This article lists the practices listed in UNESCO intangible cultural heritage in Greece.
Understand
The country has eight practices listed on the "representative list of intangible cultural heritage "And a practice taken up in the"register of best practices for safeguarding culture From UNESCO.
No practice is repeated on the "emergency backup list ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| The Mediterranean diet | 2013 | * oral traditions and expressions, including language as a vector of intangible cultural heritage * 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-BamiesLaderes(RobertK).JPG) |
| 1 The know-how of cultivating mastiha on the island of Chios | 2014 | * knowledge and practices concerning nature and the universe * social practices, rituals and festive events * know-how related to traditional craftsmanship | Mastiha, an aromatic resin that is extracted from the pistacia lentiscus shrub, is cultivated on the island of Chios. Mastiha has long been renowned for its multiple properties and its cultivation is a family occupation that requires painstaking care throughout the year by men and women of all ages who participate equally in the various stages. The men take care of the natural fertilization and pruning of the branches in winter, while the women, from mid-June, sweep, clear and level the ground around the trunk so that the mastiha can easily be collected. From July, the bark of the trunk and main branches is incised using an iron tool. When the mastiha has solidified, the women first select the larger “tears”, wash them and place them in wooden boxes in a cool place. Elderly people in the community are responsible for teaching mastiha incision and harvesting techniques to younger generations. The culture of mastiha represents a global social fact, around which networks of mutual aid and alliance have been woven. These collective practices also provide an opportunity to perpetuate collective memory, through the telling of old tales and stories. |  |
| 2 Tinian craftsmanship of marble | 2015 | * know-how related to traditional craftsmanship * knowledge and practices concerning nature and the universe * social practices, rituals and festive events | The art of marble sculpture is an expression of Tinos cultural identity. Marble craftsmen have empirical knowledge of the composition and structure of marble rocks, the properties of each type of marble and the manipulation of its veins. The marble carving workshops produce a large number of traditional motifs and symbols, including cypress, flowers, birds and ships. These perpetuate and draw inspiration from a common symbolic repertoire of religious, magical and oral traditions. Patterns carved into buildings, signboards, churches and in cemeteries serve as an atonement and deflection from evil influences, while engravings made on various marble vessels and transoms used in everyday life emphasize on fertility and prosperity. Craftsmen sometimes come together in teams to carry out a large project and some masters sometimes work alone for small orders. Transmission follows ancestral practices. Apprentices start with minor tasks, such as setting up masters' tools and cleaning the workshop, followed by gradual learning of craftsmanship and drawing. Each master supervises one or two apprentices, usually members of his family, for whom he acts as a mentor. When the apprentice has completed his training and receives the title of master craftsman, he is given a small chest containing some tools. Almost a quarter of the students are now women, which marks a clear evolution in the tradition of marble craftsmanship, which until recently was an exclusively male activity. | .jpg/150px-A@a_tinos_greece_-_panoramio_(1).jpg) |
| 3 La Momoeria, New Year's Eve celebrations in eight villages in the Kozani region, West Macedonia | 2016 | * Performing Arts * social practices, rituals and festive events * know-how related to traditional craftsmanship * oral traditions and expressions | Between December 25 and January 5 in Kozani (north-west Greece), dancers, actors and musicians perform in the streets of the villages and pass by the inhabitants to celebrate the New Year. Particularly noticeable are the 30 dancers of the Momoeria. They represent the priests of the god Momos (god of laughter and satire) or the commanders of Alexander the Great. They wear helmets, pleated skirts, traditional shoes and brandish a stick while dancing under the command of their leader to convince the forces of nature to spare the villagers. The actors surround the dancers and perform a well-known satirical play, featuring characters such as an old man and the devil (with variations depending on the villages), which the audience is invited to tease, which creates a cheerful atmosphere. Instruments, such as the bagpipe, are used. The main purpose of this practice is to wish the community a prosperous New Year, with healthy children and good harvests. Nowadays, it also encourages the sustainable management of natural resources. The party culminates in the main square where everyone sings and dances around a fire until morning. Passed down informally from older to younger generations, this holiday represents a part of the cultural identity of the community and helps facilitate social integration. |  |
| Rebetiko | 2017 | * Performing Arts * social practices, rituals and festive events * know-how related to traditional craftsmanship * oral traditions and expressions | Rebetiko is a form of musical and cultural expression directly associated with song and dance. It originally spread among the popular and working classes, at the start of the XXe century. Rebetiko songs are part of the classical repertoire of almost all social events that feature dances and songs. The element is performed in public. Its performers encourage the public to participate. The practice is open to everyone. Anyone who is Greek or speaks Greek and enjoys this type of music and dancing can be a part of the bearers. Rebetiko songs are imbued with invaluable references to the customs, practices and traditions associated with a particular way of life. However, rebetiko is above all a living musical tradition with a strong artistic, symbolic and ideological character. Originally, rebetiko was transmitted exclusively orally through live performances of songs and by learning younger players from older instrumentalists and singers. This informal mode of learning remains important today. However, with the recent generalization of sound recordings, mass media and cinema, the means of transmission have expanded. Over the past decade, rebetiko has been increasingly taught in music schools, conservatories and universities, which has helped to increase its distribution. Musicians and rebetiko enthusiasts continue to play a key role in the sustainability of this practice. |  |
| 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. |  |
| Byzantine chant Note Greece shares this practice with Cyprus. | 2019 | * Performing Arts * social practices, rituals and festive events * oral traditions and expressions | Living art that has endured for more than 2,000 years, Byzantine chanting constitutes both a significant cultural tradition and a complete musical system forming part of the common musical traditions that developed in the Byzantine Empire. Musically emphasizing the liturgical texts of the Greek Orthodox Church, Byzantine chant is closely linked to spiritual life and religious worship. This vocal art focuses primarily on the interpretation of the ecclesiastical text. Byzantine song undoubtedly owes its existence to the word (logos). Indeed, every aspect of this tradition serves to spread the sacred message. Passed down orally from generation to generation, it has preserved its characteristics over the centuries: it is exclusively vocal music, fundamentally monophonic; the songs are codified according to a system in eight modes or eight tones; and different styles of rhythm are used in order to emphasize the desired syllables in certain words of the liturgical text. Psaltic art has always been linked to the male voice, but female singers are numerous in convents and are active, to a certain extent, in parishes. In addition to its transmission to the church, Byzantine song thrives on the dedication of experts and amateurs - musicians, choir members, composers, musicologists and academics - who contribute to its study, performance, and dissemination. |  |
| Transhumance, seasonal movement of herds along migratory routes in the Mediterranean and the Alps | 2019 | Transhumance, the seasonal movement of cattle along migratory routes in the Mediterranean and the Alps, is a form of pastoralism. Every year in spring and autumn, thousands of animals are herded by herders, accompanied by their dogs and horses, along fixed routes, between two geographic and climatic regions, from dawn to dusk. In many cases, the families of the herders also move with the cattle. There are two main types of transhumance: horizontal transhumance, in the regions of plains or plateaus; and vertical transhumance typical of mountainous regions. Transhumance shapes the relationships between people, animals and ecosystems. It involves rituals and common social practices in the care and breeding of animals, the management of land, forests and water resources, and the management of natural hazards. Transhumant herdsmen have in-depth knowledge of the environment, ecological balance and climate change, as transhumance is one of the most efficient and sustainable methods of herding. They also have specific skills related to all kinds of crafts and food production. Festivities in spring and autumn mark the beginning and end of transhumance, when bearers share food, rituals and stories and introduce younger generations to the practice of the element. Chief herdsmen pass on their specific know-how to younger generations through daily activities, ensuring the viability of the practice. |  |
Register of Best Safeguarding Practices
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| 4 The Polyphonic Caravan, research, preservation and promotion of the polyphonic song of theEpirus | 2020 | * Social practices, rituals and festive events * Oral traditions and expressions | The Polyphonic Caravan is a long-term project dedicated to the research, preservation and promotion of the polyphonic song of Epirus. The polyphonic song of Epirus has been practiced for centuries and is performed by a group of singers playing two to four distinct roles. There are polyphonic songs evoking almost all aspects of life: childhood, marriage, mourning, historical events and pastoral life. After World War II and the ensuing Greek Civil War, the element's practice became more sporadic as people from Epirus migrated to major urban centers in Greece and abroad. In the end, very few experienced interpreters remained in the villages. In the mid-1990s, young people from Epirus formed the first polyphonic group, "Chaonia", in Athens. Realizing the threats to the element and the need to cultivate a suitable land for its practice in this new urban environment, they decided to take initiatives in favor of the safeguard and promotion of the element. After the first concert of the group Chaonia in 1997, its members founded the non-governmental organization "Apiros (polyphonic caravan)". The main objectives were raising awareness of the element, documenting through extensive field research, multiplying interactions across generations and geographic boundaries, and bringing together all polyphonic singing practitioners from the Epirus. Even today, these goals are still at the heart of the project's philosophy. In twenty years, the Polyphonic Caravan has greatly contributed to strengthening the viability of the polyphonic song of Epirus, as well as to enhancing it in an ever-changing environment. | |
Emergency backup list
Greece does not have a practice on the emergency safeguard list.
