This article lists the practices listed in UNESCO intangible cultural heritage in France.
Understand
France is a State Party to the Convention on Intangible Cultural Heritage which it approved on July 11, 2006.
The country has twenty practices, including two in its Oversea territories, times on the "representative list of intangible cultural heritage From UNESCO.
Two practices, one of which is located in one of its overseas territories, are included in the "register of best practices for safeguarding culture ».
A practice is repeated on the "emergency backup list ».
Lists
Representative list
Metropolitan France
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Processional giants and dragons 1 2 3 Gayant festivals 4 Tarasque | 2008 | social practices, rituals and festive events | The traditional processions of huge effigies of giants, animals or dragons cover an original set of festive events and ritual representations. Appeared at the end of XIVe century in the religious processions of many European cities, these effigies have retained a sense of identity for certain cities in Belgium (Ath, Brussels, Termonde ((nl) Dendermonde), Mechelen ((nl) Mechelen) and Mons) and France (Cassel, Douai, Pézenas and Tarascon) where they remain living traditions. These giants and dragons are large mannequins that can stand up to nine meters tall and weigh up to 350 kg. They represent mythical heroes or animals, trades or contemporary local figures, historical, biblical or legendary characters. Saint George's fight against the dragon is staged in Mons, the Bayard horse from Charlemagne's cycle parades in Dendermonde, while Reuze Papa and Reuze Mom, popular and family characters, parade in Cassel. The processions, which often associate secular processions with religious ceremonies, differ from one city to another but each obey a precise ritual where the giant relates to the history, to the legendary origin or to the life of the city. Giants and dragons thus animate popular festivals at least once a year in which they are the main actors, each effigy having its feast on a fixed date. They stage stories and dance in the streets, accompanied by brass bands and groups of costumed people. The crowd follows the procession and many are involved in the preparations at different stages of the feast. The creation of a giant, as well as its permanent maintenance, requires hours of work and the mastery of several techniques due to the variety of materials used. While these events are not threatened with immediate disappearance, they are nevertheless subject to a certain number of pressures such as the transformation of urban centers and the influx of tourists, to the detriment of the popular and spontaneous dimension of the festival. |  |
| 5 Aubusson tapestry | 2009 | know-how related to traditional craftsmanship | A centuries-old tradition, the craft of Aubusson tapestry consists of weaving an image using processes practiced in Aubusson and some other localities of the Dig. This craft produces generally large hangings intended to adorn walls, but also rugs and pieces of furniture. The Aubusson tapestry is based on an image of any artistic style, prepared on cardboard by a cardboard painter. The weaving is done manually by a weaver on a loom placed horizontally, on the reverse side of the tapestry, from wool dyed by craftsmen on site. This demanding process involves significant production time and cost. Aubusson tapestries are a reference all over the world, to the point that Aubusson has become a common name in some languages. The production of tapestries in Aubusson and Felletin supports three small businesses and a dozen independent weavers, sparking significant induced activity (wool production and spinning, trade, by-products, museum, exhibitions and tourism). To stabilize the level of activity and avoid breaking the chain of transmission, it is necessary to interest the younger generations and promote this heritage. |  |
| Tradition of the layout in the French framework | 2009 | know-how related to traditional craftsmanship | The art of tracing is aimed at mastering the design of a complex wooden building in three dimensions. This traditional know-how goes against the current of contemporary standardization, by enhancing the place of the person of the builder in construction and by infusing a creative thought in buildings. The framework layout brings together the graphic means in use since the XIIIe century in France allowing to express by the drawing and with the greatest precision the reality of the volumes of a building, their interweaving as well as the characteristics of the pieces of wood which make it possible to compose them. It is the subject of a special education, quite distinct from the theory and practice of architecture. By this process, the carpenter can determine on the ground and in prefabrication all the parts, however complex they may be, and thus be certain that when the framework is put in place all the assemblies will fit together perfectly. Carpenters belonging to companionship companies also recognize in the art of tracing a symbolic and initiatory significance, which remains confidential. This art occupies a central role in the value system of the Compagnons du Tour de France, for example. Special training in the route is currently provided in dozens of training centers, companion houses and companies. |  |
| Companionship, a network for transmitting knowledge and identities through the profession | 2010 | know-how related to traditional craftsmanship | The French system of companionship is a unique means of transmitting knowledge and know-how related to the trades of stone, wood, metal, leather and textiles as well as to the catering trades. Its originality lies in the synthesis of methods and processes for the transmission of extremely varied knowledge: educational itinerancy on a national scale (period known as the “Tour de France”) or even international, initiation rituals, school education, customary and technical learning. The companionship movement concerns nearly 45,000 people who belong to one of the three groups of companions. Young people aged 16 and over who want to learn and / or develop their skills in a given profession can apply to join a community of companions. The training lasts an average of five years, during which the apprentice regularly changes town, in France and abroad, to discover various types of knowledge and various methods of transmitting this knowledge. In order to be able to transmit his knowledge, the apprentice must produce a "masterpiece" which is examined and evaluated by the journeymen. Compagnonnage is generally seen as the last movement to practice and teach certain ancient professional techniques, to provide training for excellence in the trade, to closely link individual development and apprenticeship in the trade, and to practice rites of initiation specific to the profession. |  |
| French gastronomic meal | 2010 | * social practices, rituals and festive events * oral traditions and expressions * know-how related to traditional craftsmanship | The gastronomic meal of the French is a customary social practice intended to celebrate the most important moments in the life of individuals and groups, such as births, weddings, birthdays, successes and reunions. This is a festive meal in which the guests practice, for this occasion, the art of "eating well" and "drinking well". The gastronomic meal emphasizes the fact of being well together, the pleasure of taste, the harmony between the human being and the productions of nature. Among its important components are: careful choice of dishes from an ever-expanding body of recipes; the purchase of good products, preferably local, whose flavors go well together; the marriage between food and wine; the decoration of the table; and a specific gesture during the tasting (inhale and taste what is served at the table). The gourmet meal must follow a well-defined pattern: it begins with an aperitif and ends with a digestive, with between the two at least four dishes, namely a starter, fish and / or meat with vegetables, cheese and a dessert. People recognized as gastronomes, who have in-depth knowledge of the tradition and preserve its memory, watch over the living practice of the rites and thus contribute to their oral and / or written transmission, to younger generations in particular. The gourmet meal tightens the family and friendly circle and, more generally, strengthens social ties. |  |
| 6 Expertise in Alençon stitch lace | 2010 | know-how related to traditional craftsmanship | The point d'Alençon is a rare technique of producing needle lace, practiced at Alencon in Normandy. Alençon stitch lace owes its unique character to the high level of know-how required and the very long time it takes to produce it (seven hours per square centimeter). The openwork textile pieces made using this technique are used for civil or religious ornamentation. The piece is made up of patterns linked together by a very fine network. Its execution requires several successive steps: drawing and stitching the pattern on the parchment, making the base of the patterns and transparent meshes in the background, then the points representing the decorations, filling them to create shadows, various decorative modes , and finally the embroideries to give relief. Then comes lifting to detach the lace from the parchment using a razor blade, trimming and finally luchage, which consists of polishing the fillings with a lobster claw. Each lacemaker knows all the stages of making lace and this knowledge can only be transmitted through practical learning. To fully master the technique of the point d'Alençon, it takes between seven and ten years of training. The apprenticeship, which assumes a close link between the specialized lacemaker and the apprentice, is based exclusively on oral transmission and practical teaching. |  |
| 7 Horse riding in the French tradition | 2011 | * performing art * social practices, rituals and festive events * know-how related to traditional craftsmanship * oral traditions and expressions | Riding in the French tradition is an art of riding a horse with the characteristic of highlighting a harmony of relations between man and horse. The fundamental principles and processes of horse education are the absence of effects of force and strain as well as harmonious human demands respecting the body and mood of the horse. Knowledge of animals (physiology, psychology and anatomy) and of human nature (emotions and body) is supplemented by a state of mind combining competence and respect for the horse. The fluidity of the movements and the flexibility of the joints ensure that the horse voluntarily participates in the exercises. Although traditional French riding is practiced throughout France and elsewhere, the best-known community is the Saumur Black Frame, based at the National Riding School. The common denominator of the riders lies in the desire to establish a close relationship with the horse, in mutual respect and aiming to obtain "lightness". Cooperation between generations is solid, marked by respect for the experience of older riders and rich in the enthusiasm of younger riders. The Saumur region is also home to teachers, breeders, artisans (saddlers, shoemakers), veterinary services and farriers. Frequent public presentations and galas given by the Cadre Noir de Saumur help to ensure the visibility of traditional French horse riding. |  |
| 8 Fest-noz of Brittany | 2012 | * performing art * social practices, rituals and festive events * know-how related to traditional craftsmanship * oral traditions and expressions | The fest-noz is a festive gathering based on the collective practice of traditional Breton dances, accompanied by songs or instrumental music. The strong Breton cultural movement has preserved this expression of a living practice and in perpetual renewal of inherited dance repertoires with several hundred variations and thousands of tunes. About a thousand fest-noz are held each year with attendance ranging from a hundred to several thousand people, thousands of musicians and singers, and tens of thousands of regular dancers. Beyond the practice of dance, the fest-noz is characterized by an intense conviviality between singers, musicians and dancers, a significant social and intergenerational mix and openness to others. Traditionally, transmission takes place through immersion, observation and imitation, although hundreds of enthusiasts have worked with tradition bearers to collect repertoires and lay the foundations for new modes of transmission. Today, the fest-noz is at the center of an intense bubbling of musical experiences and has generated a real cultural economy. Many encounters take place between singers, musicians and dancers from Brittany and from various cultures. In addition, many new inhabitants of Breton villages use the fest-noz as a means of integration, especially as it strongly contributes to the feeling of identity and continuity of Bretons. |  |
| 9 Limousine septennial ostensions | 2013 | social practices, rituals and festive events | The limousine septennial ostensions consist of grandiose ceremonies and processions organized every seven years for the exhibition and veneration of relics of Catholic saints kept in churches in Limousin. Widely supported by local towns and villages, the festivities draw large numbers of people who gather to watch reliquaries parade through towns accompanied by flags, banners, decorations and costumed historical figures. The septennial ostensions belong to the entire population of Limousin and the inhabitants, whether Christians or not, consider themselves to be the bearers of the tradition. The brotherhoods and committees are actively involved in the transmission (both oral and written) of knowledge, skills and objects related to this practice. The preparation of ostensions by the municipalities begins a year in advance and mobilizes the knowledge and know-how of many craftsmen, local ecclesiastics, elected officials, charitable and voluntary associations as well as choirs, orchestras and music groups that revive the memory of ostensions. Preparation also helps strengthen social bonds, while the festivities promote the integration of new and old residents and provide an opportunity for family reunions, with members who have moved elsewhere to return to participate in the celebrations. This practice takes place in 15 localities of the Haute-Vienne, 1 locality in the Dig, 2 localities in Charente and 1 locality in the Vienna. |  |
| Summer solstice fire festivals in the Pyrenees | 2015 | * 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 summer solstice fire festivals take place in the Pyrenees every year on the same night, when the sun is at its zenith. After dark, the inhabitants of different towns and villages carry torches from the top of the mountains to set bonfires of traditional construction. For young people, the descent of the mountain is a very special moment signifying the passage from adolescence to adulthood. The festival is seen as a time that provides time for the regeneration of social bonds and the strengthening of feelings of belonging, identity and continuity, with celebrations that include folk dances and communal meals. Roles are assigned to specific people. In some municipalities, the mayor is involved in setting the first pyre on fire. In others, a priest blesses or lights the fire. Elsewhere, the most recently married man in the village lights the fire and leads the descent into the villages. Often, unmarried young girls await the arrival of torchbearers in the villages with wine and pastries. In the morning, people collect embers or ashes to protect their homes and gardens. The element has deep roots in local communities and is perpetuated through a network of local associations and institutions. The most important place of transmission is the family, where people keep the memory of this heritage alive. In France, these festivals take place in 34 localities. |  |
| Falconry, a living human heritage Note France shares this practice withGermany, the'Saudi Arabia, the'Austria, the Belgium, the United Arab Emirates, the'Spain, the Hungary, the'Italy, the Kazakhstan, the Morocco, the Mongolia, the Pakistan, the Portugal, the Qatar, the Syria, the South Korea and the Czechia. | 2016 | social practices, rituals and festive events | Falconry is the traditional activity of conserving and training falcons and other raptors to catch game in their natural environment. Originally used as a means of obtaining food, falconry is identified today with the spirit of camaraderie and sharing more than with subsistence. It is mainly found along migration routes and corridors and is practiced by amateurs and professionals of all ages, men and women. Falconers develop a strong relationship and spiritual bond with their birds; strong involvement is needed to breed, train, train and fly falcons. Falconry is passed down as a cultural tradition through means as varied as mentoring, learning within the family, or more formal training in clubs. In hot countries, falconers take their children to the desert and teach them how to control the bird and build a trusting relationship with it. While falconers come from very diverse origins, they share common values, traditions and practices, including bird training methods and how to care for them, the equipment used and the emotional bond between the falconer and the bird. Falconry is the bedrock of a wider cultural heritage, which includes traditional costumes, food, songs, music, poetry and dances, all customs nurtured by the communities and clubs that practice it. |  |
| 10 | 2016 | * social practices, rituals and festive events * know-how related to traditional craftsmanship | The Granville Carnival is a four-day party preceding Mardi-Gras, in which members of the community and residents of neighboring towns participate. Opening with the handing over of the city's keys to the Carnival King (papier mâché figure) by the mayor, it features chariot cavalcades punctuated by brass bands. Two thousand five hundred carnival-goers spend six months creating modules and around 40 floats, drawing inspiration, with humor, from current events, political figures and celebrities. Each carnivalist belongs to a committee representing a district of the city or a group of friends, colleagues or families. The services of the municipality also build some tanks and participate in the logistics. Popular balls are organized for different age groups, and the Town Hall Square is the setting for a confetti battle. The party ends with a night of intrigue, where costumed revelers joke with relatives or settle scores, with impunity. Finally, the king is tried and burned in the port. Attractive 100,000 spectators each year, the Granville carnival contributes to the unity of the community and gives a feeling of belonging. Knowledge is passed on within families and committees. |  |
| 11 The know-how related to perfume in the Pays de Grasse: the cultivation of the perfume plant, the knowledge of natural raw materials and their transformation, the art of composing the perfume | 2018 | know-how related to traditional craftsmanship | The know-how related to perfume in the Pays de Grasse covers three different aspects: the cultivation of the perfume plant; knowledge of raw materials and their transformation; and the art of composing the perfume. The practice brings together multiple groups and communities within the Living Heritage Association of the Pays de Grasse. Practiced since at least the 16th century, the cultivation of perfume plants and their transformation as well as the creation of fragrant blends have developed in the Pays de Grasse in an artisanal environment long dominated by tannery. The cultivation of perfume plants mobilizes multiple skills and knowledge related to nature, soils, climate, biology, plant physiology and horticultural practices, as well as specific techniques such as extraction methods. and hydraulic distillation. The inhabitants of Grasse adopted these techniques and helped to perfect them. In addition to technical skills, art also appeals to the imagination, memory and creativity. Perfume forges social bonds and is an important source of seasonal work. The associated knowledge is essentially transmitted informally through a long apprenticeship which still takes place mainly within perfumeries. However, in recent decades the standardization of learning has grown with formalized lessons. | .jpg/150px-France-002799_-_Old_Perfume_Stills_(15816452180).jpg) |
| 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. |  |
| Mountaineering | 2019 | Mountaineering is the art of climbing peaks and walls in high mountains, in all seasons, in rocky or glacial terrain. It calls on physical, technical and intellectual capacities and is practiced using adapted techniques, very specific equipment and tools such as ice axes and crampons. It is a traditional physical practice characterized by a shared culture, bringing together knowledge of the high mountain environment, the history of the practice and the values associated with it, and specific know-how. . Mountaineering also requires knowledge of the environment, changing climatic conditions and natural hazards. It is also based on aesthetic references, the climbers being attached to the elegance of the gesture in the ascent, to the contemplation of the landscapes and to the communion with the natural environments crossed. The practice also mobilizes ethical principles based on the commitments of each individual, in particular to leave no trace of his passage and to come to the aid of other practitioners. The team spirit, symbolized by the roped party, is another essential element in the mentality of mountaineers. Most of the community members belong to alpine clubs, which disseminate alpine practices around the world. These clubs organize group outings, provide practical information and contribute to various publications. They are therefore vectors of the culture of mountaineering. Since XXe century, the alpine clubs of the three countries cultivate bonds of friendship by frequently organizing bilateral or trilateral meetings at various levels. |  | |
| The musical art of horn sounders, an instrumental technique linked to singing, mastery of the breath, vibrato, the resonance of places and conviviality Note France shares this practice with the Belgium, the'Italy and the Luxembourg. | 2020 | * Performing Arts * social practices, rituals and festive events | The musical art of horn sounders, an instrumental technique linked to singing, mastery of the breath, vibrato, resonance of places and conviviality brings together the techniques and skills that a bell ringer mobilizes to play the horn. The accuracy and quality of the notes produced are influenced by the breath of the musician and the instrumental technique is based on the bodily mastery of the bell ringer. The instrument's timbre is clear and piercing, especially in the highs, and the instrument's sonic range is based on natural resonance with rich overtones. Of twelve notes, its tessitura authorizes a composition with a singing melody, accompanied by a second voice and harmonized with a bass score. An integral part of the art of the trumpet, singing allows the musician to develop cohesion and conviviality. The trumpet ringing is a performative art, open to musical creativity and practiced during festive moments. Brought together by their common fascination for this instrumental music, the ringers come from all socio-cultural backgrounds. This very great social mix is one of the markers of the current practice of the horn. Education in the practice is traditionally oral and imitative. However, the bell-ringers rarely learn on their own: musical practice is often acquired through "trumpet schools". Trumpet music maintains a vast, lively and dynamic musical repertoire that has never ceased to enrich itself since the seventeenth century. The feeling of belonging and continuity derives from the interpretation of a common repertoire, partly inherited from history and which promotes intercultural and international dialogue. |  |
| The art of the glass bead Note France shares this practice withItaly. | 2020 | * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship * Oral traditions and expressions | The art of the glass bead is closely linked to the wealth of knowledge and mastery of a material, glass, and an element, fire. This art covers specific knowledge and shared know-how, refers to specific traditional processes and tools and includes different stages. In Italy, technical know-how related to manufacturing takes two forms: 1) lume pearls (torch) and 2) da canna pearls, made by cutting, softening and polishing a hollow cane. In France, full glass beads are made with a blowtorch and, by rotation and by gravity of the hot glass, take a round shape. As for hollow pearls, they are produced either on a mandrel or by blowing into a hollow cane. The more complex construction of murrines, found in both states, involves assembling multi-colored glass canes around a core. The beads are then decorated and used in various ways. In both States Parties, the practice is transmitted mostly informally in workshops where apprentices acquire knowledge mainly through observation, experimentation and repetition of gestures, under the watchful eye of expert craftsmen. The transmission can also take place within the framework of formal lessons provided by technical establishments. Gifts made from glass beads mark certain events and social occasions. A vector for promoting social cohesion, the practice also promotes manual dexterity and craftsmanship. Holders and practitioners identify with a collective identity made up of memories and shared spaces. |  |
| Know-how in watchmaking and mechanical engineering Note France shares this practice with the Swiss. | 2020 | know-how related to traditional craftsmanship | At the crossroads of science, art and technique, know-how in watchmaking mechanics and mechanical art make it possible to create horological objects intended to measure and indicate time (watches, clocks, clocks and chronometers), art automatons and mechanical androids, sculptures and animated paintings, music boxes and songbirds. These technical and artistic objects include a mechanical device to generate movements or emit sounds. If the mechanisms are generally hidden, they can also be visible, and this contributes to the poetic and emotional dimension of these objects. The Jura Arc is a region in which craftsmanship remains particularly alive, thanks to the presence of highly qualified craftsmen and companies which contribute to the promotion of know-how, as well as to the establishment of a comprehensive training offer. Historically, entire families exercised this practice, developing learning methods but also professional and family alliances. The learning of skills usually begins in training schools. Today, blogs, forums, online tutorials and open collaborative projects allow practitioners to share their expertise. These skills have an economic function, but they have also shaped the architecture, town planning and the daily social reality of the regions concerned. The practice conveys many values such as a taste for a job well done, punctuality, perseverance, creativity, dexterity and patience. Moreover, the infinite quest for precision and the intangible aspect of the measurement of time give this practice a strong philosophical dimension. |  |
Overseas France
Register of Best Safeguarding Practices
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Craft techniques and customary practices of cathedral workshops, or Bauhütten, in Europe, know-how, transmission, development of knowledge, innovation | 2020 | * Knowledge and practices concerning nature and the universe * Social practices, rituals and festive events * Know-how related to traditional craftsmanship | Operation in workshops, or Bauhüttenwesen, appeared in the Middle Ages on the construction sites of European cathedrals. Today as then, these workshops welcome different trades working in close collaboration. In German, the term Bauhüttenwesen refers on the one hand to the organization of a network of workshops involved in the construction or restoration of a building, and on the other hand to the workshop itself, as a workplace. Since the end of the Middle Ages, these workshops have formed a supra-regional network that extends beyond national borders. These workshops safeguard the traditional customs and rituals associated with different professions, as well as a wealth of knowledge passed down from generation to generation, both orally and in writing. Confronted with the progressive shortage of technical skills and the increasing mechanization associated with a policy of cost optimization, the workshops created or re-established in the nineteenth and twentieth centuries have become institutions dedicated to preservation, transmission and development. traditional techniques and know-how. Their commitment to safeguarding and promoting living heritage, which is reflected in awareness-raising, information and communication measures and in close cooperation with actors from the political world, the Church, and monument conservation. , business and research, can be seen as an example to be adapted and implemented in other contexts around the world. The workshops, by their organization and their training system for in situ practice, can also serve as models for all types of buildings to be constructed and maintained. |  |
Overseas France
Emergency backup list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| The secular and liturgical Cantu in paghjella of Corsica of oral tradition | 2009 | * oral traditions and expressions, * social practices, rituals and festive events | The paghjella is a tradition of Corsican songs interpreted by men. It combines three vocal registers which always occur in the same order: got it, which begins, sets the tone and sings the main melody; u bassu, who follows, accompanies and supports him; and finally the a terza, who has the highest voice, enriches the song. The paghjella makes extensive use of echo and is sung a capella in various languages including Corsican, Sardinian, Latin and Greek. An oral tradition that is both secular and liturgical, it is sung on various festive, social and religious occasions: at the bar or in the village square, during masses or processions and during agricultural fairs. The main mode of transmission is oral, mainly through observation and listening, imitation and immersion, first during the daily liturgical services attended by young boys, then during adolescence within the choir. local parish church. Despite the efforts of practitioners to reactivate the repertoire, the paghjella has gradually lost its vitality due to the sudden decline in intergenerational transmission due to the emigration of young people and the resulting impoverishment of the repertoire. If no action is taken, the paghjella will cease to exist in its present form, surviving only as a tourism product devoid of the community ties that give it its true meaning. |  |
