REPORT ON THE STATUS OF AN ELEMENT INSCRIBED ON …



CONVENTION FOR THE SAFEGUARDING

OF THE INTANGIBLE CULTURAL HERITAGE

INTERGOVERNMENTAL COMMITTEE FOR THE

SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE

Seventh session

Paris

December 2012

Nomination file no. 00668

for Inscription on the Representative List

of the Intangible Cultural Heritage of Humanity in 2012

|A. STATE(S) PARTY(IES) |

|FOR MULTI-NATIONAL NOMINATIONS, STATES PARTIES SHOULD BE LISTED IN THE ORDER ON WHICH THEY HAVE MUTUALLY AGREED. |

|ALGERIA |

|B. NAME OF THE ELEMENT |

|B.1. NAME OF THE ELEMENT IN ENGLISH OR FRENCH |

|This is the official name of the element that will appear in published material. |

|Not to exceed 200 characters |

|Rites and craftsmanship associated with the wedding costume tradition of Tlemcen |

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

|if applicable |

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

|Not to exceed 200 characters |

|التلمساني الزفافي الزي بعادة المرتبطة الحرفية المهارات و الطقوس |

|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. |

|The traditional costume around which the wedding ritual is organised is called " Lebset El- Arftan". |

|"Chedda" is the shorter and more recent name, and is more frequently used today. |

|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 |

|The ritual practices linked to the feminine wedding costume and the ancestral craftsmanship practices that enable the fabrication of this |

|traditional costume are regarded by all social classes of the Tlemcen community as a coherent whole forming a main element of its cultural |

|heritage. |

|D. Geographical location and range of the element |

|Provide information on the distribution of the element, indicating if possible the location(s) in which it is centred. If related elements are |

|practised in neighbouring areas, please so indicate. |

|Not to exceed 150 words |

|The element originates from the town of Tlemcen, the capital of the eponymous Wilaya located in north-western Algeria. |

|Tlemcen cultural heritage is rooted in Amazigh (Berber), Roman, Arab, Andalusian and Ottoman cultures. Capital of central Maghreb (present |

|Algeria), following the rise of the Zianide Kingdom in the thirteenth century, Tlemcen yielded its capital status to Algiers in the sixteenth |

|century, but remained one of the most prestigious cultural centres of the Maghreb. |

|The element is shared with the neighbouring city of Nédroma. It was adopted by people in other cities in western Algeria, including Ain |

|Temouchent, Mostaganem, Oran, Saida and Sidi Bel-Abbès, but the craftsmanship skills needed to manufacture the components of the ritual costume|

|are concentrated mainly in the historic towns of Tlemcen and Nédroma. |

|E. Contact person for correspondence |

|Provide the name, address and other contact information of the person responsible for correspondence concerning the nomination. If an e-mail |

|address cannot be provided, indicate a fax number. |

|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, and for one person in each State Party involved. |

|Title (Ms/Mr, etc.): |

|Mr, Professor |

| |

|Family name: |

|Hachi |

| |

|Given name: |

|Slimane |

| |

|Institution/position: |

|Centre National de Recherches Préhistoriques, Anthropologiques et Historiques (CNRPAH) / Directeur |

| |

|Address: |

|3 Boulevard Franklin D. Roosevelt |

|16000 ALGER |

|Algérie |

| |

|Telephone number: |

|+213 66 157 62 82 |

| |

|Fax number: |

|+213 21 71 73 17 |

| |

|E-mail address: |

|contact@ |

|slimhachi@yahoo.fr |

| |

|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 ‘others’, 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. |

|The Committee should receive sufficient information to determine: |

|that the element is among the ‘practices, representations, expressions, knowledge, skills — as well as the instruments, objects, artefacts and |

|cultural spaces associated therewith —’; |

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

|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’; |

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

|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. |

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

|Not to exceed 250 words |

|The feminine wedding costume embodies the main festive event of the Tlemcen community. It symbolizes the alliance between the families and |

|continuity between generations. |

|The costume ritual is the central sequence of the festival: |

|The bride wears a traditionally-woven golden silk Blousa dress. Symbolic henna designs are applied on her hands. She is surrounded by her |

|sisters, female cousins and married female friends, dressed in their wedding costumes. |

|An aunt helps the bride don the caftan of embroidered velvet, jewelry and the conical hat that completes the costume. The countless rows of |

|baroque pearls protect her vital and reproductive organs against evil spirits. To leave the home of her parents, she is covered with a veil of |

|flamboyant silk, a legacy from Berber-Roman nuptial rites. |

|At the scene of the feast, the aunt draws red and silver round motifs on her cheeks and under her lower lip. These circular designs are |

|intended to ward off bad luck during the rite of passage. The ritual known as El-Djeloua takes place out of sight of the guests, under the |

|golden veil supposed to screen the bride from evil spirits. |

|Protected by the caftan, jewels and make-up ritual that has just been applied, the bride can finally be revealed, admired by the guests, and |

|dance. |

|This ritual plays a major role in the expression and perpetuation of the Tlemcen identity. Its preservation is based on centuries-old, |

|multi-secular craft traditions, especially the skills of silk weaving in gold thread associated with the fabrication of the bridal veil, the |

|Blousa dress, the fringed shawl, the ritual belt and loincloth tied around the bride’s stomach the day after the wedding to protect her |

|fertility. |

|Who are the bearers and practitioners of the element? Are there any specific roles 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? |

|Not to exceed 250 words |

|The mission of the bearers involved in the fabrication of the bridal dress endowed with magical protective attributes is intimately linked to |

|that of women called upon to ensure the continuity of the community by procreating after their marriage. |

|The wedding costume derives from ancient ritual practices transmitted by the grandmothers and mother of the future bride. All the women in the |

|community can be considered as the practitioners and bearers of the rite. |

|The wedding dress is expensive because it uses such precious prophylactic materials as gold, pearls and silk traditionally woven with gold |

|thread. Thus it may be transmitted from mother to daughter, borrowed from relatives or rented for the duration of the ceremony. |

|The artisans are responsible for making these clothes and ornaments charged with symbolic attributes that compose the ritual costume. |

|Corporations that had existed since the Middle Ages are federated today around the local Chamber of Crafts and Trades that group various |

|trades, from silk weavers to the tailors, jewelers and embroiderers of caftans, hats and slippers. These craftsmen possess the technical and |

|artistic skills inherent in the tradition of the wedding dress. |

|By providing Tlemcen families with embroidered caftans, silky veils, belts and loincloths with magical attributes, as well as jewelry enhanced |

|with gems and baroque pearls endowed with protective powers, the artisans keep alive ancestral traditions essential to the perpetuation of the |

|community and its social cohesion. |

|How are the knowledge and skills related to the element transmitted today? |

|Not to exceed 250 words |

|Family education is the main means of transmission of the rite of the wedding costume. Tlemcen girls and young women become aware of the |

|significance of the traditional costume by participating each summer in weddings of relatives and neighbours. They apprehend this imposing |

|costume as an element of pride and a sign of belonging to the community. They are initiated at the age of three years to the ritual of the |

|costume during the religious festival commemorating the birth of Prophet Mohammed for which mothers dress their small daughters as little |

|brides. The artisans who specialize in silk weaving, embroidery and jewelry produce small size clothing and accessories for this ritual use. |

|They thus contribute to raising awareness of the new generation to the tradition of the wedding costume. |

|The craftsmanship skills that revolve around the maintenance of rituals associated with traditional dress are passed on from father to son. The|

|community is all the more aware of the importance of the survival of these ancient skills as they constitute an important economic resource for|

|Tlemcen and the region. Yet some professions are becoming rare today because society has evolved and the young generations now have the choice |

|to pursue university studies or to consider other career paths. Training institutes specializing in traditional craft professions now provide |

|the transmission of ancient techniques associated with the production of the multiple components of the ritual costume. |

|What social and cultural functions and meanings does the element have today for its community? |

|Not to exceed 250 words |

|The festive rite of marriage is based on the highly symbolic values ​​conveyed by the traditional costume. The Tlemcen population remains deeply |

|committed to this practice that strengthens the feeling of community. Every detail of the costume reflects the longevity of a centuries-old |

|multi-secular belief concerning the regeneration of the community through the foundation of a new family and to children to which the married |

|woman will give birth. These ancestral beliefs explain the importance of all the elements of adornment endowed with magical powers that could |

|protect the fertility of the future mother of the family during the most crucial rite of passage of her life. |

|The wedding costume also ensures a basic social function given the economic activity of which it is the vector. The Tlemcen silk, embroidery |

|and jewelry craftmanship survives on the marriage tradition. It is a sustainable source of income for artisans and traders in traditional |

|costume. |

|Of the 630 artisans affiliated to the Chamber of Crafts and Trades of Tlemcen, 15.7% are specialized in traditional dress, 10.2% in traditional|

|weaving, 4.7% in the traditional embroidery, and 1,4% in the traditional jewelry. In total, the income of 32% of artisans registered by the |

|Chamber are involved with the tradition of the costume. However, the vast majority of artisans of the costume crafts are informal workers - |

|mainly women who work from home. An informal workshop may employ up to ten seamstresses and embroiderers. Today, the tradition of the Tlemcen |

|costume generates employment for over 10,000 artisans. |

|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? |

|Not to exceed 250 words |

|Ritual practices and craftsmanship associated with the wedding costume of Tlemcen do not contradict any international human rights instrument. |

|They are based on respect between individuals, the common interest of families, social cohesion and group reinforcement. They concern all the |

|families of the city and do not exclude any category of the population. |

|All the pieces that compose the traditional wedding costume are the result of a traditional manual production that does not compromise the |

|preservation of the natural environment or the quality of life of the local population. |

|2. Contribution to ensuring visibility and awareness and |

|to encouraging dialogue |

|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’. |

|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? |

|Not to exceed 150 words |

|The inscription of the element on the Representative List will lead to a renewed interest at national and regional level for the crafts of |

|textiles, clothing, embroidery and jewelry. It will especially help the younger generations to realize the importance of traditional arts of |

|the costume. |

|It will expand the visibility of intangible cultural heritage to the field of the costume, an element still not sufficiently valued as a living|

|cultural expression of high social and economic value. It will thus contribute towards overcoming the reductive perception of clothing and |

|jewelry as strictly material objects and to the rehabilitate the costume as a culture and tradition, in keeping with its etymology (from the |

|Italian "costume" meaning "custom"). |

|The global expansion of the white wedding dress of industrial manufacture results in the abandon of traditional bridal costumes and the skills |

|necessary for their craftsmanship. The inscription of the element should therefore encourage other communities around the world to value and |

|consider the preservation of this unique form of heritage. |

|How can inscription encourage dialogue among communities, groups and individuals? |

|Not to exceed 150 words |

|Ritual practices and craftsmanship associated with the costume of the Tlemcen bride are the culmination of a remarkable process of popular |

|creation. They have developed from human and historical itineraries linked to several historical cultural borrowings. This exceptional and |

|harmonious stratification of the costume and culture that it reflects is a rare case where knowledge can but promote intercultural dialogue, |

|especially in the tormented and conflicted area of the Mediterranean. |

|This centuries-old multi-secular legacy illustrates the ability of the Tlemcen community to preserve its identity while reviving its traditions|

|through the assimilation of new elements that demonstrate an attitude of openness to other cultures. Its recognition will help strengthen the |

|identity construction of the community while encouraging it to continue the dialogue with other communities at regional and global levels. |

|How can inscription promote respect for cultural diversity and human creativity? |

|Not to exceed 150 words |

|The inscription on the Representative List of the ritual of the wedding costume and the crafts associated with its design will highlight the |

|role of creative forms related to dress and appearance in the expression of the diversity of the intangible cultural heritage of humanity. |

|It will encourage the community of Tlemcen in its desire to preserve the originality of this ancient practice, despite the massive influx of |

|cheaper imported products of industrial manufacture on the local market. |

|The visibility enjoyed by the artisans of the city will facilitate partnerships with artisans from different countries and gain access to other|

|techniques and aesthetics that will assist them to diversify their repertories and nurture their creativity. |

|The launch of annual events that promote the creativity of the artisans of the community in other cities of Algeria has already begun to take |

|shape: the first festival of traditional dress held in the capital in December 2011 was entirely dedicated to the craft of the traditional |

|feminine costume of Tlemcen and western Algeria. |

|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 |

|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? |

|Not to exceed 250 words |

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

|individuals concerned: |

|transmission, particularly through formal and non-formal education |

|identification, documentation, research |

|preservation, protection |

|promotion, enhancement |

|revitalization |

|The Department of Culture of the Wilaya of Tlemcen sponsors many annual events related to the tradition of the costume. It emphasizes the |

|integration of the wedding costume in most of the traditional music concerts, festivals, popular parades, folklore ballet and official |

|ceremonies. This divulgation work is based on the mobilization of local associations backing initiatives that have emerged in recent years. |

|Notably, some associations plan staged events and exhibitions on the theme of the traditional wedding costume on the occasion of religious and |

|national holidays. |

|The Chamber of Crafts and Trades (CAM) of Tlemcen helps artisans to manage their activites, improve their techniques and promote their |

|production. It is the key intermediary with local authorities and has 33 premises for the artisans. It organizes specialised fairs and salons, |

|as well as exhibitions and demonstrations in the Exhibition Gallery which is adjacent to the Royal Palace of Zianides, in the heart of the |

|historic center. The National Fair of Traditional Dress that is organized every four years offered 40 craftsmen the opportunity to show their |

|creations to around 3,000 visitors a day for five days in November 2009. |

|The convention linking the CAM to the University of Tlemcen since 2010 encourages research projects aimed at safeguarding craftsmanship. |

|Between 2010 and today, five master's theses were carried out in collaboration with the advisor to the artisans of the CAM. These studies are |

|useful in guiding priority actions of the Local Craft Skills Centre attached to the CAM. |

|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? |

|Not to exceed 250 words |

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

|transmission, particularly through formal and non-formal education |

|identification, documentation, research |

|preservation, protection |

|promotion, enhancement |

|revitalization |

|State support for artisans is channeled through the National Fund for the Promotion of Traditional Craft Activities (FNPAAT). This organism, |

|under the Ministry of Tourism and Handicrafts, manages aid to artisans in collaboration with several agencies including the National Agency for|

|Youth Employment Support and the National Agency for Micro-business Management. Moreover, very recently, artisans benefit from some tax |

|benefits for life and pay a single flat tax rate of 5000 Algerian Dinars per year. |

|The main area of action of national organisms concerns the training and transmission of craft skills. The most important institution is the |

|National Institute Specialized in Vocational Training of Traditional Crafts (INSFPAT) of Tlemcen, under the Ministry of Education and |

|Vocational Training, which opened its doors in 2003. Among the specialties taught, four are directly related to the proposed element: |

|Traditional dress, Embroidery, Traditional weaving, Traditional jewelry. |

|On the occasion of the international event Tlemcen Capital of Islamic Culture 2011, the Algerian Ministry of Culture set up a new mechanism to |

|promote the traditions and crafts related to the costume. During 2011, the organization of thematic exhibitions involved several cultural |

|associations which embraced the opportunity to promote the tradition of the Tlemcen costume: "Daily life in Tlemcen" at the Museum of Art and |

|History of Tlemcen"; Algerian finery and jewelry throughout history" at the Royal Palace Museum of Zianides; "Customs and traditions of |

|Tlemcen" at the Imama Cultural Palace of Tlemcen. |

|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. |

|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? |

|Not to exceed 750 words |

|Inscription on the Representative List should not create new risks or aggravate threats that would jeopardize the viability of the element as |

|these are primarily the result of the progressive standardisation of the cultural and clothing environment because of the changing lifestyle of|

|the community and effects of globalization. |

|Safeguarding the element requires a better knowledge of its origins, evolution, historical dimension, and its social, economic and cultural |

|functions within the local, national and international communities. This research and divulgation mission will notably be ensured by the |

|Costume Interpretation Centre which is scheduled to open in December 2012. |

|The structure will be located within the prestigious Royal Palace of the Zianides (Mechouar), the restoration of which was completed in 2011, |

|in the heart of the historic core of Tlemcen. It will therefore benefit from an exceptional visibility. The Costume Interpretation Centre will |

|act both as a research institute and museum. It will cover 1,200 square meters, divided into four exhibition wings, spaces for research and |

|conservation, as well as a specialized library. |

|The mission of the Costume Interpretation Centre will favor the creation and dissemination of media and didactic supports aiming to place |

|knowledge of the traditional costume and costume crafts in an anthropological, historical and technical perspective. Dissemination of this |

|knowledge will target experts in the field as well as the general public of all generations. Thematic exhibitions and videos produced by the |

|Centre will provide schools, colleges and vocational institutes of Tlemcen with training materials which can contribute concretely to the |

|knowledge of the tradition of the costume, its meanings and craftsmanship which enable its viability and preservation. |

|Moreover, the National Centre for Prehistoric, Anthropological and Historical Research (CNRPAH) plans to organize two international conferences|

|in Tlemcen which will contribute to deepening the knowledge that will encourage safeguarding of the element: in 2012, a symposium on the state |

|of the art of scientific research on the intangible cultural heritage, followed by a symposium on the craft and ritual practices related to |

|dress and appearance, in 2013. |

|In parallel, the creation of the House of Crafts of Tlemcen by the Ministry of Tourism and Handicraft will improve the working conditions of |

|artisans. This new infrastructure which is nearing completion is located in the district of Bouhannac, near the University. It will open its |

|doors in late 2012 and provide 40 additional artisan premises in the city. |

|The main craftsmanship safeguarding measure currently under study is the creation of a Craft Village outside the city center, which would |

|accommodate 20 spaces for additional production by young Tlemcen craftsmen in a few years time. This Village which was closed down over fifteen|

|years ago should be rehabilitated and reopened. Half of its premises would be attributed to artisans of the costume. |

|The creation of an annual competition on the crafts of clothing, accessories and traditional jewelery is also under study. It will focus |

|initially on artisans of the traditional oriental slipper (“babouche”) who produce embroidered velvet slippers with gold thread using the same |

|technique as for the conical hat of the Tlemcen bride. The traditional slippers are the only component of the nuptial costume to have been |

|replaced by a modern imported element: high-heeled evening footwear of European style. Actions must therefore be planned for the urgent |

|safeguarding of this endangered know-how. |

|Finally, to ensure greater protection of the interests of the artisans, it would be appropriate to consider a complete exemption from taxes for|

|owners of ancestral skills. Such a measure would encourage artisans whose activities remain informal and undeclared, especially women |

|seamstresses and embroiderers working at home, to enjoy social rights and benefit from State advantages accorded to the artisans. |

|How will the States Parties concerned support the implementation of the proposed safeguarding measures? |

|Not to exceed 250 words |

|An overall budget of 23 million Algerian Dinars has been allocated by the Algerian state for the operation of the Costume Interpretation Centre|

|of Tlemcen for 2013, including 12 million Algerian Dinars for personnel management which will consist of 20 posts including two conservators, |

|two cultural advisors, four facilitators and a stage designer. |

|Under the National Hundred Premises per Commune Programme of by the Algerian state, 40% of the premises of the agglomeration of Tlemcen are |

|reserved for craft professions. |

|Amongst these new spaces, the 40 laboratories of artisan production of the House of Handicrafts are the most ambitious project. A budget of 70 |

|billion Algerian Dinars was allocated by the Algerian State to achieving the House of Handicrafts of Tlemcen which is scheduled to open late |

|2012. This new institution will play a decisive role in the safeguarding and development of craft skills. It will be a dynamic crafts creation |

|centre and will contribute to the funding of new projects for the vitalization and enhancement of the most fragile skills. It will also work to|

|create a database of craft techniques and a website, which will improve the visibility of the production of local artisans. |

|Also, still under the National Hundred Premises per Commune Programme, the Handicrafts Commercial Centre located in Bab El-Jiad, in the city |

|centre, will make 10 new retail spaces available to the craftsmen. Its inauguration is planned for spring 2012. |

|How have communities, groups or individuals been involved in planning the proposed safeguarding measures and how will they be involved in their|

|implementation? |

|Not to exceed 250 words |

|During the elaboration of the nomination, the cultural associations and artisans of Tlemcen reflected upon a more precise definition of |

|safeguarding measures prior to drafting the application. The details of safeguarding actions were formulated already in 2010 around two groups |

|of community representatives: |

|a. Associations with a cultural vocation, often founded by active women involved in safeguarding the cultural heritage of Tlemcen: |

|Some associations strive to valorise the customs linked to the various ceremonies which are part of the life of the community, particularly |

|that of the traditional marriage. The presidents and members of these associations work outside their associative activity within the major |

|cultural organizations, universities and museums in the city. They comprise an informed interlocutor for the definition of safeguarding |

|measures to promote, including meetings of 10 May and 29 September 2010 with the Directorate of Culture of the Wilaya of Tlemcen. They are and |

|will remain involved in the realization of these measures in collaboration with the local authorities. |

|b. Artisans federated with the Chamber of Crafts and Trades of Tlemcen: |

|The director and advisor to the craftsmen acted as intermediaries between the artisans and the local and national authorities by bringing |

|together five times the representatives of the different crafts concerned between May and September 2010. At these meetings, several |

|safeguarding actions were proposed. Managers and master craftsmen who are strongly mobilized to activate the conservation and transmission of |

|traditional skills will be the main protagonists of the successive stages of realisation of the safeguarding plan. |

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

|Provide the name, address and other contact information of the competent body(ies), and if applicable, the name and title of the contact |

|person(s), with responsibility for the local management and safeguarding of the element. |

|Name of the body: |

|Direction de la Culture de la Wilaya de Tlemcen |

| |

|Name and title of the contact person: |

|Hakim MILOUD |

|Directeur de la culture |

| |

|Address: |

|El-Méchouar |

|13000 TLEMCEN |

|Algérie |

| |

|Telephone number: |

|+213 771657962 |

| |

|Fax number: |

|+213 43272050 |

| |

|E-mail address: |

|tagrart@yahoo.fr |

| |

|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. |

|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. |

|Not to exceed 500 words |

|A scientific committee composed of researchers from the National Center for Prehistoric, Anthropological and Historical Research (CNRPAH), of |

|Algerian universities and major regional and national museums involved with crafts heritage and the arts of the costume, namely the National |

|Museum of Folk Arts and Traditions (Algiers) and the Zabana National Museum (Oran), met with 12 representatives of the community on May 10, |

|2010. This meeting with the direction of the Wilaya of Tlemcen, and seven representatives of Tlemcen associations and universities, led to the |

|identification of issues and potential partners for the nomination project within the community (weavers, embroiderers, jewelers, etc.). It |

|also allowed to take the measure of community support for the inscription request of the element and to witness its enthusiasm. |

|As from May 2010, the CNRPAH Committee of Experts responsible for coordinating the elaboration of the dossier has conducted interviews and |

|begun compiling and summarising the components of the nomination thanks to the constant mobilisation and strong implication of the artisans and|

|cultural associations of the city. Interviews with the master craftsmen, seamstresses and embroiderers working from home, and the town elders, |

|including retired craftsmen and women born between 1920 and 1940, helped to gain deeper knowledge of the wedding rituals and their |

|significations, as well as their vital relationship with the traditional crafts of weaving, goldsmithing and gold thread embroidery. A total of|

|200 interviews were conducted in Tlemcen, Nédroma, Sidi Bel-Abbes and Oran, the largest city in western Algeria, where many families of Tlemcen|

|merchants and notables have settled in recent decades. |

|The elaboration and formulation of the safeguarding plan with the artisans and community associations was finalized in December 2010 (see 3.b. |

|(iii).). This planning stage benefited from the synergies and means associated with the preparation of the event Tlemcen Capital of Islamic |

|Culture 2011. It also benefited from the moral, financial and logistical support of the local, regional and national authorities. The |

|simultaneity of the nomination project and the authorities' interest in the culture and heritage of Tlemcen and its region thanks to this event|

|of international scope had a determining role in reaching concrete decisions. It also encouraged the allocation of strategic premises like the |

|Royal Palace of Zianides, which was then being restored, to welcome new organisms that will be mainly involved in safeguarding the element, |

|beginning with the future Costume Interpretation Centre. |

|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. They should be provided in their original language as well as in English or French, |

|if needed. |

|Attach to the nomination form information showing such consent and indicate below what documents you are providing and what form they take. |

|Not to exceed 250 words |

|The scientific committee responsible for developing the nomination secured the support and consent of many community representatives during the|

|various stages of investigation and fieldwork. |

|Most of the of community representatives’ letters were directly written in French, a language in common use both in families and among local |

|artisans, the entire community being perfectly bilingual. The presidents of cultural associations and academics who are active in them |

|generally opted for a summary statement in English, the language used by researchers in all the scientific disciplines involved. The latter |

|also offered to translate into English the statement that the master craftsmen had prepared together so as to be comprehensible in both |

|languages. |

|List of the eleven local organizations and associations supporting the candidacy through / by a letter of consent: |

|- El-Assala Association of Traditional Arts |

|- House of Culture of Tlemcen |

|- La Grande Maison Cultural Association |

|- Association Nour Customs & Traditions |

|- Chamber of Crafts and Trades of Tlemcen |

|- Association Ecolymet of college and high school students, and of the Médersa of Tlemcen. |

|- Dynamics Laboratory of languages ​​and speech in the Mediterranean, of the University Abu Bekr Belkaïd of Tlemcen |

|- Ryad El Andalus Music Association |

|- Awtar Tilimcen Association |

|- Culture Directorate of the Wilaya of Tlemcen. |

|- Library of the Wilaya of Tlemcen. |

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

|Access to certain specific aspects of intangible cultural heritage or to information about it is sometimes restricted by customary practices |

|enacted and conducted by the communities in order, for example, to maintain the secrecy of certain knowledge. Indicate whether or not such |

|practices exist, and if they do, demonstrate that inscription of the element and implementation of the safeguarding measures would fully |

|respect such customary practices governing access to specific aspects of such heritage (cf. Article 13 of the Convention). Describe any |

|specific measures that might need to be taken to ensure such respect. If no such practices exist, please provide a clear statement on it. |

|Not to exceed 250 words |

|The item has no sacred character today, even though it presumably derives from ancient rituals that must initially have had such a function. It|

|involves no ritual linked to practices that are supposed to remain confidential or secret. The knowledge, craft production and festive |

|practices currently linked to all the aspects associated with the element are therefore completely visible and accessible. |

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

|Provide the name, address and other contact information of community organizations or representatives, or other non-governmental |

|organizations, that are concerned with the element such as associations, organizations, clubs, guilds, steering committees, etc. |

|Organization/ community: |

|Association El-Assala des Arts traditionnels |

| |

|Name and title of the contact person: |

|Amaria BOUDIA |

|Présidente |

| |

|Address: |

|Maison des jeunes Fatiha Bouali |

|13000 TLEMCEN |

|Algérie |

| |

|Telephone number: |

|+213 55 8479639 |

| |

|Fax number: |

|+213 43213557 |

| |

|E-mail address: |

|A-Boudia13@yahoo.fr |

| |

|5. Inclusion of the element in an inventory |

|For Criterion R.5, the States shall demonstrate that ‘the element is included in an inventory of the intangible cultural heritage present in |

|the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention’. |

|Identify the inventory in which the element has been included and the office, agency, organization or body responsible for maintaining that |

|inventory. Demonstrate that the inventory has been drawn up in conformity with the Convention, in particular Article 11(b) that stipulates that|

|intangible cultural heritage shall be identified and defined ‘with the participation of communities, groups and relevant non-governmental |

|organizations’ and Article 12 requiring that inventories be regularly updated. |

|The nominated element’s inclusion in an inventory should not in any way imply or require that the inventory(ies) should have been completed |

|prior to nomination. Rather, a submitting State Party may be in the process of completing or updating one or more inventories, but has already |

|duly included the nominated element on an inventory-in-progress. |

|Attach to the nomination form documents showing the inclusion of the element in an inventory or refer to a website presenting that inventory. |

|Not to exceed 200 words |

|In accordance with Articles 2 and 3 of the decrees on the modalities of referencing intangible cultural properties in the National Databank, |

|the Culture Directorate of the Wilaya of Tlemcen provided the Algerian Ministry of Culture in November 2010 with data on rites, knowledge and |

|know-how linked to the traditional marriage ceremony which had been collected by its services from families, individuals and cultural and |

|professional associations of the city and the region. This data includes videos, oral testimonies, photographs and written documents that |

|attest to the active participation and keen interest of the local population in the national and international recognition of this tradition |

|and the various rituals and craft associated with it. |

|In a second phase, scientific experts from the National Centre for Prehistoric, Anthropological and Historical Research (CNRPAH), proceeded to |

|the validation of these materials. Following this validation phase, the Ministry of Culture asked the CNRPAH to prepare and present to the |

|services of UNESCO a nomination for classification (see correspondence of the Director of Culture of the Wilaya of Tlemcen, and Ministerial |

|Decision for the inscription of this kind in the National Databank). |

|6. Documentation |

|6.a. Appended documentation |

|The documentation listed below is mandatory, except for the edited video, and will be used in the process of examining and evaluating the |

|nomination. It will also be helpful for visibility activities if the element is inscribed. Tick the following boxes to confirm that related |

|items are included with the nomination and that they follow the instructions. Additional materials other than those specified below cannot be |

|accepted and will not be returned. |

| 10 recent photographs in high definition |

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

|edited video (up to 10 minutes) (strongly encouraged for evaluation and visibility) |

|cession(s) of rights corresponding to the video recording (Form ICH-07-video) |

|6.b. Principal published references |

|Submitting States may wish to list, using a standard bibliographic format, principal published references providing supplementary information |

|on the element, such as books, articles, audiovisual materials or websites. Such published works should not be sent along with the nomination. |

|Not to exceed one standard page. |

|Liste sélective d'ouvrages de référence: |

|BELKAID Leyla, Costumes d'Algérie, Paris & Skikda, Editions Du Layeur & Editions Messikh, 2003. |

|DIB-MAROUF Chafika, Fonctions de la dot dans la cité algérienne. Le cas d’une ville moyenne: Tlemcen et son hawz, Alger, OPU, 1984. |

|OUGOUAG-KEZZAL Ch., Les cérémonies du mariage à Tlemcen, Lybica n° 30-31, 1982. |

|OUGOUAG-KEZZAL Ch., Le costume et la parure de la mariée à Tlemcen, Lybica n° 18, 1970. |

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

|The nomination should conclude with the original signature of the official empowered to sign it on behalf of the State Party, together with |

|his or her name, title and the date of submission. |

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

|submitting the nomination. |

|Name: |

|Professeur Slimane HACHI |

| |

|Title: |

|Directeur du Centre National de Recherches Préhistoriques, Anthropologiques et Historiques (CNRPAH) |

| |

|Date: |

|27 March 2012 (last revision) |

| |

|Signature: |

| |

| |

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