Almond Blossom Festival ICH UNESCO elements

1. Gangneung Danoje festival
Republic of Korea
Inscribed in 2008 (3.COM) on the
Representative List of the Intangible
Cultural Heritage of Humanity (originally
proclaimed in 2005)
The annual Gangneung Danoje Festival takes
place in the town of Gangneung and its
surroundings, situated east of the Taebaek
Mountain Range on the Korean peninsula. The
festival includes a shamanistic ritual on the
Daegwallyeong Ridge, which pays tribute to the
mountain deity and male and female tutelary
deities. It encompasses traditional music and
Odokddegi folk songs, the Gwanno mask drama,
oral narrative poetry, and various popular
pastimes. The Nanjang market, Korea’s largest
outdoor marketplace, is today a major element of
the festival, where local products and handicrafts
are sold and contests, games and circus
performances take place. The four-week long
festival begins with the brewing of a sacred liquor
and the Dano shamanistic rituals, in which a
central role is played by a sacred tree, the
sinmok, and the hwagae, a ritual object made of
feathers, bells and bamboo wood. One of the
specific features of the festival is the coexistence
of Confucian, shamanistic and Buddhist rituals.

2. Arirang
Republic of Korea
Cultural Heritage of Humanity
Arirang is a popular lyrical singing genre transmitted
and recreated orally. It exists in multiple traditional
forms as well as symphonic and modern arrangements.
Arirang typically contains a gentle and lyrical melody,
accompanied by the refrain: ‘Arirang, arirang, arariyo,
Over the Arirang hill you go’. Arirang songs speak
about leaving and reunion, sorrow, joy and happiness.
The various categories differ according to the lyrics and
melody used; the thirty-six known versions of Arirang
have also undergone continuous development. Arirang
is performed on various occasions among family,
friends and communities, as well as on public
occasions and at festivities. Children learn the songs
from their parents and neighbours, in school and other
settings. Professional art troupes in Pyongyang perform
different forms of Arirang, while safeguarding societies
play an important role in enacting, preserving and
transmitting local versions. Arirang folk songs reinforce
social relations, thus contributing to mutual respect
and peaceful social development, and help people to
express their feelings and overcome grief. They
function as an important symbol of unity and occupy a
place of pride in the performing arts, cinema, literature
and other works of contemporary art.

3. Ride of the Kings in the south-east of
the Czech Republic
Czech Republic
Inscribed in 2011 (6.COM) on the Representative List
of the Intangible Cultural Heritage of Humanity
The Ride of the Kings takes place during the spring,
as a part of the Pentecost traditions, in the towns of
Hluk and Kunovice and the villages of Skoronice and
Vlčnov. A group of young men ride through a village
in a ceremonial procession. The ride is headed by
chanters, followed by pageboys with unsheathed
sabres who guard the King – a young boy with his
face partially covered, holding a rose in his mouth –
and the rest of the royal cavalcade. The King and
pageboys are dressed in women’s ceremonial
costumes, while the other riders are dressed as men.
The entourage rides on decorated horses, stopping to
chant short rhymes that comment humorously on
the character and conduct of spectators. The
chanters receive donations for their performance,
placed either in a money box or directly into the
riders’ boots. The King’s retinue returns home after a
few hours of riding, and celebrates in the evening at
the house of the King with a small feast, music and
dancing. The practices and responsibilities of the
Ride of the Kings are transmitted from generation to
generation. The traditional paper decorations for the
horses and the ceremonial costumes, in particular,
are made by women and girls familiar with the
processes, colour patterns and shapes specific to
each village.

4. Slovácko Verbuňk, recruit dances
Czech Republic
Inscribed in 2008 (3.COM) on the Representative List of the
Intangible Cultural Heritage of Humanity (originally
proclaimed in 2005)
The Slovácko verbŭnk is an improvised dance performed by
boys and men living in the South Moravia and Zlín districts
of the Czech Republic. The name of the dance is derived
from the German term Werbung (changed into verbŭnk),
meaning “recruitment”, reflecting its historical origins in
the recruitment of dancers and soldiers for the military in
the eighteenth century.Today, it is performed by folk dance
groups in most towns and villages of the Slovácko region,
mostly in connection with festivities, such as the annual
Hody community celebration. The Slovácko verbŭnk is
danced to music called New Hungarian songs and usually
consists of three parts. At the beginning, a song is
performed, followed first by slow movements and then by
faster dancing parts. The dancing is not bound to a precise
choreography, but is marked instead by spontaneity,
improvisation, and individual expression, including
jumping contests. It is usually performed by groups, with
each dancer interpreting the music in his own way. There
are six different regional types of Slovácko verbŭnk, which
account for the great variety of figures and dance rhythms.
These types evolved in the early twentieth century and
continue to change. The dances are an essential component
of local customs, ceremonies and celebrations and are
performed at the annual contest of the best dancer at the
International Folklore Festival in Strážnice. The migration
of young and middle-aged people to the country’s urban
centres is considered the greatest threat to the viability of
the different regional types of Slovácko verbŭnk. Another
risk is the dance’s reliance on financial support since the
traditional costumes and musical instruments are made by
hand and require regular maintenance.

5. Festivity de ‘la Mare de Déu de la Salut’ di
Algemesí
Spain
Inscribed in 2011 (6.COM) on the Representative
List of the Intangible Cultural Heritage of
Humanity
The Festivity of ‘la Mare de Déu de la Salut’ is
celebrated in Algemesí in the Province of Valencia,
Spain. Every 7 and 8 September almost 1,400 people
participate in theatre, music, dance and
performances organized in the historical areas of the
city: Valencia, La Muntanya, Santa Barbara and La
Capella. Processions run from the Basílica Menor de
San Jaime to the Capella de la Troballa. The
festivities commence with bell-ringing from the
basilica followed by a parade. The Schola Cantorum
choir and orchestra perform vespers in the evening at
the basilica, followed by bell-ringing and the
Procession of the Betrothed, which features ''Els
Misteris'' (short, religious theatrical pieces performed
by children) human towers with traditional musical
accompaniment, and dance performances. The next
day, giant puppets representing the King and Queen
of Aragon, James I and his wife Violante of Hungary,
join the morning procession, while the General
Grand Procession features representations of biblical
characters and songs of the apostles. The
involvement of the town’s inhabitants is the
foundation for the continuity of this celebration. All
costumes, ornaments and accessories are
handcrafted, and the dances and musical scores are
passed from generation to generation.

6. Human Towers “Castells”
Spain
‘
'Castells'' are human towers built by members of
amateur groups, usually as part of annual festivities
in Catalonian towns and cities. The traditional setting
is the square in front of the town hall balcony. The
human towers are formed by ''castellers'' standing on
the shoulders of one another in a succession of stages
(between six and ten). Each level of the ''tronc,'' the
name given to the second level upwards, generally
comprises two to five heavier built men supporting
younger, lighter-weight boys or girls. The ''pom de
dalt'' – the three uppermost levels of the tower –
comprises young children. Anyone is welcome to form
the ''pinya,'' the throng that supports the base of the
tower. Each group can be identified by its costume,
particularly the colour of the shirts, while the
cummerbund serves to protect the back and is
gripped by ''castellers'' as they climb up the tower.
Before, during and after the performance, musicians
play a variety of traditional melodies on a wind
instrument known as a ''gralla,'' setting the rhythm to
which the tower is built. The knowledge required for
raising ''castells'' is traditionally passed down from
generation to generation within a group, and can only
be learned by practice.

7. Ritual dramatic art of Ta‘zīye
Iran (Islamic Republic of)
Ta‘zīye (or Ta’azyeh) is a ritual dramatic art that
recounts religious events, historical and mythical
stories and folk tales. Each performance has four
elements: poetry, music, song and motion. Some
performances have up to a hundred roles, divided into
historical, religious, political, social, supernatural, real,
imaginary and fantasy characters. Each Ta‘zīye drama
is individual, having its own subject, costumes and
music. Performances are rich with symbolism,
conventions, codes and signs understood by Iranian
spectators, and take place on a stage without lighting
or decoration. Performers are always male, with female
roles being played by men, and most are amateurs who
gain their living through other means but perform for
spiritual rewards. While Ta‘zīye has a prominent role in
Iranian culture, literature and art, everyday proverbs
are also drawn from its ritual plays. Its performances
help promote and reinforce religious and spiritual
values, altruism and friendship while preserving old
traditions, national culture and Iranian mythology.
Ta‘zīye also plays a significant role in preserving
associated crafts, such as costume-making, calligraphy
and instrument-making. Its flexibility has led it to
become a common language for different communities,
promoting communication, unity and creativity. Ta‘zīye
is transmitted by example and word of mouth from
tutor to pupil.

8. Nowruz
Iran
Humanity
New Year is often a time when people wish for
prosperity and new beginnings. March 21 marks
the start of the year in Afghanistan, Azerbaijan,
India, Iran (Islamic Republic of), Iraq, Kazakhstan,
Kyrgyzstan, Pakistan, Tajikistan, Turkey,
Turkmenistan and Uzbekistan. It is referred to as
Nauryz, Navruz, Nawrouz, Nevruz, Nooruz, Novruz,
Nowrouz or Nowruz meaning ‘new day’ when a
variety of rituals, ceremonies and other cultural
events take place for a period of about two weeks.
An important tradition practised during this time
is the gathering around ‘the Table’, decorated with
objects that symbolize purity, brightness,
livelihood and wealth, to enjoy a special meal with
loved ones. New clothes are worn and visits made
to relatives, particularly the elderly and
neighbours. Gifts are exchanged, especially for
children, featuring objects made by artisans. There
are also street performances of music and dance,
public rituals involving water and fire, traditional
sports and the making of handicrafts. These
practices support cultural diversity and tolerance
and contribute to building community solidarity
and peace. They are transmitted from older to
younger generations through observation and
participation.

9. Music of Terchová
Slovakia
The village of Terchová in north-west Slovakia is
renowned for its collective vocal and instrumental
music, performed by three-, four- or five-member
string ensembles with a small two-string bass or
diatonic button accordion. It is often accompanied
by polyphonic singing and combined with folk
dances. The musical tradition of Terchová also
includes solo instrumental performances on
shepherds’ fifes. Performances take place at a
variety of cyclical and occasional events, both
religious and secular, including anniversaries,
festivals, exhibition openings, symposia and, most
importantly, the Jánošík’s Days International
Festival. The traditional musical culture, which is
transmitted orally, is a matter of pride and a
marker of identity among the inhabitants of the
village of Terchová and the surrounding areas. It
encompasses instrumental and vocal music,
dance, and a knowledge of the musical tradition of
Terchová and the skills related to making musical
instruments. There are over twenty professional
musical ensembles in Terchová, while amateur
ensembles perform at family, traditional and other
events.

10. Puppetry in Slovakia and Czechia
Slovakia and Czech
Puppet theatre for communities in Slovakia and
Czechia is not only a popular form of traditional
entertainment but also a way of conveying a vision of
the world, and an educational tool with messages on
moral values. The puppets, whose characters are real
or imaginary, are mostly made of wood and animated
using various methods. Initial bearers of the practice
were families of travelling puppeteers whose works
later absorbed local influences in language and themes
using namely comical figures with distinct
characteristics. Puppet theatre is an integral part of
Slovak and Czech local theatre and literary tradition. It
also plays an important role in socialization, helping
performers to develop as creative thinkers and learn
about cooperation, communication and to strengthen
their sense of identity in society. Featuring with other
traditional rituals and festive events like feast days,
markets and fairs, puppet shows today come in many
different forms but still draw from tradition. Practice
bearers include performers, playwrights, puppet and
costume makers, as well as stage designers. Skills are
transmitted by imitation and practice within performer
communities, while in Slovakia also transmission takes
place in traditional puppetry dynasties, as well as
through workshops run by not-for-profit organizations
and music and arts schools.

11. Kalbelia folk songs and dances of
Rajasthan
India
Songs and dances are an expression of the Kalbelia
community’s traditional way of life. Once professional
snake handlers, Kalbelia today evoke their former
occupation in music and dance that is evolving in new
and creative ways. Today, women in flowing black
skirts dance and swirl, replicating the movements of a
serpent, while men accompany them on the ''khanjari''
percussion instrument and the ''poongi,'' a woodwind
instrument traditionally played to capture snakes. The
dancers wear traditional tattoo designs, jewellery and
garments richly embroidered with small mirrors and
silver thread. Kalbelia songs disseminate mythological
knowledge through stories, while special traditional
dances are performed during Holi, the festival of
colours. The songs also demonstrate the poetic
acumen of the Kalbelia, who are reputed to compose
lyrics spontaneously and improvise songs during
performances. Transmitted from generation to
generation, the songs and dances form part of an oral
tradition for which no texts or training manuals exist.
Song and dance are a matter of pride for the Kalbelia
community, and a marker of their identity at a time
when their traditional travelling lifestyle and role in
rural society are diminishing. They demonstrate their
community’s attempt to revitalize its cultural heritage
and adapt it to changing socioeconomic conditions.

12. Mudiyettu, ritual theatre and dance drama
of Kerala India
Humanity
Mudiyettu is a ritual dance drama from Kerala based
on the mythological tale of a battle between the
goddess Kali and the demon Darika. It is a community
ritual in which the entire village participates. After the
summer crops have been harvested, the villagers reach
the temple in the early morning on an appointed day.
Mudiyettu performers purify themselves through
fasting and prayer, then draw a huge image of goddess
Kali, called as ''kalam'', on the temple floor with
coloured powders, wherein the spirit of the goddess is
invoked. This prepares the ground for the lively
enactment to follow, in which the divine sage Narada
importunes Shiva to contain the demon Darika, who is
immune to defeat by mortals. Shiva instead commands
that Darika will die at the hand of the goddess Kali.
Mudiyettu is performed annually in ‘Bhagavati Kavus’,
the temples of the goddess, in different villages along
the rivers Chalakkudy Puzha, Periyar and
Moovattupuzha. Mutual cooperation and collective
participation of each caste in the ritual instils and
strengthens common identity and mutual bonding in
the community. Responsibility for its transmission lies
with the elders and senior performers, who engage the
younger generation as apprentices during the course of
the performance. Mudiyettu serves as an important
cultural site for transmission of traditional values,
ethics, moral codes and aesthetic norms of the
community to the next generation, thereby ensuring its
continuity and relevance in present times.

13. Baltic song and dance celebrations
Estonia, Latvia and Lithuania
proclaimed in 2003)
Both a repository and a showcase for the region’s tradition
of performing folk art, this cultural expression culminates
in large-scale festivals every fifth year in Estonia and Latvia
and every fourth year in Lithuania. These grand events,
held over several days, assemble as many as 40,000
singers and dancers. For the most part, the participants
belong to amateur choirs and dance groups. Their
repertories reflect the wide range of musical traditions in
the Baltic States, from the most ancient folk songs to
contemporary compositions. Directed by professional choir
conductors, bandleaders and dance instructors, many
singers and dancers practise throughout the year in
community centres and local cultural institutions. Choirs
and musical ensembles first became institutionalized in
Estonia during the eighteenth century. Subsequently, choir
singing spread throughout rural and urban areas, spurred
by the growing popularity of choral music, singing societies
and song festivals in Western Europe. With the
participation of the most active choirs from various regions
of these States, the Baltic Song and Dance Celebrations
were initially organized in Estonia in 1869 and in Latvia in
1873. Lithuania hosted its first celebration in 1924. Once
the Baltic States gained independence from Russia after the
First World War, the celebrations acquired widespread
popularity as a means of asserting Baltic cultural identity.
In the three countries, special venues and festival sites
were constructed to host the events.

14. Cultural space of the Bedu in Petra
and Wadi Rum
Jordan
proclaimed in 2005)
The Bedu are settled and nomadic communities living in
the southern part of Jordan, particularly near Petra and
Wadi Rum, within a region of semi-arid highlands and
deserts. These conditions have allowed for the development
and existence in complementary relationship of both types
of communities. Several Bedu tribes, namely the Bdul, the
Ammarin and the Sa’idiyyin, continue to use the Nabatean
water-collecting cisterns and caves near Petra. The Bedu
communities inhabiting this area keep alive a traditional
pastoral culture and related skills. The Bedu of Petra and
Wadi Rum have preserved specific knowledge related to the
flora and fauna of the area, traditional medicine, camel
husbandry, tent-making craftsmanship, and tracking and
climbing skills. The Bedu have developed an extensive
knowledge of their environment and complex moral and
social code, all of which is expressed and transmitted
orally. Their rich mythology is manifested in various forms
of oral expression, comprising poetry, folktales and songs
that are closely linked to particular places and the history
of these communities. Over the last fifty years, more and
more Bedu groups have settled down. The provision of
education, housing, health care and sanitation has made a
sedentary existence more attractive for many of them,
leading, however, to the erosion of skills developed by the
Bedu over generations. The increase of desert tourism and
its demand for “authentic Bedu culture” should not be
allowed to further degrade the intangible heritage of the
Bedu in Petra and Wadi Rum.

15. Albanian folk iso-polyphony
Albania
proclaimed in 2005)
Traditional Albanian polyphonic music can be divided into
two major stylistic groups as performed by the Ghegs of
northern Albania and the Tosks and Labs living in the
southern part of the country. The term iso is related to the
ison of Byzantine church music and refers to the drone
accompanying polyphonic singing. The drone is performed
in two ways: among the Tosks, it is always continuous and
sung on the syllable ’e’, using staggered breathing, while
among the Labs, the drone is sometimes sung as a
rhythmic tone, performed to the text of the song. Rendered
mainly by male singers, the music traditionally
accompanies a wide range of social events, such as
weddings, funerals, harvest feasts, religious celebrations
and festivals such as the well-known Albanian folk festival
in Gjirokastra. Albanian iso-polyphony is characterized by
songs consisting of two solo parts, a melody and a
countermelody with a choral drone. The structure of the
solo parts varies according to the different ways of
performing the drone, which has a great variety of
structures, especially in the popular style adopted by all
groups performing this music. Over the last few decades,
the modest rise of cultural tourism and the growing interest
of the research community in this unique folk tradition
have contributed to the revival of Albanian iso-polyphony.
However, the tradition is adversely affected by poverty, the
absence of legal protection and the lack of financial support
for practitioners, threatening the transmission of the vast
repertoire of songs and techniques.

16. Ahellil of Gourara Algeria
Humanity (originally proclaimed in 2005)
Performed during collective ceremonies, the Ahellil is a
poetic and musical genre emblematic of the Zenete
population of Gourara. This region in southwest Algeria
includes some one hundred oases populated by over
50,000 inhabitants of Berber, Arab and Sudanese origin.
The Ahellil, which is specific to the Berber-speaking part of
Gourara, is regularly rendered at religious festivities and
pilgrimages as well as secular celebrations, such as
weddings and community events. The Ahellil is closely
linked to the Zenete way of life and its oasis agriculture,
symbolizing the cohesion of the community living in a
harsh environment and, at the same time, transmitting the
values and the history of the Zenete population in a
language that is at risk of disappearing. Simultaneously
interpreted as poetry, polyphonic chant, music and dance,
this genre is performed by a bengri (flute) player, a singer
and a chorus of up to a hundred people. Standing shoulder
to shoulder in a circle surrounding the singer, they slowly
move around him while clapping their hands. An Ahellil
performance consists of a series of chants in an order
decided by the instrumentalist or singer and follows an age-
old pattern. The first part, the lemserreh, includes everyone
and encompasses short, well-known chants that are sung
late into the night. The second, the aougrout, concerns only
the experienced performers who continue until dawn. The
tra finishes with daybreak and involves only the most
accomplished performers. This threefold structure is also
reflected in the chant performance, which begins with a
prelude by the instrumentalist, followed by the chorus
picking up certain verses, and ending with it chanting in
whisper and slowly building up into a powerful,
harmonious whole.

17. Opera dei Pupi, Sicilian puppet
theatre Italy
Humanity (originally proclaimed in 2001)
The puppet theatre known as the Opera dei Pupi emerged
in Sicily at the beginning of the nineteenth century and
enjoyed great success among the island’s working classes.
The puppeteers told stories based on medieval chivalric
literature and other sources, such as Italian poems of the
Renaissance, the lives of saints and tales of notorious
bandits. The dialogues in these performances were largely
improvised by the puppeteers. The two main Sicilian
puppet schools in Palermo and Catania were distinguished
principally by the size and shape of the puppets, the
operating techniques and the variety of colourful stage
backdrops. These theatres were often family-run
businesses; the carving, painting and construction of the
puppets, renowned for their intense expressions, were
carried out by craftspeople employing traditional methods.
The puppeteers constantly endeavoured to outdo each
other with their shows, and they exerted great influence
over their audience. In the past, these performances took
place over several evenings and provided opportunities for
social gatherings. The economic and social upheavals
caused by the extraordinary economic boom of the 1950s
had a considerable effect on the tradition, threatening its
very foundations. At that time, similar forms of theatre in
other parts of Italy disappeared, some of them to re-emerge
some twenty years later. The Opera dei Pupi is the only
example of an uninterrupted tradition of this kind of
theatre. Owing to current economic difficulties puppeteers
can no longer make a living from their art, prompting them
to turn to more lucrative professions. Tourism has
contributed to reducing the quality of performances, which
were previously aimed at a local audience only.

18. Canto a tenore, Sardinian pastoral
songs
Italy
proclaimed in 2005)
Canto a tenore has developed within the pastoral culture of
Sardinia. It represents a form of polyphonic singing
performed by a group of four men using four different
voices called bassu, contra, boche and mesu boche. One of
its characteristics is the deep and guttural timbre of the
bassu and contra voices. It is performed standing in a close
circle. The solo singers chants a piece of prose or a poem
while the other voices form an accompanying chorus. Most
practitioners live in the region of Barbagia and other parts
of central Sardinia. Their art of singing is very much
embedded in the daily life of local communities. Often it is
performed spontaneously in local bars called su zilleri, but
also at more formal occasions, such as weddings,
sheepshearings, religious festivities or the Barbaricino
carnival. The Canto a tenore encompasses a vast repertoire
that varies within Sardinia. The most common melodies are
the serenade boche ’e notte (’the voice of the night’) and
dance songs such as the mutos, gosos and ballos. The
lyrics are either ancient or contemporary poems on present-
day issues, such as emigration, unemployment and
politics. In this sense, the songs can be regarded as both
traditional and contemporary cultural expressions. The
canto a tenore is especially vulnerable to socio-economic
changes, such as the decline of the pastoral culture and the
increase of tourism in Sardinia. Performances on stage for
tourists tend to affect the diversity of the repertoire and the
intimate manner this music was performed in its original
context.

19. Mediterranean diet Italy
Humanity
The Mediterranean diet involves a set of skills,
knowledge, rituals, symbols and traditions
concerning crops, harvesting, fishing, animal
husbandry, conservation, processing, cooking, and
particularly the sharing and consumption of food.
Eating together is the foundation of the cultural
identity and continuity of communities throughout
the Mediterranean basin. It is a moment of social
exchange and communication, an affirmation and
renewal of family, group or community identity.
The Mediterranean diet emphasizes values of
hospitality, neighbourliness, intercultural dialogue
and creativity, and a way of life guided by respect
for diversity. It plays a vital role in cultural spaces,
festivals and celebrations, bringing together people
of all ages, conditions and social classes. It
includes the craftsmanship and production of
traditional receptacles for the transport,
preservation and consumption of food, including
ceramic plates and glasses. Women play an
important role in transmitting knowledge of the
Mediterranean diet: they safeguard its techniques,
respect seasonal rhythms and festive events, and
transmit the values of the element to new
generations. Markets also play a key role as spaces
for cultivating and transmitting the Mediterranean
diet during the daily practice of exchange,

20. Traditional agricultural practice of cultivating the
‘vite ad alberello’ (head-trained bush vines) of the
community of Pantelleria
Italy
Inscribed in 2014 (9.COM) on the Representative List of
the Intangible Cultural Heritage of Humanity
The traditional practice of cultivating head-trained bush
vines (''vite ad alberello'') is transmitted through
generations of vine growers and farmers of the
Mediterranean island of Pantelleria. About 5,000
inhabitants own a plot of land, which they cultivate using
sustainable methods. The technique consists of several
phases. The ground is prepared by levelling the soil and
digging a hollow to plant the vine. The main stem of the
vine is then carefully pruned to produce six branches,
forming a bush with a radial arrangement. The hollow is
constantly reshaped to ensure the plant is growing in the
right microclimate. The wine grapes are then harvested by
hand during a ritual event starting at the end of July. The
vine-growers and farmers of Pantelleria, male and female,
practice ''vite ad alberello'' under harsh climatic
conditions. The knowledge and skills of bearers and
practitioners are handed down in families through oral and
practical instruction in the local dialect. In addition, rituals
and festivals organized between July and September allow
the local community to share this social practice. The
people of Pantelleria continue to identify themselves with
vine growing and strive to preserve this practice.

1. Promoting Israeli Amateur Performing Arts (EHEVI)
Israel
Founded in June 2011, EHEVI has set itself the objective
of promoting, developing, and fostering all forms of
amateur performing arts in Israel.
EHEVI is active in various amateur performing arts, such
as dance troupes, vocal troupes, folk troupes, musical
ensembles, theatre troupes, rock bands, and so forth.
EHEVI’s activities include artist workshops, troupe
conventions, study days, professional camps,
competitions, event production, and additional activities
that contribute to the preservation and fostering of the
diverse cultural traditions in Israeli society, and bring
them to Israel’s artistic center stage.
EHEVI is a continuation and evolution of the Israel
Association of Community Centers’ LEHAVA Project,
whose objectives were identical to those of EHEVI.
The LEHAVA Project was founded and operated by the
present directors of EHEVI for about twenty years as part
of the Israel Association of Community Centers, a
government company that operates more than 160
community centers all over Israel, until about two years
ago, when its activities were transferred to the newly
founded EHEVI Association.
Throughout all its activities, EHEVI maintains an ongoing
dialogue and productive collaborations with government
ministries, social organizations, and local authorities
(including the Israel Ministry of Culture and Sport, the
Israel Ministry for Senior Citizens, the Israel Ministry of
Immigrant Absorption, the Israel Association of
Community Centers, the Israel Choreographers
Association, and Tarbut le Israel/Culture for Israel
Association).

2. Dabke
Palestin
Baqoun Dabkka Group
Baqoun is one of the most famous groups on the
local and national level. The group performs under
the umbrella of Beit Sahour Municipality and has
achieved a lot on the international level through its
participations in major international events aside
from the local level. the idea of Baqoun Folklore
Dance Group was emerged by a group of who loved
"dabke" and look forward to give some
performances based on the musical heritage of the
Palestinian in one hand and the arabs in other
hand, then operate it in visual images. Baqoun use
various folkloric dances, these dances express
different approaches and values as they are chosen
carefully by the members depending on the
occasion that they participate in.
These dances vary in its messages, value and
description. There are dances that express
happiness, hope and joy. While other dances
express tradition and customs and talk about how
beautiful these customs are and how important it
is to the community. Baqoun also uses traditional
dances that talk about politics as these songs
describe the political situation, the braveness of
the people in fighting against sorrow and
oppression.

Almond Blossom Festival ICH UNESCO elements

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