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. 01286

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.

Islamic Republic of Iran and Azerbaijan

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

Art of crafting and playing with Kamantcheh/Kamancha, a bowed string musical instrument B.2. Name of the element in the language and script of the community concerned,

if applicable

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

Not to exceed 200 characters

In Persian:

یا هشرآ یهز زاس کی ،هچنامک اب یگدنزاون و تتخاس رنه honar-e sāxt va navāzandegi bā kamānče, yek sāz-e zehi-ye ārše’i

In Azerbaijani:

Əyilmiş çubuqla ifa edilən kamança simli musiqi alətinin hazırlanma və ifaçılıq sənəti 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.

Iran:

The classical and folkloric variations of the musical instrument that plays a pivotal role in the ICH element nominated herewith are referred to with the following names (transcribed using the official transcription system for Iranian languages):

Classical (mainly used in urban/classical music of Iran, especially to play the “Radif (repertoire) of the Iranian Classical Music)":

Kamānče «هچنامک»

Folkloric (mainly used in folkloric music of three localities in Iran):

Tāl (Lorestan: West of Iran) «لات»

Qičāq (Torkaman Sahra: North-east of Iran) «قاچیق»

Kamānče (Azarbayjan: North-west of Iran) «تهچنامک»

Note: The official name of the instrument («تهچنامک» in Persian writing system, to represent a word meaning “little bow”) has been transliterated or transcribed differently in different books and articles published on the subject (e.g. "Kamantcheh", "Kamantche", "Kamancheh", "Kamanche",

"Camancheh", "Camanche", and "Kamānče"). The first word in the list above was found as the most frequently used transliteration, and, as a result, was selected as the English word for the official name of the instrument in the text of the present nomination. However, some of the consent documents annexed to the present nomination, may be found as having used another transliteration or transcription. It is, hereby, certified that all of the mentioned transliterations and

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transcriptions on the consent documents annexed herewith refer to the same musical instrument, and are equivallents for "Kamantcheh".

(For the community and geographical domain specifications, cf. C and D below.) Azerbaijan

In the Republic of Azerbaijan, the musical instrument playing the central role in practice and transmission of the element is mainly referred to as “kamança”, which in English can be spelled as ‘kamancha’.

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

In Iran, the following are woth mentioning:

(a) Classical/Folkloric Kamantcheh craftspeople

Many workshops in the Capital, supported by governmental organizations(e.g.ICHHTO, Iran's Museum of Music), or owned by individual masters(e.g.Hatami Family), produce

Classical/Folkloric(cf.B.3 & 1) Kamantchehs.

Provincial workshops, especially in Lorestan, produce Classical/Folkloric instruments, too(e.g.Mohammad Hassan Kakavand's and Maleki Family's Kamantcheh Workshops).

(b)Classical/Folkloric Kamantcheh Players

Classical playing method, trained at private institutes or cultural institutions, is popular in major cities, including Tehran, Isfahan, Shiraz, and Sanandaj, where Davood Ganje'i, Ali Akbar Sekarchi, Ardeshir Kamkar, and Sa'id Farajpoori, among others, train pupils academically.

Folkloric methods are practiced in Lorestan, Torkaman Sahra, and Azarbayjan. Hosseyn Ali Khosravi, Akbar Manoochehri, Mohammad Mohsenpoor, Faraj Alipoor are masters of this category.

In the Republic of Azerbaijan, kamancha tradition is practised by numerous craftsmen, amateurs and professional players. The art of making kamancha is mostly individual or family–

involved field of craftsmanship. The community of kamancha players comprises numerous practitioners scattered around the country, including Mirnazim Asadullayev, Arif Asadullayev, Munis Sharifov, Musa Yaqubov, Agamir Hasanov, Aghajabrayil Abbasaliyev, Elnur Ahmadov, etc. Some of them form unions (e.g. Development and Teaching of Azerbaijani Music NGO).

Performers’ community is also represented by kamancha teachers and students in numerous music schools and Azerbaijan National Conservatoire. Finally, amateurs of kamancha music who regularly listen to kamancha music or attend kamancha performances represent the largest part of the community.

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

In Iran the element’s geographical location and range are as follows:

(a) Classical Kamantcheh craftsmanship/playing

Nowadays, Classical Kamancheh is crafted, mostly, in Tehran and Lorestan (a western province, with prominent Kamantcheh music). However, the classical playing method is practiced and taught all over the country. Iranian Music bands utilize Kamantcheh as a major component of the

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orchestra.

(b) Folkloric Kamantcheh craftsmanship/playing

Folkloric Kamantcheh(cf.1) is crafted in Tehran and Lorestan, and is mainly played by Azari's of Azarbayjan(North-west), Lor's of Lorestan(West), and Turkmen of Torkaman Sahra(North-east).

In the Republic of Azerbaijan kamancha tradition widely exists both in the capital city– Baku, and in other regions including Nakhchivan, Ganja, Sheki, Guba, Karabakh, Lenkoran and others.

Craftsmen families are mainly in villages, while individual performing amateurs and professional performers reside both in rural and urban areas. Children music schools teaching kamancha performance exist in the cities of Baku, Mingechavir, Ganja, Guba, Khachmaz, Sheki, Lenkaran and many others. For many Azerbaijani amateur and professional performers and listeners in Azerbaijan or abroad, this musical tradition gained its reputation of a specific folk art and gives strong sense of cultural belonging.

In Iraq, Tajikistan, Turkey, Turkmenistan and some other Middle Eastern and North African countries, practitioners craft and play similar string bowed instruments. In some of these countries, communities even use the same name (Kamantcheh/kamancha) for them, with sometimes different pronunciations.

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.): Mr

Family name: PIRNIAKAN Given name: Daryoush

Institution/position: Head of Public Relations Section, Iran House of Music

Address: No. 270, Corner of Jamaalzaade Str, Dr. Faatemi Ave, Tehran, Iran Telephone number: +98-21-66917711&2,

E-mail address: [email protected] Other relevant

information: Fax number: +98-21-66902146 Postal code: 1416843811 PO Box: 141557977

Editors of the Nomination File:

Team of Drafters (Alphabetical order):

- Farzane ALIZADE (Researcher, Musician) - Mehdi FALLAH SAFA (Researcher, Musician) - Babak KHAZRA'I (Researcher, Musician) - Behrang NIKAYIN (Researcher, Musician) - Azar POORBAHRAM (Researcher, Musician) - Behrooz VOJDANI (Researcher, Anthropologist) Supervisor:

- Daryoosh PIRNIYAKAN (Lecturer on Music, Musician) Technical Advisor:

Tehran ICH Centre represented by:

- Katherine AZAMI (ICH Expert)

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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.

Title (Ms/Mr, etc.): Mr

Family name: Eyvazzade Given name: Vasif

Institution/position: Director of International Cooperation Department, Ministry of Culture and Tourism, Azerbaijan

Address: 40, U.Hajibeyov str., Government House, Ministry of Culture and Tourism, Baku AZ 1000, Republic of Azerbaijan

Telephone number: + 994 12 493 65 38, + 994 12 493 02 33 E-mail address: [email protected]

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 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.

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(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

The art of crafting and playing with Kamantcheh/kamancha (“little bow”), a bowed string instrument, has exsited for more than 1,000 years. In Iran and Azerbaijan, types of this art constitute major elements of classical and folkloric Music. Classical Iranian Music refers to the urban music with “Radif” repertoir; the Folkloric Kamantcheh Music refers to the mainly rural musical traditions of Azarbayjan, Lorestan, and Torkaman Sahra.

In both countries, contemporary practitioners mainly make and use four string Kamantcheh/kamancha composed of a body (chamber, neck and pegs) and a bow with horse- hair. Some Folkloric variants with two or three strings are also popular in Lorestan, Azarbayjan, or Torkaman Sahra, Iran(also, cf.D).

Craftsmanship starts with choosing wood material. Craftspeople use walnut and/or mulberry for the body, and cornel for the bow. In Azerbaijan, only ball-shaped resonating chambers are crafted. Iranian communities produce the following resonating chambers/sound-boxes:

1-Pošt-baste("closed in the back"):A hollow oval with sheep-skin;

2-Pošt-bāz("open in the back"):A half-cone, with sheep-skin on one end.

Craftspeople create a bowl and a round fingerboard, and unite them with an iron billow that ends up with a base shaft at the bottom. The chamber’s open side is covered with sturgeon, catfish, sheep or bovine bubble skin. They very often inlay the body with mother-of-pearl or other materials to express and mark different motifs and add their personal touch to the external decoration. In Iran, calligraphy, wood carvings, or inlayed jewels and shells are also practiced.

The instrument rests on the base shaft and stands vertically on performer's lap or beside them;

performers move the bow horizentally on the strings, and pivote Kamantcheh round the shaft to facilitate transfers on the strings. Kamantcheh/kamancha produces strong and subtle sounds, close to human voice with the sound diapason ranging from small octave ‘A’ to the third octave

‘A’. Players perform large works and etudes using various performing techniques, individually or as part folk orchestras. Generations of performers have left invaluable heritage of Kamantcheh/kamancha works, which are reproduced by young performers, adding their own playing dynamics and colouring. Transmitted from generation to generation at professional and amateur levels, within families or professional education institutions, this art brings together a large community of Kamantcheh/kamancha music lovers and listeners and continues to be a marker of cultural belonging.

(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?

The Kamantcheh/kamancha bearer/practitioner community consists of craftspeople, amateur or professional performers, and teachers and students of Kamantcheh/kamancha(both women and men). Crafting and/or performing this art, as a hobby or profession, is a matter of personal choice. Kamantcheh/kamancha crafters hold the main role in producing, renovating, mending and decorating the instrument. Master craftspeople pass down their knowledge to family members or trainees.

The community of performers consists of numerous professional performers, teachers of children’s and higher musical educational schools who practice this performing art as a profession. This category of bearers (‘Ostaad’ in Persian and ‘ustad’ in Azerbaijani) plays a vital role in transmitting the performance knowledge and skills to the younger generation, orally or with notation systems. They combine teaching and transmitting the skills with public performing (concerts, festivals, TV broadcasts) and/or private events (weddings and other social gatherings). Some of them have even elaborated their own performing style; they often have their individual level of mastery and artistic stance. Students of children’s schools choose to learn and perform the instrument whether for professional or amateur purposes. Students of higher educational institutions usually perform for professional purposes only.

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In Iran, master practitioners of the last 70 years include Late Ostaad Ali Asghar Bahaari, Keyhan Kalhor, Darvish-reza Monazzami, Mohammad Moghaddasi, Hadi Montazeri, Ehsan Zabahifar, Reza Parvizzadeh, Shervin Mohajer, Mehdi Bagheri, and Navid Dehghan, also Elmira Mardane and Negar Kharkan among women. In Azerbaijan, such performers as Habil Aliyev, Mirnazim Asadullayev, Arif Asadullayev, Munis Sharifov, Aghajabrayil Abbasaliyev, Elnur Ahmadov and craftsmen Musa Yaqubov and Agamir Hasanov are highly respected as connoisseurs, guardians and teachers.

Crafting skills are oral in nature. Three prominent master craftspeople of the past 50 years in Iran have been Ostaad Ebrahim Ghanbari Mehr, and Behzad Yahaqqi, and Mrs. Leyla Kakavandi.

Amateurs of Kamantcheh/kamancha music who enjoy Kamantcheh/kamancha music by great masters represent the largest community. For many Iranians and Azerbaijanis living abroad, the music of Kamantcheh/kamancha represents a strong element of cultural identity and belonging.

In Iran, male and female bearers and practitioners of Folkloric Kamantcheh arts in Lorestan, Azarbayjan, and Torkaman Sahra constitute the local community. The categories described above among craftspeople and performers exist here, too; and prominent masters continute to practice the arts and transmit them: e.g. Kakavand and Kakavandi families in Lorestan.

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

The knowledge and skills related to crafting of Kamantcheh/kamancha is transmitted from master to apprentice, or father to son, through informal practical training. The apprentice usually watches and imitates his or her master, and/or assists in some aspects. Crafting skills are transmitted through oral communication, observation, and participation, memorisation of skills and application of techniques and experimentation.

In Iran, Ostaad Bayaaz Amir-ataayi’s workshop is especially famous. The Kakavandi Family workshop in Lorestan, is a well-known provincial workshop, where the family was granted UNESCO Certificate, and where Mrs. Leila Kakavandi is continuing with crafting Classical and Folkloric Kamantches. Among historical manuscripts on Kamantcheh craftsmahship "Kanz al- Tuhaf, a manuscript on Music"(14th Century) is worth mentioning. Naaser Shiraazi has, recently, published a book on this topic.

Today the knowledge of performing and playing Kamantcheh/kamancha is transmitted both within families and state-sponsored musical institutions, including children’s musical and art schools, musical colleges, and higher educational institutions. Transmission within families usually happens in the families of great Kamantcheh/kamancha performing masters who seek to transmit their knowledge and performing style to their children. Transmission in musical institutions is carried out by teachers who work with groups of students.

The knowledge is transmitted in two ways: traditional oral, and through written notation system.

The oral method is applied with teaching techniques, etudes, and repertories of Kamantcheh/kamancha music orally. Some trainees make records of sessions, to better memorize the lessons. The second method consists in applying European notation system, with special symbols added to it. The trainees are taught to position right and left hands, keep the bow in the right way, play specific music scales and imitate performing techniques and styles.

Transmission starts with performing simple folk music etudes: the teacher performs a fragment, and the student imitates. Teachers instruct each student individually while other students listen.

Students and trainees within families widely use guide-books, software, recordings, or listen to TV-/radio-performances of Kamantcheh/kamancha masters. Excellent performance of highly complex music pieces, improvisation techniques and personalized style of the play are considered as signs of great skill of Kamantcheh/kamancha performance.

Knowledge about cultural functions of Kamantcheh/kamancha arts and importance of the music in promoting cultural identity is transmitted from generation to generation within families in all strata of society in Iran and Azerbaijan.

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

The Kamantcheh/kamancha art is an essential part of musical culture in both the Islamic Republic of Iran and the Republic of Azerbaijan. Craftspeople are highly respected for their mastery and their stance within communities. While crafting the instrument represents a direct source of earning the living, craftspeople perceive this art as a strong part of the ICH that the communities have inherited from the past and strive to contribute to its development and safeguarding. They use various decorative symbols for the instrument linked to the life and history of the local communities they belong to. These craftspeople are constantly consulted by master musicians, trainers, and players regarding appropriateness of initiatives on the sound and form of the instrument to meet the needs of trainees, including children and women.

Kamantcheh/kamancha performance finds its essential place a wide number of social and cultural gatherings, such as festivities, wedding ceremonies, contests, festivals and competitions of the performers. In Iran, players from Lorestan region perform an open-ended kamantcheh which has the loudest sound and is easily recognized in crowded festive events. Kamantcheh performance is vital in Kheymeshab-baazi (“Iranian puppet theatre”) and Namaayesh-e Ruhowzi or Siyaah-baazi (“Iranian traditional comic theatre”), where the music accompanies the performances. In Lorestan, Torkaman Sahra, and Azarbayjan regions, playing methods, melodies and intervals reinforce identities of the local ethnic communities. In both countries, kamancha performers accompany dance festivities and folk songs. Performers also often play Kamantcheh/kamancha in solo performances, where their virtuoso skills can be best shown.

Every genre of Kamantcheh/kamancha performance used during a social gathering depends on its nature and the public: Kamantcheh/kamancha music performed at rural weddings creates lively environment for the celebration, while it leaves highly emotional impression and expresses sorrow when played at mourning events. In both countries, performers in their music convey a rich collection of themes, from mythological and gnostic to comic. In joyful and dance gatherings performers use the instrument to play “rengs” (‘joyful melodies’). Local story-tellers (e.g.

Turkmen performers of Turkaman Sahra, or Lor communities of Lorestan, Iran) use kamantcheh/kamancha performance in heroic, mythological, or love stories. Many people (amateurs, listeners), keep Kamantcheh/Kamancha at home: they may play it, or just keep it as a decorative element, to show their tribute to the culture they belong to.

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(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?

The tradition of crafting and performing with Kamantcheh/kamancha does not contradict any international instrument related to Human Rights or the requirements for mutual respect between the communities, groups and individuals or criteria and principles of sustainable development.

The element fully respects the principle of gender equality in both Iran and Azerbaijan, as women and men equally can be craftspeople, performers, amateurs and listeners of the art.

Practitioners of the element belong to different religions and ethnic groups.

In both countries the element is among important shared cultural features that contribute to the rapproachement of communities that speak different languages, live in diffrerent regions and cultural contexts, and have different traditions or religions. These communities have always been in contact with one another, and have respected each other’s traditions and folk music.

Kamantcheh/kamancha craftspeople are respected for their mastery and art. They, eagerly, communicate their experiences with crafts-people and musicians from other regions. Bayaz Amir Atayi’s workshop in Tehran enjoys the frequent cooperation with Kamantcheh craftspeople, where they exchange experiences. The Azerbaijani performer Mirnazim Asadullayev from capital city Baku is constantly in contact with the crafting master Agamir Hasanov from Shusha (Karabakh). At a number of occasions, performers from both countries have had a chance to visit and play for each other’s audience and be warmly received by local communities, thus reinforcing the cultural links between practitioner communities and raising awareness about this shared ICH. Bearing quite extensive social and cultural functions, the element could not have survived without mutual respect among ethnic and social communities.

The craftmanship does not cause any damage to natural resources. Kamantcheh/kamancha craftspeople use very often, as raw material, dead tree trunks, or wooden remains of old constructions that are of no other use The craftspeople have expressed, during the nomination process, their wish to avoid massive uncontrolled production of the instrument as a result of the inscription, which might lead to the decrease of traditional crafting and use of substitute materials. This concern has been into account in the elaboration of the safeguarding measures.

Finally, the frequent performances in the course of the past years, in which performers from Iran and Azerbaijan joined to perform together, point to the mutual respect between communities of two nations for their shared ICH.

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 Kamantcheh/kamancha crafting and performing arts on Representative List will raise visibility of other forms of ICH, especially those linked to traditional craftsmanship and performing arts. It will raise awareness at different levels. At the local level, as the element widely accompanies social activities, the inscription will allow for greater visibility of ICH elements that have impact on local community interaction and social cohesion. It will reinforce local cultural exchanges between craftspeople and performers of other similar ICH elements. At the national levels in both submitting countries, the inscription will further raise awareness about other forms of living heritage shared by communities belonging to different religions and

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ethnicities. In Iran the inscription is expected to promote awareness among people on the significance of ICH domains other than social practices. In Azerbaijan it will also further promote the concept of ICH among communities, experts and public authorities, still relatively new.

Finally, at the international level, the inscription will allow for greater awareness about numerous other ICH expressions shared by communities of both Iran and Azerbaijan. It will create opportunities for wider cultural links and deeper cooperation between the two countries at community and government levels. Awareness is expected to be raised on significance of traditions linked to bowed instruments internationally.

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

The international inscription of the element will pave the way for stronger cultural ties and dialogue between craftspeople and performers constantly involved in joint practice. It will encourage them to share skills, knowledge, safeguarding and transmission experiences.

Kamantcheh/kamancha performers travel; the inscription will promote dialogue between performers and audiences in different regions and countries. The peculiarities will encourage dialogue, and will prepare ground for rapprochement.

The inscription will further promote interactions between amateur and professional performers of Azerbaijan and Iran. It will reinforce inter-generational dialogue, within families of performers, and between trainers and trainees in both formal and non-formal training conditions.

Through the music of Kamantcheh/kamancha, bearers express their ‘inner voice’, thoughts and sentiments of solidarity, conviviality, sorrow, sadness and respect to cultural roots at various cultural occasions, including festive or mourning events. The inscription will demonstrate how an ICH element can bring people together to perceive and share their common sentiments.

The deeply-rooted dialogue between Classical and Folkloric Kamantcheh traditions provided the present nomination with its initiative. The Inscription will be an achievement in a joint safeguarding project with universal significance, in which bearers and practitioners of both traditions have participated. They will be encouraged to continue transmitting their ICH, and to participate in further cooperative endeavors. The initial inter-community dialogue is believed to continue, and a constructive inter-generational dialogue is expected to result.

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

The ICH element nominated is highly diverse, and manifests in different forms with peculiarities.

The related arts have been enriched for centuries by bearer/practicing religious or ethnic communities, living in different geographical or climatic localities, each with varieties of utilizable raw materials. Crafters make use of communal or personal taste to practice decorative motives and styles on different parts of the instrument (sometimes even engraving lines in prose or verse). The inscription will demonstrate how ICH helps communities recognize and accept each other’s peculiarities. When made visible, the vertical method of playing Kamantcheh/kamancha combined with turning the instrument slightly round the base-shaft while playing will raise awareness about diversity of bowed instrumental music worldwide.

The inscription will further promote respect for the creativity among amateur and professional craftspeople and performers. It will foster improvisation styles and encourage performers to enrich existing repertoires creatively. It will encourage craftspeople to continue with creating instruments for the convenience of children and women.

In both countries, Kamantcheh/kamancha craftsmanship and music are highly diversified. Full- size and 3/4-size two-to-six-string Kamantchehs, Bass, Alto, and "Shah-kaman"(a unique sound- box) are popular. Smaller instruments are for the convenience of children. The diversity provides performances with varied accents. The method of Iranian communities to craft Classical Kamantcheh sound-box by assembling thin strips of wood, called “Tarke”, is another instance of

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creativity and diversity in crafting the instrument.

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?

In both countries, communities have taken the following efforts to support the element’s viability:

Iran

1) Transmission: voluntary transmission of the crafting and performance methods, especially to family members, mainly in local communities in Lorestan, Azarbayjan, and Torkaman Sahra;

attracting more women and children as trainees; master bearers conducting training sessions at private music institutes and Iran House of Music(IHM); giving master-classes on advanced techniques at Arasbaran Institute(Tehran); providing content to training books and software for children and young-adults; crafting 3/4 size Kamantchehs for children;

2) Identification, documentation, research: participation in comparative research on traditional methods, with the help of practitioners; supporting "living human treasure" bearers in Lorestan, Azarbayjan, and Torkaman Sahra, to guarantee the knowledge transmission;

3) Preservation, protection: Late Ostaad Ali Asghar Bahari, and other master musicians' efforts of more than four decades to encourage co-existence and constructive accompaniment of Kamantcheh and violin in works of Music; IHM's providing social security services for Kamantcheh practitioners, to encourage safeguarding of the practice at the local level;

4) Promotion, enhancement: producing Kamantcheh Music albums at private institutes, e.g.

"Mahoor"; collaboration of craftspeople at workshops at Iran Museum of Music and ICHHTO, in training young female and male pupils; supporting young craftspeople to establish new private Kamantcheh workshops.

Azerbaijan

The viability of the element has been actively supported due to the fact that craftspeople and performers have always enjoyed support from performance audiences and listeners-amateurs of kamancha music. During the last several decades, masters Musa Yaqubov and Agamir Hasanov have been particularly active in transmitting kamancha craftsmanship by setting up training workshops. The transmission of kamancha performance was significantly enhanced by Azerbaijani composer U.Hajibayli in 1930s, who gave a detailed description of the kamancha, its sound structure and performance capacities. He was the first to invite kamancha performers to folk orchestras created at that time. This contributed significantly to the development of the kamancha performing art in the subsequent period.

Master Artist Habil Aliyev has played exceptional and important role in the promotion of kamancha performance and its safeguarding. Such master performers as Shafiga Eyvazova, Fakhraddin Dadashov, Mirnazim Asadullayev, Munis Sharifov, Agajabrayil Abbasaliyev, Elnur Ahmadov, Arif Asadullayev and others play kamancha for their audiences, promote the performing art in many regions of the country and abroad.

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

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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 two states have taken the following measures to support the Element’s viability:

Iran

Iran's broadcasting corporation(IRIB), ICHHTO, municipalities, Ministry of Culture and Islamic Guidance(MCIG), Ministry of Science, Research and Technology(MSRT), and Ministry of Education(MoE) have been involved in the safeguarding:

1) Transmission: establishment of MCIG Training Centre, with special programmes on Kamantcheh(MCIG); increasing number of Kamantcheh classes at private music institutes(MCIG); inclusion of Kamantcheh craftsmanship and music among schools and universities training programmes(MSRT,MoE,MCIG);

2) Identification, documentation, research: conducting ethnographic/documentation/research projects on Kamantcheh(ICHHTO:Research Institute);

3) Preservation, protection: establishment of two Kamantcheh craftsmanship workshops in Tehran (ICHHTO, Municipality of Tehran:Iran Museum of Music); inscription of Kamantcheh craftsmanship and performance on Iran's National Inventory List of ICH(ICHHTO,IHM);

4) Promotion, enhancement: TV and radio programmes on Kamantcheh; production of Kamantcheh music for TV series, documentaries (IRIB); granting UNESCO Award of Excellence for Handicrafts to Kamantcheh craftspeople(2010 onwards)(ICHHTO, UNESCO Tehran Cluster Office); establishment of libraries, institutes for musical activities, and concert halls, with special programmes/sections for Kamantcheh(municipalities);

Scarcity of craftsmanship workshops in some regions has been the only constraint. Currently, MCIG studies methods of overcoming this constraint.

Azerbaijan

Safeguarding of kamancha art is one of the priorities of State cultural policy at various levels.

Being in charge of the implementation of the 2003 Convention, Ministry of Culture and Tourism has actively supported national competitions for young kamancha performers. Master performers are regularly invited to cultural activities, concerts, public and festive events and gatherings organized by the Ministry in the capital, other regions and abroad. It is important to note that the introduction of kamancha performance into the curricula of all state-sponsored music educational institutions has contributed greatly to the viability of the element. Government bodies have actively supported research works on kamanacha tradition, such as “Use of the kamancha and its performance modalities” (by Yagut Kerimova), “Performance forms in the kamancha art” (by Arif Asadullayev) and many others. Financed by local authorities, the famous state-financed workshop in Shusha (Karabakh) has, over the last few decades, attracted young talented craftspeople to kamancha tradition and supported transmission efforts. Many professional kamancha performers have been given by the Government important honorary titles, prizes and students for their long years’ services for safeguarding the element and thus supporting the intangible heritage of Azerbaijan.

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

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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?

The craftspeople, performers, bearers, national and local authorities and NGOs of both countries have planned the following activities for effective safeguarding of Kamantcheh/Kamancha arts.

The two States have planned to allocate funds and mobilize sufficient human resources to support and implement these measures:

1. Transmission; education; capacity building.

1.1. Elaboration of state programme on kamancha performance for public musical schools, which will reinforce formal transmission of performance skills and will include training of kamancha teachers, improvement of curriculum and technical facilities of schools, and development of notation books (State concerned: Rep. of Azerbaijan; Timeline: 2017-2021;

Budget: 125000 USD)

1.2. Organizing annual seminars on Kamantcheh Music and Craftsmanship, to provide cultural planners, as well as the bearers and practitioners of the element with the latest experiences, to collaborate on planning and executing effective and realistic medium- and long-term programmes for the safeguarding and transmission of the element (State concerned: Islamic Rep. of Iran; Timeline: 2017-2020; Budget: 130000 USD);

1.3. Through involving Clubs of Culture in Baku, Shirvan, Nakhichevan and Ganja (Rep.of Azerbaijan), creation of kamancha performance centres for non-formal transmission. The centres will be managed by kamancha master performers who will set up, on annual basis, groups of trainees joining in to learn kamancha performance voluntarily, with no age restrictions.

(State concerned: Rep. of Azerbaijan; Budget: 95000 USD annually)

1.4. Establishment of five Kamantcheh craftsmanship workshops at ICHHTO Provincial Directorates in Isfahan, Fars, Mazandaran, Kordestan, and Kerman (Islamic Rep.of Iran). These regions enjoy great interest of the local population to Kamantcheh art and have no such workshops. As a result, trainees are obliged to travel frequently to far-away cities to procure or repair their instruments. (State concerned: Islamic Rep. of Iran; Timeline: 2017-2020; Budget:

170000 USD);

1.5. Organizing five master-class workshops by master performers in each submitting country to strengthen capacities of Kamantcheh/kamancha performance, under the supervision of master musicians and local bearers and practitioners (State concerned: Islamic Rep. of Iran, Rep. of Azerbaijan; Timeline: 2017-2020; Budget: 5000 USD (Iran), 7800 USD (Azerbaijan));

1.6. Elaboration of a series of training software and videos on Kamantcheh/kamancha craftsmanship and performance, and sharing them on social media. These tools will contain detailed information about the instrument, basic knowledge about crafting and playing, as well as contact details of craftspeople and performers for those interested to be deeply involved in practising the art (State concerned: Islamic Rep. of Iran, Rep. of Azerbaijan; Timeline: 2017- 2020; Budget: 10000 USD (Iran), 12700 USD (Azerbaijan));

1.7. Establishment of a centre for "Kheymeshab-baazi" ("Iranian Puppet Theatre"), which, alongside with other practices related to the traditional theatre, would support the Kamantcheh performance and build capacities of the performers playing mostly for the theatre (State concerned: Islamic Rep. of Iran; Timeline: 2017-2020; Budget: 350000 USD); (13)

1.8. Providing Kamantcheh/Kamancha craftspeople with facilities and necessary support to enable them produce high quality instruments which customers can afford to buy (e.g. through granting exemptions on taxes, or loans with proper instalments, etc.). Introduction of crafter certification systems for the instruments produced by master craftspeople to avoid massive production of low-quality instruments with substitute materials, especially in case of increased visibility after inscription (State concerned: Islamic Rep. of Iran, Rep. of Azerbaijan; Timeline:

2017-2020; Budget: 100000 USD (Iran), 89000 USD (Azerbaijan);

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2. Research; preservation; documentation

2.1. Implementing a programme to preserve and document old sound recordings on phonograph, vinyl and disks, and transferring them onto modern media to share knowledge on old repertories, performance methods, and to support transmission (State concerned: Islamic Rep. of Iran, Rep. of Azerbaijan; Timeline: 2017-2022; Budget: 20000 USD (Iran), 16000 USD (Azerbaijan));

2.2. Updating Iran Museum of Music with information on Kamantcheh, through inclusion of a specialized section in its library, with texts, books of notations, and audio-visual products (State concerned: Islamic Rep. of Iran; Timeline: 2017-2020; Budget: 20000 USD);

2.3. Conducting surveys of environment-friendly methods of using wood resources most suitable in Kamantcheh/kamancha craftsmanship, to guarantee preservation of the environment (State concerned: Islamic Rep. of Iran, Rep. of Azerbaijan; Timeline: 2017-2020; Budget: 10000 USD (Iran), 12300 USD (Azerbaijan);

2.4. Developing study grants and promoting postgraduate programmes for conducting research on acoustic features of Kamantcheh/kamancha (theses, dissertations, or research projects). This will also enable traditional craftspeople to obtain research information to improve sound quality for their instruments (State concerned: Islamic Rep. of Iran, Rep. of Azerbaijan; Timeline: 2017- 2020; Budget: 16000 USD (Iran), 40000 USD (Azerbaijan));

2.5. Conducting a programme on inventorying and documenting Kamantcheh/kamancha melodies, especially those that are almost no longer used in transmission. The programme will also include inventorying of old instruments held in museums and private collections. Both submitting states will share the results of the programme (State concerned: Rep. of Azerbaijan, Islamic Rep. of Iran; Timeline: 2017-2022; Budget: 17000 USD (Iran), 11600 USD (Azerbaijan));

3. Awareness-raising

3.1. Organizing local, national and international competitions and concerts of Kamancha performers, students of musical schools, professional and amateur practitioners (State concerned: Repof Azerbaijan; Timeline: 2017-2021; Budget: 120000 USD);

3.2 Launching audio-visual campaigns (shows for television, documentary films, video shots for internet and social media) to increase public awareness about the tradition. The role of master craftspeople and performers will be central in this process. The campaigns will also target children and young adults in both countries. (State concerned: Islamic Rep.of Iran, Rep. of Azerbaijan; Timeline: 2017-2020; Budget: 500000 USD (Iran), 230000 USD (Azerbaijan));

3.3. Planning and organizing "Bahari Festival" (after the Late Ostaad Ali Asghar Bahari), every two years, where "Bahari Award" will be granted to talented Kamantcheh performers and craftspeople, especially women, and children (State concerned: Islamic Rep. of Iran; Budget: 34000 USD);

3.4. Establishing special “excellence awards” for Kamantcheh/kamancha craftspeople, to help raise awareness about the instruments they produce and foster creativity (State concerned:

Islamic Rep. of Iran, Rep. of Azerbaijan; Timeline: 2017-2018; Budget: 10000 USD (Iran), 12000 USD (Azerbaijan));

3.5. Launching a series of publications, notation books and information brochures on Kamantcheh/kamancha tradition to support awareness-raising and transmission. In Iran, this will also include publishing a pictorial encyclopaedia on Kamantcheh (State concerned: Islamic Rep.

of Iran, Rep. of Azerbaijan; Timeline: 2017-2020; Budget: 3000 USD (Iran), 28000 USD (Azerbaijan);

4. Expected results monitoring

4.1. The possible inscription of this element is not expected to lead to any unintended results, but to promote public awareness, across borders, about the practice itself, traditional craftsmanship, performing arts and ICH in general. However, to establish a cross-border mechanism to do the follow up on the effects of inscription (such as e.g. industrial massive production of the instruments and excessive commercialization), the submitting countries decided to establish a committee (with the help of the working group that prepared the file), to monitor possible effects of increased visibility of the practice. The committee will exchange via email, but will also meet at the UNESCO Intergovernmental Committee for Intangible Cultural Heritage every sixth years before the reporting cycle of the element’s inscription (1st being

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planned for November-December 2022) (States concerned: Islamic Rep. of Iran, Rep. of Azerbaijan).

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

Both submitting states have planned to apply existing mechanisms and use existing legislation and institutional framework to ensure the implementation of the safeguarding measures mentioned above, at local, national and international levels.

In the Islamic Republic of Iran, Iranian Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO) will be the main focal point for implementing the proposed safeguarding measures that works in cooperation with practitioners, craftspeople and performers. ICHHTO will be coordinating especially the activities 1.2., 1.4., 2.3., 2.5. and 3.4. The Iranian Ministry of Culture and Islamic Guidance is expected to be involved as the main partner in activities 1.8., 2.5. and 3.3. Iran Museum of Music will coordinate the two preservation-oriented activities 2.1. and 2.2.

The University of Tehran will provide its full support to organizing the five master class workshops (Activity 1.5), while the Iranian Environment Organization will be involved in conducting environmental surveys (activity 2.3.). The Iranian Social Security Organization and the concerned municipalities will join efforts to support craftspeople of Kamantcheh by implementing Activity 1.8. Finally, the Iranian Broadcasting Corporation will be involved in a number of awareness-raising activities and campaigns on Kamantcheh, namely 3.2.

In the Republic of Azerbaijan, the role of the Ministry of Culture and Tourism will be central in all of the measures proposed (Department of Science and Education). In Activities 1.1., 1.3., 1.6., 2.1., 2.5., 3.1., 3.2., 3.4. and 3.5. The Ministry will be the main coordinator and provide financial and human resources, either directly or through its provincial departments. The Ministry of Education and Azerbaijani State National Conservatoire working under its auspices will be responsible for Activity 2.4. The laboratory of Restoration and Improvement of the Ancient Musical Instruments working under the auspices of the Conservatoire and its experts will be one of the main partners in inventorying and documenting kamancha melodies and old kamancha instruments (Activity 2.5.). The Ministry of Ecology and Natural resources will implement Activity 2.3. A number of local authority bodies and municipalities (Baku, Ganja, Nakhchivan, Guba, Sheki, Lenkoran and Karabakh) will support awareness-raising and transmission activities 1.1., 1.3., 1.5., 3.1. and 3.2.

As regards Activity 4.1, the Iranian Cultural Heritage, Handicrafts and Tourism Organization and the Azerbaijani Ministry of Culture and Tourism will cooperate to ensure the inscription monitoring mechanism.

(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?

In the Islamic Republic of Iran, the proposed measures (3.b.(i)) were planned, and will be implemented, through involvement of concerned communities, in the following manner:

Iran House of Music (IHM, the greatest NGO on music) made extensive negotiations with its members involved in Kamantcheh music and craftsmanship, and gathered their proposed safeguarding measures, and information on methods of their involvement. It will be especially implementing transmission and awareness-raising activities 1.6., 3.3. and 3.5; it will be involved as partner in activities 1.2., 1.4., 1.5., 1.7., 2.1., 2.4. and 3.2. IHM will remain the main focal point to monitor implementation of measures and serve as the organization for linking the government and concerned communities. The Music Society of Lorestan (NGO) will function as the representative of Folkloric Kamantcheh communities in Torkaman Sahra, Azarbayjan, and Lorestan, especially in monitoring the implementation of the proposed safeguarding measures.

Volunteer practitioners, local music societies and other interested groups interacted with IHM on proposing a number of measures, such as activities 1.4., 1.5., 2.4., 3.2. and 3.3. Among these practitioners, the Kakavandi Family of Lorestan, and Master Performers Ali Akbar Shekarchi and Ardeshir Kamkar are worth mentioning.

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In the Republic of Azerbaijan, the team that prepared the text of the Azerbaijani part of the nomination visited many regions of the country from May 2014 to June 2015 to exchange with the practitioners and formulate, on the basis of their proposals, preliminary measures aimed at safeguarding the element. These were confirmed in the final meeting held in Ganja in June 2015. A number of performers, such as Mirnazim Asadullayev, Arif Asadullayev and Munis Sharifov have initiated and expressed their interest to support such transmission activities as Activities 1.3., 1.5 and 1.6. Craftspeople Musa Yaqubov and Agamir Hasanov brought forward a support measure that was included in Activity 1.8. They will also support Activity 1.6. and will be working closely with a software production company “Nur” to produce training software and videos. Performer Munis Sharifov has expressed interest and will support a number of awareness-raising activities, such as 3.1., 3.2. and 3.5. Finally, performer Yaqut Seyidova through her network will involve amateur (especially women, children and young adult) performers of kamancha in Activity 1.3.

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.

Iran (Islamic Republic of)

Name of the body: Deputy for Cultural Heritage, Iranian Cultural Heritage, Handicrafts, and Tourism Organizatin (ICHHTO)

Name and title of

the contact person: Dr. Mohammad Hassan Talebian, Deputy for Cultural Heritage, ICHHTO Address: Azadi Ave and Yadegar-e Emam Exp.way cross-roads, Tehran, Iran Telephone number: +98-21-66084577

information: Fax Number: +98-21-66027418

Name of the body: Deputy for Handicrafts, Iranian Cultural Heritage, Handicrafts, and Tourism Organization (ICHHTO)

Name and title of

the contact person: Dr. Bahman Namvar Motlaq, Deputy for Handicrafts, ICHHTO Address: Azadi Ave and Yadegar-e Emam Exp.way cross-roads, Tehran, Iran Telephone number: +98-21-61063300

Name of the body: Research Institute to Iranian Cultural Heritage, Handicrafts, and Tourism Organization (RI-ICHHTO)

Name and title of

the contact person: Mr. Seyyed Mohammad Beheshti, Chairman, RI-ICHHTO Address: Corner of Si-ye Tir Str, Emam Khomeyni Ave, Tehran, Iran Telephone number: +98-21-66736590

Name of the body: Office for Music, Iranian Ministry of Culture and Islamic Guidance Name and title of

the contact person: Mr. Jamali, Director General

Address: Office for Music, Vahdat Hall, Ostad Shahriyar Str, Kalej cross-roads, Tehran, Iran

Telephone number: +98-21-66742760 E-mail address: [email protected]

Other relevant

information: +98-21-66703898 Azerbaijan (Republic of)

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Name of the body: Department of Science and Education of the Ministry of Culture and Tourism of the Republic of Azerbaijan

Name and title of

the contact person: Mr. Yashar Aliyev, Director

Address: 40, U.Hajibeyov str., Government House, Ministry of Culture and Tourism, Baku AZ 1000, Republic of Azerbaijan

Telephone number: + 994 12 493 42 94, + 994 12 493 02 33 E-mail address: [email protected]

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 initiative to put forward the nomination of Kamantcheh/kamancha arts came from communities of the both countries. In fact, practitioners of both countries have been working simultaneously on the preparation of this file for several years.

In the Islamic Republic of Iran, the nomination was pioneered by Iran House of Music (IHM), the greatest NGO on music in Iran with around 16,000 members and three committees: the

"Research", "Performers", "Crafts-people" Committees. In 2012, IHM submitted a proposal on nominating Kamantcheh crafting and performance arts for inscription on Iranian National ICH Inventory and the UNESCO Representative List. In May-September 2012, IHM held three general sessions organized by the Research Committee with the participation of bearers and practitioners to prepare a file for inscription on Iranian National Inventory List (the element was inscribed in March 2014). IHM invited the Regional Research Centre for Safeguarding Intangible Cultural Heritage in West and Central Asia, Under the Auspices of UNESCO (Category 2) (Tehran ICH Centre) to collaborate in preparing a Representative List nomination. Tehran ICH Centre specialists provided extensive information on latest developments in the nomination process, and actually trained a group of trainees nominated by IHM (July 2014). IHM then built up a 7-member drafting team to compile an international nomination and started the drafting process on 6 August 2014. From May 2014 to February 2015, around 35 joint meetings were held with Tehran ICH Centre, acting as the technical advisory body. During this period, IHM collected information about past, current, and proposed safeguarding measures and systematized other relevant data for the initial Iranian nomination. In June 2015, during a bilateral meeting, a decision was taken to prepare a multinational file for the Element with the Republic of Azerbaijan. Since then and bearing in mind the multinational nature of the file, a series of separate meetings with Kamantcheh craftspeople, players, trainers, etc. were held in Tehran, Lorestan, Torkaman Sahra and Azarbayjan. As a result, the nomination included their feedback, and consent letters for a substituting multinational nomination bearing their signatures and/or seals. Many of them participated in preparing mandatory video and photos and the content of the Dossier, and provided other supporting materials. The final session was held on 16 March 2016 at IHM, with representatives of all the involved sides and local community members, where the Azerbaijani part of the nomination was reviewed, and the combined nomination was finalized and shared with Azerbaijani representatives via email. Three members

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of the Iranian Team of Drafters were women; the nomination consisted of continuous contacts with male and female representatives among Classical and Folkloric Kamantcheh craftspeople and performers, especially from Tehran, Tabriz (Azarbayjan), Khorram-abad(Lorestan), and Gonbad-e Qabus (Torkaman Sahra).

In the Republic of Azerbaijan, the nomination was initiated by a group of craftspeople and performers as early as in March 2013. To launch the process of nomination submission, kamancha craftspeople of Ganja and Sheki contacted practitioners from Baku and Lenkoran, while sending a written address to the Ministry of Culture and Tourism. In June 2013, a group of kamancha practitioners and kamancha teachers from schools of Ganja was received by the Minister of Culture and Tourism during his visit to Ganja, where the wish for submitting a file to UNESCO was again confirmed. The Ministry has committed itself to provide a roadmap and financing for preparing the nomination. To ensure widest possible participation, the Ministry established a working group (WG) composed of craftspeople and performers, professionals and amateurs, concerned local municipalities. WG was guided by two experts-musicologists who organized preparatory work and implemented two consultations – 12-14 May 2014 with Sheki, Nakhchivan, Shamakhi and Ganja practitioners and 22-24 July 2014 – with the bearers of Lenkoran, Agdash, Guba and Baku. It is important to note that the interest to the nomination among practitioners has become much greater after the death, in 2015, of Habil Aliyev – the great kamancha master performer. Habil Aliyev was among the practitioners who were interviewed in the Azerbaijani part of the video. When the possibility to submit a bilateral file with Iran was put forward, WG carried out a third round of consultations with the practitioners (from 22 to 24 June 2015, in Ganja) who gave their informed consent about the multinational character of the nomination and the safeguarding measures proposed. Finally, WG (in presence of practitioners Yaqut Seyidova, Munis Sharifov, Mammadli Mammadov, music schools directors, etc.) met on 22 March 2016 in Baku to approve the final joint nomination file from two countries, combined by Iranian counterparts.

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.

Islamic Republic of Iran:

The consent documents annexed to the nomination are as follows:

-Letter of consent signed by 35 Kamantche craftspeople, performers, and trainers;

-Letter of consent signed by 25 Institutes involved in teaching Kamantcheh Music -Letter of consent signed by 27 Members from Iran House of Music

-Letter of consent signed by 10 musical instrument shop owners

-Letter of consent by Mr. Hamid Reza Nourbakhsh, Managing Director, on behalf of Iran House of Music

-Letter of consent by Mr. Bahram Jamali, Managing Director, on behalf of Iranian Music Association

-Letter of consent by Mr. Mohammad Sarir, Chairman to Supreme Council, on behalf of Iran Forum of Artists

-Letter of consent signed by 96 Kamantcheh arts bearers and practitioners from Azarbayjan -Letter of consent signed by 18 Kamantcheh arts bearers and practitioners from Lorestan