and registered. The viability of the inventoried elements and factors (if any) threatening the vialibility are to be indicated.

The Belarusian Inventory of the ICH will be made on two levels: 1) as the database including disappearing, urgent need of safeguarding elements of ICH, proposed local communities, groups or individuals; 2) the most representative and viable elements of Belarus, described also in the National List of Historical and Cultural Heritage.

Establishing of the ICH Inventory implies the specified activity, including:

1) Selection of the data from the collections of the mentioned early institutions: Belarusian State Institute For Culture Issues, Belarusian State University of Culture and Arts, Institute of Art Sciences, Ethnography and Folklore of the National Academy of Science of Belarus.

2) analysis, identification and digitizing of the data;

3) Field investigations of ethnic regions of Belarus with the aim to identify and monitoring the viability of the ICH elements, kept in the mentioned collections, to define new elements. These investigations will be provided under the broad involvement of local communities – bearers of traditions. In Belarus there is the developed system of various cultural institutions (public, state) on the national and local levels which are engaged in the preservation of cultural heritage. On local level there are various clubs, houses of handicrafts, and museums of local culture and centres of culture. They locate in every small town and in many villages and work with the representatives of bearers directly. On the base of these centres many committees and associations of bearers were created (practically they exist in the majority of local houses of handicraft or local museums and culture centres). The example – Association of shapovals (fullers) in Dribin district (Mogiliev region). Certainly the investigations of ICH, its definition and describing will provide with the direct participation of these centres and local inhabitants.

4) Creation of the ICH database. The administrator of the database will be the Belarusian State Institute For Culture Issues. This database will available the broad groups of users, first of all through the creation of appropriate web-site;

5) Publication of the results (series of publications).

During the elaboration of the project it is assumed to provide the holding of some consultation workshops with the experts and representatives of communities, groups and individuals, concerning the inventorying and safeguarding of ICH. Besides the international workshop with


the participation of international experts is planning in Belarus with the aim to explore and implement the experience of different countries in the field of inventorying of ICH.

The ICH inventory will create in partnership with the Belarusian State Institute For Culture Issues (main coordinator), Belarusian State University of Culture and Art, Institute of Art Sciences, Ethnography and Folklore of the National Academy of Belarus, etc. Ministry of Culture of the Republic of Belarus exercises the general control under the process of inventorying.

4. PROJECT MANAGEMENT AND IMPLEMENTATION

4.a. Community involvementDescribe the mechanisms for fully involving communities, groups or, if applicable, individuals in the activities.

National Inventory of the Intangible Cultural Heritage will be based on the materials which collected and have been put forward by local communities in different regions of the country. The process of inventorying of ICH on local level has been started in 2009 and was declared by special program of Ministry of Culture of the Republic of Belarus. The responsible bodies for this work are local museums, houses of handicraft, and local authorities in the field of culture. Representatives of local communities actively participate in the processes of selection and identification of the ICH elements. The experts of the Belarusian University of Culture and Arts elaborated the special questionnaire for work with bearers of ICH, which is used quite broad. In many regions of Belarus there are Committees of bearers of ICH which was created on local levels by initiative people.

It is supposed to organize and carry out series of seminars and workshops for representatives of local communities, groups and individuals – bearers of ICH devoted to the selection, identification, inventorying and safeguarding of ICH, its visibility.

The main goal of the project – collect all data about the Belarusian ICH, using regional and local materials which was identified by their bearers and customers, described these elements and create national database which helps to organize the work under their preservation and visibility on local and national levels.

4.b.

Implementing organizationDescribe the implementing organization or body that may be responsible for implementing the project including name, background, structure, etc. Identify the human resources available for implementing the project. (Contact information is to be provided below (section 7.c.).)

Ministry of Culture of the Republic of Belarus

Belarusian State Institute For Culture Issues as a branch of the Belarusian State University of Culture and Arts

4.c. PartnersDescribe, if applicable, coordination arrangements with any other partners and their responsibilities in the implementation of the project, including their available human resources.

Institute of Art Sciences, Ethnography and Folklore of the National Academy of Belarus

Regional and local authorities, museums, houses of handicraft, committees of bearers of ICH


4.d.

Monitoring, reporting and evaluationDescribe how the implementing organization plans to carry out monitoring, reporting and evaluation of the project. For larger or more complex projects, external monitoring and evaluation are preferable. Standard formats for reporting and evaluation are available from the Secretariat.

The Project will be monitored on all the stages of preparation and implementation. Monitoring will be carried out by the Ministry of Culture of the Republic of Belarus. The National Commission of the Republic of Belarus will be responsible for informational and analytical work on all the stages of the Project. Scientific monitoring will be executed by the Belarusian State Institute for Culture Issues. It will be liable for monitoring, reporting and evaluation of the Project, will submit all the materials to the Ministry of Culture of Belarus quarterly.

The methods of monitoring, reporting and evaluation include: holding round tables on the results of expeditions, quarterly financial reports, attracting experts to evaluate the results of activities, field researches, discussions of catalogues, albums to be published, DVDs to be released, etc.

5. CAPACITY-BUILDING, SUSTAINABILITY AND LONG-TERM IMPACTS OF THE PROJECT

5.a. Capacity-buildingDescribe how the project may contribute to building up capacities or strengthening existing resources, for instance in the communities and/or in the implementing organization concerned.

The implementation of the Project will contribute to the following at the national level: preserving of the unique cultural landscape of Belarus and rare forms of the Intangible Cultural Heritage; restoring of the lost balance in the dialogue between traditional and innovative from the point of view of ethnic cultures; strengthening of ethnic, civil and civilization identity of the Belarusian people; facilitating of a wide access to the cultural resources’; strengthening of development of cultural diversity of different regions of Belarus.

The implementation of the Project will stimulate the motivation of bearers of ICH on the identification and inscribing of their activity, safeguarding of their value knowledge and practices, their transmission to new generations. Viability of this knowledge will provide the development of cultural tourism, educational processes on national and regional level, real attention and activity from the side of local and national authority in the field of preservation of cultural heritage and development of culture.

At the international level the implementation of the Project will contribute to the following: globalisation and localisation of culture; survival and development of the indigenous people’s culture; increasing of cultural diversity of the representatives of different types of the Belarusian traditional culture; decreasing of the consequences of environmental changes; documenting of the best practices in the domains of the cultural heritage of indigenous people; safeguarding of cultural diversity, enhancing of intercultural dialogue; engaging indigenous men and women in the activities related to safeguarding of the cultural heritage.

5.b.

SustainabilityDescribe how the results and benefits of the project are expected to last beyond the end of the project.

The Project will be executed by partner organisations concerned that share humanitarian ideas of UNESCO. Special interest is expected from the representatives of the Belarusian ethnic communities whose interest in the roots of their ethno-cultural identity is continuing to rise, as


well as their concern about their future in the conditions of cultural diversity.

The Project will draw attention of the state and organisations to activities of local communities, bearers of the Intangible Cultural Heritage promoting their preservation. The Project might lead to local initiatives and a larger, national Project involving the whole nation.

The Project will show the contribution of ethnic groups and local communities into the cultural diversity of humanity, it will assist the Belarusian government in reforming the cultural policy for the benefit of the representatives of traditional culture.

The Project will promote preservation and sustainable development of the Belarusian ethnic regions, strengthening and consolidation of their ethno-cultural values; it will draw attention and stimulate interest to the cultural diversity. The Project might make contribution to the economic development of the country and development of tourism in Belarus.

It is supposed that National Inventory will be constantly updated and increased in the closed cooperation and communication the responsible persons for its conducting (experts from Belarusian State University of Culture and Arts) and representatives of ethnic communities, groups and bearers. The project is aimed to provide the permanent activity on inventorying of ICH of Belarus, stimulate its further financing and technical support from the side of national and regional authorities, different interested organizations.

5.c. Multiplier effectsDescribe how this assistance may stimulate financial and technical contributions from other sources or may stimulate similar efforts elsewhere. When the overall project benefits from contributions of other funding sources, please indicate by whom, how much and for what purpose the contributions are granted.

Establishment of the Inventory of the Intangible Cultural Heritage (hereinafter referred to as ICH) is a real and effective way to safeguard the ICH. The project is directed at supporting economic, psychological and cultural well-being of the Belarusian people, and the forming a positive ethnic identity amongst the youth, as well as ensuring their understanding of their own cultural heritage. The project also will assist to strengthening the expression of the creative potential of the indigenous people, developing the economic status of a family engaged in traditional crafts. The products of the project will be used in educational institutions for raising the professional level of teachers and all those, who work with the indigenous peoples.

The joint work of experts and representatives of communities, groups and individuals under the elaboration and establishment of the Inventory of ICH of Belarus will stimulate the creative activity of both sides, promote the development of actions on the selection and inventorying of ICH elements, involve the additional means on the preservation of ICH. The ICH inventory is a good tool for the strengthening of educational programs for students of the Belarusian State Institute of Culture and Arts and in the frameworks of non-formal education.

Financing of the ICH inventory by UNESCO at the first stage helps to find the necessary means in future from different sources, including state financing in the frameworks of state programmes.

6. TIMETABLE AND BUDGET

6.a. TimetablePlease provide a month-by-month timetable for the proposed activities.

See Appendix 1


6.b.

Budget(1) Provide a detailed budget breakdown in USD of the amount requested, by type of cost (e.g. personnel, travel, fees, etc.) or by activity;(2) Indicate the contribution by the submitting State Party, if any.

The budget should reflect only the activities and expenses for which international assistance from the Intangible Heritage Fund is requested, including the State contribution, if any. Sample budgets are available from the Secretariat.

See Appendix 2

7. CONTACT INFORMATION

7.a. Submitting State PartyFor multi-national proposals, States Parties should be listed in the order on which they have mutually agreed.

Belarus

7.b.

Contact person for correspondencePlease provide the name, address and other contact information of the person responsible for correspondence concerning the request. If an e-mail address cannot be provided, the information should include a fax number. For multi-national requests provide contact information for one person in each State Party and identify the person among them who is designated as the main contact person.

Alla Stashkevich, an expert of Belarus at the Intergovernmental Committee for Safeguarding of the Intangible Cultural HeritageAddress: ul. Yanka Kupala, 11/4Minsk 220030BelarusE-mail: [email protected]. 375 29 332 03 94

7.c. Organization or body responsible for implementationThis section should provide the name and contact information of the body (agency, institution, or manager) responsible for implementing the project if it is selected for funding.

Belarusian State University of Culture and Artsul. Rabkorovskaya, 17Minsk 220007BelarusRector of the Belarusian State University of Culture and Arts – Svetlov Boris Vladimirovich


8. SIGNATURE

The application must include the signature of the official empowered to sign it on behalf of the State Party.

Name: B. Svetlov

Title: Rector of the Belarusian State University of Culture and Arts

Date: 5 May 2009

Signature: Signed


Appendix 1 – WORK PLAN AND BUDGET

6.a Work plan

Activity Amount in US$

2008 2009 2010

IX X XI XII I II III IV V VI VII VIII IX X XI XII I II III IV V VI VII VIII IX X XI XII

Collecting of the ICH data, field research, translation, digitalization

36,000

Purchase of equipment 10,200

Creation of the software,testing of the system, creation of the internet-site

18,000

Consultation workshops with local people (6)

7,800 x x x x x x

Publishing of catalogue-album 7,500

Publishing of 6 CD and DVD multi-media collections

12,000

Preparation and publishing of 2 methodological editions

6,000

International workshop preparation and conducting

10, 000

International experts 4,500

Administrative support cost 14,000

UNESCO monitoring and evaluation mission

3,600

Submission of Progress Report

Submission of Final Report


Miscellaneous: Internet, telephone, hospitality

4,000

TOTAL 133,600


Appendix 2

6.b Budget by expenditure components

Budget component Quantity Unit Cost AmountIn US$

1. UNESCO monitoring and evaluation missions 3 1200 3,600

2. International Experts 3 1500 4500

3. Administrative Support PersonnelSecretarial Temporary AssistanceInterpreters

28 months 500 14,000

4. Activity 1: Collecting of the data, field research, digitalization, translation

24 months 1, 500 36,000

5. Activity 2:5.a.Creation of the software for the data base5.b. Testing of the system, 5.c. Creation of Internet-site

111

10,0001,0007,000

18,000

6. Activity 3. Publishing of catalogue-album

300 25 7,500

7. Activity 4. Publishing of 6 CD and DVD multi-media collections

6 2,000 12,000

8. Activity 5. Publishing of 2 methodological editions

300 20 6,000

9. Activity 6. Workshops with the participation of bearers: preparation and organization

1 10,000

Subtotal 1: 111, 60010. Consultation workshops/trainings for

local people, including the travel expenses, payment of experts

6 1300 7,800

Subtotal 2: 7,80011. Equipment: a database server, workstations the network equipment, SONY DSR-390 professional video camera

1311

2,500 800 3005,000

2,5002,400 3005,000

Subtotal 3 10,20012. Miscellaneous: Internet, telephone,

hospitality, bank charges 4,000 4,000

TOTAL BEFORE SUPPORT COST 133,600

Date post:	05-Jan-2020
Category:	Documents
Upload:	others
View:	0 times
Download:	0 times

ich.unesco.org · Web viewThe batik community noted the younger generation’s interest in batik is...

Documents