Representative List

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Representative List

CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE

INTERGOVERNMENTAL COMMITTEE FOR THE

SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE

Twelfth session

Jeju Island, Republic of Korea 4 to 8 December 2017

Nomination file no. 01297

for inscription in 2017 on the Representative List of the Intangible Cultural Heritage of Humanity

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A. State(s) Party(ies)

For multi-national nominations, States Parties should be listed in the order on which they have mutually agreed.

Cuba

B. Name of the element

B.1. Name of the element in English or French

Indicate the official name of the element that will appear in published material.

Not to exceed 200 characters

Punto

B.2. Name of the element in the language and script of the community concerned, if applicable

Indicate the official name of the element in the vernacular language corresponding to the official name in English or French (point B.1).

Not to exceed 200 characters

Punto

B.3. Other name(s) of the element, if any

In addition to the official name(s) of the element (point B.1) mention alternate name(s), if any, by which the element is known.

Punto Cubano, Punto Guajiro

C. Name of the communities, groups or, if applicable, individuals concerned

Identify clearly one or several communities, groups or, if applicable, individuals concerned with the nominated element.

Not to exceed 150 words

Through history, the element has been typical in the countryside among peasants, though its practice has currently extended to the rest of the sectors of the population. Families knowledgeable in the genre form bands, make their own instruments, organize and promote performances. Among the most outstanding, both professionals and non-professionals, groups of improviser poets, composers and instrumentalists are: Villa Cucalambeana de Máximo Gómez, in Matanzas; the family Vazquez, in Madruga, Mayabeque; Villa de la Décima Cubana in Limonar, Matanzas; the Torres family in Mantanzas; the family Rodriguez Iznaga in Havana; the Trimiño family and its Criollo Quintet in Villa Clara; the Parranda Espirituana in Sancti Spíritus; familily of Bandos Azul y Rojo de Majagua in Ciego de Ávila; the Cumanay band in Cienfuegos; the Varela Miranda family and the Ochoa family in Santiago de Cuba; the families that maintain the tradition of parrandas in the centre of the country.

D. Geographical location and range of the element

Provide information on the distribution of the element within the territory(ies) of the submitting State(s), indicating if possible the location(s) in which it is centred. Nominations should concentrate on the situation of the element within the territories of the submitting States, while acknowledging the existence of same or similar elements outside their territories, and submitting States should not refer to the viability of such intangible cultural heritage outside their territories or characterize the safeguarding efforts of other States.

Not to exceed 150 words

Punto is practiced all around the country, though each region shows unique and at the same

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time diverse features. Estimates based on inventory show there are more than 30000 practitioners bearers in the 15 provinces of the country, namely Pinar del Río, Artemisa, Mayabeque, La Habana, Matanzas, Cienfuegos, Villa Clara, Sancti Spiritus, Ciego de Ávila, Camagüey, Las Tunas, Holguín, Granma, Santiago de Cuba, Guantánamo, and the special municipality of the Isle of Youth. This cultural expression is found in the Diaspora as well.

E. Contact person for correspondence

E.1. Designated contact person

Provide the name, address and other contact information of a single person responsible for all correspondence concerning the nomination. For multi-national nominations provide complete contact information for one person designated by the States Parties as the main contact person for all correspondence relating to the nomination.

Title (Ms/Mr, etc.): Ms

Family name: Collazo Usallán Given name: Gladys María

Institution/position: President of the National Council for Cultural Heritage

Address: Calle 4, esq. a 13. Vedado. Plaza de la Revolución. C.P. 10400. La Habana. Cuba

Telephone number: 53-7-838-1981

E-mail address: presidencia@cnpc.cult.cu; gladys@cnpc.cult.cu E.2. Other contact persons (for multi-national files only)

Provide below complete contact information for one person in each submitting State, other than the primary contact person identified above.

1. Identification and definition of the element

For Criterion R.1, the States shall demonstrate that ‘the element constitutes intangible cultural heritage as defined in Article 2 of the Convention’.

Tick one or more boxes to identify the domain(s) of intangible cultural heritage manifested by the element, which might include one or more of the domains identified in Article 2.2 of the Convention. If you tick ‘other(s)’, specify the domain(s) in brackets.

oral traditions and expressions, including language as a vehicle of the intangible cultural heritage performing arts

social practices, rituals and festive events

knowledge and practices concerning nature and the universe traditional craftsmanship

other(s) ( )

This section should address all the significant features of the element as it exists at present, and should include:

a. an explanation of its social functions and cultural meanings today, within and for its community, b. the characteristics of the bearers and practitioners of the element,

c. any specific roles, including gender or categories of persons with special responsibilities towards the element,

d. the current modes of transmission of the knowledge and skills related to the element.

The Committee should receive sufficient information to determine:

a. that the element is among the ‘practices, representations, expressions, knowledge, skills — as well as

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the instruments, objects, artefacts and cultural spaces associated therewith —’;

b. ‘that communities, groups and, in some cases, individuals recognize [it] as part of their cultural heritage’;

c. that it is being ‘transmitted from generation to generation, [and] is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history’;

d. that it provides communities and groups involved with ‘a sense of identity and continuity’; and

e. that it is not incompatible with ‘existing international human rights instruments as well as with the requirements of mutual respect among communities, groups and individuals, and of sustainable development’.

Overly technical descriptions should be avoided and submitting States should keep in mind that this section must explain the element to readers who have no prior knowledge or direct experience of it. Nomination files need not address in detail the history of the element, or its origin or antiquity.

(i) Provide a brief summary description of the element that can introduce it to readers who have never seen or experienced it.

Not fewer than 150 or more than 250 words

Punto is the poetry and the music of Cuban peasants; a tune or melody over which a person sings an improvised or learned stanza of ten octameter verse lines called décima with a rhyme scheme in which the first rhymes with the furth and the fifth, the second with the third, the sixth with the seventh and the last and the eighth with the ninth. The accompanying music uses string instruments (lute, tres, guitar, bass), could use clave, güiro or marímbula– and percussion instruments (bongo and conga drum).

It first appeared and developed in rural settlements of both national and immigrants between the 16th and 19th centuries. Literary references date from 1840.

Practitioners discuss topics, events and experiences of daily life.

The canturía, the guateque, and the parranda are the spaces to enjoy and perform the two main variants of Punto: punto libre –tune of free meter– and punto fijo, which can be in key (a tune fixed in time); or crossed (tune that displaces the prosodic stress in sync on the fixed time of the accompanying melody). There are variants in all regions of the country.

It is orally transmitted by imitation from one generation to the other and is constantly recreated by practitioners.

Communities and individuals recognize that Punto is an essential element of the Cuban intangible heritage, closely tied to the sense of national identity which ensures its continuity.

Therefore, it promotes dialogue, respect and diversity and is compatible with existing human rights instruments.

(ii) Who are the bearers and practitioners of the element? Are there any specific roles, including gender or categories of persons with special responsibilities for the practice and transmission of the element? If yes, who are they and what are their responsibilities?

Bearers could be children or elders, illiterate or university graduates, regardless of phenotype, gender or religion. Rural population values it highly both spiritually and culturally as a heritage element. Punto is present in family and social gatherings, in festivals; in homes, plazas or institutions that become spaces for the dissemination of the element and where everyone participates spontaneously and by free will.

Performances (canturías, guateques, festivals, contests) are organized by promoters and institutions responsible for the safeguarding and promotion of the element and in them participate bearers who play various roles: musicians and instrument players, poets, improvisers, composers, etc., who act for a diverse audience. Organizers can also vary depending on the nature (public or private) of the activity, though these are usually bearers of the element, local cultural promoters officials or other groups related to the element.

Organizations, groups or individuals directly responsible for the safeguarding of Punto are scholars, collectors as well as film or documentary makers who systematically carry out research and compile and record documents, audiovisual and sound files; and craftsmen who make the

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music instruments used for the expression.

There are also cultural institutions, centres devoted to music, music agencies and groups who study, dafeguard and promote the element to which a large number of bearers, promoters and reserachers all around the country are associated.

(iii) How are the knowledge and skills related to the element transmitted today?

All knowledge and techniques associated to Punto are transmitted from one generation to the other.

In one method of oral transmission, based on imitation, the bearers and practitioners, musicians, poets, etc., directly teach members of their families or members of the community.

Another method combines oral transmission with a teaching program organised in workshops for children. These workshops are taught by the bearers and practitioners of the element. The program was created by poet Alexis Díaz Pimienta and is taught through games in Houses of Culture all over the country. Workshops include the rules of the décima, techniques for improvising, most common melodies and tunes as well as how to play instruments used for accompanying in Punto, essentially the lute, the guitar and the tres.

These techniques could also be learned by imitation with bearers of the element in festivities and events or in the music schools of the country.

(iv) What social functions and cultural meanings does the element have today for its community?

Punto is a social construction, the knowledge acquired throughout time by practitioners, a way of life and the manner by which feelings, values, identities and behaviours are conveyed. It is at the same time a space which provides and ensures the wellbeing of practitioners, bearers and communities.

Furthermore, Punto is a cultural heritage of great value, which has preserved its features developing them to meet the needs of expression of its bearers and practitioners. The population admires and respects the practitioners, who, in turn, admire, respect and follow the ways learned from those who preceded them and who played a significant role in the preservation of the tradition. This refers not only to those who had become professional artists in their respective territories or the country, but is a cultural behaviour in all the communities that preserve the practice. Performances and presentations teach values, encourage creativity and enjoyment for the art, both among bearers and audiences.

Punto plays a significant role in rituals and other socio-cultural practices of the communities and Cuban society in general. The identity values promoted by the element are so important and high, that it is present in the most significant political commemorations.

Its practice contributes to encourage and safeguard other manifestations related to oral traditions and crafts in festivals, popular festivities and fairs. It contributes to the exchanges with other similar manifestations around the world.

(v) Is there any part of the element that is not compatible with existing international human rights instruments or with the requirement of mutual respect among communities, groups and individuals, or with sustainable development?

Punto, as an expression of the intangible cultural heritage of Cuba, defends the right to cultural diversity, to inclusion based on mutual respect regardless of the person’s physical appearance, gender or religious beliefs and without interventions against man or nature. Both in the family or in the community, its practice aim at strengthening solidarity and ties within groups.

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Performances and art practices transmit and recreate qualities and values of communities.

The practice of the element, its creativity and the transmission to younger generations encourage good relationships between individuals and communities in a festive, creative, participative environment using the improvised variant (or not) of the element as the way of communication between actors and participants which is totally compatible with sustainable development.

Within traditional peasant culture, so diverse in all Cuban regions and communities, Punto has been and continues to be an outstanding element in the social and cultural life of the people.

Punto is respected and accepted by communities and plays an important role in festivities. It is constantly renovated and enriched by the influence of the younger generations while it remains a strong cultural tradition which connects generations and communities.

2. Contribution to ensuring visibility and awareness and to encouragingdialogue

For Criterion R.2, the States shall demonstrate that ‘Inscription of the element will contribute to ensuring visibility and awareness of the significance of the intangible cultural heritage and to encouraging dialogue, thus reflecting cultural diversity worldwide and testifying to human creativity’. This criterion will only be considered to be satisfied if the nomination demonstrates how the possible inscription will contribute to ensuring visibility and awareness of the significance of the intangible cultural heritage in general, and not only of the inscribed element itself, and to encouraging dialogue which respects cultural diversity.

(i) How can inscription of the element on the Representative List contribute to the visibility of the intangible cultural heritage in general and raise awareness of its importance at the local, national and international levels?

The inscription of Punto in the Representative List will contribute to the visibility of the Cuban intangible heritage both in the country and abroad. It will raise awareness on the Cuban peasant culture at the international level and about the cultural values of the element as well as the significant role played by bearers who have transmitted the knowledge throughout the history of the Cuban nation. It would also increase respect for the tradition of Punto and favour the implementation of new inter institutional projects related to Punto, such as academic research projects, work projects, commercial projects that would open new ways for the dissemination of the element.

The inscription of the element could become one more tool that bearer communities and institutions responsible for the safeguarding of the intangible cultural heritage would have in their hands to continue the work.

(ii) How can inscription encourage dialogue among communities, groups and individuals?

Punto is an expression essentially based on dialogue. Its inscription in the Representative List would:

- provide new ways and occasions for exchanges of knowledge between families, institutions, and music groups in the various regions and communities;

- increase the understanding and respect for the creativity and diversity of this form of living art and will help practitioners, bearers, groups and institutions in the dissemination of their art in open spaces both in Cuba and abroad;

- contribute to improve and raise awareness and responsibilities of communities, local authorities and the State in the research, documentation, practice, transmission and study of this element of the intangible cultural heritage;

- contribute to raise awareness among Cubans living in Cuba or living abroad and encourage everyone to feel proud of this element of the intangible cultural heritage, which, in turn, will contribute to its safeguarding, promotion and dissemination.

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(iii) How can inscription promote respect for cultural diversity and human creativity?

The messages transmitted by Punto acknowledge the importance of mutual respect and diversity as conditions for the preservation of coexistence and wellbeing of communities, groups and individuals. Its inscription in the Representative List would:

- confirm the value of the element as cultural manifestation in Cuba and the world, which would encourage communities to continue the practice and promotion of creativity and cultural diversity;

- favour exchange and development of creative aspects of universal culture in a way compatible with the aesthetics and local artistic cultural traditions;

- favour acknowledgement by human groups and communities of the heritage value of the element, which would raise awareness towards its safeguarding and encourage international cooperation to protect, promote and disseminate the intangible cultural heritage of humanity;

- increase respect for the creativity and talent of individuals and communities who practice the element as an expression in constant change and development.

3. Safeguarding measures

For Criterion R.3, the States shall demonstrate that ‘safeguarding measures are elaborated that may protect and promote the element’.

3.a. Past and current efforts to safeguard the element

(i) How is the viability of the element being ensured by the concerned communities, groups or, if applicable, individuals? What past and current initiatives have they taken in this regard?

The viability of Punto is ensured through transmission, research, promotion and safeguarding:

1. Transmission of Punto through education

Punto is transmitted from one generation to the other through imitation. Since 2001, transmission is also carried out through the Specialized Workshops for Improvisation.

2. Research (identification, documentation)

Punto as an expression of the Cuban intangible cultural heritage is inventoried by the National Council of Houses of Culture, the National Council for Cultural Heritage, the Institute for Cultural Research Juan Marinello and other research centres to identify and study the characteristics of the element in the various regions. Two examples of this research work are the Atlas Etnográfico de Cuba: cultura popular tradicional (Ethnographic Atlas of Cuba: Traditional Popular Culture) (2000) and the Atlas de los Instrumentos de Música folclórico-popular de Cuba (Atlas of Instruments of Cuban Folk and Popular Music) (1997). This research work, carried out by archivists, also ensures the viability of Punto through publications and various other communication media (text, sound, photographs, audiovisual). Particularly important are the records treasured by individuals as part of the collective memory of communities and groups.

3. Promotion, safeguarding and revitalization

Aimed at promoting, safeguarding and revitalizing Punto, seminars, workshops, contests, festivals and events are organized in the country by promoters, institutions and organizations of peasants to generate spaces for the exchange between bearers, scholars and others aimed at fostering the transmission of Punto.

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Tick one or more boxes to identify the safeguarding measures that have been and are currently being taken by the communities, groups or individuals concerned:

transmission, particularly through formal and non-formal education identification, documentation, research

preservation, protection promotion, enhancement revitalization

(ii) How have the concerned States Parties safeguarded the element? Specify external or internal constraints, such as limited resources. What are its past and current efforts in this regard?

The Cuban State, through its Ministry of Culture has the mission of safeguarding the expressions of the nation’s cultural heritage and of designing a cultural policy that meets the particular needs of each community. In spite of the limited resources, the State has earmarked a budget to institutions whose aim is safeguard Punto.

The Commission for the Safeguarding of the Intangible Cultural Heritage was created in 2004 to design, implement and monitor the adequate application of the strategy for the safeguarding of the intangible cultural heritage of the country.

The Cuban State ensures the dissemination of the element through the media. An occupational category has been assigned to the work of the practitioner bearer of the element, thus turning the element into a way of living for many.

The Project of the Specialized Workshops of Improvisation and Music Accompaniment for Children was created through the Ibero-American Centre for Décima and Improvised Poetry, where children and teenagers learn about the element. Professors-practitioners are remunerated by the State.

Institutions and/or agencies that work with the element organise festivals, contests and other events to reinforce the safeguarding of Punto. Furthermore, extra funds are allocated for research, inventories and documentaries.

The State, as part of its cultural policy, and in compliance with Act No.1 on the Protection of the Cultural Heritage and Resolution 126/04, declared Repentismo — an essential part of Punto—

Cultural Heritage of the Cuban Nation in 2012.

Tick one or more boxes to identify the safeguarding measures that have been and are currently being taken by the State(s) Party(ies) with regard to the element:

transmission, particularly through formal and non-formal education identification, documentation, research

preservation, protection promotion, enhancement revitalization

3.b. Safeguarding measures proposed

This section should identify and describe safeguarding measures that will be implemented, especially those intended to protect and promote the element. The safeguarding measures should be described in terms of concrete engagements of the States Parties and communities and not only in terms of possibilities and potentialities.

(i) What measures are proposed to help to ensure that the element’s viability is not jeopardized in the future, especially as an unintended result of inscription and the resulting visibility and public attention?

Current viability of Punto depends on the design of an adequate strategy for the safeguarding of the element taking into account the diversity of characteristics of the element in the country, as well as consensus of all the institutions created for the study, promotion and safeguarding of the

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element with the initiative of the communities, groups and individuals who work, reproduce, transmit and recreate the element.

Some of the measures should aim at:

- adequately identify the element, collect the information and obtain the consent of the population which safeguards the element;

- draft a plan for the publication and dissemination of Punto targeting communities and audiences in general to be implemented by institutions, as well as both territorial and national services;

- increase the number of radio and TV programs that promote the element in the territories;

- continue to implement the policy for the economic remuneration to artists, practitioners and bearers of heritage cultural elements and group them in state-funded Artists’ Agencies;

- broadcast and disseminate educational programs to inform the young people and raise their awareness with regards to the element, stressing, at the same time, the values of Punto and the possible threats against it;

- continue to develop the weekly broadcast through the most important TV channel of the program “Palmas y Cañas” which has been disseminating for over 50 years not only this element, but other genres of peasant music; continue to broadcast and disseminate similar programs on the territorial radio stations which feature practitioners and bearers of this type of music, especially the element; continue the work to expand radio broadcasts of the element;

- continue to work with centres funded by the State aimed at studying, revitalising, disseminating and safeguarding Punto, such as the Ibero-American Centre for Décima and Improvised Poetry, the Ibero-American House for Décima “Cucalambé” in Las Tunas, the Casa Naborí in Limonar, Matanzas; the Casa of Décima in Mayabeque; the House of Décima Celestino García in Pinar del Río; the Experimental Chair of Oral Improvised Poetry at the University of the Arts, among others;

- continue the joint work of the Cuban Institute of Music and the Ibero-American Centre for Décima and Improvised Poetry in obtaining the consent and participation of the bearer community as part of the project Programme for the Development of Decima and Punto Cubano for the approval and inclusion in the programs of the Cuban Institute of Music to encourage and increase the commitment of the State in the safeguarding of the element.

Among other steps adopted are:

- promote all kinds of public activities in cultural spaces identified within the communities with the bearers of the element;

- establish alliances between national and foreign institutions dedicated to the study and dissemination of improvised oral poetry;

- hold festivals for children, teenagers and young people as a way to promote and disseminate the tradition of the element from a young age;

- foster exchange among scholars and communities bearer of the element;

- increase dissemination of the element through the media;

- encourage research on the element in universities, organise talks and lectures on Punto;

- permanently update the presence of the element through national and provincial Websites to promote a greater visibility of the element through social networks;

- hold and promote international events and foster participation in such events, both in the country and abroad as a way to promote the intangible cultural heritage of the country;

- include in the school programs of the general and specialised educational system (art schools) topics related to the element so that students, from a young age, can acquire knowledge on the Intangible Cultural Heritage.

Institutions shall also encourage cooperation among archivists and private collectors towards the preservation of the collective memory of the element as well as make the element accessible to

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the general audiences and the younger generations.

Protect Punto as an expression of the intangible cultural heritage from risks and false treatments within a society immersed in tourist consumption closer to stereotypes rather than the conscious creation of heritage.

(ii) How will the States Parties concerned support the implementation of the proposed safeguarding measures?

The State ensures the implementation of safeguarding measures allocating part of the state budget to such work. Furthermore, specialised centres are also allocated funds to meet their social object of study, safeguarding and dissemination of the element.

In addition, as part of the cultural policy, the State establishes the presence of the element in the cultural programming at all levels, thus contributing to its dissemination and development through its practice and for the enjoyment of the communities. The State also allocates means and funds for the implementation of activities in which all the variants and modalities of punto guajiro are present.

The State ensures the inclusion of safeguarding measures in the plans of artistic, recording, TV and film companies and agencies assigning theses funds for the implementation of such measures.

Likewise, the State ensures the inclusion of punto guajiro in the school programs of Art Schools, as well as the instruments to play the element, the history, playing techniques and so, which, in turn, also ensures the development of the element.

(iii) How have communities, groups or individuals been involved in planning the proposed safeguarding measures, including in terms of gender roles, and how will they be involved in their implementation?

Communities, groups and individuals from the civil society together with the Ministry of Culture, the National Council for Cultural Heritage, the Ibero-American Centre for Décima and Improvised Poetry, the National Council of Houses of Culture, the Centre for the Research and Development of Cuban Music and other cultural institutions have started the process for the nomination of Punto to the Representative List. This work, with the consent of practitioners, has resulted in the proposed safeguarding measures against risks and threats.

In the process of inventorying, bearers and practitioners of Punto have expressed their opinions and suggested some of the measures to be adopted for its safeguarding. Participants in the process have received training on the principles of the 2003 UNESCO Convention, and, in turn, they have conveyed the information to their local communities.

The measures proposed show the concerns and ideas of communities, groups and individuals who transmit enjoy and promote Punto in the country, because they have the knowledge of what are the realities of the element, and therefore, they can discuss the challenges the element faces. Thus, the communities suggest and propose measures for the safeguarding of the element and the way in which they think such measures should be best implemented.

Practitioners promote the spaces for the dissemination and transmission of the element in their own presentations with the support of the communities that at the same time receive and disseminate that knowledge.

3.c. Competent body(ies) involved in safeguarding

Provide the name, address and other contact information of the competent body(ies), and if applicable, the name and title of the contact person(s), with responsibility for the local management and safeguarding of the element.

Name of the body: National Council for Cultural Heritage. Ministry of Culture Name and title of

the contact person: Gladys María Collazo Usallán. President

Address: Calle 4, esq. a 13. Vedado. Plaza de la Revolución. C.P. 10400. La Habana. Cuba

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Telephone number: 53-7-838-1981

E-mail address: presidencia@cnpc.cult.cu; gladys@cnpc.cult.cu Name of the body: National Council for Houses of Culture. MINCULT

Name and title of

the contact person: Anilia Moreno. President

Address: Calle Obispo y Bernaza. La Habana Vieja, C.P. 10100. La Habana. Cuba Telephone number: 537 8671227

E-mail address: anilia@cncc.cult.cu Name of the body:

Name and title of the contact person:

Address:

Telephone number:

E-mail address:

Ibero-American Centre for the Décima and Improvised Poetry Luis Paz. Director

Calle A entre 25 y 27. Vedado. La Habana 737 8375195

titopapillo@cubarte.cult.cu Name of the body:

Address:

Telephone number:

E-mail address:

Centre for Research and Development of Cuban Music Laura Vilar. Director

Calle G, entre 23 y 21. Vedado. La Habana. Cuba.

537 8304290

cidmuc@icm.cult.cu Name of the body:

Address:

Telephone number:

E-mail address:

Ibero-American Centre for Décima Juan Cristobal Napoles Fajardo «El Cucalambé,» in Las Tunas

Ramón Batista. Director

Calle Colón 146 entre Julián Santana y Francisco Vega, Las Tunas (536) 31-347380 / 371289

cdecima@tunet.cult.cu Name of the body:

Address:

Telephone number:

E-mail address:

Casa Naborí, in Limonar, Matanzas Orismay Hernández. Director

Calle Daniel González 22, entre Domingo Mujica y Máximo Gómez, Limonar, Matanzas

(045) 235289

limonar@atenas.cult.cu Name of the body:

Address:

Telephone number:

E-mail address:

House of the Décima in Mayabeque Lázaro José Palenzuela. Director

Calle 90 entre 84 y 86, Edificio Campo Amor, Güines. Mayabeque (537) 47-525367

ke80@nauta.cu / lcpalenzuela4@gmail.com Name of the body:

Address:

House of the Décima Celestino García Lorenzo Suárez. Coordinator

Pinar del Río

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4. Community participation and consent in the nomination process

For Criterion R.4, the States shall demonstrate that ‘the element has been nominated following the widest possible participation of the community, group or, if applicable, individuals concerned and with their free, prior and informed consent’.

4.a. Participation of communities, groups and individuals concerned in the nomination process

Describe how the community, group or, if applicable, individuals concerned have participated actively in preparing and elaborating the nomination at all stages, including the role of gender.

States Parties are encouraged to prepare nominations with the participation of a wide variety of all concerned parties, including where appropriate local and regional governments, communities, NGOs, research institutes, centres of expertise and others. States Parties are reminded that the communities, groups and, in some cases, individuals whose intangible cultural heritage is concerned are essential participants throughout the conception and elaboration of nominations, proposals and requests, as well as the planning and implementation of safeguarding measures, and are invited to devise creative measures to ensure that their widest possible participation is built in at every stage, as required by Article 15 of the Convention.

The nomination of Punto to the Representative List of the Intangible Cultural Heritage of Humanity goes through several stages, which have been developed jointly by several cultural institutions together with the communities, groups and individuals bearers and practitioners of the element and, of course, with their consent. Practitioners, the Ministry of Culture, the National Council for Cultural Heritage, the Ibero-American Centre for Décima and Improvised Poetry and the national Council for Houses of Culture, the Centre for Research and Development of Cuban Music, as well as provincial and municipal entities in Cuba have prepared the various stages of the nomination:

I Stage

Identification of the various factors that influence the development and safeguarding of Punto (communities, groups, individuals, specialised centres, research agencies, administrative bodies, marketing agencies, organisations of the civil society) both at the local and at the national levels.

II Stage

Revision of the inventories of Punto as an expression of the intangible cultural heritage in the various centres for research and promotion of the element. Assessment of the conditions and identification of the need to have an updated national inventory of Punto.

III Stage

Designing a schedule for the pre-inventory work in agreement with the 2003 UNESCO Convention; elaboration of the nomination dossier and the inventories in workshops in the three regions of the country (West-Centre-East); obtaining consent.

IV Stage

Raise awareness among communities, groups and individuals and obtain consent of the communities towards the nomination. This stage was carried out by the Group (Band) Guijarro of the National Council for Houses of Culture and specialists from the Ibero-American Centre of Décima and Improvised Poetry, scholars, photographers, film and documentary makers and members of groups and non-government associations related with Punto.

This group was trained in the elaboration of a nomination dossier to the Representative List, and was responsible for holding systematic meetings to discuss the nomination dossier with poets, melody composers, interpreters, parranderos, musicians, promoters, audiences, scholars, as well as specialists, executives and officials from institutions in charge of watching for the safeguarding of the element.

A number of artists practitioners of the element in many areas have transmitted information and contributed with their comments to the survey previous to the inventory and have provided their consent to the safeguarding, the transmission and the practice of the element. They have also contributed documents and testimonies and have urged young bearers to participate actively in the nomination process.

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4.b. Free, prior and informed consent to the nomination

The free, prior and informed consent to the nomination of the element from the community, group or, if applicable, individuals concerned may be demonstrated through written or recorded concurrence, or through other means, according to the legal regimens of the State Party and the infinite variety of communities and groups concerned. The Committee will welcome a broad range of demonstrations or attestations of community consent in preference to standard or uniform declarations. Evidence of free, prior and informed consent shall be provided in one of the working languages of the Committee (English or French), as well as the language of the community concerned if its members use languages other than English or French.

Attach to the nomination form information showing such consent and indicate below what documents you are providing, how they were obtained and what form they take. Indicate also the gender of the people providing their consent.

Communities, groups and individuals lovers and protectors of Punto, which comprise artists, poets, improvisers, musicians, interpreters, writers, composers, parranderos, promoters, scholars, who are proud of being the bearers and practitioners of an element which transmits, protects and safeguards the national identity of our people, its achievements and conquers, have expressed their support to the nomination of Punto for its inscription in the Representative List of the Intangible Cultural Heritage of Humanity through their opinions, autographs, archival documents, photographs and providing access to all the essential information needed for the nomination dossier.

Attached to this nomination dossier are documents which prove the meetings held with the communities, groups and individuals which evidence their free, prior and informed consent on the nomination.

Attached also is the written document of consent of the Ibero-American Centre for Decima and Improvised Poetry.

Attached as well is the written document of consent of the National Commission for the Safeguarding of the Intangible Cultural Heritage of Cuba.

Attached is the written document of consent of the Centre for the Research and Development of Cuban Music.

Attached is the written document of consent of the National Council for Houses of Culture.

Attached is the Resolution of the Declaration of Repentismo as intangible cultural heritage of the Cuban nation.

4.c. Respect for customary practices governing access to the element

Access to certain specific aspects of intangible cultural heritage or to information about it is sometimes restricted by customary practices enacted and conducted by the communities in order, for example, to maintain the secrecy of certain knowledge. If such practices exist, demonstrate that inscription of the element and implementation of the safeguarding measures would fully respect such customary practices governing access to specific aspects of such heritage (cf. Article 13 of the Convention). Describe any specific measures that might need to be taken to ensure such respect.

If no such practices exist, please provide a clear statement that there are no customary practices governing access to the element in at least 50 words

Punto is accompanied by music to express, through a stanza or verse of ten octameter lines called décima, feelings, knowledge, ways of life, values and opinions of the communities, groups and individuals. It is improvised, usually chanted, though it could be occasionally recited, always generating an act of communication with others, with an audience who memorises, repeats and appropriates of the poetry, both in public and private spaces. The text of the poetry is transmitted orally from one generation to the other and then recreated and incorporated in the collective memory where it belongs to all.

Access to popular poetry f the Cuban peasant, improvised, chanted or recited is not limited by any usual practice neither dictated nor controlled by the communities.

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4.d. Concerned community organization(s) or representative(s)

Provide detailed contact information for each community organization or representative, or other non-governmental organization, that is concerned with the element such as associations, organizations, clubs, guilds, steering committees, etc.:

a. Name of the entity

b. Name and title of the contact person c. Address

d. Telephone number e. E-mail

f. Other relevant information

National Council for Cultural Heritage President: Gladys Collazo Usallán

Calle 4, esq. a 13. Vedado. Plaza de la Revolución. C.P. 10400. La Habana. Cuba (537) 838 1981 ; (537) 833 4193

presidencia@cnpc.cult.cu

Ibero-American Centre for the Décima and Improvised Poetry Director: Luis Paz Esquivel

Calle A No. entre 25 y 27. Vedado, La Habana (537) 8375195

titopapillo@cubarte.cult.cu

Other relevant information: Coordinates and methodologically advises together with other cuktural institutions, specialized workshops on improvisation for children which are held systematically in several provinces.

Ibero-American Centre for Décima in Tunas Director: Ramón Batista

Calle Colón 146 entre Julián Santana y Francisco Vega, Las Tunas (537-31)347380 / 371289

cdecima@tunet.cult.cu

Other relevant information: Organizes the Ibero-American Festival of Décima and Improvised Poetry, the Jornada Cucalambeana and the Justo Vega Contest of Improviser Poets.

Casa Naborí

Director : Orismay Hernández

Daniel González 22 entre Domingo Mujica y Máximo Gómez, Limonar, Matanzas (537) 45-235289

Other relevant information: Organizes every year two of the most important contests of Cuban improvising poets: the Francisco Pereira National Contest of Young Improviser Poets, and the Pablo Luis Álvarez Wicho National Contest of Improviser Poets.

House of Décima Celestino García. Community Project Coordinator: Lorenzo Suárez Crespo

Pinard el Río (537) 48-

House of Décima of Mayabeque Director: Lázaro Palenzuela

Calle 90 entre 84 y 86, Edificio Campo Amor, Güines. Mayabeque (537) 47-525367

ke80@nauta.cu / lcpalenzuela4@gmail.com Cuban Institute of Music

President: Orlando Vistel Columbié

Calle F esq a 15. Vedado. Plaza de la Revolución, C.P. 10400. La Habana. Cuba (537) 8323503/ al 05

presidente@icm.cu

Centre for the Research and Development of Cuban Music

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Director: Laura Vilar

Calle G, No 505 entre 21 y 23, Vedado. Plaza de la Revolución, C.P. 10400. La Habana. Cuba (537) 830 80 15 ; (537) 8304290

cidmuc@icm.cult.cu

Other relevant information: Co-author of the Atlas of Instruments of Folk and Popular Music of Cuba.

National Council for Houses of Culture Director: Anilia Moreno

Calle Obispo y Bernaza. La Habana Vieja, C.P. 10100. La Habana. Cuba (537) 867 1394; (537) 867 1209

anilia@cncc.cult.cu

Centre for Research and Development of Cuban Culture Juan Marinello Ditrector: Elena Socarrás

Avenida Rancho Boyeros, No.63, entre Bruzón y Lugareño. Plaza de la Revolución, C.P. 10400.

La Habana. Cuba

(537) 877 5770; (537) 877 5771

cidcc@cubarte.cult.cu; direccion@icic.cult.cu Cuban Institute of Anthropology

Director: Estrella González Noriega

Calle Amargura No. 203, entre Habana y Aguiar. La Habana Vieja. C.P. 10100. La Habana.

Cuba

(537) 8607836 ican@ceniai.inf.cu

National Museum of Music Director: Jesús Gómez Cairo

Obrapía No. 509, entre Bernaza y Villegas. Habana Vieja, C.P. 10100. La Habana. Cuba (537) 863 0052

gomezcairo@cubarte.cult.cu Fernando Ortiz Foundation President: Miguel Barnet

Calle L, entre 25 y 27. Plaza de la Revolución, C.P. 10400. La Habana. Cuba (537) 832 4334

ffortiz@cubarte.cult.cu

Association of Musicians of the Union of Artists and Writers of Cuba President: Guido López Gavilán

Calle 17, esquina a H. Plaza de la Revolución, C.P. 10400. La Habana. Cuba (537) 832 0194

musicos@uneac.co.cu Cubadisco International Fair President: Osmani López Castro

Calle E, No.425, entre E y F. Plaza de la Revolución, C.P. 10400. La Habana. Cuba (537) 836 7436; (537) 833 9697

osmani@icm.cu

Association of Young Artists "Hermanos Saíz"

President: Rubiel García González

Pabellón Cuba. Calle 23, entre N y M. Plaza de la Revolución, C.P. 10400. La Habana. Cuba (537) 835 3767; (537) 835 1712

presidencia@ahs.cu

5. Inclusion of the element in an inventory

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For Criterion R.5, the States shall demonstrate that ‘the element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention’.

a. Indicate below:

 when the element has been included in the inventory, which should be prior to the submission of the nomination to the Secretariat (31 March),

 its reference,

 the inventory in which the element has been included,

 the office, agency, organization or body responsible for maintaining that inventory,

 how the inventory has been drawn up ‘with the participation of communities, groups and relevant non- governmental organizations’ (Article 11(b) of the Convention), and including in terms of the role of gender

 how the inventory is regularly updated (Article 12 of the Convention).

b. Documentary evidence shall also be provided in an annex demonstrating that the nominated element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention; such evidence shall include a relevant extract of the inventory(ies) in English or in French, as well as in the original language if different. The extract should be, for example, the inventory record or file for the nominated element, including its description, location, community(ies), viability, and so on. It may be complemented by a reference below to a functioning hyperlink through which such an inventory may be accessed, but the hyperlink alone is not sufficient.

The nominated element’s inclusion in an inventory should not in any way imply or require that the inventory(ies) should have been completed prior to nomination. Rather, a submitting State Party may be in the process of completing or updating one or more inventories, but has already duly included the nominated element on an inventory-in-progress.

Punto was inventoried for the preparation of the Atlas de los instrumentos de la música folclórico-popular de Cuba (Atlas of the Instruments of Folk and Popular Music of Cuba) (1997) and the Atlas etnográfico de Cuba: cultura popular tradicional (Ethnographic Atlas of Cuba:

Popular and Traditional Culture) (2000) by the Institute for Cultural Research Juan Marinello, the Centre for the Research and Development of Cuban Music, the National Council for Houses of Culture and the Cuban Institute of Anthropology. There are also national, provincial, municipal and local cultural institutions dedicated to the promotion, study and safeguarding of the intangible cultural heritage that systematically take actions in the communities to update the information.

With the proposal by the communities for the nomination of the element as Cultural Heritage of the Cuban Nation, and the nomination to the Representative List, the National Council for Cultural Heritage, the Ibero-American Centre for Decima and Improvised Poetry, the National Council for Houses of Culture, the Centre for the Research and Development of Cuban Music, the Casa Naborí, the Ibero-American House of Decima in Las Tunas, the House of Décima in Mayabeque and the House of Décima Celestino García in Pinar del Río have prepared and carried out workshops for the elaboration and updating of inventories of Punto by communities taking into account the renovating nature of the element.

Local cultural institutions are responsible for periodically updating the information. The inventory of Punto in Cuba is being updated.

6. Documentation

6.a. Appended documentation (mandatory)

The documentation listed below is mandatory and will be used in the process of evaluating and examining the nomination. The photographs and the video will also be helpful for visibility activities if the element is inscribed. Tick the following boxes to confirm that related items are included with the nomination and that they follow the instructions.

Additional materials other than those specified below cannot be accepted and will not be returned.

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documentary evidence of the consent of communities, along with a translation into English or French if the language of concerned community is other than English or French

documentary evidence demonstrating that the nominated element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention; such evidence shall include a relevant extract of the inventory(ies) in English or in French, as well as in the original language if different

10 recent photographs in high definition

cession(s) of rights corresponding to the photos (Form ICH-07-photo)

edited video (from 5 to 10 minutes), subtitled in one of the languages of the Committee (English or French) if the language utilized is other than English or French

cession(s) of rights corresponding to the video recording (Form ICH-07-video) 6.b. Principal published references (optional)

Submitting States may wish to list, using a standard bibliographic format, principal published references providing supplementary information on the element, such as books, articles, audio-visual materials or websites. Such published works should not be sent along with the nomination.

Not to exceed one standard page.

1. Abraham Morales. El análisis de las estructuras del mensaje poético en los diferentes niveles de sensibilidad”, en Textos y contextos, Editorial Arte y Literatura, La Habana, 1986 2. Acosta, Leonardo. Otra visión de la música popular cubana. Letras Cubanas, La Habana, 2004.

3. Aja Díaz, Antonio. La emigración cubana entre dos siglos en Revista Temas, No26, La Habana, 2001.

4- Alen, Olavo, et al. «La música en las áreas rurales, líneas de desarrollo y perspectivas», en Temas, no. 4, La Habana, 1985: 53-82

5. Ardévol, José. Música y Revolución. Ediciones Unión, La Habana, 196

6. Bohannan, Paul y Mark Glazer. Antropología, Lecturas. Editorial Félix Varela, La Habana, 2005.

7. Carpentier, Alejo. La música en Cuba. Editorial Letras Cubanas, La Habana, 1979.

8.- CIDMUC: Música popular tradicional de Cuba (Edición mimeografiada) v. 3, 1987.

9.____________: Instrumentos de la música folclórico-popular de Cuba (Vol 2). La Habana, Editorial de Ciencias Sociales, 1997, 2 v.

10. Colombres, Adolfo. Celebración del lenguaje. Buenos Aires, Ediciones del Sol, 1997.

11. Colombres, Adolfo. Oralidad y Literatura oral en Revista Oralidad. Anuario para el rescate de la tradición oral en América Latina, No9, 1998.

12. Compilación de trabajos. La luz de tus diez estrellas. Memorias del V Encuentro-Festival Iberoamericano de la Décima. Editorial Letras Cubanas, La Habana, 1999.

13. Della Valle, Giuliana y David Mitrani Cuba Improvisa. Antología del repentismo cubano.Ed Gorée s.r.l. Iesa (SI) via dell´Arco 2006 Italia.

14.-Díaz Ayala, Cristóbal: Música cubana. Del Areyto a la Nueva Trova (2da. ed.). San Juan, Cubanacán, 1984.

15.- Díaz-Pimienta, Alexis: Teoría de la improvisación poética (3ra ed. ampliada y corregida).

Almería, Scripta Manente, 2014.

16.-____________: “Apuntes para un estudio diacrónico del repentismo en Cuba.

ʽGeneracionesʼ y ʽpromocionesʼ que marcaron su evolución en el siglo XX”, en http://www.lehman.cuny.edu/ciberletras/v07/pimienta.html.

17.-____________: “¿Cómo ʽnaceʼ un repentista? Metodología para la enseñanza de la improvisación poética” (Primera versión). Centro Iberoamericano de la Décima y el Verso

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Improvisado. Folleto metodológico para los Talleres de Repentismo Infantil [s.p.i].

18.-Diccionario de la Música Española e Hispanoamericana, 10 t., SGAE, Madrid, 1999-2000.

19.- Domingo, Jorge. La nostalgia implacable. Los poetas cubanos en el exterior y los recuerdos de la tierra natal en SIC, No9, 2001.

20.- Eli, Victoria, et al. Instrumentos de la música folklórico-popular de Cuba. ATLAS, 3 t.

Editorial de Ciencias Sociales y Ediciones Geo, La Habana, 1997.

21-Esquenazi Pérez, Martha: “Algunos criterios acerca de la forma y estructura en el canto del campesino cubano”, en Música (La Habana), n. 50, 1975, pp. 17-27.

22.- ____________: “El punto guajiro”, en Revolución y Cultura (La Habana), n. 47, junio, 1976, pp. 28-35.

23.-. Feijóo, Samuel. Sabiduría guajira. Editorial Universitaria, La Habana, 1965.

24.-Feliú Herrera, Virtudes: Fiestas y tradiciones cubanas. La Habana, Centro de Investigación y Desarrollo de la Cultura Cubana Juan Marinello, 2003.

25.-____________: España en la savia de Cuba. Los componentes hispánicos en el etnos cubano. La Habana, Ediciones Cidmuc, 2013.

26.- Fornet, Ambrosio. Soñar en cubano, escribir en inglés: una reflexión sobre la tríada lengua-nación-literatura en Revista Temas, No10, 1997.

27. García García, Fernando. La brevedad de lo eterno. La décima en Matanzas 1797-2008.

Ediciones Matanzas 2008. Matanzas.

26. Garriga, Silvana. Panorama de la música popular cubana. Editorial Letras Cubanas, La Habana, 1998.

28.-Guanche, Jesús. «Aspectos geográficos y cartográficos de la décima popular cubana», en La décima popular en la tradición hispánica, Actas del Simposio Internacional sobre la décima, Las Palmas de Gran Canaria, 1994: 257-264.

29.---. Cultura popular tradicional cubana. Nomencladores de dos Atlas culturales, Editorial Adagio, La Habana, 2011: 174 pp.

30.-Guanche, Jesús y Carmen Ma. Sáenz Coopat. El programa de desarrollo cultural en las áreas rurales de Cuba como vía para la satisfacción de las necesidades de la juventud en el campo. CIDMUC, La Habana, 1988, 18 p.; y en Temas, no. 17, La Habana, 1989: 119-133.

31. Hernández Martínez, Jorge. Emigración y ciencias sociales: notas para una discusión sobre la identidad cubana en Cultura e Identidad Nacional. Ediciones UNION, 1995.

32.- Hens Porras, Antonio; Juan Carlos García Guridi y María Teresa Linares Savio: La poesía popular (La décima improvisada en Cuba), [Córdoba] Diputación de Córdoba, [s.f].4.-

33.- León, Argeliers. Un caso de tradición oral escrita. Oralidad, La Habana, no 1, 1988.

34.---. Del canto y el tiempo. La Habana, Pueblo y Educación, 1974.

35.-____________ : Un marco de referencia para el estudio del folklore musical en el Caribe.

La Habana, Universidad de La Habana, 1974.

36.-____________: Música guajira. La Habana, Universidad de La Habana, 1974.

37.-Linares Savio, María Teresa: La música popular. La Habana, Instituto del Libro, 1970.

38.-____________: El punto cubano. Santiago de Cuba, Oriente, 1999.

39.-____________: “La música campesina, la infantil y las ediciones musicales en Cuba socialista”, en La cultura en Cuba socialista. La Habana, Letras Cubanas, 1982.

40.-____________: “El punto cubano”, en María Teresa Novo y Rafael Salazar: La décima hispánica y el repentismo musical caribeño. [Caracas], Universidad de Oriente, Comisión V Centenario, Fundación Tradiciones Caraqueñas, 1998.

41.-____________: “La tonada campesina y la décima cubana”, en Nuestro Tiempo (La Habana), a. 4, n. 17, mayo-junio, 1957.

42.-____________: “Ensayo sobre la influencia española en la música cubana”, en Pro-Arte

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Musical. Separata (La Habana), mayo, 1958.

43.-____________: “La décima y el punto en el folclor de Cuba”, en Música (La Habana), n. 31, 1972.

44.-____________ Y Faustino Núñez: La música entre Cuba y España. Madrid, Fundación Autor, 1998.

45.-López Isla, Mario Luis: Décimas con gofio y tabaco. El viaje de ida y vuelta del punto cubano a Canarias. Santa Cruz de Tenerife-Las Palmas de Gran Canaria, Benchomo, 2006.

46.-López Lemus, Virgilio: La décima. Panorama breve de la décima cubana. La Habana, Academia, 1995.

47.-____________: La décima constante. Las tradiciones oral y escrita. La Habana, Fundación Fernando Ortiz, 1999.

48.-Menéndez Alberdi, Adolfo: La décima en escrita. La Habana, Ediciones Unión, 1986.

49.-Ramos Venero, Zobeyda: “Integración musical caribeña de fuerte antecedente hispánico. El complejo genérico del galerón en Venezuela. El complejo genérico del punto en Cuba”. Tesis de Licenciatura en Musicología, La Habana, ISA, 1987.

50.-____________: Puntos y tonadas. La Habana, Ediciones Cidmuc, 2013.

51.-Ruiz, Yarelis: “El punto espirituano de los hermanos Sobrino desde 1922 hasta 1956”. Tesis de Diploma, Licenciatura en Musicología. La Habana, ISA, 2010.

52.-Sáenz, Carmen María y Laura Vilar Álvarez: “Estudios musicológicos provincia La Habana”.

La Habana, Cidmuc, 1989 (inédito).

53.-. López Lemus, Virgilio. Oro, Crítica y Ulises o creer en la poesía. Editorial Oriente, Santiago de Cuba, 2004.

54.- López Lemus, Virgilio. Aguas tributarias. Ediciones Unión, La Habana, 2003.

55.- Martí Fuentes, Adolfo. Alrededor del punto. Editorial Letras Cubanas, La Habana, 1996 56.- Menéndez Pidal, Ramón. Poesía popular y poesía tradicional en la Literatura española. En los romances de América y otros estudios. Buenos Aires, Espasa-Calpe, 1948.

57.- Navarro, Wendy. Criaturas de islas en Arte Cubano, No1, 1996.

58. Nápoles Fajardo, Juan Cristóbal (El Cucalambé). Poesías Completas. Editorial Arte y Literatura, La Habana, 1977.

59. Orta Ruiz, Jesús (El Indio Naborí). Décima y folclor. Ediciones Unión, La Habana, 2004 60. Paz, Octavio. El Arco y la Lira. El poema. La revelación poética. Poesía e historia. Fondo de Cultura Económica, México, 1956.

61.- Pérez Cassola, Sonia. Música campesina. Raíz y fuente viva. En periódico Cubadisco 2010. La Habana.

62.____________________ Tradición y novedad en Barbarito Torres. En Clave Año 8, No 2-3.

CIDMUC. La Habana.

63. __________________ Soy la décima Guajira. Nota musicológica. CD 0947 EGREM. La Habana, 2008.

64. __________________Original de Cuba. Celina González. Nota Musicológica. CD EGREM 2008

64. ___________________ Eliades Ochoa. En Cinco leyendas. Nota musicológica. 5Cds Egrem. 2008. La Habana.

64.__________________Parrandeando entre las lomas. Nota musicológica Cds-DVD 097 BIS MUSIC. La Habana 2009.

65.__________________Concierto de las multitudes. Nota musicológica. Cds-DVD 035 BIS MUSIC . La Habana. 2011.

66. Tápanes, Patricia. El Arte de la Fugacidad. Ediciones Instituto de Investigación Cultural Juan Marinello. 2008. La Habana.

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67. Trapero, Maximiano. El libro de la décima. La poesía improvisada en el mundo Hispano.

Universidad de las Palmas de Gran Canaria. Cabildo Insular de Gran Canaria, UNELCO, 1996.

68. Vera Estrada, Ana. La Oralidad: ¿ciencia o sabiduría popular?. Catedra de Oralidad Carolina Poncet. Centro de Investigación y desarrollo de la Cultura Cubana “Juan Marinello”, La Habana, 2004.

69. Vitiér, Cintio. Lo cubano en la poesía. Editorial Letras Cubanas, La Habana, 1998, DOCUMENTS IN WEBSITES:

70. Anal, Mariano. Nostalgia

71. Cantizano Márquez, Blasina. Poesía y música, relaciones cómplices. Universidad de Almería, 2006.

72. Pérez Cassola, Sonia. Las Parrandas Guajiras.La Parranda de Los Sánchez y la Parranda de Florencia. Página Web del Consejo Nacional de Casas de Cultura. 2014.

73. _________________Ella es la música guajira. Dossiers La Jiribilla. CUbarte. La Habana.www.epoca2.lajiribilla.cu/articulo/9738/ella-es-la-musica-guajira .

74. Zires, Margarita. De la voz, la letra y los signos audiovisuales en la tradición oral contemporánea en América Latina: algunas consideraciones sobre la dimensión significante de la comunicación oral. Universidad Autónoma Metropolitana Unidad Xochimilco en Revista

“Razón y Palabra”, No15, agosto-octubre 1999.

75. www.diversarima.cu 76. www.aladecima.cu 77. www.oralitura.com

Materiales sonoros y audiovisuales:

78. Soy la décima Guajira. CD0947. Egrem y MINCULT 2008.

79. Parrandeando entre las lomas. 2Cds-DVD 027. Bismusic y CNCC. 2009

80. Concierto de las multitudes. 2Cds-DVD 035 Bismusic y CNCC. La Habana 2011

81. Ortodecimante. 40 reglas ortográficas en décimas cantadas. Cd 939-DVD 027-Libro Bismusic y CNCC. La Habana 2014.

82. Tonadas Campesinas. 3Cds 256 Colibrí - CIDMUC- CIDVI 2013. La Habana.

83. Leyendas de la música Campesina. Cd-DVD 016. Bismusic 2008. La Habana.

83. Punto Cubano. DVD 0031. Mundo Latino y Egrem 2007. La Habana.

7. Signature(s) on behalf of the State(s) Party(ies)

The nomination should conclude with the signature of the official empowered to sign it on behalf of the State Party, together with his or her name, title and the date of submission.

In the case of multi-national nominations, the document should contain the name, title and signature of an official of each State Party submitting the nomination.

Name: Gladys Collazo Usallán

Title: President of the National Council for Cultural Heritage Date: January 2016

Signature: <signed>

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Name(s), title(s) and signature(s) of other official(s) (For multi-national nominations only)