This article lists the practices listed in UNESCO intangible cultural heritage in Portugal.
Understand
The country has six practices listed on the "representative list of intangible cultural heritage "From UNESCO and two practices on"emergency backup list ».
No practice is included in the "register of best practices for safeguarding culture »
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| 1 Fado, popular urban song from Portugal | 2011 | * oral traditions and expressions * Performing Arts * social practices, rituals and festive events | Fado is a kind of show combining music and poetry, widely practiced in various communities in Lisbon and Coimbra. It is the multicultural synthesis of Afro-Brazilian sung dances, of local traditional genres of song, of musical traditions of the rural areas of the country brought by the successive waves of internal immigration, and of the cosmopolitan urban song currents of the beginning of the XIXe century. Fado is usually performed by a single singer, male or female, traditionally accompanied by an acoustic guitar with metal strings and the guitarra portugaise, a pear-shaped zither with twelve metal strings, specific to Portugal, which also has an extensive solo repertoire. In recent decades, the instrumental accompaniment has grown: two Portuguese guitars, a guitar and a bass guitar. Fado is sung by professionals in the context of organized concerts and in small "Fado houses", and by amateurs in many local associations in the old quarters of Lisbon. Informal lessons by older and respected performers are given in traditional Fado performance venues, often over successive generations within the same families. The spread of Fado through emigration and the circuits of world music strengthened its image as a symbol of Portuguese identity, leading to a process of intercultural exchange with other musical traditions. |  |
| The Mediterranean diet | 2013 | * oral traditions and expressions * social practices, rituals and festive events * knowledge and practices concerning nature and the universe * know-how related to traditional craftsmanship | The Mediterranean diet involves a set of skills, knowledge, rituals, symbols and traditions that concern crops, harvests, picking, fishing, breeding, conservation, processing, cooking and, in particular, the way of sharing the table and of consuming food. Eating together is the foundation of the cultural identity and continuity of communities in the Mediterranean basin. It is a moment of social exchange and communication, of affirmation and refounding of the identity of the family, group or community. The Mediterranean diet emphasizes the values of hospitality, good neighborliness, intercultural dialogue and creativity, and on a way of life guided by respect for diversity. It plays an important role in cultural spaces, festivals and celebrations by bringing together populations of all ages, classes and conditions. It includes craftsmanship and the production of objects for transporting, preserving and consuming food, including ceramic dishes and glasses. Women play an essential role in the transmission of know-how and knowledge of the Mediterranean diet, in the safeguarding of techniques, in the respect of seasonal rhythms and festive punctuations of the calendar, and in the transmission of the values of the element. to new generations. Likewise, markets play a key role as spaces for the culture and transmission of the Mediterranean diet, in the daily learning of exchange, mutual respect and agreement. | .jpg/150px-Sesimbra_P1990842_(15270266862).jpg) |
| 2 the canto alentejano, polyphonic song from Alentejo (southern Portugal) | 2014 | * oral traditions and expressions * Performing Arts * social practices, rituals and festive events | the canto alentejano is a traditional two-part singing genre performed by amateur choirs in southern Portugal, which stands out for its melodies, lyrics and vocal style and is performed without musical accompaniment. Choirs can number up to thirty singers divided into groups. The ponto begins the song in a low register, followed by the viola which, in a higher register, reproduces the melody, to which it often adds flourishes, a third or a tenth above the ponto. The entire choir then takes over, singing the remaining stanzas in parallel thirds. The viola leads the choir with his voice which dominates the group throughout the song. A vast repertoire of traditional poems accompanies existing or recently composed melodies. The lyrics address traditional themes such as rural life, nature, love, motherhood and religion, as well as cultural and social changes. the canto is a fundamental aspect of the social life of all communities in theAlentejo, and permeates gatherings in public as well as private places. The transmission takes place mainly during the rehearsals of the choirs, from the old members to the youngest. For its practitioners and aficionados, the canto reflects a strong sense of identity and belonging. It also strengthens the dialogue between generations, genders and individuals from different backgrounds, thus contributing to social cohesion. | _2.jpg/150px-Traditional_Musical_Group_(136308082)_2.jpg) |
| Falconry, a living human heritage Note Portugal shares this practice withGermany, the'Saudi Arabia, the'Austria, the Belgium, the United Arab Emirates, the'Spain, the France, the Hungary, the'Italy, the Kazakhstan, the Morocco, the Mongolia, the Pakistan, the Qatar, the Syria, the South Korea and the Czechia. | 2016 | social practices, rituals and festive events | Originally used as a source of food, falconry is now more linked to the protection of nature, cultural heritage and the social engagement of communities. Following their own traditions and ethical principles, falconers train, train and fly birds of prey (falconids, but also eagles and accipitridae) by developing a bond with them and becoming their main source of protection. Found in many countries around the world, practice may vary, for example, in the type of equipment used, but the methods remain the same. Considering themselves as a group, falconers can travel for weeks to hunt, telling each other their day in the evening. They see falconry as a link to the past, especially as it is one of the last links with the natural environment and the traditional culture of the community. Knowledge and skills are passed on from generation to generation through mentoring, family learning, or training in clubs and schools. In some countries, a national exam must be passed to become a falconer. Meetings and festivals allow communities to share their knowledge, raise awareness and promote diversity. | .jpg/150px-Eagle_owl_(33841383842).jpg) |
| 3 The craftsmanship of Estremoz clay figurines | 2017 | know-how related to traditional craftsmanship | The craft of Estremoz clay figurines is based on a production process lasting several days: the parts of the figurines are assembled before being fired in an electric oven. The craftsman then paints the figurines and covers them with a colorless varnish. The artisans then dress the clay figurines with regional Alentejo outfits or clothing inspired by religious Christian iconography, and follow specific themes. The production of clay figurines in Estremoz dates back to the XVIIe century and the very characteristic aesthetic of the figurines allows their immediate identification. Handicrafts are closely linked to the Alentejo region. Indeed, the vast majority of the figurines depict natural elements, local trades and events, traditions and popular devotions. The viability and recognition of craftsmanship is ensured through non-formal educational workshops and educational initiatives organized by craftsmen, as well as by the Center for the Enhancement and Safeguarding of Estremoz Clay Figures. Fairs are organized at local, national and international levels. Knowledge and skills are transmitted through family workshops and in a professional context. Artisans teach the basics of their craft through informal training initiatives. Craftsmen actively participate in awareness-raising activities organized in schools, museums, trade fairs and other events. | .jpg/150px-Estremoz_(476473513).jpg) |
| 4 | 2019 | The Carnival of Podence, a celebration of the end of winter, is a social practice that initially served as a rite of passage for men. Now open to women and children, it has adapted to the contemporary context. This holiday marks the end of winter and the arrival of spring. It takes place for three days in the streets of the village and in the houses of neighbors who visit each other. On this occasion, the caretos (traditional masked characters) dance around the women, swinging their hips to the sound of bells. Probably linked to ancient fertility rites, this dance is performed by masked people who can thus interact with others without being recognized. The caretos wear wooden or leather masks, costumes covered with colored woolen fringes and small bells. At a theatrical performance on Monday night, a group of men read a fictitious list of engaged couples, making fun of them to entertain and make the audience laugh. When Mardi Gras arrives, several residents dress up as “matrafonas”, masked characters from rural carnivals. On Tuesday afternoon, a large puppet is burnt. The group of caretos then goes to relatives and friends. Participation in the party begins in childhood. The activities organized by the Association of the group of caretos have increased the opportunities for transmission. | .jpg/150px-Carnival_of_Podence_2017_(2).jpg) |
Register of Best Safeguarding Practices
Portugal does not have a practice registered in the register of best safeguarding practices.
Emergency backup list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| The manufacture of cowbells | 2015 | Know-how related to traditional craftsmanship | The Portuguese cowbell is a percussion instrument (idiophone) with a single internal clapper, usually suspended from the necks of animals using a leather thong. It is traditionally used by shepherds to locate and direct their flocks and creates a characteristic soundscape in the countryside. The bells are made of cold hammered sheet metal, then folded over an anvil to give it a concave shape. The shaped piece is then covered with small plates of copper or tin, then wrapped in a mixture of clay and straw. It is then brazed and then immersed in cold water so that it can cool quickly. The brazed paste is then removed and the copper or tin sheathed piece polished and tuned to the desired sound. The necessary technical skills are passed down from generation to generation within families, from father to son. The Portuguese city of Alcáçovas is the main center of cowbells making and its inhabitants are proud of this heritage. However, this practice is becoming less and less viable due to recent socio-economic upheavals. New grazing methods require fewer shepherds and more and more cowbells are produced using low-cost industrial processes. To date, only eleven workshops and thirteen sonnaillers remain, nine of which are over seventy years old. |  |
| 5 The process of making black pottery from Bisalhães | 2016 | know-how related to traditional craftsmanship | Place of manufacture of black pottery, Bisalhães, Portugal, is known as the "land of the producers of pots and dishes". Intended for decoration and cooking, this traditional practice featured on the village coat of arms is an important part of the identity of the community. The old methods are still used to create pieces close to those of the past. Several steps are necessary to create black pottery. The clay is first crushed in a stone basin by means of a wooden hammer, then sifted, moistened, kneaded, assembled, shaped on different slats, polished with pebbles, decorated with a stick and fired in a oven. The division of labor has changed over time: the long work of preparing the clay is now entrusted to men and the decoration of the pots is still mainly carried out by women. In addition, the tile factories replaced the quarries for the supply of clay. Transmitted almost exclusively within families, the practice is threatened by the decline in the number of holders, the lack of interest from the younger generations and competition from industrial products which are in high demand. |  |
