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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. 01272

for inscription in 2017 on the Representative List

of the Intangible Cultural Heritage of Humanity

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

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

|PANAMA |

|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 |

|Artisanal processes and plant fibers techniques for talcos, crinejas and pintas weavings of the pinta’o hat |

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

|if applicable |

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

|Not to exceed 200 characters |

|Procesos y técnicas artesanales de las fibras vegetales para el tejido de los talcos, crinejas y pintas del sombrero pinta’o |

|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. |

|-- |

|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 |

|Most of the artisans who know the processes needed to obtain the plant fibers from the bellota, junco, chonta, chisna and pita plants, as well |

|as the confection of the talcos, crinejas and pintas for the production of the pinta’o hat are in the province of Coclé. Most of the production|

|is concentrated in the geographic regions of the Districts of Penonome, La Pintada and Anton where, in addition to knowing the processes, the |

|artisans organize themselves into artisans’ cooperatives and groups. For example, the Cooperativa Pequeños Productores El Nazareno R.L., in |

|Piedras Gordas; REMAPA, in Machuca, and the Agrupación Agroforestal El Copé, have negotiated a loan for land to plant parcels of raw material. |

|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 |

|The Coclé (8° 05” and 9° 03” North and 80° 02” and 8° 05” West) is divided into six districts: Aguadulce, Anton, La Pintada, Nata, Ola, and |

|Penonome and 39 subdivisions called corregimientos. Most of the artisans that weave plant fibers are in La Pintada, Penonome and Anton. There |

|are well known communities such as Tulu, Las Minas, Pedregosa, Membrillo, El Harino, El Cope, Ojo de Agua, Membrillal, among others. |

|Coclé is located 100 kms away from Panama City in the central area with coasts in the Pacific Ocean. Is the fifth Province of Panama Republic |

|in population found mostly in rural areas. |

|Although most of the production takes place in three districts of Coclé Province, there are also artisans working these fibers in the Provinces|

|of Herrera, Los Santos and Veraguas. |

|E. Contact person for correspondence |

|E.1. Designated contact person |

|Provide the name, address and other contact information of a single person responsible for all correspondence concerning the nomination. For |

|multi-national nominations provide complete contact information for one person designated by the States Parties as the main contact person for |

|all correspondence relating to the nomination. |

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

|Ms |

| |

|Family name: |

|Gómez |

| |

|Given name: |

|Emma |

| |

|Institution/position: |

|Ministry of Commerce and Industries / General Coordinator in charge of the Safeguarding of the Intangible Cultural Heritage Project |

| |

|Address: |

|Plaza Edison, between Avenida el Paical and Via Ricardo J. Alfaro |

| |

|Telephone number: |

|(507) 560 0600 extensión 2347 |

| |

|E-mail address: |

|emgomez@mici.gob.pa / emmagomezg@ |

| |

|Other relevant information: |

|Leonardo Uribe - General Director of the Industrial Property Registry |

| |

|E.2. Other contact persons (for multi-national files only) |

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

| |

|1. Identification and definition of the element |

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

|Convention’. |

|Tick one or more boxes to identify the domain(s) of intangible cultural heritage manifested by the element, which might include one or more of |

|the domains identified in Article 2.2 of the Convention. If you tick ‘other(s)’, specify the domain(s) in brackets. |

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

|performing arts |

|social practices, rituals and festive events |

|knowledge and practices concerning nature and the universe |

|traditional craftsmanship |

|other(s) ( ) |

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

|an explanation of its social functions and cultural meanings today, within and for its community, |

|the characteristics of the bearers and practitioners of the element, |

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

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

|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 fewer than 150 or more than 250 words |

|The artisanal process to obtain the plant fibers for the weaving techniques of talcos, crinejas and pintas used to make the pintao hat, is done|

|with five plants and swamp mud. The bellota buds (Carludovica palmata) are teared into needle like cuts, cooked and air dried, day and night to|

|then fray and weave the natural colored crineja. |

|The junco (Cyperus holoschoenus of the Capiraceas family) and the chonta palm bud or chunga (Astrocaryum standleyanum) are cut, frayed and |

|cooked with chisna leaves (Arrabidaea chica) to give it its red color. they are then buried under swamp mud to give it a black color. These |

|fibers are cooked once more with the chisna to enhance the brightness of the black color. The artisans weave the braids and create talco weaves|

|with different designs (for example, talco uñita negra, talco ojito de corazon negro) and the pintas (pinta mosquito negro, pinta pata de zorra|

|blanca, etc.) |

|The pita leaf (Furcraea cabuya) is tied against a tree and torn with a machete until only the threads are left. After they are washed and dried|

|in the sun they will be ready to weave and combine the crinejas, talcos and pintas into the three parts of the pintao hat: plantilla, copa y |

|ala. |

|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? |

|Not fewer than 150 or more than 250 words |

|The form of participation in the artisanal process of the pintao hat’s fibers and braids varies according to the family and the time they |

|invest in the artisanal work. Basically it ranges from four to five people. Some plant (usually the men but also the women), others process the|

|raw material (tear, cook and dye) others weave the crinejas, talcos and pintas and others weave the braids to make the hat. Some families buy |

|the fibers already cut and the whole family shares the work of tearing, the women cook, dye and dry them (so do the men), and then both men and|

|women weave and create designs. |

|This is a manual production; the techniques are passed on from generation to generation. Most of the registered artisans acknowledge a mother, |

|grandma, grandpa, father or uncle who passed on their expertise. The younger ones split their time between school and craftsmanship, therefore|

|they’re assigned the simpler processes so they can learn them. |

|The artisanal work can last between 3 to 10 weeks, depending on the complexity of the talcos and pintas and the amount of rounds around the |

|hat. |

|In addition to this chain of people there’s a middleman, and even though they are not part of the production, they are part of the |

|commercialization. The Ministry of Commerce and Industries and the municipalities offer facilities and venues through craft markets, where the |

|artisans can sell their products directly to the consumers to receive greater profits. |

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

|Not fewer than 150 or more than 250 words |

|The processes and techniques are still being passed on from one generation to the next, even in the agricultural sector related to the plants. |

|The talcos and pintas designs, and new dye colors, show that the new generations are willing to create and utilize new proposals and to |

|maintain the traditional. The design has evolved over its history, but the raw material elaboration and the braid weaves remains. |

|The crinejas, talcos and pintas weaving contests encourage the artisans to perfect their art. In some festivities these contests reach out to |

|kids and young people in order to encourage the value it brings to the region. |

|Currently more than 400 artisans who work the traditional techniques of the pinta’o hat have been identified. The artisans are aware of being a|

|workforce who can make a living from their craft and at the same time be proud of each their creation. |

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

|Not fewer than 150 or more than 250 words |

|The practice of this craft has a significant impact, in several aspects. From the families’ perspective, it highlights the cooperation and |

|support in its own economic and professional development. The younger ones with technological knowledge even use the internet for sales and to |

|promote their own differences and history. |

|From the communities’ perspective, groups of citizens and authorities seek ways of protecting their ecological environment. Vacant land owners |

|have even lent their land for up to ten years so that these organized groups can plant freely. |

|The Coclé region values the artisanal process as much as the final result: the pintao hat, they feel proud of their designs and share them. |

|The pintao hat has become part of the men and women’s regional outfit throughout the country and it’s worn in the traditional dances and during|

|the communities’ festivities. |

|The artisans support each other selling their products. During the Pintao Hat Festival it isn’t only the pintao hat artisans who benefit but |

|all the versions of plant fibers and gastronomy as well as the family fun. |

|There is no set way of wearing it, rather is the elegance of the man or woman who wears it that is praised. It can be worn as an accessory in |

|a formal event, in a dance, or to work, and the different types of weaves offers a range of prices to choose from. |

|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 fewer than 150 or more than 250 words |

|There are no plant fiber artisanal technique processes nor crinejas, talcos and pintas design processes used to weave the Pintao hat that |

|aren’t compatible with the international human rights instruments or the respect among communities. |

|Both men and women participate in the processes, there is no discrimination at all and the whole family gains from the output of their work. |

|This expertise is readily-available and it brings the whole family joy to see their sons, daughters and grandkids learn traditional techniques |

|of plant cultivation, process to obtain the plant fibers and brading. |

|In the contrary, this activity promotes solidarity aimed at ensuring the raw materials and its commercialization. The artisans and plant |

|suppliers have been encouraged to assemble into cooperatives in order to receive benefits and more competitive raw material prices; achieve |

|design technique diversification to create new handicrafts, and opt for better benefits without the middleman cost. |

|The materials used in the production are completely natural, therefore there’s no contamination that may damage the environment or the health |

|and lifestyle of those in the community where it’s produced. |

|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’. 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. |

|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 fewer than 100 or more than 150 words |

|The inscription on the Representative List would contribute to the visibility and raise awareness of the communities that continue to pass on |

|this skill and contribute to the region’s growth. It would promote the understanding of the process and the new generations interest in |

|learning the techniques and in contributing innovative designs and commercialization. |

|According to the register of accredited artisans in the General Directorate of Artisanship of the Ministry of Commerce and Industries, and the |

|files of the PCIP Safeguarding Project, there are thousands of families who benefit directly or indirectly from this activity. This recognition|

|boosts the efforts of the organized groups and authorities. |

|The ecotourism and historic tourism activities that already exist in the area would grow without damaging the element. |

|This expression is practiced and supported by men, women, young people and the elderly, offering social cohesion and a sense of belonging, |

|without differences or discrimination. |

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

|Not fewer than 100 or more than 150 words |

|Currently many artisans who take part in different technique stages have gathered. The inscription on the Representative List would encourage |

|more artisans, authorities and organizations to look for alternatives jointly to maintain access to the raw materials and more artisans to |

|continue working on what they already know to do. It would strengthen the self-esteem of the men and women who make an effort to safeguard |

|their art and to live from it with dignity. |

|Artisans from different towns participate in the festivities that take place to celebrate the artisanal techniques significance of the Pinta’o |

|hat, this promotes communication among communities and the appreciation for its styles and differences. The artisans are invited to the school |

|to explain the materials needed and how they are processed. This way kids of non-artisan parents can understand and value artisanal labor as a |

|decent and creative activity. |

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

|Not fewer than 100 or more than 150 words |

|The Cocle community acknowledges the artisanal work associated to the pintao hat; its visibility would encourage the artisans. The new |

|generations tend to despise rural work, manual work, and they seek safe careers with higher incomes. The inscription of the plant fibers |

|techniques and processes and the Pintao Hat’s weaving techniques on the Representative List will give artisanal work more importance; it will |

|promote its incorporation into long term plans. |

|Magazine covers and newspapers provide superficiality and easy money; as well as status through famous brands; this acknowledgement would |

|highlight the heritage values that form this nation. The pintas and talcos designs of the Pintao Hat motivate young graphic and fashion |

|designers to integrate the artisanal design to their creations. Such creative ideas create intergenerational ties, recognition and |

|sustainability of inhereted knowledge and its development. |

|3. Safeguarding measures |

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

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

|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 fewer than 150 or more than 250 words |

|One of the potential threats against the intangible cultural heritage is the population decline of the artisan’s experts in the production |

|techniques of the pinta’o hat and the depletion of the raw material due to its non-sustainable exploitation. |

|In light of this situation, the artisans and traditional knowledge holders set as a priority actions to safeguard this intangible cultural |

|heritage. To this end, they have come together as cooperatives and groups. For example, the Cooperativa Pequeños Productores El Nazareno R.L., |

|in Piedras Gordas; REMAPA, in Machuca, and the Agrupación Agroforestal El Cope have gathered. |

|The decima singers or mejorana songs have spontaneously sung for years of the artisanal labor, the plant fibers, the grandmas, the men and |

|women with knowledge of the pintao hat’s artisanal processes, and nowadays participate in contests related to this subject, while wearing their|

|pintao hat. |

|Some suggest for the crineja, talco and pinta weaving technique classes be taught once again, as is once was done during the 50’s; an informal |

|crineja, talco and pinta weaving course is taught. |

|Teacher Alfreda Quiros owns a personal crineja, talco and pinta weaves collection from different periods and communities. A Pinta’o Hat museum |

|was built in La Pintada district, recreating the artisan’s processes and environment and displaying hats from different periods. |

|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 |

|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 fewer than 150 or more than 250 words |

|Panama approved Law 41 of April 19, 2011 declaring the 19 of October of every year the Civic and Memorial Day of the Pinta’o Hat and |

|establishing the “protection, promotion and safeguarding of the Pinta’o Hat’s artisanal elaboration technique”, as well as ¬¬implementing |

|“necessary measures to preserve and conserve the plants and natural raw materials utilized for its elaboration”. It included in the law a |

|twenty-five balboas (dollars) minimum contribution to four institutions: Panama Tourism Authority (ATP), National Institute of Culture (INAC), |

|Ministry of Commerce and Industries (known in Spanish as MICI), and Ministry of Economy and Finances (MEF). The law also created a Festival |

|patronage, consisting of local authorities, youth, artisans and Ministry of Education representatives. |

|Since 2006 Coclé’s Regional Directorate of the Ministry of Commerce and Industries with the support of the Ministry of Environment supports the|

|project of parcels used to secure raw materials. The Science and Technology Secretary conducts research and orientation in various provinces |

|regarding bellota cultivation. The General Directorate of Artisanship (of the MICI) holds artisanal markets and fairs to promote and |

|commercialize artisanal products and issues artisan’s identification cards (with markets and fairs advantages). The General Office of |

|Industrial Property, through the Safeguarding of the Intangible Cultural Heritage Project (of the MICI), since 2014 performs an audiovisual |

|documentation and inventory on this field. |

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

|regard to the element: |

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

|identification, documentation, research |

|preservation, protection |

|promotion, enhancement |

|revitalization |

|3.b. Safeguarding measures proposed |

|This section should identify and describe safeguarding measures that will be implemented, especially those intended to protect and promote the |

|element. The safeguarding measures should be described in terms of concrete engagements of the States Parties and communities and not only in |

|terms of possibilities and potentialities. |

|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 fewer than 500 or more than 750 words |

|In the proposal evaluation and analysis meetings, the authorities proposed to keep up the momentum and organization of the annual Pintao Hat |

|Festival, with more services and spaces for the artisans of plant fiber techniques and processes associated with crineja, pinta and talco |

|weavings. |

|La Pintada Municipality boosts incorporation of plant fiber processes and the crineja, pinta and talco techniques of the pintao hat in the |

|schools’ education plan, just as it was done in the 50’s. |

|The demonstration parcel project and the securing of planting spaces and resource maximization training are part of the Coclé’s MICI Regional |

|Direction duties and it will keep being in permanent communication with the artisans’ organization. |

|Audiovisual playback recorded by the Panama Safeguarding of the Intangible Cultural Heritage Project (known in Spanish as PCIP) and the |

|artisanal techniques inventory is available in the Project’s database and the Biblioteca Nacional Ernesto J. Castillero’s network, as well as |

|in Sistema Estatal de radio y Television (SERTV) video library and in the research centers, with the purpose to appreciate the conducted |

|interviews and also use them in the education system. |

|To make the audiovisual documentation and bibliography obtained by the Safeguarding project PCIP available to the communities in cultural |

|centers, libraries, artisanal markets and museums. |

|To strengthen the Pinta’o Hat’s Route, activity established by United Nations Industrial Development Organization (UNIDO) in 2013, to improve |

|the population’s living conditions. The benefits aren’t only for the artisans of the hat techniques but for all the cultural expressions and |

|the artisanal gastronomy agricultural producer. The 13 km long route includes a visit to the Museo de Exposicion Mi Sombrero Pinta’o and the |

|route through the Vaquilla, Pajonal, Membrillo, El Aguila and Machuca communities. These communities are connected by a main road where tourist|

|will be able to walk, travel and stop at each town to browse, buy and enjoy what the townspeople have to offer. |

|La Pintada District communities also have their own stock of different types of weaves of the artisanal processes and techniques found in the |

|Museo de exposicion Mi Sombrero Pintao, managed by the regional Municipality, that promotes the local, school and tourist routes. The printed |

|information will contribute to promote artisanal techniques and historic and geographic information of the communities that undertake them. |

|The MICI National Crafts Fair conducts seminars and trainings every year during the period of the fair, consequently including the |

|manifestation in the Representative List would create new activities and develop new concepts. |

|Even though not all artisans have the capability nor the interest to conduct plant fiber processes seminars and classes, the paid time they |

|could dedicate to these seminars in the artisanal markets, will contribute in creating new chains of knowledge and other artisanal variants |

|with the same process. |

|One of the biggest challenges is the accessibility of state properties in order to expand the parcel project, since the private property |

|owners’ rotation, who lend them for ten years, could decrease, exhaust or not renew, which would diminish the raw material production necessary|

|to sustain this activity. |

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

|Not fewer than 150 or more than 250 words |

|An interinstitutional committee of local groups is in process of implementing Law 35 of July 07, 2004 (that ratifies the Convention on the |

|Safeguarding of the Intangible Cultural Heritage). This regulation shall include interinstitutional commitment to continue to document, |

|revitalize the Intangible Cultural Heritage (ICH) and the legal protection against abuses on their ICH from third parties. Local representation|

|of communities shall be determined in the committees. |

|The state engages in international trainings, agreements and conventions that aim to protect industrial property, intellectual property and |

|collective rights, it should be an inclusive subject used to generate international support for its creation and fomentation. |

|Including this field in the UNESCO Representative List would require organization of a local and institutional committee which will answer to |

|positive and negative effects that may arise and evaluate the impact with existing organizations and local authorities. |

|Resources should be reserved in the MICI budget for training and other institutions will be asked to join this effort (universities, |

|institutions). |

|Agreements with the Biblioteca Nacional Ernesto J. Castilleron will propose to conduct movie forums with schools and adult groups in order to |

|analyze subjects related to ICP associated with plant fiber processes and pintao hat’s weaving artisanal techniques. |

|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? |

|Not fewer than 150 or more than 250 words |

|Artisan groups in this field are greatly organized and already take part in safeguarding their ICP; they are registered in the General |

|Directorate of Artisanship and are even invited so that their groups can present artisanal supply catalogs, so they can be offered spots in the|

|National Crafts Fair and in other local and regional fairs. |

|Community members and artisan production participants will receive allowances and temporary contracts in order to continue gathering |

|information relevant to their inventory. |

|There are representations of the groups in the Patronage of Pintao Hat Festival celebration. |

|The cooperatives and associations for the promotion and development of parcels are in contact with institutions and receive support. |

|Integration of the artisans into the municipal training program in the schools is planned. |

|Evaluation questions will be added to the inventory files regarding basic services and social security conditions of artisan’s families in this|

|field, with the purpose of improving their quality of life, beyond the resources obtained through the sales of artisanal products. |

|Women and men have full participation in the expressions of the processes and pintao hat’s artisanal techniques. They are members of groups |

|and cooperatives; the men do most of the planting, however the women actively partake in the rest of the processes. |

|Statistics of those booked and registered show that most of the fiber and weaving artisans are women. |

|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: |

|Cocle Ministry of Commerce and Industries |

| |

|Name and title of the contact person: |

|Luis Cecilio Pérez, Demonstration Parcels Project Coordinator |

| |

|Address: |

|Penonomé, Cocle Regional Direction of MICI |

| |

|Telephone number: |

|(507) 997-9804 y (507) 6530 3419 |

| |

|E-mail address: |

|lperez@mici.gob.pa |

| |

|Other relevant information: |

|Arquímedes Rodríguez, Penonomé Organization of Artisans, (507) 6628 8478 |

| |

|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. |

|Not fewer than 300 or more than 500 words |

|Since 2013 artisans from different communities filed, documented and video recorded their demonstrations in the PCIP inventory; being |

|interviewed at their homes in the communities of Membrillar, Piedras Gordas, El Cope, Penonome, La Pintada, among other communities. |

|The Safeguarding of the Intangible Cultural Heritage Project of the Ministry of Commerce and Industries trainned members of the community to |

|help out documenting and continues to do so in order to update the inventory that started back in 2013. It also compared the number of |

|artisants registered in the Directorate of Artisanship. |

|Those interviewed signed previously a free and informed consent in the registration form in order to be included in the inventory, to |

|disseminate obtained information and to present their field in lists, competitive funds or other beneficial operations. |

|Artisan groups from all corregimientos (subdivisions) that work the pintao hat’s crinejas, pintas and talcos artisanal techniques and |

|processes, who were on their sale stand during the III Pintao Hat Festival were also booked, interviewed, and photographed, so were their |

|artisanal products. They also signed a consent form. |

|The crinejas, talcos and hat contest were recorded and the judges were interviewed regarding the element that was being evaluated, they also |

|authorized their appearance on the videos. |

|Artisans organization groups, cooperative members groups, as well as municipal authorities (Mayor of La Pintada and her work group; Depute |

|Mayor of Penonome, and Vice-governor of the province of Coclé), MICI Artisanal Market Administrator, Coclé MICI Regional Director, MICI |

|demonstration parcel Coordinator, and other regional officers in representation of INAC, of the University of Panama, Tourism students, |

|participated in the proposal evaluation of the Representative List of the Intangible Cultural Heritage of Humanity nomination file and in |

|related photos and videos. |

|As the final stage of participation, local authorities and agricultural and artisan organization leaders handled themselves the letters of |

|support or nomination applications and collected signatures from artisans, artisans’ associations, municipal officials, and associated citizens|

|who support this field. |

|Local newspapers reported on the radio and the written press. |

|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. |

|Not fewer than 150 or more than 250 words |

|The Safeguarding Project requested that the Ministry of Commerce and Industries of Cocle, gathered artisans, farmers, artisans recorded on |

|video, data collectors and local authorities, to show them the final documentation results. The purpose was to assess the interest in the |

|Representative List of the Intangible Cultural Heritage of Humanity nomination, review the file’s draft,as well as the edited pictures and |

|videos. |

|After the meeting, in which everyone seemed very satisfied, letters, collection of signatures and the nomination promotion was coordinated. |

|MICI Regional Directorate of Coclé has been the training center for letters and signature list for the nomination application and has kept a |

|consulting space with new artisans’ groups who were not involved in the firsts meetings. |

|This same team has participated and supported the interviews and has convened meetings with the parcels’ working groups. |

|The file includes letters, original and scanned signature lists with photos from the meetings, as well as a scanned image of a local |

|newsarticle regarding the issue. The newspaper, La Estrella de Panama, Dia a Dia, of the newspaper La Prensa, reported the event in writing and|

|in its digital version. |

|Women actively participate in meetings and organizations and even hold elected office positions such as the Mayor of La Pintada, or designated |

|by the Executive, such as Coclé Governor. |

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

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

|enacted and conducted by the communities in order, for example, to maintain the secrecy of certain knowledge. If such practices exist, |

|demonstrate that inscription of the element and implementation of the safeguarding measures would fully respect such customary practices |

|governing access to specific aspects of such heritage (cf. Article 13 of the Convention). Describe any specific measures that might need to be |

|taken to ensure such respect. |

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

|50 words |

|Not fewer than 50 or more than 250 words |

|The development of every stage regarding plant processes and the weaving techniques of crinejas, talcos and pintas, as well as fiber dye |

|methods are openly explained by the artisans. Men and women share their methods fully. There are process variations, design preferences of |

|talcos and pintas and free choice to weave with thin or thick strands, according to the artisan’s style and the hat they want to create. These |

|decisions are respected and accepted, without prejudice from any community member. |

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

|Provide detailed contact information for each community organization or representative, or other non-governmental organization, that is |

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

|Name of the entity |

|Name and title of the contact person |

|Address |

|Telephone number |

|E-mail |

|Other relevant information |

|a. AUPEM - Asociación de Artesanos de Membrillar (Membrillar Artisans Association) |

|b. Arquímedes Rodríguez /Yanett Mendoza |

|c. Membrillar- Penonomé - Coclé |

|d. (507) 6628- 8478 / (507) 6837-6848 |

|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’. |

|Indicate below: |

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

|its reference, |

|the inventory in which the element has been included, |

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

|how the inventory has been drawn up ‘with the participation of communities, groups and relevant non-governmental organizations’ (Article 11(b) |

|of the Convention), and including in terms of the role of gender |

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

|Documentary evidence shall also be provided in an annex demonstrating that the nominated element is included in an inventory of the intangible |

|cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention; such|

|evidence shall include a relevant extract of the inventory(ies) in English or in French, as well as in the original language if different. The |

|extract should be, for example, the inventory record or file for the nominated element, including its description, location, community(ies), |

|viability, and so on. It may be complemented by a reference below to a functioning hyperlink through which such an inventory may be accessed, |

|but the hyperlink alone is not sufficient. |

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

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

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

|Not fewer than 150 or more than 250 words |

|The plant fiber processes and artisanal weaving techniques of crinejas, talcos and pintas, and the way it’s weaved to create the pintao hat, |

|were initially booked in 2013. One phase is about the plant fiber processes and the other is about the types of crinejas, talcos and pintas |

|that are weaved for the hat and the amount of times it circles around it. |

|These techniques belong to the Province of Coclé’s inventory, and these in turn, to the main inventory named Inventory of the Intangible |

|Cultural Heritage of Panama. It’s divided into inventories by province (10) and indigenous groups (12). |

|The Panama Safeguarding of the Intangible Cultural Heritage Project is responsible for the inventory documentation and preparation, as well as |

|working with the communities in this process. Men and women receive training in filing, photography, audio and video field recording, also in |

|the Convention and the Intangible Cultural Heritage and collective rights. Once the field research is done, the Project’s production team |

|records in some communities. |

|In each region where the inventory is performed, contact is maintained, you return to show videos and follow up on files. Updates on this |

|particular inventory is performed every two years. The inventory is also updated and compared with the General Directorate of Artisanship’s |

|inscription list. |

|6. Documentation |

|6.a. Appended documentation (mandatory) |

|The documentation listed below is mandatory and will be used in the process of evaluating and examining the nomination. The photographs and the|

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

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

|and will not be returned. |

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

|other than English or French |

|documentary evidence demonstrating that the nominated element is included in an inventory of the intangible cultural heritage present in the |

|territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention; such evidence shall include a |

|relevant extract of the inventory(ies) in English or in French, as well as in the original language if different |

|10 recent photographs in high definition |

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

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

|than English or French |

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

|6.b. Principal published references (optional) |

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

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

|Not to exceed one standard page. |

|Agencia de Noticias ACAN-EFE. Sombrero pintao, un accesorio con estilo y tradición. .mx. Disponible en: |

|

|ml |

|Hartter. El Sombrero pinta’o. La Sombrería Wordpress. 13/10/2016. Disponible en: |

| |

|Jaen, Marino. ¿Cómo se hace el sombrero pinta’o?. Panamá. 14/09/2004. Disponible en: |

| |

|Miranda, Natasha. El Sombrero Pinta’o, auténticamente panameño. Ministerio de Educación. 2002. Disponible en: |

| |

|Monroy Rosas, Mireya. Sombrero Pinta’o, toda una tradición Panameña. Veinte Mundos. Disponible en: |

| |

|Rosas Quirós, Gaspar. La Educación en Coclé a partir del XIX. Panamá: Imprenta Panamá, 1974 |

|Ríos Guardia, Ana, 1952- La confección de los sombreros penonomeños. Revista Lotería. -- No.359 (mar.-abr. 1986) . p.136-149 : il. ; 22 cm |

|Rivera Rodríguez, Lourdes. En la cuna del sombrero pinta'o. N°13. Ciudad de Panamá: Editorial Panamá América. 2009. |

|Valdés, Nereida. Concurso del Sombrero Pinta’o, la Camisilla y el Sombrero de Junco. Ciudad de Panamá: Sistema Estatal de Radio y Televisión, |

|2009. DVD: 57 min |

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

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

|name, title and the date of submission. |

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

|submitting the nomination. |

|Name: |

|Manuel Grimaldo |

| |

|Title: |

|Deputy Minister of Commerce and Industry |

| |

|Date: |

|22 March 2016 |

| |

|Signature: |

| |

| |

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

| |

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