This article lists the practices listed in UNESCO intangible cultural heritage in Italy.
Understand
The country has fourteen practices included in the "representative list of intangible cultural heritage From UNESCO.
No 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 Sicilian Opera dei Pupi puppet theater | 2008 | * Performing Arts know-how related to traditional craftsmanship * oral traditions and expressions | The puppet theater known as “Opera dei Pupi” was born at the beginning of the nineteenth century in Sicily where it met with great success among the popular classes. The puppeteers told stories inspired by medieval chivalrous literature and other sources such as Italian Renaissance poetry, the lives of saints or stories about famous bandits. The dialogues were largely improvised. The two main Sicilian puppet schools, those of Palermo and Catania, were distinguished mainly by the size and shape of the puppets, the handling techniques and the variety of backdrop settings. These theaters were often family businesses. The puppets, renowned for the expressiveness of their faces, were sculpted, painted and built by artisans using traditional methods. The puppeteers, striving to outdo each other in performances, exerted a real influence on the audience. In the past, spread over several evenings, performances provided opportunities for people to come together. The economic and social upheavals caused by the extraordinary economic boom of the 1950s deeply affected the tradition, considerably shaking its very foundations. At the time, similar forms of theater disappeared in other parts of Italy, before resurfacing, in some of them, some twenty years later. The Opera dei Pupi is the only example of an unbroken tradition of this form of theater. The current economic difficulties no longer allow puppeteers to make a living from their art, which leads them to turn to more lucrative professions. In addition, tourism has helped to reduce the quality of shows, initially intended exclusively for a local audience. |  |
| Canto a tenore, Sardinian pastoral song | 2008 | * Performing Arts * oral traditions and expressions | Canto a tenore comes from the pastoral culture of Sardinia. It is a multi-part polyphonic singing form - bassu, contra, boche and mesu boche - performed by a group of four men. One of its peculiarities is the deep and throaty timbre of the bassu and contra vocals. The singers form a circle and the soloist sings the melody, prose or poem, while the other voices accompany him in chorus. Most of the practitioners live in the Barbagia and central areas of the island. This vocal art is an integral part of the daily life of the local populations. It is often practiced spontaneously in local bars, su zilleri, but also on certain more official occasions such as weddings, sheep shearing, religious festivals or the Barbaricino carnival. Canto a tenore embraces a vast repertoire that varies from region to region. The most common melodies are the boche ’e notte (" voice of the night ") serenade and dance songs such as mutos, gosos and ballos. The texts are old poems or contemporary poetry on topical issues such as emigration, unemployment or politics. In this sense, these songs can be considered as both traditional and contemporary cultural expressions. Canto a tenore is particularly vulnerable to socio-economic upheavals such as the decline of pastoral culture and the development of tourism in Sardinia. It is increasingly performed on stage for tourists, which tends to reduce the diversity of the repertoire and alter the intimate character of this music. |  |
| 1 The traditional know-how of the violin in Cremona | 2012 | * know-how related to traditional craftsmanship * Performing Arts * knowledge and practices concerning nature and the universe * social practices, rituals and festive events | Cremonese violin making is extremely renowned, and well known abroad, for its traditional process of building and restoring violins, violas, cellos and double basses. The luthiers attend a specialized school, based on a close relationship between master and student, before completing their apprenticeship in a local workshop where they continue to develop and perfect their techniques - an endless process. Each luthier builds between three and six instruments per year, after having fashioned and assembled more than 70 pieces of wood around a mold by hand, according to the different acoustic expectations of each end. There are never two identical violins. Each part of the instrument is built in a particular wood, chosen with care and aged naturally. No industrial or semi-industrial material is used. Violin making requires a high level of creativity: the craftsman must adapt the general rules and his own conscience to each instrument. The Crémonese luthiers are deeply convinced that the sharing of their knowledge is fundamental for the development of their competences and the dialogue with the musicians is considered essential to better understand their needs. Traditional violin making is promoted by two associations of luthiers: “Consorzio Liutai Antonio Stradivari” and “Associazione Liutaria Italiana”, and it is considered fundamental for the identity of Cremona, of its inhabitants and plays a fundamental role in its social practices and cultural events, rituals and events. Cremonese violin making is extremely renowned, and well known abroad, for its traditional process of building and restoring violins, violas, cellos and double basses. The luthiers attend a specialized school, based on a close relationship between master and student, before completing their apprenticeship in a local workshop where they continue to develop and perfect their techniques - an endless process. Each luthier builds between three and six instruments per year, after having fashioned and assembled more than 70 pieces of wood around a mold by hand, according to the different acoustic expectations of each end. There are never two identical violins. Each part of the instrument is built in a particular wood, chosen with care and aged naturally. No industrial or semi-industrial material is used. Violin making requires a high level of creativity: the craftsman must adapt the general rules and his own conscience to each instrument. The Crémonese luthiers are deeply convinced that the sharing of their knowledge is fundamental for the development of their competences and the dialogue with the musicians is considered essential to better understand their needs. Traditional violin making is promoted by two associations of luthiers: “Consorzio Liutai Antonio Stradivari” and “Associazione Liutaria Italiana”, and it is considered fundamental for the identity of Cremona, of its inhabitants and plays a fundamental role in its social practices and cultural events, rituals and events. |  |
The processions of giant structures carried on the shoulders
| 2013 | * Performing Arts * social practices, rituals and festive events know-how related to traditional craftsmanship * oral traditions and expressions | The Catholic processions of giant shoulder-borne structures are held all over Italy and more specifically in four historic city centers. In Nola, the procession of eight obelisks made of wood and papier-mâché commemorates the return of Saint Paulinus. In Palmi, bearers carry an intricate processional structure in honor of Our Lady of the Holy Letter. In Sassari, the “Discesa dei Candelieri” (Descent of the Candlesticks) consists of carrying votive wooden obelisks. In Viterbo, the “Macchina di Santa Rosa” (Tower of Santa Rosa) commemorates the patron saint. The coordinated and equitable sharing of tasks for a common project is a fundamental element of the celebrations, which binds communities together through the strengthening of mutual respect, cooperation and joint efforts. The development of dialogue between the bearers of this cultural heritage has also made it possible to create a network of exchanges. These celebrations require the participation of musicians and singers as well as skilled artisans who fabricate the processional structures and create the ceremonial clothing and artifacts. Communities rely on the informal transmission of this knowledge and techniques to build processional structures. This process allows for cultural continuity and strengthens the sense of identity. |  |
| The Mediterranean diet | 2013 | * 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 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. |  |
| 7 The traditional agricultural practice of cultivating the “vite ad alberello” (pruning of the vine in a goblet) of the community of Pantelleria | 2014 | * knowledge and practices concerning nature and the universe * social practices, rituals and festive events * oral traditions and expressions | The traditional practice of cultivating goblet-pruned vines (vite ad alberello) has been passed down for generations in the families of winegrowers and farmers on the Mediterranean island of Pantelleria. About 5,000 residents have a plot of land which they cultivate using sustainable methods. The technique involves several steps. The land is prepared by leveling the ground and digging a hole where the vine will be planted. The main branch of the vine is then carefully pruned to produce six branches and to form a radially organized bush. The hole is constantly maintained to ensure that the plant grows in a suitable microclimate. The grapes are then picked by hand during a traditional event that begins at the end of July. The winegrowers and farmers of Pantelleria, men and women, practice the vite ad alberello in difficult climatic conditions. The knowledge and skills of bearers and practitioners are passed on within families, orally in the local dialect and through practice. The rituals and festivals organized between July and September also allow the local community to share this social practice. The people of Pantelleria continue to identify with viticulture and fight to preserve this practice. |  |
| Falconry, a living human heritage Note Italy shares this practice withGermany, the'Saudi Arabia, the'Austria, the Belgium, the United Arab Emirates, the'Spain, the France, the Hungary, 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 | 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. |  |
| 8 The art of the Neapolitan pizza maker | 2017 | * Performing Arts * social practices, rituals and festive events * know-how related to traditional craftsmanship * oral traditions and expressions | The art of the Neapolitan pizzaiolo is a culinary practice comprising four different stages relating to the preparation of the dough and its cooking over a wood fire by rotating the pizza in the oven. The element originates from Naples, capital of Campania, where near 3,000 pizzaiolos currently live and work. Pizzaiolos are a living link for the communities concerned. There are three main categories of bearers - the master pizzaiolo, the pizzaiolo and the baker - as well as families in Naples who reproduce the art at home. The element promotes gathering and exchange between generations. It is like a spectacle, when the pizza chef, at the center of his "bottega", shares his art. Each year, to ensure the viability of this art, the Association of Neapolitan Pizzaiolos organizes courses focusing on the history, tools and techniques of pizza making. Technical skills are also taught in Naples in schools and apprentices can learn this art in Neapolitan families. However, knowledge and skills are mainly transmitted in the "bottega", where young apprentices observe their master at work and learn all the steps and key elements of the art. | .jpg/150px-La_vera_pizza_Napolitana_(319020748).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. | .jpg/150px-Giave,_pinnetta_(02).jpg) |
| 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. | _Valmalenco,_Sondrio,_Lombardia,_Italy._2018-06-09.jpg/150px-Escursionisti_durante_ascesa_su_nevaio_del_Pizzo_Scalino_(3.323_m_s.l.m.)_Valmalenco,_Sondrio,_Lombardia,_Italy._2018-06-09.jpg) | |
| 9 The feast of great forgiveness | 2019 | The Feast of Great Forgiveness is inspired by a historic pontifical bull issued by Pope Celestine V to promote partnerships among local populations. Taking place in the city and province of L’Aquila, this tradition includes a set of rituals and celebrations transmitted continuously since 1294. This practice conveys a strong sense of continuity and cultural identity for the whole community. The Forgiveness March begins with the lighting of the Flame of Morrone, followed by a candle-lit procession. This procession follows a traditional route marked by the lighting of tripods in each of the twenty-three villages crossed and the signature by each mayor of a parchment recalling the symbolic values of the Bubble. The community gathering ends on August 23 in L’Aquila, with the lighting of the last tripod. Drums, bugles and flag bearers animate and punctuate the Parade, in which a thousand citizens also participate in traditional costumes. They accompany the three main characters - the Lady with the Bubble, the Young Lord and the Lady with the Cross - who symbolize the traditional values of the festival: hospitality, solidarity and peace. The meanings and traditional practices associated with the element are transmitted through tales told at home, in schools, and in community gathering places. In addition, the continued participation of the community in this festival has ensured its viability over time. |  | |
| 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. |  | |
| The musical art of horn sounders, an instrumental technique linked to singing, mastery of the breath, vibrato, the resonance of places and conviviality Note Italy shares this practice with the Belgium, the France and the Luxembourg. | 2020 | * performing art * 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 Italy shares this practice with the France. | 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. |  |
Register of Best Safeguarding Practices
Italy does not have a practice listed in the register of best safeguarding practices.
Emergency backup list
Italy does not have a practice on the emergency safeguard list.
