This article lists the practices listed in UNESCO intangible cultural heritage in Croatia.
Understand
The country has fifteen practices included in the "representative list of intangible cultural heritage From UNESCO.
A practice is included in the "register of best practices for safeguarding culture "And a practice on"emergency backup list ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| 1 Singing and music for two voices in the Istrian scale | 2009 | Performing Arts | On the Istrian peninsula in western Croatia, the Croatian, Istrian-Romanian and Italian communities continue to bring to life various forms of singing and two-part music in the Istrian scale. Power and slightly nasal tone are its characteristics. Both voices feature variations and improvisations, but always peak in unison or an octave apart for the final melody. Typical musical instruments used are the chalumeaux, sopele, used in duets, bagpipes, flutes and the lute, tambura. Several local variants have been created, according to specific methods. In the kanat, for example, interpreted in the majority by the Croatian population, the second voice is often replaced or doubled by a small sopele; in another widely used variation, called tarankanje, words are sometimes replaced by characteristic syllables (ta-na-na, ta-ra-ran, etc.) intended to imitate the sound of the flute. This tradition remains very present today, in daily life and at festivals, including weddings, community and family reunions, and religious ceremonies. Its custodians, who represent a hundred singers and outstanding musicians and a dozen artisans, received their theoretical and practical knowledge from their elders. Nowadays, they are often associated with amateur folk groups from all over the region. | |
| 2 The feast of Saint Blaise, patron saint of Dubrovnik | 2009 | * social practices, rituals and festive events Performing Arts knowledge and practices concerning nature and the universe * know-how related to traditional craftsmanship * oral traditions and expressions | The evening before the feast of Saint Blaise, in Dubrovnik, when the bells of the churches ring full force in the enclosure of the city and a release of white doves, emblems of peace, invades the sky, the faithful come together for the throat healing ritual that will keep them from illness. On February 3, the official feast day of the saint and the city, parish flag bearers dressed in folk costumes enter the city and join the central square for the culmination of the festival, a procession in which bishops participate, ambassadors, representatives of the civil authorities, guest notables and the inhabitants of Dubrovnik. The festival embodies human creativity in many aspects, from rituals to folk songs, performing arts and traditional crafts (in particular the manufacture, according to ancient techniques, of the firearms used to shoot. gunshots during the festivities). The ritual, which dates back to around the year 1190, reinforced the identification of the inhabitants of the city of Dubrovnik with its patron, Saint Blaise. Over time, Dubrovnik and the world have changed and so has the party. Following the inspiration of their ideas and according to their needs, each generation adapts the ritual by making some changes of their own. On Saint Blaise's Day, Dubrovnik unites not only its inhabitants, but also all those who honor tradition and everyone's right to freedom and peace. |  |
| 3 The traditional manufacture of wooden toys for children in Hrvatsko Zagorje | 2009 | know-how related to traditional craftsmanship | Residents of the villages that line the pilgrimage route to the Shrine of the Virgin dedicated to Our Lady of the Snows, Marija Bistrica, in Hrvatsko Zagorje, in northern Croatia, have developed a technique for the traditional making of wooden toys for children which is passed down from generation to generation. The men of the family take care of locally harvesting the necessary wood (soft willow, linden, beech and maple), then drying it, trimming it, cutting it and carving it using traditional tools; the women then apply an environmentally friendly paint to draw floral or geometric shapes, giving free rein to their imagination. The whistles, horses, carriages, doll furniture, spinning dancers, obstacle horses and bird mobiles made today are very similar to those that were built over a century ago, although they are There are never two perfectly identical toys because they are handcrafted. Very popular with locals and tourists, these toys are sold during parish festivals, in markets and in specialized shops around the world. They have evolved over time. Toys of traditional form, such as horses and carts, have been joined by new ones, representing cars, trucks, planes and trains, reflections of the environment in which children live today. Children's musical instruments, carefully tuned by their artisan makers, continue to be used in the musical education of children in rural areas. |  |
| 4 The spring procession of the Ljelje / Kraljice (or queens) of Gorjani | 2009 | * social practices, rituals and festive events * Performing Arts | The procession of the queens, which is held every spring, is made up of young girls from the village of Gorjani, in the region of Slavonia, in north-eastern Croatia. Ten young girls, wearing swords and men's hats, play the kraljevi (kings), while five other young girls, their heads crowned with white garlands, like young brides, play the kraljice queens. On the day of Pentecost (Christian feast), the procession goes from house to house to present their songs and dances in front of the families. While the kings perform their saber dance, the queens comment on each figure, accompanying them with their song. Then comes a great folk dance in which families are invited to join in. Refreshments are offered to the girls in the procession before they set off for another house. The next day, the procession travels to a nearby town or village, then returns to complete the celebrations with one of the young girls. The whole community, including the elementary school, the church and many families in the village, contributes to the preparations for this procession and the women who participated in it take great pride in it. Although we do not know exactly the meaning and origin of this ritual, it represents, for the inhabitants of Gorjani, a symbol of their village and offers the opportunity to highlight the beauty and elegance of their children. |  |
| 5 The Za Krizen ("Stations of the Cross") procession on the island of Hvar | 2009 | * social practices, rituals and festive events * Performing Arts * oral traditions and expressions | After Mass on Maundy Thursday, which precedes the Christian holiday of Easter, each of the six villages on the Dalmatian island of Hvar, in southern Croatia, nominates a group of people whom it assigns to visit the other five. villages, on a course of twenty-five kilometers in eight hours, before returning to their village of origin. At the head of each group of this Za Krizen procession (“way of the cross”) organized by the communities, the bearer of the cross, barefoot or in socks, walks without ever resting. Formerly a member of one of the religious congregations, he is now chosen from a list of candidates sometimes registered twenty years in advance; his position, much coveted and respected, reflects his piety and that of his family. He is followed by two friends carrying candelabra and other people holding candles and lanterns, by five choir singers who sing the Lamentations of the Virgin Mary at different stages of the route and by many faithful of all ages, Croatians and foreigners. , dressed in the albs of various religious congregations. The procession is greeted by the priest from each of the other five villages, then it returns to his village; the bearer of the cross completes the last hundred meters of the course by running to receive the blessing of the priest of his village. A lasting and inalienable element of the religious and cultural identity of Hvar, this procession constitutes a unique link between the communities of the island and with the Catholic community in the world. |  |
| 6 | 2009 | * social practices, rituals and festive events * knowledge and practices concerning nature and the universe * oral traditions and expressions | During the carnival in January, bell ringers parade through the villages that dot the Kastav region in northwest Croatia. Dressed in sheepskins and special large hats adorned with small branches of evergreen trees, a belt of bells around the waist, they stroll in groups of two to over thirty, strutting behind a guide who wears a small evergreen tree. To animate their wandering, they give each other rhythmic hips and leap while walking. Groups can also include theater characters, such as a prankster "bear" who regularly escapes the control of his two "guardians." When they arrive in a village, the bell ringers form concentric circles in the village square, ringing their bells until the locals offer them food and a chance to rest, before continuing their journey. At the end of the carnival, they return to their village, collecting the garbage in each house to burn it, everyone present attending the ceremony. The annual carnival bell ringing show, which has various variations unique to each village, helps strengthen ties within the community and is a great way to renew the friendship between towns in the region, while incorporating the newcomers to traditional culture. |  |
| Lacemaking in Croatia | 2009 | know-how related to traditional craftsmanship | At least three distinct lace-making traditions are still alive in Croatia, mainly in the towns of Pag on the Adriatic coast, Lepoglava in the north of the country and Hvar on the eponymous Dalmatian island. Pag needle lace was originally intended for ecclesiastical clothing, tablecloths, and garment ornaments. It consists of decorating a background in the shape of a spider's web with geometric patterns. It is passed on today by older women in the community who offer one-year internships. Lepoglava bobbin lace is made by braiding a thread wound on spindles; it is often used to make ribbons for traditional costumes or sold at village festivals. An international lace festival celebrates this art every year. Aloe thread lace is made in Croatia only by the Benedictine sisters of the town of Hvar. The thin white threads are made from fresh aloe leaves and woven into a net or other pattern on cardboard. The pieces produced in this way are a symbol of Hvar. Each variety of lace has long been produced by rural women as a source of additional income and has left a permanent mark on the culture of the region. This craft, which produces an important component of traditional clothing, is in itself the testimony of a living cultural tradition. | |
| The art of gingerbread in northern Croatia | 2010 | know-how related to traditional craftsmanship | The tradition of making gingerbread began in the Middle Ages in some European monasteries and spread to Croatia where it has become an art. The grocers, who also made honey and candles, worked in northern Croatia. The process of making gingerbread requires skill and speed. The recipe is the same for all manufacturers who put in flour, sugar, water and baking soda as well as the required spices. Gingerbread is shaped in molds, baked, dried and painted with food coloring. Each craftsman decorates the gingerbread in his own way, often applying pictures, small mirrors and worms or messages to it. Heart-shaped gingerbread is the most common motif and is frequently prepared for weddings, decorated with the names of the newlyweds and the date of the wedding. Each grocer's bread works in a certain area without interfering with that of another craftsman. Art has been passed down from generation to generation for centuries, initially to men, but now to both men and women. Gingerbread has become one of the most recognizable symbols of Croatian identity. Today, grocers are the most important participants in local festivities, events and gatherings, providing locals with a sense of identity and continuity. |  |
| 7 The Sinjska Alka, a chivalry tournament in Sinj | 2010 | * social practices, rituals and festive events * Performing Arts * know-how related to traditional craftsmanship * oral traditions and expressions | The Sinjska Alka is a chivalry tournament that has been held every year since XVIIIe century in the town of Sinj in the Cetinska krajina region. The joust involves the knights launching their horse at a gallop down one of the main streets of the city, aiming with their spear at an iron ring suspended from a rope. The name of the tournament comes from the alka or ring, a word whose Turkish origins reflect the historical co-existence and cultural exchange between the two civilizations. The rules of the tournament, codified in a regulation dating from 1833, advocate ethical values and fair play; they stress the importance of participation in the life of the community. Participants must be from families from Sinj and the Cetinska krajina region. The whole community participates in the manufacture, conservation, restoration and reconstruction of weapons, clothing and accessories, in order to support the perpetuation of the tradition. Local religious practices, social gatherings, family visits and festivities in the privacy of the home and outside are intimately linked to the tournament. The Sinjska Alka is the only surviving example of the ancient medieval knights' jousting that took place regularly in Croatian coastal towns until XIXe century XIXth century. It has become a benchmark in local history and a means of passing the collective memory from one generation to the next. |  |
| The practice of bećarac singing and music from Eastern Croatia | 2011 | * Performing Arts * social practices, rituals and festive events * oral traditions and expressions | Bećarac music is a popular genre in Eastern Croatia with its roots in the cultures of Slavonia, Baranja and Syrmia. Communication between those who practice it is essential: the soloists exchange their vocal lines, seeking to surpass each other by inventing, competing, combining decasyllabic verses and shaping the melody, accompanied by a group of singers and musicians. sets of tambura. This music, which conveys the values of the community, also allows singers to express thoughts and feelings that might be out of place if spoken directly or in other contexts. Each soloist shapes their song according to the context, the performance lasting as long as the creativity and energy of the singers allows. Soloists should have a powerful voice and a very extensive repertoire of old and new couplets; they must be at the same time gifted, quick and skilful in choosing and combining them. Today there are almost as many men as women among the bearers of the tradition. Bećarac music is very widespread in the communities of eastern Croatia and continues to be part of a living practice: either in a completely informal context of music practice, or as part of festive events and celebrations. contemporaries. There are also many subtypes of bećarac which add to the peculiarities introduced by the soloists. Bećarac music is therefore an extraordinarily lively and dynamic genre that is recreated with each performance. |  |
| The Nijemo Kolo, silent round dance from the Dalmatian hinterland | 2011 | * Performing Arts * social practices, rituals and festive events | Nijemo Kolo is practiced by communities in the Dalmatian hinterland in southern Croatia. It is danced in the round, with the dancers leading their female partners in a series of forceful and spontaneous steps, the dancer publicly testing the abilities of his partner, seemingly without a set rule. The steps and figures, often vigorous and impressive, depend on the mood and desire of the participants. The distinctive feature of this silent circle dance is that it is performed without any music, although musical interludes, vocal or instrumental, sometimes precede or follow the dance. The Nijemo Kolo is traditionally performed at carnivals, fairs, holidays and weddings; it is a way for young women and young men to meet and get to know each other. The differences in the performance of Nijemo Kolo from one village to another is also a way for the local populations to mark their identity. Dance is passed down from generation to generation, although this transmission is increasingly done through cultural clubs where its movements have been standardized. However, some villages in the Dalmatian hinterland have preserved the spontaneous character of the steps and figures. Nowadays, Nijemo Kolo is mostly danced by village dance groups that perform at local, regional or international festivals and at local shows, carnivals or on the feast day of the patron saint of their parish church. |  |
| The klapa, song for several voices from Dalmatia, southern Croatia | 2012 | * Performing Arts * social practices, rituals and festive events * oral traditions and expressions | The klapa song is a vocal tradition of a multi-part song from the southern Croatian regions of Dalmatia. Singing with several voices, homophonic a capella singing, oral tradition and a simple way of making music are its main characteristics. The leader of each group of singers is the first tenor, followed by several tenors, baritones and basses. During the performance, the singers hold each other by the shoulders in a semi-circle. The first tenor starts the song, followed by the others. The main goal is to achieve the best possible fusion of voices. Technically, klapa singers express their mood with open, throaty, nasal, mid-voice, falsetto, usually in a high range. Another trait of the klapa is the ability to sing freely, without written notation. The themes of klapa songs generally evoke love, life situations and the living environment. Holders and practitioners are talent enthusiasts who inherit the tradition of their predecessors. Their ages vary, with many young singers standing alongside their elders. In “traditional klapa”, knowledge is passed on orally. The "party klapa" is a more formally organized group focused on the performance and presentation of song. In the “modern klapa”, young singers gain their experience by attending concerts and listening to recordings. Local communities see klapa singing as the main marker of their musical identity, integrating respect for diversity, creativity and communication. |  |
| 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. |  |
| The art of dry stone construction: know-how and techniques | 2018 | know-how related to traditional craftsmanship | The art of dry stone construction is the skill associated with building stone structures by stacking stones on top of each other without using any other material, except sometimes dry earth. Dry stone structures are found in most rural areas - mostly on hilly terrain - both inside and outside inhabited spaces. However, they are not absent from urban areas. The stability of the structures is ensured by a careful choice and placement of stones. The dry stone structures have shaped many and varied landscapes, allowing the development of different types of habitats, agriculture and livestock. These structures bear witness to the methods and practices used by populations from prehistoric times to modern times to organize their living and working spaces by optimizing local natural and human resources. They play an essential role in preventing landslides, floods and avalanches, combating land erosion and desertification, improving biodiversity and creating suitable micro-climatic conditions for agriculture. Bearers and practitioners are the rural communities in which the element is deeply rooted, as well as professionals in the construction sector. Dry stone structures are always made in perfect harmony with the environment and the technique is representative of a harmonious relationship between humans and nature. The practice is mainly transmitted through a practical application adapted to the specific conditions of each place. |  |
| 8 Međimurska popevka, a traditional folk song from Međimurje | 2018 | * Performing Arts * oral traditions and expressions | Traditionally, međimurska popevka, a popular song from the Međimurje region in north-western Croatia, was performed mostly solo by women. Nowadays, it is performed by men and women, alone or in groups, in vocal (one or more voices), instrumental or mixed form, as a musical genre in its own right or integrated into dances. The lyrics are very important and allow classification of popevkas according to their theme: for example, love, sadness and melancholy, humor and religion. The most active bearers are mainly members of cultural and artistic societies and associations, which are very old in the country, but individual singers also play an essential role because individual interpretations with nuance are typical of popevkas. The element is practiced in multiple social contexts, alone or at family gatherings, within communities or at work, at religious celebrations and performances in the region and beyond its boundaries. Throughout their lives, the people of Međimurje hear popevkas on many occasions and are encouraged to take part in the performances. Currently, around fifty singers are considered masters in this art, renowned for their ability to convey classical aspects of the genre and enrich it with their personal expressions. In passing on the practice to younger generations, women often serve as mentors. | |
Register of Best Safeguarding Practices
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| 9 The Batana ecomuseum, a community project to safeguard the living culture of Rovinj / Rovign | 2016 | * know-how related to traditional craftsmanship * Performing Arts * knowledge and practices concerning nature and the universe * social practices, rituals and festive events * oral traditions and expressions | The batana is a type of traditional fishing boat from the town of Rovinj, Croatia. Important for the activity and the heritage of the city, the batana, whose manufacturing methods were passed down through families, gradually disappeared with the arrival of industrial models until 2004, when local enthusiasts created an association to to safeguard this boat and the associated practices (a local dialect and traditional songs). La Maison de la Batana, a non-profit association, supported by the municipality, the Heritage Museum of the city of Rovinj, the Historical Research Center of Rovinj, the Italian community of Rovinj as well as a specialist in ecomuseology , created the Ecomusée de la Batana in order to make this boat known to the public and to offer training on the practices associated with it. It houses a permanent exhibition that shows the manufacture of batana and fishing equipment as well as the variety of fishing activities that are practiced; he organizes workshops on boat building, especially for boat builders; it publishes specialized documents; he organizes regattas and encourages young people to participate; it has a shipyard to build and repair the boats, on which guided tours also take place today; and it cooperates at the national and international level by participating in festivals, regattas and round tables in order to underline the role of the batana in the traditional communities of sailors and to help safeguard the maritime heritage. |  |
Emergency backup list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Ojkanje singing | 2010 | * Performing Arts * social practices, rituals and festive events * oral traditions and expressions | The two-part Ojkanje song, widespread in the Croatian regions of the Dalmatian hinterland, is performed by two or more performers (male or female) who use a special tremolo technique coming from the throat. The singing lasts as long as the lead singer manages to hold his or her breath. The melodies are based on limited, mostly chromatic tonal scales, and the lyrics evoke themes ranging from love to social and political issues of the day. Ojkanje singing owes its survival to organized groups of local tradition bearers who continue to pass on skills and knowledge by representing their villages at festivals in Croatia and around the world. Although Ojkanje singing is traditionally transmitted orally, audiovisual media and organized learning within local folk groups now play an increasing role in its transmission. However, the survival of individual vibrato techniques and the many forms of two-part singing depends largely on the quality and skill of the performers and their ability to apply and transmit their knowledge to new generations. The recent conflicts and the rural exodus to the cities which reduced the population of the region, as well as the evolution of lifestyles, led to a sudden decrease in the number of interpreters, which led to the disappearance of many archaic genres and styles of solo singing |  |
