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Format for National Register of thé Intangible Cultural Héritages of Ethiopia Register No. 0006 l. Background
Ethiopia is thé cradle for thé ancient civilization as well as number of intangible social values; among thé cultural héritages it has thé cultural festivity sung by girls in thé northern part of thé country. This festival of girls is named [Ashenda Ashendye Aynewari Maria Shadey Solel - Ethiopian Girls Festival]. This festival is an open air élément celebrated as thé day of thé liberty of women. This traditional festival is celebrated annually from August 22-24 after thé Tsome-Filseta' lent season is aver.
2. Intangible héritage inforination 2. 1 Doniain of thé héritage
Social practice, rituals and festive event; performing art; and oral traditions and expressions; including language as avehicle of thé intangible cultural héritage.
2.2 Name of thé élément, as used by thé community or group concerned:
[Ashenda Ashendye Aynewari Maria Shadey Solel - Ethiopian Girls Festival].
2. 3 Thé héritage belongs to thé community (ies), group(s) or individuals concerned: This Intangible Héritage belong to thé ethnie groups in thé Amhara and Tigray régional states of Ethiopia.
2. 4 Description of thé élément:
Thé Festival of Girls and Women is among cultural festivals widely celebrated in Amhara and Tigray régions of Ethiopia. Based up on thé green leaf girls and women tie to their waist during thé célébration, thé festival is referred: In Amhara région; Ashandiye in Lasta Lalibela and Gonder; Shaday in Waghemra Zone, Solel in Raya-Kobo and in Tigray Région; Ashanda in Enderta, Tembien and surroundings; Marya in Adigrat area and Ayiniwari at Axum and environs. In thèse régions, thé festival is widely celebrated, leaving thé girls free from any social and économie gender pressures. They enjoy freç4op
without limit and play with their peers and express their social critics.
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Thé name Ashanda/Ashandiye/Shaday stands for two things. Thé first is thé plant which thé girls knot on their waist that looks Uke tilted leave, its root white and other parts being green. Ashanda/Ashandiye/Shaday also stands for thé name of cultural play of thé girls and women. Thé girl's play is celebrated for three days based up on thé ascension ofMarry thé Virgin (Felseta lent broken).
Ashenda Ashendye Aynewari Maria Shadey Solel - Ethiopian Girls Festival is a cultural play of girls celebrated colorfully. This festival is known as ascension/festival of ascension. Accordingly, thé ground of Shaday, Ashandiye, solel, Ashada is thé festival of St. Marry thé virgin. This festival is celebrated on August 22, after thé 15 days fasting is
over.
Thé other story noised aboard about thé historical background of thé festival is thé good news for thé welcome of thé Ethiopian New Year; however, summer time is thé basic occasion to grow and harvest. Thé winter is linked with thé darkness and thé bare times and based up on fhis it tells that thé summer time is near to completion. As thé New Year is about at hand, accordingly it is regarded as thé cultural play thé girls sing door
to door.Others site différent stories of thé Holly Bible describing thé festival in relation to thé birth of Christ. They explain thé beginning of this festival based up on thé green olive leave, as thé dove carry it to tell thé good news of thé retreat of thé water of catastrophe
in thé time ofNoah.
In WagT-imra and in Raya Kobo areas, both Christians and Muslims celebrate thé festival together. Thé festival is celebrated for three consécutive days since August 22.
Before thé festival date arrives, girls get busy preparing costumes and Jewels. Thé girls decorate their hair as thé festival day approaches. They also bring Ashanda/Ashandiye/Shaday leaf from nearby fields. Among others, festivity team establishment is one of thé key démocratie manifestations. Girls from différent âge groups together with their âge peers gather in thé respective villages or neighborhood and establish festivity teams. Complementary children's' team also gets established and
of résidents from nearby villages. Though uniformity is not thé order of thé^ ;«#"wt*S
team members, their number ranges from 10-20. When establishing a ^;^ïWi^cïi
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discrimination or class shall serve as a condition. Some of thé boys who participate in thé festivity, assumes their responsibility as guardians of thé girls. Thé number of thé boys in thé respective teams shall not exceed three. During thé festivity, thé boys attentively accompany thé girls and assure thé safety so that thé girls can play with utmost freedom.
Thé other wider préparation which needs much time and effort is preparing cultural costumes and Jewels. Thé Ashenda Ashendye Aynewari Maria Shadey Solel - Ethiopian Girls Festival is thé festival of girls where they go out beautifully and looking gorgeous.
They shall collect costumes andjewels necessary for thé festival. Every girl either buys or borrows thé costumes and jewels from relatives and neighborhood. Parents help thé girls with ail thé préparations; purchasing costumes to their children and preparing thé costumes they hâve been wearing. Thé following day on August 21, thé girls shall prépare eye shadow, butter, ear rings, necklace, shoes and clothes.
After thé girls gather themselves for thé plays in thé village on thé day of thé festival, they elect thé leader of thé team. Thé major criteria used in thé élection of thé leader are:
influence, expérience, âge, loyalty, and play skills. Thé leader elected shall assume thé responsibility of thé gifts inventory and lead thé team.
Ashenda Ashendye Aynewari Maria Shadey Solel girls shall kick of their play early in thé morning. Thé play shall begin from thé respective nearby churches. After thé girls carry on giving thé play more color, their first task is building thé team and heading to thé church for a thanksgiving. When they approach thé church, ail of thé girls worship in group. Encircling thé church three times, they praise God who renders them to this very day in health, peace and togetherness. Right after, they make circle and sing thé very typical lyrics of thé festival. When they arrive to thé entrance-gate of thé church, they ail take their shoes off to symbolize cleanliness. Upon thé arrivai to thé sanctuary, they continue playing after worshiping together. Then, they eut thé head of thé green leaf and tie to sprinkle it as flower on thé gâte of thé church.
Before they leave thé church, religious scholars, or anyone elder in thé church premise shall précède blessing saying "be blessed, let God help you reach thé next year... " On their way back from thé church, they start their day visiting thé house an elder in t , village with thé highest social influence. They shall sprinMe flower and praise çjïëi^si?;.;
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for thé start of their season for happiness, freedom and récognitions. They play différent mélodies which advocate thé mother and thé head of thé family which gives thé master pièce of their play color.
Thé door to door flower sprinkling shall then proceed to subséquent random houses ail aver thé neighborhood. They visit across every door without any class disparity. While they visit door to door, they sing and play to eveiyone fhey meet on thé way and gets différent accustomed traditional gifts. In rural areas, it is usual to give them something to eat or drink. They are usually provided with honey mbsture or yogurt. When given with thé gift, they sing thé song '^.rtrt ^hh h?" 0?^ 'l'hh' meaning 'thé gifts are pouring like thé rains ofAugust' which is thé highest rain shower season. Then, they head to thé next play being blessed by thé elder visited. In such a way, they spend thé whole day singing and playing. In thé evenings, they review thé performance of thé day and départ for home having an appointment to thé next day.
Children in thé villages accompany thé girls and spend thé whole day and tangentially participate in thé playing. Thé youth boys accompany thé girls who play thé whole day.
They put on coat and short as well as scarf on their shoulder. Thé youth boys primarily hâve two rôles. Thé first one is to assure thé safety of thé girls of their neighborhood. Thé second one is thé festival provides an excellent opportunity for thé youth to meet a potential life partner.
Eventually, thé girls give part of thé gifts they collected to thé church and local philanthropie institutions, and split thé rest equally.
2. 5. Signifîcance of thé intangible cultural héritage
Thé Ashenda Ashendye Aynewari Maria Shadey Solel - Ethiopian Girls Festival has various social and économie Significances. AU family members living in différent places get together to celebrate thé Festival and people visit their relatives and parents living in différent places of thé country. Thé festival is not discriminatory since those who are well of hâve thé habit of sharing with thé needy
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Therefore, thé festival créâtes and strengthen togetherness and plays significant rôle in terms of maintaining thé unity of thé people, prospering thé culture and social life of thé people. It is a joyous moment providing for girls and women with a social cohésion and sensé of identity.
When thé girls play door to door, they are given with traditional gifts. They play not only in thé houses they can get alms but they head to thé poor who may hâve nothing to give except blessing. This avoids discrimination and inequality. Instead, respect and mutual understanding prevails.
Thé festival provides an excellent opportunity for thé youth to find a potential life partner. To exploit such an opportunity, thé boys eut pièces of thé Ashenda leaves tied on thé waist of thé girls they liked to imply their affection and love. Thé boy then informs to his family about thé girl he liked. Then after, thé latter requests thé parents of thé girl for a possible engagement. Thé betrothed girls attend thé festival decorated with thé jewels presented from her fiancé as well as future parents in law. Those not betrothed
shall go out again wearing thé clothes purchased by their parents. As such, thé Festival provides an excellent opportunity for thé youth to find a life partner.
Thé festival has also significant contribution towards promoting and advertising thé cultural dressing style, thé traditional clothes and hair style of each community. Thé festival is a platform to demonstrate thé talent of telling poems. This plays an important rôle in safeguarding thé Intangible Cultural Héritage. It is not also a taboo to wear costumes borrowed during thé play. Those who hâve costumes can give to thé one who has not. Thé festival strengthens understanding and thé values of supporting each other. Thé festival créâtes higher économie activities particularly for thé service providers, producers, designers and sellers of traditional clothes and ornaments.
In Ethiopia, where women hâve very limited opportunities for public engagement and public self-expression, 'Ashenda Ashendye Aynewari Maria Shadey Solel' provides an excellent opportunity for girls and young women to publicly express their ideas, to freely socialize with their peers and enjoy thé comfort of one another's company.^
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Thé songs address lots of social issues and involve in constructive criticisms of societal faults without fear of reprehension or social punishment. Gender equality is promoted and anti-HIV/AIDS awareness création activities are undertaken during thé festival.
'Ashenda Ashendye Aynewari Maria Shadey Solel' has been celebrated by différent religious and ethnie groups and by various neighboring cultures in Northern Ethiopia.
This has a potential for creating coopération, harmony and brotherhood among différent cultures and peoples. To this end, there hâve been some encouraging endeavors of cultural exchange during thé festival in récent years. Thé girls who participated in thé festival are free to say and do whatever they want during thé célébration. Ashenda is, thus, not just a cultural festival, but also an 'indigenous feminist festival'. This play is conducted once in a year and considered as thé liberty and entertainment occasion for
women.
3. Characteristics of thé eleinent
3. 1 Associated Tangible Aspect
When thé girls play thé cultural songs they wear thé plant known as Ashanda aver their waist on their dress. They wear a cross known as 'Dinble' or 'Dri' on their neck and an ornament called 'Dikote' on their hand and 'Alboo' on their leg as well as earring. In Raya Kobo, girls wear a dress named Tiftif or 'Shinsehn' and a plastic shoe called 'kongo' when they go to thé play. They hold drum to give color for thé play.
In général, among costumes and jewels to be used during thé festival, are cotton dress, 'jersi' dress having différent colors, bracelet, ear rings three crosses with différent designs and necklace as well as other materials that show thé culture of thé people are also thé
élément of thé célébration.
Thé boys safeguard thé girls with their possession guard stick ail along thé festivity. Thé boys also hold teeth brushing stick to symbolize cleanliness. When thé girls go out for thé play they are beautified with costumes and jewels. Children shall tie jewel made of beads round about their head. They got their hairs dressed "game" and bind thé thread which is twisted with green, yellow and red on their hair. Thé , 01 :; " eyes and
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3. 2 Associated Intangible Aspects
Thé physical movements and other procédures to be carried out by thé performers and participants of thé élément indu de thé following among others. Before thé girls go to thé church to thank their God, they first go to a near-by river or spring water and wash their hands, feet, and face in a mass. Thé value behind this is a ritual-like practice to rinse so that they are clean both physically and spiritually before entering into thé church. Thé girls then go to thé church of St. Marry or any other church in their neighborhood, early in thé morning of thé very first day of thé festivity. They pray for a while and then thé girls go around thé church three times thanking their God and leave thé premises with thanks giving songs.
Finally, thé girls head to every houses in their villages and express their best wishes via their songs and dances. When thé girls are done with their songs and dances, persons whom to thé best wish are expressed in return wish thé girls to live long and stay healthy and united. Indeed, this often takes place in thé form ofblessing.
4. Individuals and Institutes partaking with regards to thé inventoried héritage
4. 1. Practitioners/performers of thé héritage
'Ashenda Ashendye Aynewari Maria Shadey Solel - Ethiopian Girls Festival' is a cultural festival performed by virgin girls and young women. However, thé participants of thé festival also include women, children and young mâles and other members of
communities.
4. 2 Other participants (custodians)
Thé major actors of thé practice of thé héritage are thé young girls of thé héritage and thé practitioners. However, thé following stakeholders are also among thé ones who take major effort in keeping, caring for and transferring thé héritage between générations;
thèse are:
. Cultural Associations
. Ministry of Culture and Tourism
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. Authority for Research and Conservation of Cultural Héritages . Régional Culture and Tourism Bureaus
. Zone Culture, Toursim and Communication Affairs Offices among others.
4. 3 Customary practices governing access to thé élément or spécifie aspect
Practices related to thé élément hâve no restrictions on access. An important feature of thé festival is its transparent and openness nature. There is no customary restriction to access any of thé practice of thé Festival. However, for it is highly gender based festival, thé festival is chiefly celebrated by females. Boys even if they participate, play an escorting rôle to défend thé girls of their neighborhood. They are responsible for protecting their local group performers from any disturbance from groups who came from other villages. They only accompany thé females. Therefore, thé élément is a gendered cultural festival which exclusively entitled to thé female.
5. Sustainability, wellbeing and Status of thé heritage/element:
5. 1 Current Status of thé élément:
Thé héritage is currently practiced annually. Overall, thé attendants of thé célébration are observed to be increasing. Nowadays, thé festival is widely and colorfully practiced in thé Amhara and Tigray Régions of Ethiopia. There are reports signifying thé increasing number of tourists who attend thé festivity from time to time. Girls and young women are adding varions aspects to thé célébration. Thé play has been implemented and celebrated with increasing colorful event.
5. 2 Mode of Transmission of thé héritage from génération to génération
Whereas, thé mère and major mechanism of transmission of thé héritage is to sustain thé célébration, thé other modes of transmission from génération to génération include promoting thé festival by airing thé holiday ceremony in audio and vidéo through several mechanisms utilizing mass média. To maintain thé style of célébration; creating forums where thé elders who hâve knowledge of thé custom in thé country get to transfer their knowledge towards thé youngest cohort.
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5. 3 Threat to thé enactnaent of thé héritage 5. 3. 1 Physical Threats:
Whereas, with regards to dressing styles, it has now become common to wear in compliance with thé custom and thé local tradition, access to thé green plant called Ashenda as thé former times has become difficult nowadays due to climate changes and environmental dégradation.
5. 3. 2 Socio-Econoinic Threats:
As thé number of thé teams formed during thé festival has increased from time to time, villagers failed to give traditional gifts and return back thé girls who corne to their house telling them that they hâve given to others. Due to globalization and technological advancement, thé traditional play has been challenged for unnecessary modernization in thé songs, costumes, beautification, hair dressing and performing way
5. 4: Safeguarding measures in place
Motivating thé girls continues thé practice of thé élément; creating forums where thé elder women who hâve thé expérience of thé festival transfer their knowledge towards thé virgin girls and young women plays an iinportant rôle. Producing documentaries regarding thé festival and conducting studies with this regard also plays an important rôle in promoting thé héritage and make thé safeguarding measures in place.
6. Data gathering and inventorying
6. 1 Consent froin and involvenient of coinniunity/group in data gathering and inventorying
During thé inventorying of thé intangible héritage, a team of experts deployed by government organs of every hierarchy, régional culture and tourism bureaus, experts of thé Authority for Research and Conservation of Cultural Héritage as well as représentatives of thé community hâve participated in thé inventory with
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responsibility and motivation which contributed towards thé success of thé invenjhs^^^s ;"^
<ï. ^ "^ .^'- ...;. -^..Women and girls performing thé festival hâve also actively participated in thé interviews and focus group discussions conducted to collect respective data. Représentatives of relevant institutions hâve also provided their comments with due responsibility and
commitinent.
6. 2 Restrictions, if any, on use of inventoried data
Whereas, there is not limitation in utilization of thé data as resource towards thé effort in
promoting and developing this national intangible héritage; however, unauthorized utilization of thé data without consent from thé respective individual or légal authorized entity as well as thé custodians, where thé utilization is for business profit, and other activities basing private interest or acts that are contradicting thé custom shall be subject to accountability in accordance with thé national law
6. 3 Date and place of data gathering
Thé élément was inscribed in thé National Register of thé Intangible Cultural Héritage of Ethiopia under Register No. 0006 on August 27, 2018. Data for this Inventory has been collected from thé Amhara and Tigray Régional states.
6. 4 Responsible body to thé national inventory/register of thé eleinent
Thé national register of thé 'Ashenda Ashendye Aynewari Maria Shadey Solel - Ethiopian Girls Festival' is undertaken by thé Hérita e Inventa Ins ection and Standardaization Directorate of thé Authority for Research and Conservation of Cultural Heritage(ARCCH). Experts who hâve participated in thé inventory process are: Andualein Assefa, Gediyon Mulatu, KelemuaMekonnen, Dereje Wase and Gezahegne Girma.
6. 5 Certification ofAuthorized Personnel
Approved By Name:
Signature:
Date:
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fh.'î^'îK'fl^ ni^î ^crt (À.Q^) n^ic h't'v f.^ {{wwwn f+H^x ('/t. 7(ï'î+<î KC"?^ (Format for National Register of thé Intangible Cultural Héritage of Ethiopia)
<TA^ 'fiTC-0006
Register No 0006
1. ^<s- (Background)
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"ICf: ^f.f. : ftftA (Ashenda Ashendye Aynewari Maria Shadey Solel) n"°ilA ?aîin6~a> f.U f>ASl<;/.^ h-n<: O'îA ftf. 'TT^'E'î QU^'Ç
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2. fh.'î^tK-QA ÏCft- . m&JSl- 2. 1. FtCrt. y-A-n (Domain)
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Social practice, rituals and festive events; Performing Art; oral traditions and expressions, including language as a vehicle of thé
intangible cultural héritage2.2. PtCrt- <T(n<;^ (l-flA. <. *"»* ( Name of thé élément, as used by community or group concemed) hîiffiï hîi'îKft. 's h^ïT<îs
"VCfî ÎÎÂJSS ftAA (Ashenda Ashendye Aynewari Maria Shadey Solel).
2.3. ftcrt- QAn. -»- .n<h<;rt-nf n-A"? ffl^y . ?Art-n ( Community(ies), group(s) or individuals concemed )i- P^crt- 'lAn, -fr?' n^ff?<^ ?>î n;t-al^P. hAA'?' F°%TÏ- . nA^rtP^ îyai-:! (Ethnie groups in thé Amhara and Tigray régions of thé Country)
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?>°?<D^ HlTVyVar «"VfflA/l ?i'}. ç. U ?i^A. nhffîc!r ^'ii, ayrt.!=
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n°?A-l- {ih-t-y Mh-^'P^.--'
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^tfy <^in^<eî h.waîfvv. -^'i-Apî'e'.' /^A-t'iï (I°ÏA- y°A-p:f h'i.çft» °?(';h J&?:^A:=
ff7in<?.î 4.^^! (.n.T^oï- ('^A-°î ?l>h.jT;f ?>c/i ncft ^.ç.iî'ï-: ç^c ?i7.ç.yci aa'i^^ M^A-d^. °?in<{.1; .7'î'^Y-l- ?i'}.ç.m'rhC
nhm^^S, n'i^-'î f^<{- h^C'i flA'îA- 'm'}^ îîon'î't'^'i-M nut'e ?|A+'» h'n/-»Ad-ï- h-îXC ilff+ï m+°î^ /irtar« ni.i.i.V^o- rn-fr'}
AA^SK-Ï- y-n^-?"'? A-/ fffyj&A^n;h n'rou'ï- h-nc'i^'}'! 1-fl<:-Ï--> <roçm<;^ç "ymçtK;^ I(D.== K'î^D-r' nea.T^ar A'ï- AA-1- ?if-l-Hy(B-î.
rt.ffi,y<. Tîn-nî A>A°:Ï-?° rt^n^}"?-? r"î^rtn/in- n. u"}?" pffî'i%(D+-l- T>H-n noî/i"t;f;a>- n.-î- 'ay ^wi l'îti-n nj&rtm-y0 s^'c^'^^ar'}
h'îf. ^î. hlfl- (laî^-af'k ^"l^ rt^"?- A-T-y" 'im-:: jsuy° ÀA-A»'» roî^'rtT{. i CT'honc'>î an^i\(\^-i y'ff'i^-n^ QUA ta).:: nf.i.i.y^fo.
+T-Ï-?0 f^t-fïC hPC Vhpy ^.'llî^SA:: MA- (D"»-Ï- f<"<;"i-T-"} Ajç AAQ-fr ï-?t° ?i'>^.^'obA-Ï- ff. Cp^:: V^-OM^'Î f^^CEs^-y0
.l-A^-t-a»- J&^-OI^A-!! ^'A^-fl.l.ï'fl)- ffll^S Plfr't-Ï-'î A-flft A-n/t rt-l-fl)"! f^-ffl.ï'T . ?"} tih'^-î-XV h?iém?y n+n^h+'l-Ï- .&"}%/"?. .f-aï-Q
.lh(D"IA:f'== is. 'P^ar fd.-ï-ft-n emanftZ. y jç»yc n""U"> ^'IA-7'IA!!
POl^î i.B.T^-ar +-?Q<;^?- n/i^Z^'"t:»:fl»-'i' nhH'i.&'i'^ar fffyin<îrtft-'» 4!^'etT ""-î^/iç OUA n''y'»xo^^î nmmn^ oh-A "îvVm- hç+f 'KO-:' ftAltU fl.l.T^-cr fl-n^-t-rtfr? "?'}ï-ï- «"ï^f'-t-'i' n"°mnï nh-A 4.^^(0- hy-f-? îo>-== i.uy^o- ^"l'e .ÎTV?''» n'ny.cy.c
V&.M&- îf'A"^-'} "TïW^fl "l<nc!ît6f aoK^.lny0 .im-.: A>^(D- f\tsa, T^as- V-ï-m-ft A-(lft A-n^ on-1+y Âftîy<î hf.f.i[9°i ^-Ï- AA,^-Ï- nOTftm^ K fi. u'î ?>7A-Ï"Î%<D'Î' ^-AC^A?-!! ^U9° m.T^-ar P'ro^. /irt^î pffoA^ç ?>rt,;t-'> "îmîh^ "nA-^h Î(D-!!
h.W'^. fV .i-f. fi: feEhT^ar 'mtimV ÛA^-T- rt. -f-î \Kal +(o-n<D-ç ^zmo}- fa?, rtï-n-j;H;l:(D- OCT'U'Ï- fnch^- ""Tn. ^'^ïî ^^i-S. ft A-fli^?-
.?:frî TifeB- ^hîfflîAii n"°U"r. 9° Aî^^, ^o:Ï- ÏïV-l^ 10. f°î^'TÎ''n;Ï- ZH, ï(D-i= rt. -f'^ (m0;f:a»- -1^, PaZ^'rt<. -Ï-'} -1-hA hM^^-t-flr A°î?ïm-î ART-C rt^^?- mn. r'î'î-ï-ï- y'ïi\aii\^:: ea.v^w ÏCKV f.n-b'î w ?i7-s. <("rA h+A^i? ?i'}h-n>in, h-t-^iA-ï- p-ii^/i-ï-
CT/iu-n nT ir7 hv+ï h. hy°î^"ï /ift+Tx-^ /L^n^h-ï- ^^A-!
^">-Apç<e i-M' ?«.&.'} '}(i''-i.- ft-nrt-n fn,+rt-n fy-n-ï- 'mm'î . ??n;t- ai-rtT /t^in ^rt-y" '}QA f'T!»"} oo-n^^o- .t-m-n^ n^^
.f-rtoftnar roz'i%(D-i3'ï- no°ifï. ny^i.}- .H^. f-y Plfï- (L+ftP^ ^^fa». A;S7- Aarft? +î-l-?° n. u"} r?>h-Aî-ï- ftff%-l-'> ^"i-n^A!= /"ï-Anî<e
?iC'i^-7 ffiiî?^:' r'h'ïf-isy APÏ-Ï- /t^ir? h'ïK'i^'îv <T+/irt-n f'^m'i'hcn'ï- ïar:! n/i'TO-ï- htf: 111. P°I'IXA(D- ^.u i.uy^ Art, -f-?- fïîtï'Ï-î FCT-MÇT .('.» ïar:: ^A "?.}?" hA»lj& flMï-Ï- h^Â'F^in-',- h?ih. f-?::l;(D- ^C flïîiî'Ï- foZT('i"f-n'T- ^"l°î '/(D-:: DAM. U /^ï- APT'e ?>C»)^-'» ^ftl^^yAî A. Tf^^o-?" îar;!
/^A-t'1'e ^M' n'»/». rt, -f-:T- f°zyn-n;t-ç <DS. ar'-S- aiT-i-ar f^far^-y wT-i-w- ?>'}^. <%(D-<; A^A- r'^^i'y.n-ï- n<Tirï. ^.u (oï-ï-
Art.-f-î' fiW^ +.} ïar:: nf.n.y^flr ffl-A-'î 'î'I^-Ï- ^Ao?'>9n "iA^ 1-ni-Ï- M^'fm-'î nî;<î-T- rtA'^ooCm- . ç.T'h^rt.^'î ?°C<aî'î
je. -M-n-î. n^-A!!
ea-V^ar ïi^p. '^T^V'i-i: f. ^ Qu^î CEhV^'i^ ^'ro-MçAi y)ï')y-b9° \Mt ÏC-{\ zil. A-^rt f?>flA9°ç é?°'/;h .Ml^-f-ï'y niÎA^. ea.T^
M-i-f- fîn^ rt. U"}ï n^AA laV^ '\p. faif ï\\)-')y ?ip+/t-t-^ /IAU'Ï PU-A+ 6?°ï-ï- . i-h^r-^'} ^ft+/i/i<{. A== ^A^'ÏC' haovcy ?>.>&
S\'}K- h^>lr hft+;t- \rv fiAW^::
Om^l^ oh'P^ar fk-ï-'î'} . ay f\fiV"} (Dff^'iy n-t-?»iQti(iî-ï-ç ftmn-Èï^ foï^'i^yî f"ytn<:rtn- "Ti'i^ . »A-fr foî^^n-l' HC<<. . nH-
^f-f, fhdf PAiÏI^^. 7' h^'^V ît-flZ. mA 'KO----
3. fÏCrt- <TA^ quC^-Ï- ( Characteristicsof thé élément)
3. 1. f^Crt- . fe^'C <T<7A*«i (Associated tangible aspects)
f.» nu^-e fASi^^.?- (.I.I.T^- n'^hffl^n-ï- lit ?i'}ApÂhon.ar Û)'?T A"?A- P-I-A^^ ^.^'isflf'} faîm4'a^ rt. ir^ nvï:ïï-l- îi^P. /Mi'ÎKf-. /h'K'if, f+'lAor'} 4'mA n(Dl1;l;(D- H. t;^' fh<i-{[-.:
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n^f-w ASi<:^.-T: -t-çTT-ç (D^y° 'ff'»'/!'} p-t-irt. +"î(^:f'} fiffyA-(:'? n^p. i^ m^-, ^- hix'.ai- TC^: Tî'>-» f+irt- aïa?^:f''> ^A-CKD- (DA i.n.y^-iB- yan^h. :: AÀ'îl^^or £-'}-nA onrt+A 0)^. 9° fr<;i ?>3Ï;l;a>- '1J6 A-h-Ï- 'hlà^'i»- '{f. hAP rtX(°^;(;to- ?-Ï-?: ?>ç 'ff ^C i n°?<î- ^t°
f^ar h¥A -Ije. ï'min'î-f ff.C.Jf[. :: h+rt<--T- m-C fi^yy'-far ^9° h7?h-fc M î-Ï-<S- f+Qrt. T<. "°'}4 f'[foi-'} ïmA»?- ?>'>^.l>-y fSc-ï- (DAI n<Trtti-ï- jsy<irt. =: n?i^;(î(o-y° <('é : <jît-tA ?»? îcj? p+irt. 4!/t<lî^7 JB.J&IIA. :! nRT-^^ar 'lj6?° Artar h f.'} +-fl/l°
/t^'î^A, : (l-%ç <('J& hffî-'» /ift^ar ï/»<5-T- f+1A f?°-Ï- fw-lt^ '"'It;^' ^JB. >IA. :=
n-^/i^ 'trt.n^ A-?I° ^A^-Ob ASic;^.?- h'>i^-;f;(D- ^^ oB/i+A nff?A-<;'? .ï-ç^-ç F+OA ïï0? +°ïft h'"+î^ ^c p°îrt-nrt- ft,i»"î f^-ob-ï-
^l^f.'î f"lV W +-flA° Vaï(n&~w +°Xft h'ro+ï^ ^c A-drtcr .»-T-?:: <(!CT: a7C'! foZQA- Z'IIÎ/n:î'-7 nff?TAÏ ^'P<\{^:: hea.V^ar
<^Ko"^y» hnc ^^'1A-i=
fh'i'ilf, 0'îA ^f. rï9° lj& h°i(i>-rt. <li<l4i^?-î ÀAn^^-ç t. 'm.tf^i- <ro»ihA IITT M-rt<{. TA¥ +"îrti n+A^ti <f'rt"y-l- ^'îïn^'i: F^crt.
sl'aïfi':f". K6: K^-lfhï h9al\C/: h'i'Î^O)- 1J& Wf.^ar fcZA<:-7 3/^ft-Ï-/ '".ft+fr'?-: h-Aî ^(1, : f.ec T. ^: <">4't^.; fW-bh <aî<"/i h'i^.D-y htt'i'ïfm- "y&aa-bf Me f. f.nfi-:: n-i-ea.'^ôr' A^I^^. -Ï'» mnt (D?^.?- p'T(nfi<fe^ ^. 'i: TCft "".i. <i:^T pu-nft-i'/h?°n''î/
wf-nf îl4-f, /a7W6f/ f-t-flé- flCft/Î^CK/ T'iW War:: AhOT^ W/[V ea.T^- fhîi'îfï AXï A(Dm- n/tAI^-Ï-î T.'^ïfl^^w +(B-n®- 'lar:: Uîtç-Ï- n'?'}n<{. ;T-a»- H-^ hf.ti. A, f-t-ft6- ÏT f(\6-l{-:: ^1-6-'-fm-')7' «^"î» ^rt<^rt. i! (l(Ï. <. 'l;f:ar <roUA /iî-ï- t^ h'ÏK tj6 n-f-TroA hcwkî f\. esiv 't'f. hc «"'ÇA, «feAy ?>'}AIT ^ft<{.rt.!: h-A ^.îA-n^iB-'}', - lîWfi(o-'} f.^^:: h'îl^ar -1^ nOTgoD^ h6-;f- U?<?
/Ïl-fl ÎT/ï îlH. f nf. ^ . Ï-'î'iîç . I-A^ <mi>)<fA(A-nc) nhc ^/i^rt. i! n-n-n-ï-î :t-hWa>- ne nhc p+rt^ A-<i f"iai^{t. :: ^c^ai- i^?°
ÉI.I.A, nnn-i- h-n +An-T- ^7mAT^rt. !i nhhWfi ^IA- n+rt^r +rt°y-î- ^iinc;+î m-k'm^-^ar Ah f+n-i. Knca^ sert. +°î^î- jaA-fl/irt. !! h+A^P .('Aff?'ï- P+n^% hift-fch f-t-rt-î. /h'}-» Mî°? j&'aîff?rt. :! (D^-Ï- AS^/'.?-?0 hTT F+rt<{- nu'lî TAC +°îrti (1-f-A^P
.(. Aff?;h fW^. EnciÀT hC'>ÎÎA. <TAh! Ao°-vî n/iîi^c r-f-T^- fscrt. 4'°ï^?'i K^/fW ï\y(\ci: nh'îi^'-fm- n-&y n^/i-ï- f.^
nhc CTrt+A ff.cp^-. : n^oi^î 0. '-%= «f'j&T (B^'}mX; +Aff?-Ï- h(°?- TA-Ï- f+rt^ CT+Ï-T- ^ft^rt. :. (l^fr ?>S;l:a>-î ^W^w tl-ôf nhC f-t-rt^ A-^ ^AC^A. ii XC^^o»- ^ 4'AO-Ï- '"rtA ?-ï-9; ^"}mATlA. ii h-A ^.îA-O^flr'îç . î^îfa»-'} ^'.«.trt. : ^(1, ^+0(V.i
^oy^g^y» n+A^P 4'AB?-1- h->"? f+rt<{. fT^ft-fch 'i%°? l(o-=! PXT. C ^rt<{. ^;f:(D.?° MA UW-i; U-A. «^°î» ïa>-==
FÏÏA^ ÉEi.y^- rt. »iffl'> "".rt. î <sïc ^r"r TAC +''1^^! f?>j? ij6 h9°t\Cî fha ic ^ he\fl: fh'î^ i^. ""ft+As ^. ^.ï" ïn, ! hhi (o-f-l-=
°?C ?>î "ortA . ti'l'li^^Ï- TÏ?" ijs ^(o-^rt-:; f'TA^, a)"i-y-:f- n'Iîin . ï-t. a. 'ii'ai-l . t-ffl'îï+m- ^^l"lrt. :: "o-rt- rAç mf. y vïc 'kr"r +°îft je. A-n/lrt. :: yïC <f!?°T f'T. IAar hao-t"i;t- Wf. faîm{[V . la)-. : \Kïa<-. h'îl-h tt-6f ?>'>-ç. U-?° hX^-fc ^J& TAC ^y<:VA=!
anl'-Pm- ^f. 90 <7"+ï.i. ^n^A.;: y^c i'. y'T'î rffxA'nrt-ï- <D"»-f>-:ï- î;f:o-== A?iT-f-^ rt.U"} h^^. (BA^-?- f°î(nCA®- TAC .(iy P. Vt'. 'TA::
w^-ï-V i\\csh^'i;t- ff. z. fi- (t. irt f, u9a nh. 3î"1:itlD- P°îA^ ^ITÎA:! f^eEh'î-ar Kl: mArt?°ç "7C^ ^-Ù^A^!! ^A^-i. O, ^®- .?.> "ÎC^i h^Ctcy:: fin-f ^.m.vfm- A. 'I++ J&^^A. :! \'i(ï-y ao^ Mîi:ar== h'îA- ^. h;ï- VhWia- yf.C. Pt^:: hal-{\-t'(D- . f}tt. ^A+Pî AKy
^AoA^i. hifï °?c^ yf.c. pt^:: (D"I+:I: h<?^î o, A, r-t-rt<. ï"l%rn^'> ntb'>^^-;l:(o- tje, ^ft<{-rt. !! ^A-l- p-t-A^ti OTm-> ^^(D--} h-dc f-ï-ftà- OT/I+A (Ih'îl^w- tl-ôf f{\6-{if:: u-rt-fr <rort+ft°?- n/, -}A- "yu+y" /i^^-rt-nsy"!: iï-tic t'+n't fXc IT n^^î'a»- f Se h¥A '1^
ff. C^t^:: Vl-6~'-f-w') f°IV P°ît: Wff-'- f. (\6-i^:: M-î-^-IW-k rt.-f-î- f.'TP a^f^ +°Xft ^. A-fl/lrt-" cmyi^-go yhC. PiV:: ^A+?°
hWar /{f, fi-tî^ fft£-/[-. : A-^î ttT'tsC hC n+À-f-A. A->-nA 4'Ad-l- ff. C^/[-': 0-{[-t:9a \al&-'-f-m- WK-9°Clï. 90;t- h^ïW. hAft
^Ac^rt. !: rh^î-ï- A/iAnn^fo- .nN-y0 hj6a>i,ï'iî?°!= f-t-l'îar'î Outî +."1(1 A-nrtm- J6o)ilrt-'i ffn+l^- ^FK.?0!: ^;l:(o-'} j&n/iA.::
AZIto- f°lU"} h-PC'f-C' frl-rt<. irii^'î ff. Cpi^:: MK "°n+A j6^-rtC'1;f;yA!! RT-<{.;f:cr'} h"°»ihA -ije, '()?i <|i'}(.m j&rt^rt. !: M J&+0rt. !i
3.2. fïCrt- /»>l'1'e <"'lA'nî (Associated intangible Aspects)
ÀîÏ7/S//iH-}A-(f. / hS.'l.T&l "lôfftif.f. l ('AA/ (.El,y^ ^^ r-»/{çi Fn,-f-hcft;h^"> ?i->.ï. y-?° f"°y(;^ ii-l- ^(D-^Ï ho°y<^;i:(B- f+'r/i
h'îf.fhtïiïa. ar ma1 Aff?A-î b7"i:t- V-t-t^fV. A'i^e ?>'}ïft^rt, ^ ?"%?<. rt.U"» n-»^î ^^ f<7"-M^-}: pOT>ffl1(n-K: ?i'}^.^?° nn,+iiCrt-Ï-^'>
arfîf ASl^^-Ï n"°ftlA- ?»? n"°/tA9° hy'\War'} fa?"nft1'> . t-'?0^'ï-'> ^'h'TarîA. ! s
