This article lists the practices listed in UNESCO intangible cultural heritage in Armenia.
Understand
The country has seven practices listed on the "representative list of intangible cultural heritage From UNESCO.
No additional practice is included in the "register of best practices for safeguarding culture "Or on the"emergency backup list ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| The Duduk and its music | 2008 | * Performing Arts * Know-how related to traditional craftsmanship | The duduk, Armenian oboe, is a double reed wind instrument, with a warm and soft timbre, slightly nasal. It belongs to the family of aerophones which also includes the balaban, played in Azerbaijan and in Iran, duduki, very common in Georgia and the nay Turkish. The soft wood of the apricot tree provides the ideal material for hollowing out the body of the instrument. The reed, called ghamish or yegheg, is made from a local plant that grows on the banks of the Arax. The origin of music for duduk dates back to the time of Armenian King Tigran the Great (95-55 BC). The duduk accompanies traditional songs and dances from different regions of Armenia. It is also the preferred instrument of various gatherings such as weddings and funerals. Although some instrumentalists are famous as soloists, notably Gevorg Dabaghyan and Vache Sharafyan, the duduk is usually played by two musicians. One creates the background music by holding a continuous drone using a circular breathing technique, while the other develops complex melodies and improvisations. There are four main types of duduk which vary in length from 28 to 40 cm. This variety makes it possible to create different atmospheres depending on the content of the piece and the context in which it is played. The 40 cm long duduk, for example, is considered ideal for love songs, while the smaller one usually accompanies dances. Even today, duduk makers create and experiment with different types of duduk. For many Armenians, it is the instrument that most eloquently expresses the warmth, joy and history of their community. In recent decades, music for duduk has been losing popularity, especially in the rural areas where it originates. Less and less present in popular festivals, the duduk is played more by professionals during concerts, thus jeopardizing the viability and the traditional character of this music. | .jpg/150px-Joueur_de_duduk_au_temple_de_Garni_(2).jpg) |
| The art of Armenian stone crosses. Symbolism and know-how of the Khachkars | 2010 | * Social practices, rituals and festive events * Know-how related to traditional craftsmanship | The Khachkar is a stele erected in the open, carved in stone by craftsmen in Armenia and among communities of the Armenian diaspora. It serves, among other things, as a focal point of worship, as a memorial stone and as a relic facilitating communication between secular and divine. The Khachkar reaches 1.50 meters in height with, in its center, an ornamental carved cross, resting on the symbol of the sun or the wheel of eternity, accompanied by geometric patterns of plants, animals and carved figures in stone. Khachkars are usually hewn from local stone and carved with a chisel, gouge, fine point and hammer. Then the sculpted patterns are polished with fine sand. Small breaks and irregularities are smoothed out with clay plaster or lime, then the whole thing is painted. Once completed, the Khachkar is set up in a small religious ceremony. After being blessed and consecrated, the Khachkar is believed to possess sacred powers and can bring help, protection, victory, long life, memory and mediation for the salvation of the soul. Out of more than 50,000 Khachkars in Armenia, each has its own composition and no two are alike. The know-how of the Khachkars is passed on in the family or from master to apprentice, by teaching traditional methods and patterns while encouraging regional particularism and individual improvisation. |  |
| The interpretation of the Armenian epic "Les enrrages de Sassoun" or "David de Sassoun" | 2012 | Oral traditions and expressions | The Armenian epic "The Rabid of Sassoun" tells the story of David de Sassoun, a reckless and independent young man who, by the grace of God, defends his country against evil in an unequal duel. The epic follows a tradition of heroic folk tales that tell the story of a nation and portray its deepest aspirations and feelings. The epic is recited in a lyrical tone, with rhythmic articulation, with a separate body of songs in a rhymed poetic style. It is told every year on the first Saturday in October (Epic Poem Day in some villages), at weddings, birthdays, baptisms and major national cultural events. The epic storyteller, dressed in the national costume, is usually seated and is accompanied by the duduk, a wooden wind instrument. There are no restrictions on gender, age or profession in the art of storytelling. Its transmission within the family is considered a vocation, especially in rural communities which have close links with popular culture. There are 160 variants. Storytelling sessions today can last up to two hours where the epic is told in multiple episodes. It is commonly cited as one of the most important works of Armenian folklore, encyclopedia and repository of all knowledge relating to the heritage of the Armenian people, their religion, mythology, philosophy, cosmology, customs and ethics. . |  |
| Lavash: preparation, meaning and appearance of traditional bread as a cultural expression in Armenia | 2014 | * Oral traditions and expressions * Performing Arts * Social practices, rituals and festive events * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship | Lavash is a thin traditional bread that is an integral part of Armenian cuisine. Its preparation is carried out by a small group of women and requires a lot of effort, coordination, experience and specific know-how. The dough, simply composed of wheat flour and water, is kneaded and then divided into balls, which are then rolled out in thin layers and then stretched on a special oval mold resembling a bolster; this is then applied against the wall of the traditional clay oven, conical in shape. Thirty seconds to a minute later, the baked bread peeled off the wall of the oven. Lavash is frequently served wrapped around local cheeses, vegetables or meats, and can be stored for up to six months. It performs a ritual function at weddings, where it is placed on the shoulders of the newlyweds in order to wish them fertility and prosperity. The collective work of preparing lavash strengthens family, community and social bonds. The young girls help prepare the lavash, becoming more involved as they gain experience. Men are also involved in the manufacture of bolsters and the construction of ovens, and pass on their know-how to students and apprentices, a necessary step in preserving the vitality and viability of lavash preparation. |  |
| Kochari, traditional collective dance | 2017 | * Performing Arts * Social practices, rituals and festive events | Kochari is a traditional dance widely performed throughout Armenia during holidays, festivities, family ceremonies and other social events. It is open to everyone, with no restrictions based on age, gender or social status. Kochari provides a sense of shared identity and solidarity, promotes the continuity of historical, cultural and ethnic memory, and promotes mutual respect among community members regardless of their age. It is transmitted formally and informally, and it is one of the few traditional dances whose chain of transmission has never been interrupted. Formal means of transmission include the integration since 2004 of a course dedicated to traditional dance and song in the school curriculum of Armenian secondary schools, educational programs in artistic centers for young people, an increase in visibility of the element through the Internet and other media, and institutional initiatives. Traditional dance groups have also been active in various communities since the 1960s, and non-governmental organizations regularly organize dance classes. Non-formal transmission takes place within families and through dance groups that form spontaneously. Communities, groups and individuals actively contribute to ensuring the viability of the element, notably through the “Our Dances and Us” initiative carried out since 2008 with experienced practitioners who play a key role in safeguarding efforts. |  |
| Armenian script and its cultural expressions | 2019 | * Performing Arts * Social practices, rituals and festive events * Know-how related to traditional craftsmanship | Armenian writing and its cultural expressions encompass the centuries-old art of Armenian writing and typefaces, the rich culture of decorative writing and its various uses. The element is based on the Armenian alphabet created in AD 405 by Mesrop Mashtots, according to the "one letter for one sound" principle. The element is also distinguished by its very wide variety of decorative fonts, generally classified according to their shape: knots, birds, animals, characters and mythical or imaginary creatures. Since their invention, Armenian letters have not only served their primary function of creating a written heritage but also numbers, cryptograms, riddles, etc. Today, letters are also used in crafts. Armenian writing permeated almost all strata of society, especially folk art. The element is practiced throughout Armenian territory and is an integral part of the cultural identity of the Armenian people. Among the bearers and practitioners are among others artists, upholsterers, embroiderers, sculptors, linguists, calligraphers and jewelers. Educational institutions at all levels contribute to the transmission of knowledge and related skills to future generations, and several youth centers attach great importance to the teaching of Armenian writing. Since 2008, constant support has been given to the annual “Granshan” international design competition. The Armenian Apostolic Church is central to familiarizing children and young people with this element. |  |
| 1 The pilgrimage to the monastery of the apostle Saint Thaddeus Note Armenia shares this practice withIran. | 2020 | * Performing Arts * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events * Know-how related to traditional craftsmanship * Oral traditions and expressions | The three-day pilgrimage to the Monastery of the Apostle Saint Thaddeus in northwestern Iran is held annually in July. This pilgrimage venerates two great saints: St Thadeus, one of the first Christian apostles, and St Santukhd, the first female martyr of Christendom. The bearers of the element are members of the Armenian population in Iran, Armenians of Iranian descent residing in Armenia, and followers of the Armenian Apostolic Church. Pilgrims gather in Tabriz before leaving for the monastery. They travel the 700 km that separate Yerevan from the monastery every year. The commemoration ceremony includes special liturgies, processions, prayers and fasts. The high point is the Holy Mass, with celebration of the Eucharist. Times are reserved for performances of traditional Armenian groups and tasting dishes of Armenian gastronomy. This pilgrimage is the main socio-cultural event of the year. It reinforces the sense of belonging to a community, as participants settle in tents close to each other. The monastery has been a place of pilgrimage for more than nineteen centuries. However, during the Soviet period in Armenia, participation in the pilgrimage was prohibited. The bearers of the element have preserved the cultural memory of this pilgrimage and passed it on to families and communities. It was not until after independence in the 1990s that the pilgrimage resumed from Armenia. | .jpg/150px-کلیسای_تادئوس_مقدس_،کلیسای_طاطاووس_(قره_کلیسا).jpg) |
Register of Best Safeguarding Practices
Armenia does not have a practice listed in the Register of Best Safeguarding Practices.
Emergency backup list
Armenia does not have a practice on the Emergency Safeguarding List.
