This article lists the practices listed in UNESCO intangible cultural heritage in Romania.
Understand
The country has seven practices on the "representative list of intangible cultural heritage From UNESCO.
No additional practice is included in the "register of best practices for safeguarding culture "Or on the"emergency backup list ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| 1 The ritual of Căluş | 2008 | * Performing Arts * social practices, rituals and festive events | Carried out in the region ofOlt in southern Romania, the ritual dance of Căluş is also part of the cultural heritage of the Vlachs of Bulgaria and of Serbia. Although the oldest documents concerning the music accompanying this dance date back to the seventeenth century, the ritual probably originated from pre-Christian rites of purification and fertility that used the symbol of the horse, a revered animal as the embodiment of the sun. The name of the ritual comes from Căluş, the wooden mouth of the horse's bridle. The ritual of Căluş consists of a set of games, parodies, songs and dances. It was performed by male dancers, the Căluşari, accompanied by two violinists and an accordionist. Young men were initiated into the ritual by a vataf (master) who himself inherited the knowledge of descântece (magical powers) and dance steps from his predecessors. Sporting colorful hats, embroidered shirts and pants adorned with bells, the Căluşari perform intricate dances that combine kicking, heel-slapping, hopping and swinging legs. According to tradition, groups of Căluşari, believed to be endowed with magical healing powers, went from house to house, singing, dancing and promising health and prosperity to the villagers. Witness of Romania's cultural diversity, the ritual of Căluş is highly valued in folklore festivals, such as the National Caracal Competition in the region of Olt, becoming a true national symbol. Today, the Căluşari continue to meet on Pentecost Sunday to indulge in their choreographic and musical prowess. |  |
| The Doina | 2009 | * Performing Arts * oral traditions and expressions | Known under several names throughout Romania, the Doina is a lyrical, solemn, improvised and spontaneous melody. “Meridian of Romanian folklore”, it was until around 1900 the only musical genre present in many regions of the country. Technically, the Doïna can be sung in any setting (outdoors, at home, at work or during evenings), always solo, with or without instrumental accompaniment (traditional upright flute, bagpipe, and even instruments. improvised). There are several regional variations. The Doïna can express a wide range of themes: joy, sadness, loneliness, social conflicts, attacks by brigands, love ... Expression of the personal qualities of the creator-performer, his moods and his virtuosity, the Doïna has also a major social role through its cathartic function and strengthening bonds of solidarity. It also gave birth to autonomous artistic genres (dances). Nowadays, the Doina is threatened locally, because the chain of transmission from parents to children is no longer continuous. If about fifteen people have already been identified as representative of the different types of Doïna, it is necessary to recreate a context conducive to its execution and its transmission to younger generations so that this important element of the intangible cultural heritage of Romanians continues to exist. flourish. |  |
| 2 The know-how of traditional Horezu ceramics | 2013 | know-how related to traditional craftsmanship | Ceramics Horezu is a unique traditional craft. Handcrafted in the north of the Vâlcea department, Romania, it exemplifies generations of know-how and craftsmanship. Men and women generally share the manufacturing processes. The men choose and extract the clay which is then cleaned, cut, watered, kneaded, trampled and kneaded, turning it into a paste from which the potters of Horezu produce red ceramics. Then the potters give the shape of the object with a particular technique of fingering which calls for concentration, strength and agility. Everyone has their own way of modeling, but everyone respects the order of operations. The women decorate the objects using specific tools and techniques to trace the traditional patterns. Their skill in combining decoration and colors defines the personality and uniqueness of ceramics. The colors have vivid shades of dark brown, red, green, blue and "Horezu ivory". The object is then placed in the oven. The potters use traditional tools: a kneader to clean the earth, a potter's wheel and comb for modeling, a hollowed out ox horn and a stick extended with a wire for decoration and a wood-fired oven for the cooking. The profession is passed on through the family, in the workshops, from the master to the apprentice, as well as at fairs and exhibitions. The element gives the community a sense of identity while maintaining a social function in daily life. |  |
| The group of men colindat, a Christmas ritual Note Romania shares this practice with the Moldova. | 2013 | social practices, rituals and festive events | Every year before Christmas, groups of young men gather in the villages of Romania and of Moldova to prepare for the colindat ritual. On Christmas Eve, they go from house to house, performing festive carols. After singing, group members are offered ritual gifts and money by their hosts. The songs have an epic purpose, adapted to the specificities of each of the houses visited. Practitioners of the ritual also sing special, auspicious songs for unmarried young girls and dance with them, which is believed to help them get married the following year. The colindat is sometimes performed in costume, accompanied by musical instruments and embellished with choreography. Groups of young men (traditionally single) are the primary bearers and practitioners of the element; experienced men, usually former group leaders, are responsible for training the group. The ritual songs are learned in daily rehearsals from the day the group is formed until Christmas Eve. In some areas, children are allowed to attend rehearsals and thus learn the repertoire. In addition to conveying wishes for the new season, this cultural heritage plays an important role in preserving social identity and strengthening cohesion. |  |
| Boys' dances in Romania | 2015 | * Performing Arts * social practices, rituals and festive events | Boys' dances are a type of dance popular in Romania performed in the life of communities during festive events such as weddings and holidays, as well as during stage performances. Each community has its own version, each expressing virtuosity and harmonious combinations of movements and rhythms. A specific role is assigned to the dance leader and the coordinator who trains and integrates the members of the group while the second conductor is chosen for his qualities as a performer and leads the dance. The dancers are groups of boys and men between the ages of 5 and 70, which may include Romanian, Hungarian or Roma dancers. This aspect contributes to intercultural dialogue and provides the opportunity to learn more about cultural diversity, for example by watching local dancers perform at regional events or admiring the choreographic styles of different ethnic groups. All members of the communities are the bearers and practitioners of the element, and taking part in the dance, as a dancer or as an audience, strengthens social cohesion and solidarity. Boys' dances provide an opportunity for young men to assert their social status in traditional communities, especially among young girls and their families in anticipation of marriage. | |
| Traditional craftsmanship of wall carpet in Romania and the Republic of Moldova Note Romania shares this practice with the Moldova. | 2016 | know-how related to traditional craftsmanship | In the past, wall carpets made by weavers from certain communities in Romania and the Republic of Moldova were not only used as decorative and insulating objects but were also part of the dowry for young girls. Different techniques were used to produce pieces with impressive patterns. Some patterns also indicated the origin of the weaver. Carpets also played other roles in community practices, such as at funerals, where they symbolized the soul's passage into the afterlife. They were also presented in international exhibitions as symbols of the identity of communities. Nowadays, these wall rugs are mainly appreciated as works of art in public and private spaces and they are displayed in cities on the occasion of festivals and ceremonies. Techniques have evolved from the use of vertical or horizontal looms in some areas to tight stitching (thread by thread) and other forms of weaving; weavers can now work from their homes. In the villages, girls learn this art from their mother or grandmother, while in town, classes are given in centers, associations, colleges and even museums. Considered an expression of creativity and a marker of identity, the craft of wall rugs is also seen as a tool for creating links between different age groups and social categories. |  |
| Cultural practices associated with March 1st Note Romania shares this practice with the North Macedonia, the Bulgaria and the Moldova. | 2017 | * social practices, rituals and festive events * knowledge and practices concerning nature and the universe * know-how related to traditional craftsmanship * oral traditions and expressions | Cultural practices associated with consist of traditions that are passed down from ancient times to celebrate the beginning of spring. The main practice is to make, offer and wear a red and white cord which is then untied when the first flowering tree, the first swallow or the first stork appears. Some other local practices, such as cleansing actions in the Republic of Moldova, are also part of the larger spring celebration framework. The cord is considered to offer symbolic protection against dangers such as changeable weather. This practice guarantees individuals, groups and communities a safe passage from winter to spring. All members of the communities concerned participate, regardless of their age, and the practice promotes social cohesion, intergenerational exchanges and interactions with nature, while encouraging diversity and creativity. Informal education is the most frequent mode of transmission: in rural areas, young girls learn to make cords from older women, while in urban areas, apprentices learn from teachers and artisans as well. than through informal education. The Martenitsa / Martinka / Mărţişor workshops organized by ethnographic museums offer another opportunity for transmission. The communities concerned actively participate in the inventory, research, documentation and promotion activities of the element, and numerous cultural projects focused on its safeguard are underway. | |
Register of Best Safeguarding Practices
Romania does not have a practice registered in the register of best safeguarding practices.
Emergency backup list
Romania does not have a practice on the Emergency Safeguarding List.
