ich.unesco.org · web viewthe arabic word 'mukhayel' is derived from the word...

Urgent Safeguarding List

Original: English

CONVENTION FOR THE SAFEGUARDINGOF THE INTANGIBLE CULTURAL HERITAGE

INTERGOVERNMENTAL COMMITTEE FOR THESAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE

Thirteenth sessionPort-Louis, Republic of Mauritius26 November to 1 December 2018

Nomination file No. 001368for inscription in 2018 on the List of Intangible Cultural Heritage

in Need of Urgent Safeguarding

A. State(s) Party(ies)

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

Syrian Arab Republic

B. Name of the element

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

Not to exceed 200 characters

Shadow play

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

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

Not to exceed 200 characters

الظل خيال

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.

Shadow Puppet Theatre, Shadow Characters, Karakoz & Eiwaz

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C. Name of the communities, groups or, if applicable, individuals concerned

Identify clearly one or several communities, groups or, if applicable, individuals concerned with the nominated element.

Not to exceed 150 words

Individuals and groups concerned:

- Puppeteers: Shadi Hallaq, a Puppeteer who still practices the profession and Zaki Kordelli (due to the war, there is no updated information on Zaki Kordelli).

The Puppeteer (Mukhayel) is responsible for preparing the stage on which the Shadow Play show will be performed, as well as preparing the handmade puppets and the other tools used. The Arabic word 'Mukhayel' is derived from the word ‘Khayal’ (meaning ‘shadow’). A Mukhayel at times goes by the name of 'Karakozati', a word derived from the name of one of the main characters of Shadow Play, 'Karakoz'.- The audience from the general public - Families and Children- Dramatists- Directors and prop designers- Volunteers at Shadow Play workshops- Artists- Members of Community Centres and art associations- Cultural organisations and NGOs- Photographers and cultural film-makers- The media- Cultural heritage researchers

D. Geographical location and range of the element

Provide information on the distribution of the element within the territory(ies) of the submitting State(s), indicating if possible the location(s) in which it is centred. Nominations should concentrate on the situation of the element within the territories of the submitting States, while acknowledging the existence of same or similar elements outside their territories, and submitting States should not refer to the viability of such intangible cultural heritage outside their territories or characterize the safeguarding efforts of other States.

Not to exceed 150 words

Previously, Shadow Play was widely practiced across various Syrian governorates and major cities, including: Aleppo, Homs, Damascus and the Syrian Coast, such as Tartous and Arwad Island.

Today, this intangible cultural heritage element is restricted mainly to Damascus, and is performed in special events and ceremonies. Its prevalence has substantially declined due to the war in Syria and the subsequent mass migration and/or displacement of communities and bearers.

Shadow Play is also practiced outside of Syria, in countries such as India, Sri Lanka, China, Indonesia, Malaysia, Iran, Japan, Greece, Thailand, Cambodia, Egypt, Lebanon, Palestine, Algeria and Tunisia.

Naturally, the element differs in certain aspects from one geographical region to another.

E. Domain(s) represented by the element

Tick one or more boxes to identify the domain(s) of intangible cultural heritage manifested by the element, which might include one or more of the domains identified in Article 2.2 of the Convention. If you tick ‘others’, specify the domain(s) in brackets.

oral traditions and expressions, including language as a vehicle of the intangible cultural heritage

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performing arts

social practices, rituals and festive events

knowledge and practices concerning nature and the universe

traditional craftsmanship

other(s)

F. Contact person for correspondence

F.1. Designated contact personProvide the name, address and other contact information of a single person responsible for all correspondence concerning the nomination. For multi-national nominations provide complete contact information for one person designated by the States Parties as the main contact person for all correspondence relating to the nomination.

Title (Ms/Mr, etc.): Mr

Family name: Kallas

Given name: Fares

Institution/position: Syria Trust for Development / Secretary General

Address: Alexandria st- Eastern Mazzeh Villas – Damascus, Syria

Telephone number: +963116125026 - +963944666633

E-mail address: [email protected]

F.2. Other contact persons (for multi-national files only)Provide below complete contact information for one person in each submitting State, other than the primary contact person identified above.

---

1. Identification and definition of the element

For 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:

a. an explanation of its social functions and cultural meanings today, within and for its community,b. the characteristics of the bearers and practitioners of the element,c. any specific roles, including gender or categories of persons with special responsibilities towards the

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

The Committee should receive sufficient information to determine:

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

b. ‘that communities, groups and, in some cases, individuals recognize [it] as part of their cultural heritage’; c. that it is being ‘transmitted from generation to generation, [and] is constantly recreated by communities and

groups in response to their environment, their interaction with nature and their history’;d. that it provides communities and groups involved with ‘a sense of identity and continuity’; ande. 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.

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Not fewer than 750 or more than 1,000 words

Shadow Play is a traditional art consisting of handmade puppets moving behind a thin translucent curtain, or screen, inside a dark theatre. A focused light from behind the stage projects the shadows of the puppets onto the screen as they move along to an oral script and the sounds of music.

The puppets are made of hard cardboard or compressed leather, prepared to a certain thickness, scraped and cut according to their desired shape. The Mukhayel decorates his puppets with natural colourings, lace and/or ornaments. Variations in puppet designs are best observed by distinctive ornamental patterns and different points of movement.

The theoretical content of Shadow Play traditionally revolves around humorous social criticisms, employing elements of suggestion, poetry, prose, singing and music. Being familiar with the local culture provides context for audiences to understand and interact with the concepts and subjects being approached, whether religious, social, political or mere satire. Shadow Play employs satire to relay narratives between the two main characters, the naive Karakoz and his clever friend Eiwaz. Other characters include female personalities and talking animals. Humour stems from this juxtaposition, yet the scene always ends with the prevailing of the principled and righteous.

Performances are held in popular cafes where people gather to watch stories about everyday, life, allowing them to share and alleviate some of their social and political pressures.

The main tools used in Shadow Play are the puppets made by the Mukhayels themselves from separate parts attached together with buttons to allow movement, (like the head, torso, and limbs). The puppet is controlled by one or more hemp sticks attached from the back. Other tools include the 'tent'- a white silk canvas tightly fastened to a rectangular wooden frame to form a screen. The upper arm of the frame has several openings for the hemp sticks to pass through, allowing the Mukhayel good control the puppets.

The accompanying music is played on a traditional drum- an integral instrument used in Sufi chants and eulogies, as Shadow Play in the Levant area originally emerged from Sufism. Performances gradually evolved in response to the changing social and political environments. The Sufi drum was eventually replaced by poetry and scripts and love and romance.

The final needed piece of equipment is the light source directed towards the puppets from behind the screen by either an oil or electric lamp, reflecting the shadows of the puppets, hence the name ‘Shadow Puppet Theatre’ or 'Shadow Play'.

Roles and Responsibilities: While public coffee shops in the olden days where Shadow Play was practiced were reserved for men and boys, these days the element is practiced by men and women alike.

- Mukhayels: In addition to possessing the skills required for puppet control and storytelling, Mukhayels must also imitate different voices, sounds and speak in different dialects. Mukhayels have a strong musical sense and are commended singers and lute players. They also have strong knowledge of social customs and traditions.

- The Audience: The audience actively engage with the story by frequently interrupting with commentary and acclamations. Through these interactions with the characters and the Mukhayel they can alter the course of the plot. Audiences are typically split into groups based on the different characters they like most and rally behind.

Dramatists: Dramatists teach and transmit the knowledge of Shadow Play to drama students and anyone interested in learning the practices of Shadow Play. They also develop new modern plots based on relevant current affairs.

- Directors and Designers: Contribute to the theatre design - lighting - sound effects and music.

- Volunteers: Assist in workshops and assist children with Shadow Play related activities.

- Visual Artists: Create models and images of the puppets out of a variety of different materials.

- Community/Art Centres: Members organise workshops and Shadow Play events.

- Cultural Associations and NGOs: Work to safeguard the element and to raise awareness of its importance through workshops - lectures - events and publications.

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- Photographers and Film Makers: Document activities related to the element.

- Media: Writing and publishing news on the events and activities associated with the element.

- Cultural heritage researchers: Documenting Shadow Play in books, research papers, and journals.

The transmission of skills & knowledge:

The Mukhayel profession and the skills related to Shadow Play are usually passed down through families, from father to son, through coaching and regular practice. The characters used in the stories are derived from the epics and legends passed on from generation to generation. Shadow Play is also taught at the Syrian Higher Institute for Dramatic Arts to students.

Knowledge of the practices are safeguarded through the studies, documentations and publications of cultural researchers. There is also a concerted effort amongst cultural organisations, such as the Syria Trust for Development, to host practical workshops for youth and children to educate them on the importance of the Shadow Play as an element of intangible cultural heritage and part of their cultural identity.

Shadow Play identifies with adults and children alike, it's an art that touches the minds and imaginations of its audiences from different times and places. Historically, Shadow Play was the only visual entertainment available to communities, and therefore was considered an important cultural pastime for people to bond and socialise over. Away from the intricate ideas of complicated writings and poetry, Shadow Play is a cultural practice with deep community roots, enjoyed by the rich and poor alike. It provides a platform for a visual and aural connection between the Mukhayel and his audience. This cultivates positive interconnections and social ties, as well as encourages respect and goodwill between communtiies.The show ends when the lights turn on and the Mukhayel appears from behind the screen for a song break. As Eiwaz shows off his famous acrobatic flips, the story is over with two taps of the Mukhayel's stick.

The element is entirely compatible with existing human rights instruments, and as explained in detail above, with the requirements of mutual respect among communities, groups and individuals, and of sustainable development.

2. Need for urgent safeguarding

For 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 its transmission, the demographics of its 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, not generic factors that would be applicable to any intangible heritage.

Not fewer than 750 or more than 1,000 words

The prevalence of Shadow Play has declined over the years due to the spread of modern technology and digital forms of entertainment. Younger generations these days are increasingly consuming their time with fils, movies and video games. Performances in popular cafes have also waned and nowadays are mostly confined to festivals, special holidays and theatres.

Moreover, the current war in Syria has led to a mass migration / displacement of Syrians inside and outside the country. In some cases, whole towns and villages have been emptied of their inhabitants due to the conflict, effectively separating these communities from their cultural spaces. This has negatively affected the sustainability of the element to the point of there being only one active Mukhayel left in Damascus. Shadi Hallaq, Syria's last active Mukhayel, frequently organises special performances for families displaced during the conflict as a way for them to remain connected to their traditions and cultural identity.

Transfer of Knowledge:

In the past, Shadow Play had numerous transfer channels, as performances were frequently held in coffe shops or cafes, or even inside alley ways or roadstops owing to the high number of

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practitioners. Currently, however, transfer methods through performances have been severely limited due to Shadi Hallaq being the last active Mukhayel / practitioner.

The war has demanded that more pressing humanitarian issues take priority over cultural initiatives. Therefore, transmission efforts have significantly deteriorated.

To counter the previously described challenges, Shadow Play has been integrated into school curricula by the Ministry of Education and is being performed in public schools as an extracurricular activity. The element is still taught at the Higher Institute of Dramatic Arts, however, harsh economic conditions imposed during the war have deterred most students from enrolling at the Institute, where disciplines offering better economic opportunities are being given preference over arts or cultural studies.

Demographic Distribution:

The current demographical distribution of practitioners is very limited regarding Mukhayels; the last Mukhayel is available in Damascus, while dramatists exist only in Damascus and Aleppo. Cultural Heritage researchers, media personnel and volunteers are spread out across different governorates (Quneitra, Hama, Lattakia, Rural Damascus, Damascus, Deir Ezzor, Sweida and Daraa). Community Centres and Arts Associations are also available in Lattakia, Homs, Golan, Damascus, Deir Ezzor and Tartous.

Despite the safeguarding efforts implemented by the State, practitioners and Civil Society groups, the threats facing the sustainability of Shadow Play include:

1. There is only one single Mukhayel remaining in Syria- this is an extremely serious and severe threat to Shadow Play owing to the death or migration of almost all Syrian Mukhayels. Contact was lost with the previously known Mukhayel, Zaki Kordelli, when the war began. All attempts to reach out to Zaki or any of his family members and associates have yielded no results.

2. The nature of the element, and its traditional, non-formal modes of transmission within families. The skills of Shadow Play were long confined to the Mukhayels themselves passed on from father to son without any written documentation produced by these Mukhayels. This means that the transmission and enactment of the element is being lost with the loss of almost all Mukhayels. The current humanitarian crisis has exacerbated this threat and created a serious urgency for the element's safeguarding.

3. Deteriorating security conditions during the conflict and the inaccessibility of certain areas around the country brought Shadow Play roadshows to a halt. Roadshows were vital measures for safeguarding the element and ensuring its continuity, stemming from the spontaneous nature of Shadow Play itself, where Mukhayels would hold open-air performances at unannounced locations, inviting members of the public who would pass by.

4. Puppet-making was also restricted to the Mukhayels themselves, where the skill was not picked up by other craftsmen. As the element is experiencing a severe shortage in Mukhayels, knowledge transfer is facing grave challenges in terms of sustainability and continuity, due to migration and the absence of workshops to teach puppet-making to those other than the Mukhayels.

5. An absence of a regulatory or representative body to regulate the practice of Shadow Play and protect the rights of its practitioners. Shadow Play professionals aren't included in the Syrian Artists’ Syndicate, nor in the General Union of Syrian Artisans. Moreover, the limited financial returns available to Mukhayels has further distanced potential practitioners from investing in the element, further threatening its sustainability.

6. Since the 1940s and 1950s interest in Shadow Play has gradually decreased in favour of modern entertainment and technologies, prompting younger generations to part ways with this time-honoured art.

3. Safeguarding measures

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For 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’. The nomination should include sufficient information to permit the Evaluation Body and Committee to assess the ‘feasibility and sufficiency of the safeguarding plan’.

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 communities, groups or, if applicable, individuals concerned to ensure the viability of the element.

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

Not fewer than 300 or more than 500 words

- Mar 2014: the Cultural Heritage Support & Development Unit in collaboration with Shadi Hallaq carry out the documentation of puppets from different Syrian cities now in the Damascus Azem Palace Museum.

-2010: Ministries of Education and Culture begin incorporating Shadow Play within school curricula.

- 2009: state radio and TV begin the 'Kalima & Heraf' show (Words and Crafts), and the 'Children's Club' programme to raise awareness of the element.

- The Ministry of Culture has continuously expended efforts to showcase the element on international platforms such as festivals and exibitions.

-2008: Visitor information booklet on Karakoz & Eiwaz published for the Azem Palace as a collaborative project between several ministries, CSOs and practitioners.

-Featuring Karakoz and Eiwaz in TV drama series and Syrian soap operas, reigniting the element in the minds of viewers.

-Feb 2017: the Syria Trust for Development in collaboration with the Azem Palace Museum and Shadi Hallaq published a book about the element's various doctrines and the influence Shadow Play has had on society’s current cultural and political composition.

-Dec 2013-Jan 2017, the Syria Trust for Development, in collaboration with other CSOs and Shadi Hallaq, hosted several cultural awareness sessions to reconfirm the importance of the element as ICH and identify the threats against its sustainability.

-Including Karakoz and Eiwaz in the annual performance calendar of the Damascus Opera House and as one of the interests of the Aga Khan Trust for Culture.

-Syrian artists, such as Tayseer Al Saadi from the Higher Institute of Dramatic Arts, have contributed to reviving and reinventing Karakoz and Eiwaz by recreating them from contemporary perspectives in paintings, drawings and theatre performances, e.g. introducing characters with similar relationships and personalities, such as the famous Saber and Sabriya, and Dureid Lahham and Nuhad Qaleie.

-The documentation of the Shadow Play story 'Sirat al-Malik al-Zahir Baybars' by IFPO, in collaboration with Rachid Hallaq, the father of Shadi Hallaq who passed away in 2014.

-The Syria Trust for Development launched a website dedicated to ICH listing Shadow Play as an element under threatened sustainability:

http://www.ich-syr.org/?page=category&category_id=2&CatId=4&lang=ar

Current Efforts:

-Workshops by 'Massar' (children's education programme) aimed at safeguarding the element and ensuring its continuity by its transmission to younger generations through their participation in various practical activities involving Shadow Play. Workshops also involved sessions directed at parents about the importance of Shadow Play as ICH and part of the cultural identity of their children.

-Higher Institute of Dramatic Arts producing contemporary performances with traditional Shadow Play components.

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-Shadow Play training programmes in cooperation with Shadi Hallaq and the Artists' Syndicate. Hallaq also holds public workshops of his own, on music, puppet making & movement, and poetry. Female artists have also spearheaded safeguarding efforts, such as artist Reem Mohamed holding several workshops of her own in the Tijara area in Damascus.

Safeguarding efforts face several constraints, including the limited number of practitioners, lack of State funding due to the economic crisis and limited awareness due to immediate humanitarian issues taking priority during war.

3.b. Safeguarding plan proposedThis section should identify and describe a feasible and sufficient safeguarding plan that, within a time-frame of approximately four years, would respond to the need for urgent safeguarding and substantially enhance the viability of the element, if implemented. It is important that the safeguarding plan contain concrete measures and activities that adequately respond to the identified threats to the element. The safeguarding measures should be described in terms of concrete engagements of the States Parties and communities and not only in terms of possibilities and potentialities. States Parties are reminded to present safeguarding plans and budgets that are proportionate to the resources that can realistically be mobilized by the submitting State and that can feasibly be accomplished within the time period foreseen. Provide detailed information as follows:

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

b. 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.

c. 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, including the role of gender.

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

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

f. 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.).

Not fewer than 1,000 or more than 2,000 words

Objectives of the proposed safeguarding plan and the desired outcomes:

- Supporting the element's practitioners, as an integral part to Syrian human heritage, and providing them with sustainable economic returns by linking them to specialised syndicates.

- Organising more frequent training workshops for children and youth, where the element is shown to be compatible with their interests and hobbies.

- Reinitiating roadshows in secure Syrian cities to promote knowledge transfer and contribute to spreading awareness of the element and its practice.

- Increase participation in international events to promote the added value of the element to human heritage, and to support the role of local communities and Civil Society Organisations in mobilising participation in the activities outlined below.

- Creating a team of trainees who can pass their knowledge to others, ultimately producing a new generation of independent practitioners.

- Further integrating Shadow Play components, such as presentation skills, recitations and puppet control in schools and institutes on a larger scale.

The below recommended activities were prepared in collaboration with bearers, including practitioners, dramatists, CSOs, artisans and representatives from the Ministry of Culture. Recommendations suggest building mechanisms that can guarantee the safeguarding of the element. Meetings held during workshops highlighted the challenges bearers are facing and the proposed safeguarding measures are based on their own recommendations.

A Working Group and a Steering Committee was selected and mandated with the follow-up and

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evaluation of the safeguarding plan, including representatives from:

- Ministry of Culture: Department of Folkloric Arts, Department of Theatre & Music, the Damascus Opera House, the Higher Institute of Dramatic Arts and the Syrian Cultural Heritage Support and Development Unit.

- Ministry of Tourism: Directorate of Events and Promotions.

- Ministry of Education: Extracurricular Activities Senior Officer and the Directorate of Child Education.

- Civil Society Organisations: Aga Khan Development Network, the Syria Trust for Development, Ain Al Funoun Association, Damascus Friends Association and E-Syria.

- Scholars, authors and actors.

Timetable:

Topic1: Training New Puppeteers

Activities and Tasks:

1. Theory based lectures. 2. Puppet making training. 3. Intangible heritage safeguarding training.4. Training on presentation skills and audience interaction. 5. Script writing.6. Graduating 20 Puppeteers per year.

Output:

- Increase the number of practitioners who are able to perform shows and manufacture puppets. - Build a training team capable of managing future training initiatives. - Create an engaged base of enthusiasts.

Responsible bodies:

- Syrian Cultural Heritage Support and Development Unit- Syria Trust for Development- Aga Khan Development Network- Bearers

Additional Information:

Lectures will focus on the theory part of Shadow Play, on intangible cultural heritage in general, and the mechanisms for safeguarding the nominated element in particular.

Workshops on puppet making and script writing will also be held, including events for children, supervised by Mukhayel, Shadi Hallaq.

Time Frame: 2017 - 2020

Budget: $4000

Topic 2: Performances by bearers and new trainees


1- Preparing a tour schedule of no less than 15 shows a year all over Syria. 2- Creating specialised groups to perform in open-air settings (1 performance per month on average).3- Collaborating with government and non-governmental organisations to assist with securing show locations.

Output:

- Promoting the element on a wider scale, attracting people and spreading awareness of its importance as an element of ICH. Further, efforts will focus on knowledge sharing across

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element carriers in different Syrian cities.- Performances will revolve around prevalent social affairs.

Responsible bodies:

-Government entities- Ministry of Tourism - Ministry of Culture- Ministry of Information

NGOs-

- Ain Al Funoun Association- Syria Trust for Development


In the first year, bearers will aim for 20 shows but no less than 15, and from 2018 – 2020, trainees will create their own shows under professional supervision in each group. This plan aims to gradually increase the number of shows in a feasible and sustainable manner.

Local media channels will cover the performances.

Time Frame : 2017 - 2020

Budget: $7000

Topic 3: Participation in international festivals


1- Networking with international artists and acquiring new knowledge and expertise. 2- Collaborating with the concerned authorities regarding participation and providing required facilities.

Output:

- Expanding international interactions and networks and acquiring new expertise to enrich the experience of performing artists. - Introducing the Syrian experience of Shadow Play and highlighting its distinctive traits and variations.

Responsible bodies:

- Ministry of Culture - Ministry of Tourism


A festival will be held in September 2019 in Azem Palace Museum. Puppeteers will be invited to exchange and share knowledge. The festival can include up to 15 shows of varied sorts. Communication will be established with international festival organisers to request the participation of Syrian Mukhayels.

Time Frame: 2017-2019

Budget: $3000

Topic 4: Documentation


1- Carrying out audio-visual interviews with element carriers. 2- Documenting the tools, items and texts relevant to Shadow Play.

Output:

- Conserving Syrian oral intangible cultural heritage traditions and safeguarding Karakoz and Eiwaz texts from extinction.

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Responsible bodies:

- Syrian Cultural Heritage Support and Development Unit - Syrian public universities and educational institutions.- E-Syria - Ain Al Funoun Association


Interviews will be carried out with the remaining element carriers using audio-visual documentation. Further, a registry will be kept including all workshops conducted by the current Mukhayel and future ones.

Shadow Play items and texts have already been documented. More documentation efforts will follow regarding the items existing in Syrian museums. Moreover, texts pertaining to this element will be published in cultural books and bulletins.

Time Frame: 2018 - 2020

Budget: $3000

Topic 5: Transmission of knowledge


1- Creating the proper environment for the proposed performances and activities.2- Sustaining element transmission by integrating it officially into academic curricula in schools and universities under the auspices of the Ministry of Education.

Output:

- Establishing communication channels with new trainees to transfer the knowledge and expertise of this profession. This will ensure the element’s continuity across generations.

Responsible bodies:

- Ministry of Culture - Syria Trust for Development- Ministry of Education - Aga Khan Development Network- Ain Al Funoun Association


In the context of knowledge transmission to future generations, large performances will be held at end of semester events in cooperation with the Mukhayels. Mukhayels will receive proper financial payment for their participation in the performances.

Time Frame: 2017- 2020

Budget: $2500

Topic 6: Launching a Shadow Play website


1- Gathering information and data collection 2- Holding workshops with bearers to identify the needed content 3- Connecting with web design companies to choose the design in accordance with the traditional aesthetics of Shadow Play characters.

Output:

- Containing comprehensive details and documentations about Karakoz and Eiwaz that will introduce web visitors to these characters as a part of Syrian intangible cultural heritage.

Responsible body:

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- Syria Trust for Development


The interactive website will contain information related to the element’s practice and history. The website will be regularly updated every month to display important timely information about Shadow Play news and activities in Syria and around the world.

Time Frame: 2017 - 2019

Budget: $1500

Topic 7: Bearers and new trainees invite a number of cafes to feature Shadow Play performances.


1- Modern and traditional cafés will host Karakoz and Eiwaz performances in a contemporary approach that will attract local crowds as well as international visitors through revitalised tourism programmes.

Output:

- Reviving the element

Responsible bodies:

- Bearers- Ministry of Local Administration - Syria Trust for Development- Aga Khan Development Network- Ain Alfunoun Association


Beginning in 2018, a number of traditional and popular cafés will host performances on an average of one performance every 3 months.

Time Frame : 2018 -2020

Budget: $2000

Topic 8: Networking with local associations and societies


Contacting and networking with various groups and associations to mobilise a public following for the element.

Output:

Engaging with various social segments and encouraging public engagement on all levels.

Responsible bodies:

- Syrian Cultural Heritage Support and Development Unit - Syrian cultural societies and associations (Aga KhanTrust for Culture, Ain Al Funoun, Syria Trust for Development.)


Activities will start in July 2017 by organising a forum for all Syrian cultural institutions with the aim of ensuring wide social engagement in the proposed safeguarding efforts.


Budget: $2000

Topic 9: Working on building a legislative framework for the management of the intangible cultural heritage.


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1- Ensuring legislative support for copyright protection for practitioners.

Output:

- Establishing syndicates and unions for practitioners to protect their rights.

Responsible bodies:

- Ministry of Justice- Ministry of Culture – Artist's Syndicate- Syria Trust for Development- General Union of Syrian Artisans


This will be pushed along under the umbrella of the Syrian Intangible Cultural Heritage Law and identifying and protecting the rights of Mukhayels. This will in turn create more favourable conditions for bearers and attempt to reverse the effect of emigration. It could also encourage the return of the Mukhayels who had left Syria.


Budget: $1000

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: Syrian Ministry of Culture

Name and title of the contact person:

Deputy Minister of Culture- Mr. Ali Mobaied

Address: Al Mohajreen– Damascus, Syria.

Telephone number: +963113347541 - +963933335354


Name of the body: Ministry of Education


Secretary General of UNESCO Syrian National Commission- Dr. Nidal Hasan

Address: Shahbandar Square, Abu Rummaneh, Damascus, Syria

Telephone number: +963932046755


Name of the body: Ministry of Tourism


Minister Assistant- Mr. Rami Martini

Address: Halboun (National Museum), Damascus, Syria

Telephone number: +963112270049 / +963933636100


Name of the body: The Syria Trust for Development


Secretary General- Mr. Fares Kallas

Address: Alexandria Street, Eastern Mazzeh Villas- Damascus Syria

Telephone number: +963116125026 / +963944666633


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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, including the role of gender.

States Parties are encouraged to prepare nominations with the participation of a wide variety of all parties concerned, including where appropriate local and regional governments, communities, NGOs, research institutes, centres of expertise and others. States Parties are reminded that the communities, groups and, in some cases, individuals whose intangible cultural heritage is concerned are essential participants throughout the conception and elaboration of nominations, proposals and requests, as well as the planning and implementation of safeguarding measures, and are invited to devise creative measures to ensure that their widest possible participation is built in at every stage, as required by Article 15 of the Convention.


At the time of the 2013 launch of the Syrian Cultural Heritage Support and Development Unit, Shadi Hallaq was approached for the subject of including Shadow Play on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding, due to the severe threats effecting the sustainability of the element and the urgent need to implement immediate safeguarding measures, considering the weight it carries in defining the cultural identity of the Syrian people. When documenting the old Shadow Play instruments in the Azem Palace, Hallaq collaborated with relevant authorities to assist in the nomination- he personally reviewed the nomination and all information pertaining to the experts and carriers.

The nomination file was built in collaboration with local communities, associations and individuals. This was achieved via the following activities:

1- Networking with government and non-government organisations, arts associations, as well as scholars, authors and actors. The consultation meetings shed light on the process of safeguarding intangible cultural heritage and the importance of listing the element of Shadow Play for urgent safeguarding, as an integral step towards its safeguarding.

2- Several meetings and interviews were held between March and April 2016, attended by various local CSOs and element carriers living in Damascus. Discussions highlighted the need to safeguard intangible cultural heritage in general and Shadow Play in particular.

3- A cultural organisation forum was held in January 2016. It addressed the necessity of including Shadow Play on the list of elements in need of urgent safeguarding. The associations collectively supported the nomination endeavour.

4- The bearers took part in the preparation of the nomination file by contributing with invaluable information on the element.

5- All safeguarding obstacles were identified by carefully studying the conditions of both the element and the bearers whose viewpoints were taken into consideration and given the utmost priority regarding what type of challenges they face and how they can overcome them.

6- Workshops were held in the presence of the media and a highly engaged public audience. The workshops explained the element of Shadow Play to raise awareness about the need for urgent action.

7- Discussions were held with government authorities, local CSOs, bearers and the press to create a methodology for activating the mechanisms of safeguarding the element, which guarantees the protection of the bearers and their inclusion in the safeguarding process, from planning to implementation. The benefits of the nomination to the bearers were also explained.

8- The safeguarding plans and timetables were laid out to directly respond to the needs of both the bearers and general society.

9- Networking efforts were conducted with local development projects, Civil Society Organisations and relevant government entities, with the aim of providing adequate performance

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venues and financial returns for Puppeteers. The discussions included the structure and progress of the workshops, reaching out to highly engaged audiences- especially youth- in an effort to transmit the knowledge of the element to younger generations.

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. Evidence of free, prior and informed consent shall be provided in one of the working languages of the Committee (English or French), as well as the language of the community concerned if its members use languages other than English or French.

Attach to the nomination form information showing such consent and indicate below what documents you are providing, how they were obtained, and what form they take. Indicate also the gender of the people providing their consent.


The nomination file was prepared with the written consent of the following:

- Puppeteer (Mukhayel): Shadi Hallaq, who still practices the profession - The Audience : Families and Children- Dramatist: Dr. Samer Omran- Directors of Shadow Play Performances and Designers :Reem Mohammed - Karen Tajeer- Volunteers from the Syria Trust for Developmen and the 'We are Syria Association'.- Artists Rajaa wabi – Mowafak Makhoul – Ammar Hassan- Abdul Aziz Dahdouh -Imad Eddin Kshot - Rana Hosny. - Members of Community Centres and Art Centres (Fine Arts Centre - Massar Community Centre)- Cultural and Non-Govermental Associations (Syria Trust for Development - Aga Khan Development Network - Ain Al Funoun Association ).- Photographers and Film Directors (Mohammed Al Fahel - Bilal Zein El Abidine).- Media Teams (General Organisation of the Syrian Arab Radio and Television)- Researchers in Cultural Heritage (Ghassan Kallas – Rania Bassel – Maan Kosa ). - Syrian Cultural Heritage Support and Development Unit (a group of cultural experts)- Ministry of Culture: Minister of Culture Mohammad al-Ahmad- Popular Heritage Directorate: Deputy Minister of Culture, Ali Almobaied

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. If such practices exist, 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 that there are no customary practices governing access to the element in at least 50 words.


The element respects social customs and traditions in general, as it continued to flourish before the war and was constantly being recreated and influenced by changing social environments within Syria's naturally diverse social fabric. It encourages healthy social interactions and critical thinking towards social and political affairs.

There are no practices that prevent the element’s development, growth or access. It is a profession that has been passed down generations in all its details. People of all ages and walks of life watch the performances, and there are no customary practices that prevent access to the element.

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4.d. Community organization(s) or representative(s) concernedProvide detailed contact information for each community organization or representative, or other non-governmental organization, that is concerned with the element such as associations, organizations, clubs, guilds, steering committees, etc.:

a. Name of the entityb. Name and title of the contact personc. Addressd. Telephone numbere. E-mailf. Other relevant information

a. Name of the entity: Syria Trust for Developmentb. Name and title of the contact person : Secretary General- Mr. Fares Kallasc. Address : Alexandria Street, Eastern Mazzeh Villas, Damascus, Syriad. Telephone number : +963116125026 - +963944666633e. E-mail : [email protected]

a. Name of the entity: Aga Khan Development Networkb. Name and title of the contact person : Director- Mr. Ali Ismailc.A ddress : Building 15, Rawda Square, Abu Rummaneh, Damascus, Syriad. Telephone number : +9631133500731e. E-mail : [email protected]

a. Name of the entity: Ain al Funoon Associationb. Name and title of the contact person : Secretary- Mr. Fadi Attiehc.A ddress : Al Afif, Muhajireen, Damascus, Syriad. Telephone number : +963933880500e. E-mail : [email protected]

5. Inclusion of the element in an inventory

For Criterion U.5, the States shall demonstrate that the element is identified and included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies) in conformity with Articles 11.b and 12 of the Convention.

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

Provide the following information:

(i) Name of the inventory(ies) in which the element is included:

The National Inventory for Intangible Cultural Heritage Elements

(ii) Name of the office(s), agency(ies), organization(s) or body(ies) responsible for maintaining and updating that (those) inventory(ies), both in the original language, and in translation when the original language is not English or French:

Syrian Cultural Heritage Support & Development Unit

(iii) Explain how the inventory(ies) is(are) regularly updated, including information on the periodicity and modality of updating. The updating is understood not only as adding new elements but also as revising existing information on the evolving nature of the elements already included therein (Article 12.1 of the Convention) (max. 100 words).

The inventory was officially released on 6th March, 2017, and will be updated by the Syrian

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Cultural Heritage Support & Development Unit at the Ministry of Culture every 2 years. The Unit will work closely alongside the 'Rawafed' Cultural Project at the Syria Trust for Development, and local communities, in order to sought new information on existing elements, expand the inventory to include new elements, and to properly manage and maintain in accordance with Articles 11 and 12 of the 2003 Convention.

(iv) Reference number(s) and name(s) of the element in relevant inventory(ies):

Reference number : 2.8

Name of element: Shadow Play الظل خيال

(v) Date of inclusion of the element in the inventory(ies) (this date should precede the submission of this nomination):

The element was included in the inventory on 6th March, 2017.

(vi) Explain how the element was identified and defined, including how information was collected and processed, ‘with the participation of communities, groups and relevant non-governmental organizations’ (Article 11.b) for the purpose of inventorying, including reference to the roles of gender of participants. Additional information may be provided to demonstrate the participation of research institutes and centres of expertise (max. 200 words).

The Cultural Heritage Support & Development Unit and the Directorate General of Antiquities & Museums at the Ministry of Culture carried out this project in collaboration with the Syria Trust for Development and the Syrian Association for Culture & Knowledge. A committee of over 40 cultural experts, researchers and representatives from different academic, cultural, gender and personal backgrounds were involved in the process of including the element to the national inventory. The information concerning the element was collected through different meetings and the mentioned workshops in accordance with the inventorying standards adopted by UNESCO. Shadow Play was identified to belong to the intangible cultural heritage domain of 'Performing Arts', and a sufficient description of the element was provided through the data that was gathered from the bearers themselves, including Mukhayel Shadi Hallaq, and various government and non-government organisations. Before its final publication, the element's inclusion was reviewed and approved unanimously by the committee.

The inventory will be translated into English and uploaded onto the Syrian Intangible Cultural Heritage website.

(vii) Documentary evidence shall be provided in an annex demonstrating that the nominated element is included in one or more inventories of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11.b and 12 of the Convention. Such evidence shall at least include the name of the element, its description, the name(s) of the communities, groups or, if applicable, individuals concerned, their geographic location and the range of the element.

a. If the inventory is available online, provide hyperlinks (URLs) to pages dedicated to the nominated element (max. 4 hyperlinks in total to be indicated in the box below). Attach to the nomination print-outs (no more than ten standard A4 sheets) of relevant sections of the content of these links. The information should be translated if the language used is not English or French.

b. If the inventory is not available online, attach exact copies of texts (no more than ten standard A4 sheets) concerning the element included in the inventory. These texts should be translated if the language used is not English or French.

Indicate the materials provided and – if applicable – the relevant hyperlinks:

The Syrian National Inventory for Intangible Cultural heritage is yet to be available online at the time of submitting this nomination. Copies concerning the element's inclusion in the inventory, however, are provided in both English and Arabic.http://www.ich-syr.org/?page=category&category_id=18&lang=ar

6. Documentation

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6.a. Appended documentation (mandatory)The documentation listed below is mandatory and will be used in the process of evaluating and examining the nomination. The photographs and the video 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.

documentary evidence of the consent of communities, along with a translation into English or French if the language of concerned community is other than English or French

documentary evidence demonstrating that the nominated 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.b and 12 of the Convention; such evidence shall include a relevant extract of the inventory(ies) in English or in French, as well as in the original language if different

10 recent photographs in high definition

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

edited video (from 5 to 10 minutes), subtitled in one of the languages of the Committee (English or French) if the language utilized is other than English or French

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

6.b. Principal published references (optional)Submitting 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.

- Adel Abu Shanab, Old Arab Theatre (Karakoz), 2004, Monthly books series. Ministry of Culture Publications in the Syrian Arab Republic, Damascus.- Discover Syria, 2010 http://www.discover-syria.com/news/4290- E-Syria,2017: http://www.esyria.sy/elatakia/index.php?p=stories&category=community&filename=201101092035041 - Farouk Saad, Arabian Shade Imagination, 1993, All Prints Distributors and Publishers, Lebanon.- Hussein Hijazi and Saadallah Wannous, 1994, Shadow Theatre and the Origin of Arab Theatre, Ministry of Culture publications in the Syrian Arab Republic, Damascus.- Ministry of Culture, 2005: http://www.moc.gov.sy/index.php/index.php?d=64&id=14346- Ministry of Culture, 2005: http://moc.gov.sy/index.php?d=155&id=14837- Ministry of Education, 2014: http://moed.gov.sy/site/- Mohammed Saeed Al Qassimi - Jamal al-Din Al Qasimi, Khalil Alazem , 1988, Dictionary of Shamia industries.- Munir Kayali, Lexicon Archived Cores Shadow Theater: Krakouz and Aaoaz documented in texts, 1995, Beirut Narashwn Library.- Nizar Alaswad, Karakoz the Sham Countries, Published: Author / Lebanon, Pages: 316, year and number Edition 1 / 1994.- Salman Qtaah, texts of Shadow in Aleppo. Publications of the Arabian Writers Union. Damascus, 1977.Syria Trust for Development, 2016: http://www.ich-syr.org/?page=category&category_ id=2&prdId=59&lang=ar- Syria Trust for Development, Shadow Play, 2017, Damascus.

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

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The nomination should conclude with the 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: Mohammad Al-Ahmad

Title: Minister of Culture Mr. Mohammad Al-Ahmad

Date: 25 September 2017 (revised version)

Signature: <signed>

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ich.unesco.org · web viewthe arabic word 'mukhayel' is derived from the word...

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