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CONVENTION FOR THE SAFEGUARDING
OF THE INTANGIBLE CULTURAL HERITAGE
INTERGOVERNMENTAL COMMITTEE FOR THE
SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE
Fifteenth session
UNESCO Headquarters
14 to 19 December 2020
Nomination file No. 01560
for inscription in 2020 on the Representative List
of the Intangible Cultural Heritage of Humanity
|A. STATE(S) PARTY(IES) |
|FOR MULTINATIONAL NOMINATIONS, STATES PARTIES SHOULD BE LISTED IN THE ORDER ON WHICH THEY HAVE MUTUALLY AGREED. |
|SWITZERLAND AND FRANCE |
|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 |
|Craftsmanship of mechanical watchmaking and art mechanics |
|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 |
|Official translation of the name of the element in German: Uhrmacherkunst und Kunstmechanik |
|Official translation of the name of the element in Italian: Maestria artigiana in meccanica orologiera e meccanica d’arte |
|(Official translation of the name of the element in English: Craftsmanship of Mechanical Watchmaking and Art Mechanics) |
|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 |
|The element concerns many individuals, groups, institutions, foundations, associations and companies, whose activities are based on know-how, |
|craftsmanship, expertise and the transmission of knowledge in the field of micromechanics and mechanics applied to the design, manufacture and |
|repair of mechanical watches, art automata and music boxes. |
|The skills in mechanical watchmaking and art mechanics can be found in the professions of watchmaker, automaton maker, music box maker, |
|mechanical music restorer and restorer of watches, clocks and pendulum clocks. These craftspeople are the first circle of know-how bearers, |
|around which gravitates a vast network of subcontractors and specialists in the shaping and finishing of components, which constitutes the |
|second circle of practitioners. |
|The community concerned by the element also includes independent or employed craftspeople, professional associations, businesses, public and |
|private training and research institutions, public and private museum and heritage institutions, specialized media and publishers and |
|foundations. |
|The community also includes enthusiasts, connoisseurs, collectors and buyers of mechanical craft creations, and more broadly the inhabitants of|
|the region concerned who identify with the element. The element is highly valued and recognized by a large part of the population of the region|
|concerned as part of its cultural heritage and this population constitutes the third - peripheral - circle of the community. |
|D. Geographical location and range of the element |
|Provide information on the distribution of the element within the territory(ies) of the submitting State(s), indicating, if possible, the |
|location(s) in which it is centred. Nominations should concentrate on the situation of the element within the territories of the submitting |
|States, while acknowledging the existence of same or similar elements outside their territories. 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 watchmaking community is concentrated along the Jura Arc, including the Swiss cantons of Geneva, Vaud (Vallée de Joux), Neuchâtel (La |
|Chaux-de-Fonds, Le Locle, Vallée de La Sagne, Val-de-Ruz, Val-de-Travers, Neuchâtel), Berne (Biel, Bernese Jura), Jura (Ajoie, |
|Franches-Montagnes, Delémont), Solothurn (Granges) and Schaffhausen, as well as the French department of Doubs (Grand Besançon basin, Pays |
|Horloger: Plateau de Maîche, Val de Morteau). The community specific to automata and music boxes (art mechanics) is concentrated in the canton |
|of Vaud (Sainte-Croix and L’Auberson). |
|The watchmaking and mechanics activity has left its mark on the architecture and town planning of all these regions. The towns of La |
|Chaux-de-Fonds and Le Locle were inscribed on the World Heritage List in 2009 for their watchmaking town planning, and the built and technical |
|heritage of the ‘Pays Horloger’ and the town of Besançon has been inventoried by the Inventory and Heritage Department of the |
|Burgundy-Franche-Comté region (2013-2019). |
|With regard to the element, there is a high degree of mobility of people, know-how and components within this area, which is characterized by a|
|division of labour and a dense network of craftspeople, training institutions and small and medium-sized enterprises, as well as watchmaking |
|groups, which are also essential for the perpetuation and transmission of know-how. |
|While the know-how in mechanical watchmaking and art mechanics is primarily concentrated in the Jura Arc, artisanal watchmaking production does|
|exist elsewhere in the world, for example in southern Germany, England and various Asian countries. |
|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 |
|multinational 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.): |
|Monsieur |
|Ms. |
| |
|Family name: |
|VUILLEUMIER |
|Wang |
| |
|Given name: |
|Julien |
|Nannan |
| |
|Institution/position: |
|Office fédéral de la culture |
|Center for the Safeguarding of the Intangible Cultural Heritage of Henan Province / Director of the Research Division |
| |
|Address: |
|Hallwylstrasse 15, 3003 Berne, Suisse |
|o. 15, Jingsan Lubei, Jinshui District, Zhengzhou City, Henan Province 450000, P. R. China |
| |
|Telephone number: |
|+41 (0)58 467 89 75 |
|0086-371-61179202, 0086-18736063305 |
| |
|Email address: |
|julien.vuilleumier@bak.admin.ch |
|shengfeiyizhongxin@ |
| |
|Other relevant information: |
| |
| |
| |
|E.2. Other contact persons (for multinational files only) |
|Provide below complete contact information for one person in each submitting State, other than the primary contact person identified above. |
|Title (Ms/Mr, etc.): |
|Madame |
| |
|Family name: |
|CHAVE |
| |
|Given name: |
|Isabelle |
| |
|Institution/position: |
|Ministère français de la Culture – Direction générale des Patrimoines – Département du Pilotage de la recherche et de la Politique scientifique|
|/ Adjointe au chef du département |
| |
|Address: |
|6, rue des Pyramides, 75001 Paris, France |
| |
|Telephone number: |
|+33 (0)1 40 15 87 24 |
| |
|Email address: |
|isabelle.chave@culture.gouv.fr |
| |
|Other relevant information: |
| |
| |
|1. Identification and definition of the element |
|For Criterion R.1, 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 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-related ones or categories of persons with special responsibilities towards the element; and |
|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 the 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 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 |
|At the crossroads of science, art and technology, the element is characterized by a combination of individual and collective, theoretical and |
|practical knowledge and skills in the field of mechanics and micromechanics. These skills are used to create watchmaking objects designed to |
|measure and indicate time (watches, pendulum clocks, clocks, chronometers), art automata and mechanical androids, sculptures and animated |
|paintings, music boxes and songbirds. These technical and artistic objects have in common a mechanical device that generates movements or emits|
|sounds. Although the mechanisms are generally hidden, they can also be visible, as in certain art automata or watch mechanisms whose visible |
|movements contribute to the aesthetics and the poetic and emotional dimension of the objects. Craftspeople are skilled in using the hand tools |
|(which they sometimes make themselves), machines and nowadays digital techniques. In addition to technical ability, the practice requires |
|patience, good eyesight and precision. The artisanal skills are based on a common historical foundation, and the same techniques, materials and|
|tools are adapted according to the object the craftsperson wants to create. |
|Watchmaking developed in the Jura Arc in the 17th century, following the emigration of French Huguenot craftspeople after the revocation of the|
|Edict of Nantes in 1685. They brought technical know-how, capital and commercial networks. In the 19th century, manufacturing was traditionally|
|based on the établissage system, in which the work was divided into small, specialized and widely scattered units, and the parts were then |
|assembled when the product was finalized. Division of labour remains a feature of current practice. Inseparable from watchmaking traditions, |
|the precision mechanics used in automata and music boxes developed in the early 19th century in the Jura mountains of the canton of Vaud. |
|The population of the Jura Arc has shown a constant attachment to watchmaking and art mechanics, which constitute a point of reference for |
|their identity and have an impact on lifestyles and the socio-cultural landscape. Although watchmaking today is part of a global industrial |
|reality, it still involves manual and artisanal skills. Compared to other regions historically linked to this type of manufacturing, the Jura |
|Arc is an area in which craftsmanship remains particularly dynamic, thanks to the presence of highly qualified craftspeople, thanks to |
|companies that promote the skills and also thanks to a full range of training options. |
|Who are the bearers and practitioners of the element? Are there any specific roles, including gender-related ones or categories of persons with|
|special responsibilities for the practice and transmission of the element? If so, who are they and what are their responsibilities? |
|Not fewer than 150 or more than 250 words |
|The design, execution and restoration of mechanical objects involve various trades related to technical and artistic creation. The bearers of |
|the know-how are manifold and complementary. They can be grouped by areas of expertise, which may however overlap, as some craftspeople have |
|know-how in several specialities. |
|Today the watchmaking professions include production mechanic, polymechanic, production watchmaker, watchmaker (and clockmaker), micromechanic,|
|external parts fitter, restoration-complication technician. Various specialists, such as stampers, lathe operators, pivot makers, dial makers, |
|case makers and hands makers produce parts for watch mechanisms and watch covers. The watchmakers assemble the movements and finish them by |
|polishing, adjusting and adding surface treatments. They also repair and restore watchmaking objects. Watch mechanisms are designed by watch |
|design technicians, microtechnical engineers, prototypists and designers. This watchmaking knowhow is passed on by trainers in workshops and, |
|in schools, by teachers who are usually also practitioners. |
|Thanks to training in mechanics, automaton makers imagine, design and produce the parts and cams (parts whose profiles transmit a movement) |
|that allow the automaton to move and reproduce human (android), animal or other movements. |
|Music boxes are also made by specialists: the arranger transposes the melody, the drill operator makes the holes in the cylinder, the pin |
|setter inserts the pins (metal rods), the grinder equalizes the length, the splitter creates the combs and the tuner files the combs until the |
|desired note is obtained. |
|Numerous complementary trades are involved in decorating mechanical art objects. Decorators use the skills of engraving, guillochage (machine |
|engraving), enamelling, miniature painting, gem-setting, jewellery, leatherwork (bracelets), cabinet making, marquetry, feathering (songbirds),|
|sculpture, make-up and sewing (automata). |
|As mechanical techniques are constantly evolving, researchers in the fields of microtechnology and materials help drive innovation, |
|particularly through materials research. |
|Museums, archives and libraries promote the historical and heritage dimensions of the element and provide information about the manufacturing |
|principles. |
|Women are in the majority in the decoration professions and are increasingly present in the categories of watch designers and technicians, in |
|schools (as students and teachers) and in professional associations. |
|How are the knowledge and skills related to the element transmitted today? |
|Not fewer than 150 or more than 250 words |
|Skills are usually learned initially in training schools, and learning continues throughout the working life of the practitioners. There are |
|five complementary transmission channels: |
|The institutionalized transmission of practical, theoretical and historical know-how takes place in public or private schools in initial |
|training (in work study programs with workshops or full-time) and continuing education. Initial training lasts three to four years, with an |
|additional several years of advanced training to become full-fledged watchmakers. The training provided by teachers, who are also |
|practitioners, prepares learners for the various facets of the trades, from making tools to assembling components, drawing plans and repairing |
|and restoring objects. To meet the needs of the watch industry, training courses are increasingly specialized and segmented, posing a risk to |
|the transmission of craftsmanship skills and a global approach to the practice (see 3.b. i/ii). |
|Special techniques, tips and tricks are also transmitted from peer to peer, be it from master to student or mutual aid between colleagues. |
|Although until recently there was a culture of secrecy in the watchmaking world, it is gradually giving way to a more sharing environment. This|
|informal transmission is particularly important when it comes to very specific skills, in particular art mechanics and restoration. However, |
|this type of transmission may constitute a risk of loss of know-how due to the scarcity of certain specialists and students. The very small |
|number of automaton makers and the even smaller number of music box restorers currently pose a threat to the perpetuation of these skills (see |
|3.b.i/ii). |
|Museums, libraries, archives and documentation centres are sources of information and inspiration for practitioners. They help transmit |
|knowledge by conserving collections of objects, tools, machines and theoretical works, but also by documenting the items and producing |
|publications. These resources are available to the public. |
|Knowledge is also transmitted by associations of enthusiasts and collectors who are used to sharing information. They disseminate and develop |
|know-how by publishing journals, providing scholarships and organizing study trips. |
|Practitioners share their know-how via online blogs, forums and tutorials and collaborative open source projects. This mode of transmission |
|reflects new and wider dissemination of practices, alongside the constant role of the media and specialized publications. |
|What social functions and cultural meanings does the element have for its community nowadays? |
|Not fewer than 150 or more than 250 words |
|While these skills have primarily an economic function, they have also shaped the architecture, urban landscape and the everyday social reality|
|of the regions concerned. They convey their own symbolism, combining notions of precision, refinement and temporality that have a significant |
|impact on local and regional identities. |
|Historically, entire families were involved in watchmaking or music box assembly, developing apprenticeship practices and professional and |
|family alliances. The lifestyles of the inhabitants and part of their vocabulary (professional and colloquial) have been influenced by these |
|activities. The craftspeople generally live in the buildings where their workshops are located, which, like the factories, feature large |
|windows bringing light to the workbenches. |
|The development of know-how in mechanics goes hand in hand with the socio-economic development of the Jura Arc. The watchmaking community also |
|contributes to life in society and in particular to dialogue between employers and workers. In Switzerland, in 1937, collective labour |
|agreements were concluded, initially in the watchmaking and metalworking industries, thus establishing ‘labour peace’ marked by negotiations |
|rather than confrontation. This model of partnership continues to exist in Switzerland and has left its mark on trade union and political |
|history. |
|Today, summer holidays are still regularly modelled on the watchmaking holidays, namely the three-week summer closure of watchmaking workshops.|
|It is also customary to give a watch, a music box or a small automaton on special occasions such as a birth, birthday or retirement. Finally, |
|several expressions directly related to this craft for the inhabitants of the Jura Arc are still widely used: ‘on n’est pas aux pièces’ means |
|‘we’re not in a hurry’; ‘c’est réglé comme du papier à musique’ means ‘everything is in order’; ‘il faut remettre les pendules à l’heure’ means|
|‘set the record straight’; ‘tu as meilleur temps de’ is used instead of ‘tu ferais mieux de’ to mean ‘you’d better’. |
|The inhabitants of the Jura Arc identify with and are proud of the traditions of arts and craftsmanship. For them, it conveys many |
|socio-cultural values such as good workmanship, punctuality, perseverance, endurance, artistry, creativity, discretion, dexterity and patience.|
|The infinite quest for precision and the intangible aspect of time measurement give these skills a strong philosophical dimension. |
|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 |
|The acquisition of know-how is not restricted in any way. Active practitioners come from a variety of backgrounds, nationalities, genders, ages|
|and faiths. There are no restrictions on access to training or working. The watchmaking and art mechanics trades are also a factor of social |
|and cultural integration. In addition to traditional schools, several specialized institutions train jobseekers or people seeking new careers |
|in the watchmaking field to enable them to enter or re-enter the job market. |
|In the manufacturing process, precious materials such as metals and stones as well as animal (leather) and plant-based raw materials are |
|processed in compliance with the international standards in force. The use of hazardous materials is also regulated. Thus, new regulations |
|covering certain materials are leading craftspeople to change their practices and know-how, for example in enamelling. In the field of |
|watchmaking and art mechanics, the reuse, recovery and recycling of components and raw materials are an inherent part of resource management |
|methods. Watchmaking objects are designed and manufactured to last and be repairable; they reflect a logic that is the opposite of |
|obsolescence. In addition, initiatives are being taken for better energy management, particularly in buildings and transport (car sharing, bus |
|service set up by some companies), in order to improve sustainability. |
|Spatially, the practice is established both in urban and rural areas. It forms a network throughout the Jura Arc, thus contributing to the |
|socio-economic vitality of the areas located away from the major centres. |
|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 would |
|contribute to ensuring the visibility and awareness of the significance of intangible cultural heritage in general, and not only of the |
|inscribed element itself, and to encouraging dialogue that respects cultural diversity. |
|How could the inscription of the element on the Representative List of the Intangible Cultural Heritage of Humanity contribute to the |
|visibility of the intangible cultural heritage in general (and not only of the inscribed element itself) and raise awareness of its importance?|
|(i.a) Please explain how this would be achieved at the local level. |
|Not fewer than 100 or more than 150 words |
|Since this nomination was launched, many inhabitants of the Jura Arc have become more aware of the value and importance of the element in the |
|still little-known framework of intangible cultural heritage. This awareness-raising has led to a better understanding of the place of |
|intangible cultural practices in the overall cultural heritage of the region. Inscription would further strengthen this aspect, in particular |
|thanks to the strong relationship between the intangible cultural heritage and the tangible and built heritage, part of which is on the UNESCO |
|World Heritage List under the title ‘Watchmaking Town Planning in La Chaux-de-Fonds and Le Locle (Switzerland)’, while another part has been |
|valued and described by the Inventory and Heritage Department of the Burgundy-Franche-Comté Region (France). |
|Complementarity and continuity between these heritages in their historical, social and cultural dimensions would also highlight their |
|importance as constitutive elements of local identity. Inscription would, moreover, raise awareness among local public and private bodies |
|involved in heritage management to systematically take better account of the intangible aspects of local heritage. Inscription and the ensuing |
|international recognition of the element would promote a range of craftsmanship skills and other living traditions at local exhibitions and |
|events. |
|(i.b) Please explain how this would be achieved at the national level. |
|Not fewer than 100 or more than 150 words |
|In Switzerland and France, know-how in mechanical watchmaking and – to a lesser extent – art mechanics is already enjoying considerable public |
|recognition thanks to the efforts of many stakeholders. Inventory and inscription on the Representative List would increase the recognition of |
|this know-how as part of the intangible cultural heritage of the two countries concerned. |
|The bi-national inscription of the know-how would enhance their shared and dynamic character, highlighting the fact that intangible cultural |
|heritage often cannot be confined within one nation, as it is shared across borders. Inscription would highlight in both countries concerned |
|how a cross-border element of intangible cultural heritage can demonstrate, in the daily lives of practitioners, the spirit of mutual |
|understanding and collaboration between countries advocated by the 2003 Convention. In view of the diversity of the know-how (watchmaking, |
|music boxes and automata) and the communities concerned (independent craftspeople, training institutes, enterprises, museums and associations),|
|inscription would promote, at the national levels, the scope and diversity of the fields covered by the intangible cultural heritage. Finally, |
|inscription would provide an opportunity to make clear to the population and policymakers, the importance of this heritage field in national |
|and regional governance. |
|(i.c) Please explain how this would be achieved at the international level. |
|Not fewer than 100 or more than 150 words |
|The inscription of craftsmanship in mechanical watchmaking and art mechanics would help to make visible to all humanity an unusual form of |
|intangible cultural heritage, combining tradition and innovation, science, craftsmanship and industry, artistry and technique, hand and |
|machine, in the creation of mechanical works of art. |
|This element would significantly broaden the diversity of elements inscribed on the Representative List. Inscription of the element would also |
|demonstrate the importance of the collaboration and the networks of expertise that are necessary to continuously develop highly technical and |
|specialized interdependent know-how. |
|It would serve as a reminder that an element of intangible cultural heritage shared across national borders can only be presented and |
|safeguarded in an effective and concerted manner through joint efforts between the different groups of bearers and the public authorities |
|involved. |
|Inscription would demonstrate at the international level how craftsmanship practices can influence the built, architectural and urban |
|environment of a region. This would represent the strong interaction and special linkage between an element inscribed on the Representative |
|List of Intangible Cultural Heritage and a recognized World Heritage site. |
|How would dialogue among communities, groups and individuals be encouraged by the inscription of the element? |
|Not fewer than 100 or more than 150 words |
|The nomination process has generated many contacts and dialogue among the cross-border population of the Jura Arc and has deepened the |
|understanding of the transnational character of the element and its community. The preparation of the nomination file has also led to greater |
|recognition of the need for cross-border dialogue and collaboration. Inter-professional discussions, in particular among craftspeople involved |
|in art mechanics and watchmaking, have also intensified, both between and within the regions of the Jura Arc. |
|Dialogue and joint action would be further strengthened by the inscription of the element, notably through the implementation of the various |
|safeguarding plans envisaged (see 3.b). The different categories of tradition bearers, from craftspeople to trainers, from those in charge of |
|training to museum specialists, from representatives of public authorities to collectors, could cooperate better across sectors and across |
|borders. |
|The increased visibility of the element after inscription would also facilitate dialogue with (i) other communities around the world who |
|practice applied arts and who are also trying to maintain the artisanal aspect of their practices within and alongside more industrial |
|production, and with (ii) other communities who are trying, through international cooperation, to safeguard a shared cross-border heritage. |
|How would human creativity and respect for cultural diversity be promoted by the inscription of the element? |
|Not fewer than 100 or more than 150 words |
|Inscription would demonstrate to a wide audience how creativity is an intrinsic component of the element and a source of diversity within the |
|skills. Craftspeople must innovate in order to stand out and to meet new demands, standards and requirements. Creativity and innovation have |
|historically been key factors in the precision, aesthetics, ergonomics and functionality of watches and clocks. In this age of digital |
|technology and technical advances, inscription could spark a discussion on the future of know-how and how it can be updated in the craft |
|tradition. |
|Watchmakers from all over the world come to the Jura Arc to work and to perfect their skills. Inscription would promote cultural diversity |
|through dialogue between local craftspeople and craftspeople from elsewhere. The Académie horlogère des créateurs indépendants (Watchmaking |
|Academy of independent creators) is a good example of this: at present it has 35 members of eight nationalities; seventeen are based in |
|Switzerland, six of whom are of foreign origin. |
|While watchmaking know-how is widely known, the same cannot be said of the skills associated with art mechanics, which has only a small number |
|of practitioners. Inscription would promote their expertise by highlighting the know-how shared across the fields. Inscription would contribute|
|to the recognition of the know-how in art mechanics in Switzerland and would point out the importance of transmission of the practice. |
|Inscription would enable French practitioners to join the Association France-PCI, which since 2011 brings together all bearers of elements |
|recognized by UNESCO and is a vector for dialogue about different techniques and fields of application among craftspeople. |
|3. Safeguarding measures |
|For Criterion R.3, 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 communities, groups or, if applicable, individuals concerned? What past and current |
|initiatives have they taken in this regard? |
|Not fewer than 150 or more than 250 words |
|Training and transmission |
|In the field of watchmaking training, bearers and public authorities often work together to implement measures to improve the transmission of |
|the element. In 1994, the Swiss Watch Industry Employers Association formed a partnership with the Haut-Doubs GRETA, a French training |
|institution, to meet the needs of both the Swiss and French sectors. In the watchmaking schools in Morteau, Vallée de Joux, Le Locle and |
|Porrentruy, students are able to make an entire watch, called a ‘training piece’, from start to finish to encourage a global approach to the |
|practice. |
|The Art Mechanics Training pilot project created in collaboration with craftspeople (watchmakers and automaton makers) and the professional |
|centre of Nord Vaudois (1st session in 2018) promotes these skills and encourages people to improve their knowledge in this field. It promotes |
|transmission, since there are very few practitioners in the field of art mechanics (see 3.b.i). |
|Private foundations such as the Fondation de la Haute Horlogerie and Time Aeon participate in the documentation and transmission of watchmaking|
|know-how. Several watchmaking companies work with independent craftspeople, enhance craftsmanship skills and support the transmission of |
|artisanal skills. |
|Awareness-raising and enhancement |
|The 23 thematic museums devoted to the element (see 3.c.) play an important role in enhancing and demonstrating the know-how, notwithstanding |
|economic cycles and downturns. Since 1974, the Restoration Workshop at the International Watchmaking Museum (La Chaux-de-Fonds) has played an |
|essential role in safeguarding mechanical know-how while showcasing the work of craftspeople. The International Centre for Art Mechanics |
|(Sainte-Croix) was founded in 1985 in a context of economic crisis in order to sustain the know-how in a hard-hit area and to attract new |
|talents. Museums organize guided tours and events, often in collaboration with practitioners. They host school visits and activities and offer |
|teaching materials. |
|Events have been created in partnership with associations, organizations and companies: Biennale du patrimoine horloger (La Chaux-de-Fonds et |
|Le Locle), Quinzaine du patrimoine scientifique, technique et industriel (Canton de Neuchâtel), 24 heures du temps (Besançon), watch trade |
|shows, discovery tours, factory and workshop tours. One of the goals of these initiatives is to raise awareness among young people about career|
|opportunities. |
|Some practitioners organize collaborative projects such as the project L’horloge qui penche (Fleurier), the open source movement |
| (La Chaux-de-Fonds), and the Mu-Chrono student association (Besançon). |
|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 States Parties concerned safeguarded the element? Specify any external or internal constraints, such as limited resources. What |
|past and current efforts has it made in this regard? |
|Not fewer than 150 or more than 250 words |
|Both States support the measures concerning training and research by providing funding and operational support to the public institutions |
|active in this field. They coordinate and validate institutionalized training programs. In addition, they have taken steps to promote the |
|element and raise awareness about its transmission. |
|In Switzerland, the canton of Neuchâtel officially recognized the watchmaking heritage when the Law on the Safeguarding of Cultural Heritage |
|(LSPC) was revised in February 2018 and grants financial support to institutions working to safeguard it. The law initially covered only |
|tangible heritage, but now also covers intangible heritage. The canton of Vaud recognizes and supports intangible cultural heritage in its Law |
|on Movable and Intangible Heritage (LPMI, 8 April 2014). The Fondation Vaudoise pour la Culture has been awarding a Prize for Intangible |
|Cultural Heritage since 2012. It was awarded to an automaton maker in 2013 and to a watchmaker in 2016, thus ensuring recognition, financial |
|support and visibility for this know-how. |
|In France, awards and recognition schemes for expert-level know-how have been introduced. The competition Un des Meilleurs Ouvriers de France |
|(One of the Best craftspeople in France) organized by the Ministry of Education distinguishes the best Craftspeople in different categories, |
|one of which is watchmakers. The competition Un des Meilleurs Apprentis de France (One of the Best Apprentices in France) follows the same |
|principle for the next generation of craftspeople. The Entreprise du Patrimoine Vivant (Living Heritage Company) distinction, awarded by the |
|Ministry of the Economy and Finance, rewards small and medium-sized enterprises emblematic of industrial or craftsmanship quality. The Ministry|
|of Culture supports Les Villes ou Pays d’Art et d’Histoire (Towns and Lands of Art and History) active in the preservation of heritage. The |
|addition of watch restoration to the National Diploma of Art and Design has enhanced transmission. |
|In Switzerland and France, several regional nature parks are involved in the safeguarding and enhancement of tangible and intangible cultural |
|heritage, with, in particular, actions targeting watchmaking know-how. |
|Various prizes and competitions organized by the authorities help to promote the high level of expertise of craft practices: Gaïa prize, |
|chronometry competitions, watchmaking school prizes and competitions, observatory competitions. |
|The States coordinate the organization of Europe-wide awareness-raising events with the active participation of the communities: European |
|Crafts Days, European Heritage Days, European Museum Night. |
|In this sector, museums, libraries and archives are, for the most part, public institutions or benefit from public support, the extent of which|
|varies depending on their status. |
|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 ensure that the viability of the element 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 |
|The measures for safeguarding the element are structured around three priorities: documentation, training and transmission, awareness-raising |
|and enhancement. The measures proposed below are in addition to the continuation and strengthening of existing measures, and unless otherwise |
|specified, they are cross-border in nature. |
|As the element already enjoys a high profile and significant public interest, the measures envisaged ensure that a balance is maintained so |
|that bearers can continue their activities under optimum conditions while showcasing their specific characteristics. |
|The proposed measures were drawn up by representatives of the groups concerned by the element through a cross-border support group (see 4.a). |
|This support group will continue to operate in order to coordinate and monitor the implementation of the safeguarding measures. It will |
|function as a cross-border and inter-sectoral forum whose status and modalities of operation are currently being developed in partnership with |
|the Transjurassic Conference (cross-border coordination and collaboration body of the Jura Arc). The forum will provide the framework within |
|which thematic working groups (one per priority) will prepare and coordinate the implementation of the measures proposed below. |
|Documentation |
|Although know-how in watchmaking and art mechanics is already effectively documented, efforts must be made to update existing materials (files,|
|films, websites), in France and Switzerland, in partnership with institutions, documentation centres, museums, schools, craftspeople and even |
|businesses. |
|Contemporary documents and archives are fragmented across a multitude of institutions and foundations in the Franco-Swiss Jura Arc. A |
|feasibility study will be carried out under the joint supervision of the International Watchmaking Museum (La Chaux-de-Fonds) and the Musée du |
|Temps (Besançon) to determine whether a web portal with a common search engine would facilitate access to these resources, particularly for |
|professionals and students. This will be financed by drawing on European funds available under the European Interreg France-Switzerland |
|programme, corporate foundations and other national and local public funding. |
|Training and transmission |
|The training options must be enhanced and better promoted, to ensure transmission to the next generation of craftspeople and the viability of |
|the element. |
|2.1 Since there is no specific training for the manufacture of automata and music boxes, the Art Mechanics training project will be developed |
|and perpetuated in order to ensure the transmission of special techniques and know-how specific to art mechanics. Initially, the programme will|
|comprise theoretical and hands-on training with craftspeople and then, in the longer term, a 2nd cycle training course recognized by the |
|competent authorities. This programme is extremely important, as there are only a few experts in the know-how remaining today. The local |
|authorities and the cantonal vocational training authorities support this project. |
|2.2 Schools and training centres will initiate the sharing of experience and skills to promote and expand the concept of ‘training pieces’ (a |
|watch or other mechanical object made from start to finish by apprentices) in training courses. This measure will provide a more comprehensive |
|and global experience of the practice. |
|2.3 Peer-to-peer transmission and apprenticeships, particularly for specific and rare know-how, will be promoted by private partners |
|(craftsmen, workshops and businesses) and public partners, with an emphasis on cross-border exchanges. |
|2.4 The organization of an annual or biannual conference between schools and training centres, representatives of foundations, businesses and |
|craftspeople and the public authorities will be studied: this could focus on matching training programmes to the expectations of practitioners,|
|but also on measures to encourage the placement of students in businesses (traineeships and apprenticeships), the circulation of craftspeople, |
|the maintenance of public and private financial support for existing training courses, and the creation of a cross-border continuing training |
|programme. |
|Awareness-raising and enhancement |
|The measures under way for the general public, mainly implemented by museums, will be continued and enriched. Inscription of the element should|
|also reactivate and develop cross-border schemes to promote tourism. |
|3.1 Existing events will include a stronger focus on Franco-Swiss dialogue for the presentation of shared know-how (24 Heures du Temps, |
|Biennale du Patrimoine Horloger). |
|3.2 The International Watchmaking Museum (La Chaux-de-Fonds) will organize in 2020 and 2021 an exhibition of photographs devoted to the |
|know-how and portraits of practitioners. Collaboration with the Musée du Temps (Besançon) is envisaged for this exhibition. The International |
|Centre for Art Mechanics (Sainte-Croix) is planning a special exhibition in 2021 on current know-how in art mechanics. |
|3.3 A project for a travelling exhibition comprising pieces, tools and documents from the collections of the various museums is being |
|considered. This project aims to promote the know-how in watchmaking and art mechanics present in the Jura Arc and the complementary nature of |
|the key factors (training, trades, tools, etc.) which ensure the long-term viability of the element. |
|3.4 The online resource platform (Action 1) will enable museums to share educational materials. Craftspeople will make their skills available |
|to museums to jointly design ‘watchmaking and art mechanics’ events geared towards children. |
|3.5 The International Centre for Art Mechanics is planning to set up a demonstration workshop where visitors can observe the craftsmanship |
|involved in restoring a piece. To this end, the craftspeople will be selected, a restoration plan will be defined, and visitors will be |
|educated about the importance of respecting the work of the craftsmen and their need for concentration. |
|3.6 The Musée de l’Horlogerie (Morteau) will undergo a major reorganization to enable it to preserve and present its collections in better |
|conditions and to merge it with the Musée de la Montre in Villers-le-Lac. The scientific and cultural project was developed in 2017, the |
|feasibility study will be conducted in 2019, and the architectural competition in 2020. |
|3.7 The L’Horloge Qui Penche (Tilting Clock) project will continue in the years to come. This collaborative project will demonstrate several |
|facets of different trades (watchmaker, micromechanic, artist) to raise public awareness of the importance of these trades and the |
|collaboration and dialogue among craftspeople. The Time Aeon Foundation’s “Naissance d’une montre” (Birth of a Watch) projects for the |
|preservation of traditional watchmaking know-how will be continued. |
|3.8 Sustainable tourist packages will be developed based on existing schemes and itineraries (the Route de la Mesure du Temps comprising five |
|museums between Besançon and La Chaux-de-Fonds, the ‘Watchmakers’ railway line between Besançon and La Chaux-de-Fonds, local events and |
|packages) and the offerings will be enriched by the initiatives described above. In addition, the Transjurassic Conference is carrying out a |
|study in 2019 with a view to a common strategy for the development and promotion of tourism in the Jura Arc. This will enhance the |
|attractiveness of the element for a local and international audience and thus contribute to its visibility. |
|3.9 A common calendar of events across the Jura Arc will be set up in partnership with the cultural and tourist authorities. It will include |
|museum programming, events and exhibitions, as well as open house events and company tours, thus providing an overview of the possibilities for|
|business and workshop tours. |
|How will the States Parties concerned support the implementation of the proposed safeguarding measures? |
|Not fewer than 150 or more than 250 words |
|The submitting States jointly support the proposed safeguarding measures, in the various fields and levels of responsibility. |
|Through the Transjurassic Conference, the authorities support the development of the Support Group acting as a cross-border and inter-sectoral |
|forum. They are helping create a sustainable structure, actively participate in it and articulate the problems, projects and proposals that |
|arise from it. |
|Documentation |
|Switzerland and France, through the local and regional authorities in charge of documentation and cross-border cooperation bodies, support the |
|feasibility study for a joint web portal. Financial support for this documentation project, as well as for the other cross-border measures |
|mentioned, may be applied for through the public authorities under the European Interreg France-Switzerland programme. |
|Training and transmission |
|The States are continuing their support for training in the field of mechanical watchmaking know-how. |
|The public authorities support and participate in the cross-border conference between training centres, craftspeople and business |
|representatives. They also promote the sharing of experience via ‘training pieces’ and apprenticeships at companies and with craftsmen. |
|In Switzerland, the canton of Vaud vocational training authorities support the development of Art Mechanics training and are working more |
|specifically towards the recognition of ‘2nd cycle’ training (federal certificate). |
|Awareness-raising and enhancement |
|The authorities in charge of culture and cross-border cooperation support the development of cross-border events, the sharing of best practices|
|through school mediation and the joint exhibition project, in particular via Interreg France-Switzerland funds. |
|The local development and tourist bodies, in collaboration with craftspeople and businesses, are leading the coordination of workshop tours and|
|open house events through the creation of a common calendar. |
|At the local level, the local authorities are contributing to the projects of the International Centre for Art Mechanics in Sainte-Croix, the |
|reorganization of the Musée de l’horlogerie (Morteau) and the thematic exhibitions planned in La Chaux-de-Fonds and Besançon. |
|The tourist, local and cross-border cooperation bodies are coordinating the reactivation of tourist schemes as part of a joint strategy for the|
|development and enhancement of know-how in mechanical watchmaking and art mechanics. |
|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 |
|The active bearers of the element have been involved in initiating all the safeguarding measures proposed above (sections 3.b (i)). These |
|measures were developed by a drafting group of 11 women and men representing the different groups and communities (see 4a). Their proposals |
|were submitted twice (18 September 2018 and 24 January 2019) to a support group, bringing together the bearers of the know-how and the |
|institutions involved in the Franco-Swiss Jura Arc. At the first meeting of the Support Group, the measures were defined in a participatory |
|manner and then written up by the drafting group for approval at the second expanded session. |
|In addition, thematic working groups were created in France to help develop the content of the nomination and in particular the safeguarding |
|measures. Individual interviews with key stakeholders were also conducted to assess the issues facing the communities. The stakeholders and |
|partners consulted were involved in the approval process via the support group. |
|The proposed safeguarding measures therefore stem directly from the needs expressed by the bearers, who are and will continue to be strongly |
|mobilized for safeguarding. |
|Indeed, the support group will be perpetuated and monitor the implementation of the safeguarding measures, and act as a forum for cross-border |
|and inter-sectoral dialogue for the entire community concerned by the element (see section 3.b (i)). The members of the drafting group will |
|therefore subsequently be responsible for coordinating and preparing the implementation of the proposed safeguarding measures through thematic |
|commissions or working groups. |
|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: |
|CPNV Centre professionnel du Nord vaudois, filière mécanique |
| |
|Name and title of the contact person: |
|Alain Dugon, doyen |
| |
|Address: |
|Av. de la Gare 14, CH-1450 Sainte-Croix, Suisse |
| |
|Telephone number: |
|+41 (0)24 557 60 70 |
| |
|Email address: |
|alain.dugon@cpnv.ch |
| |
|Other relevant information: |
|cpnv.ch |
|Alain Dugon est membre du groupe de rédaction ayant préparé le dossier de candidature. |
| |
|Name of the body: |
|He-ARC Conservation-restauration |
| |
|Name and title of the contact person: |
|Régis Bertholon, responsable de filière |
| |
|Address: |
|Espace de l’Europe 11, CH-2000 Neuchâtel, Suisse |
| |
|Telephone number: |
|+ 41 (0)32 930 19 19 |
| |
|Email address: |
|conservation-restauration@he-arc.ch |
| |
|Other relevant information: |
|he-arc.ch/conservation-restauration |
| |
|Name of the body: |
|ETVJ Ecole technique de la Vallée de Joux - filière horlogerie |
| |
|Name and title of the contact person: |
|Frédéric Schütz, directeur |
| |
|Address: |
|Rue G.-H. Piguet 41, CH-1347 Le Sentier, Suisse |
| |
|Telephone number: |
|+41 (0)21 557 43 00 |
| |
|Email address: |
|vincent.terrettaz@etvj.ch |
| |
|Other relevant information: |
|etvj.ch |
| |
|Name of the body: |
|CEJEF- Division technique, filière horlogerie |
| |
|Name and title of the contact person: |
|Jean Amman, directeur |
| |
|Address: |
|Cité des Microtechniques, CH-2900 Porrentruy, Suisse |
| |
|Telephone number: |
|+41 (0)32 465 35 50 |
| |
|Email address: |
|info@divtec.ch |
| |
|Other relevant information: |
|cpp.ch |
| |
|Name of the body: |
|Centre de formation professionnelle Biel-Bienne - Lycée Technique - filière horlogerie |
| |
|Name and title of the contact person: |
|Beat Aeschbacher, directeur |
| |
|Address: |
|Rue de la Gabelle 18, Case postale 4264, CH-2500 Bienne 4, Suisse |
| |
|Telephone number: |
|+41 (0)32 344 38 11 |
| |
|Email address: |
|lt@cfp-bienne.ch |
| |
|Other relevant information: |
|bbz-biel.ch |
| |
|Name of the body: |
|CIFOM - Centre interrégional de formation des montagnes neuchâteloises - Ecole technique (ET) - filière horlogerie |
| |
|Name and title of the contact person: |
|Patrick Duvanel, directeur |
| |
|Address: |
|Rue Klaus 1, CH-2400 Le Locle, Suisse |
| |
|Telephone number: |
|+41 (0)32 886 32 32 |
| |
|Email address: |
|et@rpn.ch |
| |
|Other relevant information: |
|cifom.ch |
| |
|Name of the body: |
|Zeitzentrum Uhrmacherschule |
| |
|Name and title of the contact person: |
|Daniel Wegmüller, recteur |
| |
|Address: |
|Sportstrasse 2, CH-2540 Grenchen, Suisse |
| |
|Telephone number: |
|+41 (0)32 654 27 00 |
| |
|Email address: |
|zeitzentrum@dbk.so.ch |
| |
|Other relevant information: |
|zeitzentrum.ch |
| |
|Name of the body: |
|CFPT- Ecole d’horlogerie de Genève |
| |
|Name and title of the contact person: |
|Pierre Amstutz, directeur |
| |
|Address: |
|Route du Pont-Butin 43, CH-1213 Petit-Lancy 1, Suisse |
| |
|Telephone number: |
|+41 (0)22 388 87 09 |
| |
|Email address: |
|secretariat-cfpt@etat.ge.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|WOSTEP - Centre Suisse de formation et de perfectionnement horloger |
| |
|Name and title of the contact person: |
|Marco Schommer, directeur |
| |
|Address: |
|Rue des Saars 99, CH-2000 Neuchâtel, Suisse |
| |
|Telephone number: |
|+41 (0)32 729 00 30 |
| |
|Email address: |
|wostep@wostep.ch |
| |
|Other relevant information: |
|wostep.ch |
| |
|Name of the body: |
|FEMA Formation en mécanique d’art |
| |
|Name and title of the contact person: |
|Pierre Fellay, directeur |
|Séverine Gueissaz, coordinatrice muséologie et événement du CIMA |
| |
|Address: |
|Rue Roger-de-Guimps 41, 1400 Yverdon-les-Bains |
|Rue de l’Industrie 2, CH-1450 Sainte-Croix, Suisse |
| |
|Telephone number: |
|+41 (0)24 426 42 37 |
|+41 (0)24 454 44 77 |
| |
|Email address: |
|pierre.fellay@perform-as.ch |
|cima@musees.ch |
| |
|Other relevant information: |
|mec-art.ch; musees.ch |
|Séverine Gueissaz est membre du groupe de rédaction ayant préparé le dossier de candidature. |
| |
|Name of the body: |
|Musée international d’horlogerie |
| |
|Name and title of the contact person: |
|Régis Huguenin-Dumittan, conservateur |
| |
|Address: |
|Rue des Musées 29, CH-2300 La Chaux-de-Fonds, Suisse |
| |
|Telephone number: |
|+41 (0)32 967 68 61 |
| |
|Email address: |
|mih@ne.ch |
| |
|Other relevant information: |
|mih.ch |
|Régis Huguenin-Dumittan est membre du groupe de rédaction ayant préparé le dossier de candidature. |
| |
|Name of the body: |
|Musée d’art et d’histoire Genève |
| |
|Name and title of the contact person: |
|Estelle Fallet, conservateur en chef |
| |
|Address: |
|Musées d’art et d’histoire (MAH), Boulevard Emile-Jaques-Dalcroze 11, CH-1205 Genève, Suisse |
| |
|Telephone number: |
|+41 (0)22 418 2779 |
| |
|Email address: |
|Estelle.Fallet@ville-ge.ch |
| |
|Other relevant information: |
|mah-geneve.ch |
| |
|Name of the body: |
|CIMA Centre international de la mécanique d’art |
| |
|Name and title of the contact person: |
|Séverine Gueissaz, coordinatrice muséologie et événements |
| |
|Address: |
|Rue de l’Industrie 2, CH-1450 Sainte-Croix, Suisse |
| |
|Telephone number: |
|+41 (0)24 454 44 77 |
| |
|Email address: |
|cima@musees.ch |
| |
|Other relevant information: |
|musees.ch |
|Séverine Gueissaz est membre du groupe de rédaction ayant préparé le dossier de candidature. |
| |
|Name of the body: |
|Musée d’histoire de La Chaux-de-Fonds |
| |
|Name and title of the contact person: |
|Francesco Garufo, conservateur |
| |
|Address: |
|Rue des Musées 31, CH-2300 La Chaux-de-Fonds, Suisse |
| |
|Telephone number: |
|+41 (0)32 967 60 88 |
| |
|Email address: |
|museehistoire.vch@ne.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Musée régional du Val-de-Travers |
| |
|Name and title of the contact person: |
|Louison Bühlmann, conservatrice |
| |
|Address: |
|Grande Rue 14, CH-2112 Môtiers, Suisse |
| |
|Telephone number: |
|+41 (0)32 861 35 51 |
| |
|Email address: |
|info@mrvt.ch |
| |
|Other relevant information: |
|mrvt.ch |
| |
|Name of the body: |
|Espace horloger |
| |
|Name and title of the contact person: |
|Marion Burkhardt, conservatrice |
| |
|Address: |
|Grand-Rue 2, CH-1347 Le Sentier, Suisse |
| |
|Telephone number: |
|+41 (0)22 807 09 10 |
| |
|Email address: |
|marion.burkhardt@espacehorloger.ch |
| |
|Other relevant information: |
|espacehorloger.ch |
| |
|Name of the body: |
|Musée d’horlogerie du Locle - Château des Monts |
| |
|Name and title of the contact person: |
|Morghan Mootoosamy, conservateur |
| |
|Address: |
|Route des Monts 65, CH-2400 Le Locle, Suisse |
| |
|Telephone number: |
|+41 (0) 32 931 16 80 |
| |
|Email address: |
|morghan.mootoosamy@ne.ch |
| |
|Other relevant information: |
|mhl-monts.ch/fr/ |
| |
|Name of the body: |
|Musée paysan et artisanal |
| |
|Name and title of the contact person: |
|Diane Skartsounis, conservatrice |
| |
|Address: |
|Rue des Crêtets 148, CH-2300 La Chaux-de-Fonds, Suisse |
| |
|Telephone number: |
|+41 (0)32 967 65 60 |
| |
|Email address: |
|musee.paysan.artisanal@ne.ch |
| |
|Other relevant information: |
|mpays.ch |
| |
|Name of the body: |
|Musée de la Boîte de montre |
| |
|Name and title of the contact person: |
|Georges Cattin, conservateur |
| |
|Address: |
|Rue des Colverts 2, CH-2340 Le Noirmont, Suisse |
| |
|Telephone number: |
|+41 (0)32 957 65 67 |
| |
|Email address: |
|info@museedelaboitedemontre.ch |
| |
|Other relevant information: |
|museedelaboitedemontre.ch |
| |
|Name of the body: |
|Espace paysan horloger |
| |
|Name and title of the contact person: |
|Jacky Epitaux, responsable |
| |
|Address: |
|Le Boéchet 6, CH-2336 Les Bois, Suisse |
| |
|Telephone number: |
|+41 (0)32 961 22 22 |
| |
|Email address: |
|info@paysan-horloger.ch |
| |
|Other relevant information: |
|paysan-horloger.ch |
| |
|Name of the body: |
|Musée Baud |
| |
|Name and title of the contact person: |
|Arlette Baud |
| |
|Address: |
|Grand Rue 23, CH-1454 l’Auberson, Suisse |
| |
|Telephone number: |
|+41 (0)24 454 33 88 |
| |
|Email address: |
|musee-baud@bluewin.ch |
| |
|Other relevant information: |
|museebaud.ch |
| |
|Name of the body: |
|Musée d’art et d’histoire de la Ville de Neuchâtel |
| |
|Name and title of the contact person: |
|Chantal Lafontant Vallotton, codirectrice |
| |
|Address: |
|Esplanade Léopold-Robert 1, CH-2000 Neuchâtel, Suisse |
| |
|Telephone number: |
|+41 (0)32 717 79 20 |
| |
|Email address: |
|mahn@ne.ch |
| |
|Other relevant information: |
|mahn.ch |
| |
|Name of the body: |
|Musée des Arts et des Sciences |
| |
|Name and title of the contact person: |
|Rachel Gueissaz, secrétaire |
| |
|Address: |
|Avenue des Alpes 10, CH-1450 Sainte-Croix, Suisse |
| |
|Telephone number: |
|+41 (0)77 453 75 56 |
| |
|Email address: |
|info@musee-mas-sainte-croix.ch |
| |
|Other relevant information: |
|musee-mas-sainte-croix.ch |
| |
|Name of the body: |
|Musée de l’Hôtel Dieu Porrentruy |
| |
|Name and title of the contact person: |
|Anne Schild, conservatrice |
| |
|Address: |
|Grand-Rue 5, CH-2900 Porrentruy, Suisse |
| |
|Telephone number: |
|+41 (0)32 466 72 72 |
| |
|Email address: |
|info@mhdp.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Neues Museum Biel / Nouveau Musée Bienne |
| |
|Name and title of the contact person: |
|Bernadette Walter, directrice |
| |
|Address: |
|Seevorstadt 52, CH- 2501 Biel/Bienne, Suisse |
| |
|Telephone number: |
|+41 (0)32 328 70 30 |
| |
|Email address: |
|info@nmbienne.ch |
| |
|Other relevant information: |
|nmbiel.ch |
| |
|Name of the body: |
|Musée du tour automatique et d’histoire |
| |
|Name and title of the contact person: |
|Stéphane Froidevaux, conservateur |
| |
|Address: |
|Rue Industrielle 121, CH-2740 Moutier, Suisse |
| |
|Telephone number: |
|+41 (0)32 493 68 47 |
| |
|Email address: |
|info@museedutour.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Haus zum Kirschgarten, Collection Horlogère |
| |
|Name and title of the contact person: |
|Patrick Moser, Kurator Zeitgeschichte |
| |
|Address: |
|Elisabethenstrasse 27, CH – 4051 Basel, Suisse |
| |
|Telephone number: |
|+41 (0)61 205 86 37 |
| |
|Email address: |
|Patrick.Moser@bs.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Musée des automates à musique Collection du Dr. h.c. H. Weiss-Stauffacher |
| |
|Name and title of the contact person: |
|Christoph E. Hänggi, directeur |
| |
|Address: |
|Bollhübel 1, CH-4206 Seewen, Suisse |
| |
|Telephone number: |
|+41 (0)58 466 78 80 |
| |
|Email address: |
|musikautomaten@bak.admin.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Centre jurassien d’archives et de recherches économiques (CEJARE) |
| |
|Name and title of the contact person: |
|Joël Jornod, directeur |
| |
|Address: |
|Rue du Midi 6, CH-2610 Saint-Imier, Suisse |
| |
|Telephone number: |
|+41 (0)32 941 55 45 |
| |
|Email address: |
|cejare@cejare.ch |
| |
|Other relevant information: |
|cejare.ch |
| |
|Name of the body: |
|Archives de l’Etat de Neuchâtel |
| |
|Name and title of the contact person: |
|Lionel Bartolini, archiviste cantonal |
| |
|Address: |
|Le Château, Rue de la Collégiale 12, CH-2000 Neuchâtel, Suisse |
| |
|Telephone number: |
|+41 (0)32 889 60 40 |
| |
|Email address: |
|OAEN@NE.CH |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Chancellerie d’Etat du canton de Berne, Archives de l’Etat |
| |
|Name and title of the contact person: |
|Barbara Studer Immenhauser, archiviste cantonale |
| |
|Address: |
|Archives de l’Etat, Falkenplatz 4, CH-3001 Berne, Suisse |
| |
|Telephone number: |
|+41 (0)31 633 51 01 |
| |
|Email address: |
|archivesdeletat@be.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Archives cantonales jurassiennes |
| |
|Name and title of the contact person: |
|Antoine Glaezer, archiviste cantonal |
| |
|Address: |
|Hôtel des Halles, 9, rue Pierre-Péquignat, CH-2900 Porrentruy 2, Suisse |
| |
|Telephone number: |
|+41 (0)32 420 84 00 |
| |
|Email address: |
|antoine.glaenzer@jura.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Archives de l’Etat de Genève |
| |
|Name and title of the contact person: |
|Pierre Flückiger, archiviste d’Etat |
| |
|Address: |
|Rue de l’Hôtel-de-Ville 1, CH-1211 Genève 3, Suisse |
| |
|Telephone number: |
|+41 (0)22 327 93 20 |
| |
|Email address: |
|archives@etat.ge.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Archives cantonales vaudoises |
| |
|Name and title of the contact person: |
|Gilbert Coutaz, directeur |
| |
|Address: |
|Rue de la Mouline 32, CH-1022 Chavannes-près-Renens, Suisse |
| |
|Telephone number: |
|+41 (0)21 316 37 11 |
| |
|Email address: |
|info.acv(at)vd.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Mémoire d’ici - Centre de recherche et de documentation du Jura Bernois |
| |
|Name and title of the contact person: |
|Sylviane Messerli, directrice |
| |
|Address: |
|Rue du Midi 6, CH-2610 Saint-Imier, Suisse |
| |
|Telephone number: |
|+41 (0)32 941 55 55 |
| |
|Email address: |
|s.messerli@m-ici.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|CPNV Centre professionnel du Nord vaudois - filière mécanique |
|Association Automates & Merveilles |
| |
|Name and title of the contact person: |
|Nicole Bosshart, présidente |
| |
|Address: |
|Esplanade Léopold-Robert 1, CH-2000 Neuchâtel, Suisse |
| |
|Email address: |
|info@automatesetmerveilles.ch |
| |
|Other relevant information: |
|automatesetmerveilles.ch |
| |
|Name of the body: |
|Association L’horloge qui penche |
| |
|Name and title of the contact person: |
|Michel Bourreau, président |
| |
|Address: |
|c/o Michel Bourreau, rue des Petits Clos 45, CH-2114 Fleurier, Suisse |
| |
|Telephone number: |
|+41 (0)76 236 27 90, |
| |
|Email address: |
|michelbourreau@ |
| |
|Other relevant information: |
|Michel Bourreau is a member of the drafting group that prepared the nomination file |
| |
|Name of the body: |
|Association openmovement |
| |
|Name and title of the contact person: |
|Roman Winiger, président |
| |
|Address: |
|Rue de la Serre 1, CH-2300 La Chaux-de-Fonds, Suisse |
| |
|Telephone number: |
|+41 (0)32 968 08 24 |
| |
|Email address: |
|open@ |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Time Aeon Foundation |
| |
|Name and title of the contact person: |
|David Bernard, directeur |
| |
|Address: |
|Eplatures-Grise 16, CH-2301 La Chaux-de-Fonds, Suisse |
| |
|Email address: |
|info@ |
| |
|Other relevant information: |
| |
|David Bernard is a member of the drafting group that prepared the nomination file |
| |
|Name of the body: |
|Fondation pour la sauvegarde de la tradition du patrimoine horloger de Fleurier et du Val-de-Travers |
| |
|Name and title of the contact person: |
|Laurence Vaucher, présidente |
| |
|Address: |
|c/o Laurence Vaucher Grande Rue 20, CH-2112 Môtiers, Suisse |
| |
|Email address: |
|laurencevaucher@bluewin.ch |
| |
|Name of the body: |
|Fondation de la Haute Horlogerie |
| |
|Name and title of the contact person: |
|Grégory Gardinetti, responsable culture et patrimoine |
| |
|Address: |
|Rue André-De-Garrini 4, CH-1217 Meyrin, Suisse |
| |
|Telephone number: |
|+41 (0)22 808 58 00 |
| |
|Email address: |
|info@ |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Fondation en faveur de la mise en valeur du site de La Chaux-de-Fonds / Le Locle inscrit sur la Liste du patrimoine mondial |
| |
|Name and title of the contact person: |
|Denis Clerc, président |
| |
|Address: |
|c/o Service d’Urbanisme et de l’Environnement, Passage Léopold-Robert 3, CH-2300 La Chaux-de-Fonds, Suisse |
| |
|Telephone number: |
|+41 (0)32 967 64 61 |
| |
|Email address: |
|urbanismehorloger@ne.ch |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Fondation du Grand Prix d’Horlogerie de Genève |
| |
|Name and title of the contact person: |
|Raymond Loretan, président du Conseil de Fondation |
| |
|Address: |
|Rue de la Mairie 3, CH - 1207 Genève, Suisse |
| |
|Telephone number: |
|+41 (0)22 321 22 22 |
| |
|Email address: |
|organisation@ |
| |
|Other relevant information: |
|gphg.ch |
| |
|Name of the body: |
|Conférence Transjurassienne |
| |
|Name and title of the contact person: |
|Mireille Gasser, co-secrétaire générale |
| |
|Address: |
|Rue de la Paix 13, CH-2300 La Chaux-de-Fonds, Suisse |
| |
|Telephone number: |
|+(0)41 32 889 76 05 |
| |
|Email address: |
|mireille.gasser@arcjurassien.ch |
| |
|Other relevant information: |
|conference- |
| |
|Name of the body: |
|arcjurassien.ch |
| |
|Name and title of the contact person: |
|Benoît Morel, chef de projets |
| |
|Address: |
|Rue de la Paix 13, CH-2300 La Chaux-de-Fonds, Suisse |
| |
|Telephone number: |
|+(0)41 32 889 76 05 |
| |
|Email address: |
|benoit.morel@arcjurassien.ch |
| |
|Other relevant information: |
|arcjurassien.ch |
| |
|France |
| |
| |
|Name of the body: |
|École nationale supérieure de mécanique et des microtechniques (ENSMM) |
| |
|Name and title of the contact person: |
|Sébastien Thibaud, chercheur en micromécanique et formateur |
| |
|Address: |
|26, chemin de l’Epitaphe, F-25 000 Besançon, France |
| |
|Telephone number: |
|+33 (0)6 81 21 57 18 |
| |
|Email address: |
|sebastien.thibaud@ens2m.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Université de Franche-Comté, Institut FEMTO-ST |
| |
|Name and title of the contact person: |
|Laurent Larger, directeur |
| |
|Address: |
|15B, avenue des Montboucons, F-25 000 Besançon, France |
| |
|Telephone number: |
|+33 (0)3 81 63 08 24 00 |
| |
|Email address: |
|laurent.larger@femto-st.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Observatoire de Besançon |
| |
|Name and title of the contact person: |
|Philippe Rousselot, directeur |
| |
|Address: |
|41, avenue de l’Observatoire, F-25 000 Besançon, France |
| |
|Telephone number: |
|+33 (0)3 81 66 69 27 |
| |
|Email address: |
|pr@obs-besancon.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Agence nationale de formation professionnelle des adultes (AFPA) |
| |
|Name and title of the contact person: |
|Dany Thorelle, directrice |
|Daniel Gasne, formateur |
| |
|Address: |
|19 avenue de l’Observatoire, F-25 000 Besançon, France |
| |
|Telephone number: |
|+33 (0)3 81 65 66 55 |
| |
|Email address: |
|daniel.gasne@afpa.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Lycée Jules Haag |
| |
|Name and title of the contact person: |
|Richard Geillon, directeur délégué aux formations professionnelles et technologiques |
| |
|Address: |
|1, rue Labbé, F-25 041 Besançon, France |
| |
|Telephone number: |
|+33 (0)3 81 81 01 45 |
| |
|Email address: |
|richard.geillon@ac-besancon.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Lycée Edgar Faure |
| |
|Name and title of the contact person: |
|Sophie Labre, proviseure |
|Thierry Ducret, professeur en horlogerie |
| |
|Address: |
|rue du docteur Léon Sauze, F-25 503 Morteau, France |
| |
|Telephone number: |
|+33 (0)6 71 73 27 38 |
| |
|Email address: |
|thducret@ |
| |
|Other relevant information: |
| |
|Thierry Ducret is also ‘Meilleur ouvrier de ’France' (‘Best Worker in France’) and member of the drafting group that prepared the nomination |
|file |
| |
|Name of the body: |
|Greta du Haut-Doubs |
| |
|Name and title of the contact person: |
|Laurence Bassi, conseillère en formation continue |
| |
|Address: |
|4, rue de l’Etain, F-25 500 Morteau, France |
| |
|Telephone number: |
|+33 (0)3 81 67 40 25 |
| |
|Email address: |
|laurence.bassi@ac-besancon.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Ville de Besançon, Musée du Temps |
| |
|Name and title of the contact person: |
|Laurence Reibel, conservatrice en chef |
| |
|Address: |
|4, place Granvelle, F-25 000 Besançon, France |
| |
|Telephone number: |
|+33 (0)3 81 87 81 53 |
| |
|Email address: |
|laurence.reibel@besancon.fr |
| |
|Other relevant information: |
| |
|Laurence Reibel is a member of the drafting group that prepared the nomination file |
| |
|Name of the body: |
|Musée de l’horlogerie |
| |
|Name and title of the contact person: |
|Grégory Maugain, guide |
| |
|Address: |
|Château Pertusier, 17, rue de la Glapiney, F-25 500 Morteau, France |
| |
|Telephone number: |
|+33 (0)6 74 41 84 93 |
| |
|Email address: |
|musee.horlogerie@wanadoo.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Musée de la Musique Mécanique |
| |
|Name and title of the contact person: |
|Denis Bouchet, président |
| |
|Address: |
|294 rue du Vieux Village, F-74 260 Les Gets, France |
| |
|Telephone number: |
|+33 (0)4 50 79 85 75 |
| |
|Email address: |
|musee@ |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Musée de l’horlogerie et du décolletage |
| |
|Name and title of the contact person: |
|Florence Poirier, directrice |
| |
|Address: |
|Espace Carpano & Pons, 100, place du 11 novembre, F-74 300 Cluses, France |
| |
|Telephone number: |
|+33 (0)4 50 96 43 00 |
| |
|Email address: |
|musee@2ccam.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Musée de la Pince |
| |
|Name and title of the contact person: |
|Gilbert Baudoin, vice-président des amis du musée de la Pince |
| |
|Address: |
|12, rue de la Pommeraie, F-25 190 Montécheroux, France |
| |
|Telephone number: |
|+33 (0)3 81 92 68 51 |
| |
|Email address: |
|contact@museedelapince.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Musée Japy |
| |
|Address: |
|16, rue Frédéric Japy, F-90 500 Beaucourt, France |
| |
|Telephone number: |
|+33 (0)3 84 56 57 52 |
| |
|Email address: |
|museejapy@ville-beaucourt.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Commune des Gras |
| |
|Name and title of the contact person: |
|Patrick Laethier, maire |
| |
|Address: |
|2, place de la Libération, F-25 790 Les Gras, France |
| |
|Telephone number: |
|+33 (0)3 81 68 80 14 |
| |
|Email address: |
|mairie.lesgras@orange.fr |
| |
|Other relevant information: |
|conserve une collection municipale d’outillage |
| |
|Name of the body: |
|Ville de Besançon, bibliothèque d’étude et de conservation |
| |
|Name and title of the contact person: |
|Henry Ferreira-Lopes, directeur des bibliothèques et des archives |
| |
|Address: |
|2, rue Mégevand, F-25 034 Besançon cedex, France |
| |
|Telephone number: |
|+33 (0)3 81 87 81 41 |
| |
|Email address: |
|henry.ferreira-lopes@besancon.fr |
| |
|Other relevant information: |
|besancon.fr |
| |
|Name of the body: |
|Archives départementales du Doubs |
| |
|Name and title of the contact person: |
|Nathalie Rogeau, directrice |
| |
|Address: |
|rue Marc Bloch, BP 2059, F-25 050 Besançon cedex, France |
| |
|Telephone number: |
|+33 (0)3 81 25 88 10 |
| |
|Email address: |
|archives.departementales@doubs.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Région Bourgogne-Franche-Comté, service inventaire et patrimoine |
| |
|Name and title of the contact person: |
|Sabrina Dalibard, directrice |
| |
|Address: |
|Hôtel de Région, 4, square Castan, CS 51857, F-25 031 Besançon cedex, France |
| |
|Telephone number: |
|+33 (0)3 63 64 20 01 |
| |
|Email address: |
|sabrina.dalibard@bourgognefranchecomte.fr |
| |
|Other relevant information: |
| |
| |
|Name of the body: |
|Ville de Besançon, direction du patrimoine historique |
| |
|Name and title of the contact person: |
|Marie-Laure Bassi |
| |
|Address: |
|2, rue Mégevand, F-25 034 Besançon cedex, France |
| |
|Telephone number: |
|+33 (0)3 81 87 81 25 |
| |
|Email address: |
|marie-laure.bassi@besancon.fr |
| |
|Other relevant information: |
|besancon.fr |
|La DPH est responsable de la gestion du label Ville d’art et d’histoire |
| |
|Name of the body: |
|Communauté d’Agglomération du Grand Besançon |
| |
|Name and title of the contact person: |
|Hervé Barioulet, directeur stratégie et territoire |
|Marieke Steenbergen, chef de projets coopérations transfrontalières |
| |
|Address: |
|La City, 4, rue Gabriel Plançon, F-25 043 Besançon cedex, France |
| |
|Telephone number: |
|+33 (0)3 81 89 80 |
| |
|Email address: |
|marieke.steenbergen@grandbesancon.fr |
| |
|Other relevant information: |
| |
|Marieke Steenbergen is a member of the drafting group that prepared the nomination file |
| |
|Name of the body: |
|Pole d’équilibre territorial et rural du Pays horloger |
| |
|Name and title of the contact person: |
|Yannick Nancy, directeur |
| |
|Address: |
|zone d’activités du Bas de la Chaux, 16, rue des Dolines, BP 13 100, F-25 503 Morteau cedex, France |
| |
|Telephone number: |
|+33 (0)3 81 68 53 32 |
| |
|Email address: |
|yannick.nancy@pays- |
| |
|Other relevant information: |
| |
|Yannick Nancy is a member of the drafting group that prepared the nomination file |
| |
|Name of the body: |
|Communauté de communes du Val de Morteau |
| |
|Name and title of the contact person: |
|Jean-Marie Binétruy, président |
| |
|Address: |
|2, place de l’Hôtel de Ville, F25 500 Morteau, France |
| |
|Telephone number: |
|+33 (0)3 81 68 56 56 |
| |
|Email address: |
|morteau@ |
| |
|Other relevant information: |
| |
| |
|4. Community participation and consent in the nomination process |
|For Criterion R.4, 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 actively participated in all stages of the preparation of the |
|nomination, including in terms of the role of gender. |
|States Parties are encouraged to prepare nominations with the participation of a wide variety of other parties concerned, 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 preparation 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 |
|Both Switzerland and France planned and prepared the nomination in close collaboration with the bearers of the traditions concerned and through|
|their representatives. |
|After ratifying the Convention for the Safeguarding of the Intangible Cultural Heritage in 2008, Switzerland implemented a national inventory |
|process based on the participation of the cantons and communities concerned (see 5. v). Within this framework, the canton of Vaud identified |
|and documented the elements ‘Watchmaking’ and ‘Production of mechanical musical automata and music boxes’ in collaboration with the bearers of |
|these traditions and proposed them to the national inventory. Following the inscription of these two elements on the ‘List of Living Traditions|
|in Switzerland’ in 2012, the Confederation set up a peer group to establish a Tentative List of Intangible Cultural Heritage in Switzerland. |
|This group recommended that ‘Craftsmanship of Mechanical Watchmaking’ be included on the Tentative List. It is a combination of the two |
|elements based on the fact that the skills and communities are not only related and close, but also have a common history. Practitioners of |
|both elements were in favour of this approach. After the Tentative List was approved, the Federal Office of Culture (FOC) invited them and the |
|bearers of the other elements on the list to an information session. During this meeting, on 19 January 2015, they were informed about the |
|subsequent procedure and how a nomination with UNESCO would unfold. |
|On 24 May 2016, after further identification of community members concerned by the element, representatives of the members were invited to a |
|participatory workshop in Neuchâtel. During this workshop, the foundations and principles of the nomination were laid and practitioners and |
|other bearers of the element volunteered to form a drafting group. The drafting group met for the first time on 30 January 2018. It was |
|composed of six people (three watchmaking craftspeople, a training representative, and one male and one female museum representative) and was |
|coordinated by the FOC. During this first meeting and following prior contacts with French representatives, the principle of a bi-national |
|Franco-Swiss nomination, involving the entire Jura Arc, was approved. The drafting group was therefore expanded, under the aegis of the Greater|
|Besançon Urban Community (CAGB) and the Pôle d’Équilibre Territorial Rural (PETR) Pays Horloger, to include five French representatives (a |
|watchmaker, a trainer, a female museum representative and a female representative of the CAGB and a representative of the PETR Pays Horloger). |
|This group was responsible for coordinating and drafting the nomination file. They met eight times between 30 January 2018 and 28 February 2019|
|at various locations in Switzerland and France (Berne, Neuchâtel, La Chaux-de-Fonds, Sainte-Croix, Morteau, Besançon). On 18 September 2018, a |
|first meeting of the entire nomination support group took place in Neuchâtel in the presence of some 60 representatives of the Franco-Swiss |
|community and local authorities. Through participatory workshops, the representatives discussed the essential elements of the nomination and in|
|particular the safeguarding measures envisaged. On 24 January 2019, the support group met in La Chaux-de-Fonds and approved all the elements of|
|the nomination file. |
|In parallel and as a complement to this Franco-Swiss process, five meetings with some forty members of French bearer groups took place between |
|July and September 2018, in Besançon and Morteau (Doubs). In addition, thirteen individual interviews were carried out at the initiative of the|
|Greater Besançon Urban Community. These discussions made it possible to gather the constituent elements (inventory record, photographs, letters|
|of consent and support) of the nomination for the National Inventory of Intangible Cultural Heritage in France, which has been in force since |
|2008. They were reviewed and approved by multidisciplinary academic researchers and heritage professionals. Following a favourable opinion from|
|the Committee for Ethnological and Intangible Heritage (French Ministry of Culture), the know-how of watch mechanics in France was included in |
|the National Inventory in November 2018. |
|These numerous meetings generated considerable interest in publicizing and sharing the element through inscription on the Representative List, |
|which contributed significantly to the work being undertaken, within the broader framework of a bi-national nomination to UNESCO. |
|4.b. Free, prior and informed consent to the nomination |
|The free, prior and informed consent to the nomination of the element of 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 in 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 consent of the communities concerned in France and Switzerland, more specifically the men and women, the groups, associations and |
|institutions active in watchmaking and art mechanics know-how, was sought through the bi-national drafting group and the support group. A |
|document explaining the principle of consent and support was drawn up and used in interpersonal discussions by the members of the drafting |
|group and transmitted to all people involved in the support group. This process aimed at mobilizing the networks of the different members of |
|the communities, but also the private and public bodies in charge of safeguarding. By collecting consent letters, a unified cross-border and |
|inter-sectoral community was consolidated. These letters of consent are organized as follows: |
|Letters from craftspeople and practitioners in mechanical watchmaking and art mechanics |
|Letters from watch, automaton and music box collectors and other individuals in the community |
|Letters from training and research institutions, as well as from trainers and researchers |
|Letters from museums and documentation centres. |
|Letters from professional associations |
|Letters from foundations and associations |
|Letters from businesses and other private entities |
|Letters from public and local authorities |
|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 specific knowledge. If such practices exist, |
|demonstrate that the 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 |
|Nowadays, access to the element and the information concerning it is not limited, with the exception of intellectual property rights and any |
|contractual confidentiality clauses between employee and employer. These restrictions, however, relate less to the know-how itself, which is |
|widely disseminated and transmitted, than to technical aspects relating to the design or materials used for certain mechanisms. However, the |
|‘culture of secrecy’ and ‘workshop secrets’ have long been common in some factories and enterprises. This culture of discretion, or |
|concealment, has marked the social representations of the watchmaking community and contributed to a certain exclusivity in a competitive |
|environment. While discretion remains a widely shared value and, although desired and respected, this ‘culture of secrecy’ is giving way today,|
|particularly in the field of artisanal watchmaking, to collaboration and the sharing of tips and tricks among peers. Contemporary craftspeople |
|have become aware of the need for transmission and the risk of losing certain skills. |
|The craftspeople in art mechanics of Sainte-Croix are the exception, since for 30 years the mechanics, watchmakers, automaton makers and |
|restorers of music boxes have been dialoguing and collaborating regularly in a logic of sharing. In fact, this practice has become a |
|distinctive mark of this local community, known as the ‘spirit of Sainte-Croix’. |
|4.d. Community organization(s) or representative(s) concerned |
|Provide detailed contact information for each community organization or representative, or other non-governmental organization, 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; |
|Email address; |
|Other relevant information. |
|Suisse |
|a. Académie Horlogère des Créateurs Indépendants AHCI |
|b. Konstantin Chaikin, président |
|c. Bureau AHCI, c/o Vincent Calabrese, Hora Nova Sàrl, Les Résidences de la Côte 50, CH-1150 Morges, Suisse |
|e. info@ahci.ch |
|f. ahci.ch |
|a. Fédération de l’industrie horlogère suisse FH |
|b. Jean-Daniel Pasche, président |
|c. Rue d’Argent 6, CH-2502 Biel/Bienne, Suisse |
|d. +41 (0)32 328 08 28 |
|@fhs.swiss |
|f. fhs.swiss |
|a. Convention patronale de l’industrie horlogère suisse |
|b. François Matile, secrétaire général |
|c. Avenue Léopold-Robert 65, Case postale, CH-2301 La Chaux-de-Fonds, Suisse |
|d. +41 (0)32 910 03 83 |
|e. info@cpih.ch |
|f. |
|a. Société des Horlogers de Genève |
|b. Pierre-Yves Cichoki, vice-président |
|e. info@societedeshorlogers.ch |
|f. societedeshorlogers.ch |
|a. Association Automates & Merveilles |
|b. Nicole Bosshart, présidente |
|c. Esplanade Léopold-Robert 1, CH-2000 Neuchâtel, Suisse |
|e. info@automatesetmerveilles.ch |
|f. automatesetmerveilles.ch |
|a. Schweizer Freunde Mechanischer Musik |
|b. Peter Both, secrétaire |
|c. Steinmaurstrasse 15, CH-8173 Neerach, Suisse |
|d. +41 (0)44 850 30 90 |
|e. info@sfmm.ch |
|f. sfmm.ch |
|a. Chronométrophilia - Association suisse des amateurs d’horlogerie |
|b. Jean-Michel Piguet, président |
|c. c/o Musée international d’horlogerie, CH-2300 La Chaux-de-Fonds, Suisse |
|e. info@ |
|f. chronometrophilia.ch |
|France |
|a. Société française des microtechniques et de chronométrie (SMFC) |
|b. Bernard Dulmet, président |
|c. Observatoire de Besançon, 41bis, avenue de l’Observatoire, F-25 000 Besançon cedex, France |
|d. +33 (0)3 81 48 91 85 |
|e. sfmc@obs-besancon.fr |
|f. |
|a. Association française des amateurs d’horlogerie ancienne (AFAHA) |
|b. Jean-Loup Caron, président |
|c. 23, porte Rivotte, F-25 000 Besançon, France |
|d. +33 (0)6 85 52 78 85 |
|e. contact@ |
|f. |
|a. Association des Amis des Instruments et de la Musique Mécanique |
|b. Jean-Pierre Arnault, président |
|c. 4 bis boulevard Galliéni, F-94 360 Bry-sur-Marne, France |
|d. info@ |
|e. |
|a. FRANCECLAT, Comité Professionnel de Développement de l’Horlogerie, de la Bijouterie, de la Joaillerie, de l’Orfèvrerie et des Arts de la |
|Table (CETEHOR) |
|39, av de l’observatoire - BP1145, F-25 003 Besançon cedex, France |
|d. +33 (0)3 81 53 99 00 |
|e. info@ |
|f. |
|a. Association Horlogerie comtoise |
|b. François Buffard, président |
|c. 2, place Jean Jaurès, F-39 400 Morez, France |
|e. contact@horlogerie-comtoise.fr |
|f. |
|a. Comité des fêtes des Fins |
|b. Robert Oudot, responsable |
|c. 38bis, rue des Prairies, F-25 500 Les Fins, France |
|d. +33 (0)3 81 67 34 03 |
|e. oudotrob@ |
|f. . Organisateur d’Horlo’troc |
|a. Association Tchi lou Gras |
|b. 5, rue de Pontarlier, F-25 790 Les Gras, France |
|f. Autres informations pertinentes : organisatrice de la journée annuelle de portes ouvertes des anciens ateliers du village Les Gras |
|5. Inclusion of the element in an inventory |
|For Criterion R.5, States shall demonstrate that the element is identified and included in an inventory of the intangible cultural heritage |
|present in the territory(ies) of the submitting State(s) Party(ies) in conformity with Articles 11.b and 12 of the Convention. |
|The inclusion of the nominated element in an inventory should not in any way imply or require that the inventory(ies) should have been |
|completed prior to the nomination. Rather, the submitting State(s) Party(ies) may be in the process of completing or updating one or more |
|inventories, but have already duly included the nominated element in an inventory-in-progress. |
|Provide the following information: |
|Name of the inventory(ies) in which the element is included: |
|Switzerland |
|List of Living Traditions in Switzerland: |
|France |
|National Inventory of Intangible Cultural Heritage in France: |
| |
| |
|(ii) Name of the office(s), agency(ies), organization(s) or body(ies) responsible for maintaining and updating that (those) inventory(ies), |
|both in the original language and in translation when the original language is not English or French: |
|Switzerland |
|Federal Office of Culture - Culture and Society Section |
|France |
|Ministry of Culture – Directorate General of Heritage – Department of Research and Scientific Policy Management |
| |
|(iii) Reference number(s) and name(s) of the element in the relevant inventory(ies): |
|Switzerland |
|‘Watchmaking’ and ‘Production of mechanical musical automata and music boxes’ (no inventory number; the elements listed are presented in |
|alphabetical order) |
|France |
|2018_67717_INV_PCI_FRANCE_00415, ‘The know-how of watch mechanics’. |
| |
|(iv) Date of inclusion of the element in the inventory(ies) (this date should precede the submission of this nomination): |
|Switzerland |
|The elements ‘Watchmaking” and ‘Production of mechanical musical automata and music boxes’ were included in July 2012 in the national inventory|
|‘List of living traditions in Switzerland’. The records were updated in 2017. |
|France |
|The element was included on 23 November 2018 in the National Inventory of Intangible Cultural Heritage in France, following a favourable |
|opinion of the Ethnological and Intangible Heritage Committee. |
| |
|(v) Explain how the element was identified and defined, including how information was collected and processed ‘with the participation of |
|communities, groups and relevant non-governmental organizations’ (Article 11.b) for the purpose of inventorying, including reference to the |
|role of the gender of the participants. Additional information may be provided to demonstrate the participation of research institutes and |
|centres of expertise (max. 200 words). |
|Switzerland |
|In 2010, Switzerland implemented a national inventory process for intangible cultural heritage based on the participation of the cantons and |
|communities concerned. In the canton of Vaud, the person in charge of inventorying living traditions identified and documented ‘Watchmaking’ |
|and ‘Manufacture of automata and musical boxes’ in collaboration with the bearers of the know-how, community representatives and experts in |
|this know-how. These two elements were proposed to the Confederation (FOC), which included them in July 2012 in the national inventory, the |
|List of Living Traditions in Switzerland. In the inscription process of ‘Watchmaking’, other Swiss cantons, in collaboration with the bearers |
|of the traditions concerned, expressed their interest and described it as a common element of the Jura Arc. |
|France |
|The ‘Craftsmanship in mechanical watchmaking’ record was produced in 2018 under the aegis of the Greater Besançon Urban Community, in |
|association with the Pays Horloger. To identify the components of the element, individual interviews were conducted with thirteen practitioners|
|(watchmakers, company managers, trainers in initial and continuing training, academic inspector, association president, watch enthusiast) and |
|five meetings with 38 members of the communities were organized (6 July, Besançon, all communities; 7 September, Morteau, bearers of the |
|know-how involved in training; 11-12 September, Besançon and Morteau, watchmaking practitioners; 13 September, Besançon, stakeholders involved |
|in the safeguarding, transmission to the public and the promotion of the know-how). The nomination for inclusion in the National Inventory of |
|Intangible Cultural Heritage received seventeen letters of consent and support. All the work was informed by heritage professionals (Musée du |
|Temps de Besançon, Service Régional de l’Inventaire et du Patrimoine) and community or academic researchers from several fields (history of |
|technology, ethnology, economics and tourism sciences). |
| |
|(vi) Explain how the inventory(ies) is(are) regularly updated, including information on the periodicity and modality of updating. The updating |
|process is understood not only as adding new elements but also as revising existing information on the evolving nature of the elements already |
|included therein (Article 12.1 of the Convention) (max. 100 words). |
|Switzerland |
|The descriptions of elements on the ‘List of Living Traditions in Switzerland’ may be revised at any time, if the communities concerned request|
|it. The national inventory is regularly updated (five-year cycle, last update in 2017, published online in 2018). A bottom-up approach allows |
|the population and the cantons to propose the addition of new elements and the revision of information with regard to elements already on the |
|list. The FOC coordinates the updating process. The final selection is made by a steering group made up of specialists and representatives from|
|the cantons, cities and the Swiss Confederation. |
|France |
|Begun in 2008, the National Inventory of Intangible Cultural Heritage has 430 elements as of 1 March 2019, with records available online. |
|Approximately 40 new records are added per year, 60% of which are drawn up by community representatives, supported by the Ministry of Culture, |
|the heritage department of local authorities, expertise organizations and/or academic researchers (universities, CNRS). The records can be |
|revised and reposted online at any time, upon request of the communities. On the collaborative PCI Lab platform (), the |
|records can be crowdsourced using wiki technology. |
| |
|(vii) Documentary evidence shall be provided in an annex demonstrating that the nominated element is included in one or more inventories of the|
|intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11.b and 12 of the |
|Convention. Such evidence shall at least include the name of the element, its description, the name(s) of the communities, groups or, if |
|applicable, individuals concerned, their geographic location and the range of the element. |
|If the inventory is available online, provide hyperlinks (URLs) to pages dedicated to the nominated element (max. four hyperlinks in total, to |
|be indicated in the box below). Attach to the nomination print-outs (no more than ten standard A4 sheets) of relevant sections of the content |
|of these links. The information should be translated if the language used is not English or French. |
|If the inventory is not available online, attach exact copies of texts (no more than ten standard A4 sheets) concerning the element included in|
|the inventory. These texts should be translated if the language used is not English or French. |
|Indicate the materials provided and – if applicable – the relevant hyperlinks: |
|Switzerland |
|The inventory records a) ‘Watchmaking’ and b) ‘Production of mechanical musical automata and music boxes’ are available online on the website |
|of the ‘List of living traditions in Switzerland’. |
| |
| |
|A printed version of the record is attached to this file. Electronic copies are also available in the digital version of this file. |
|France |
|The record ‘The know-how of watch mechanics’ of the National Inventory of Intangible Cultural Heritage is available online: |
|
|-mecanique-horlogere. |
|The nomination file also contains the electronic version, as well as a 10-page excerpt, in both electronic and printed format. |
| |
|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 activities geared at ensuring the visibility of the element if it is inscribed. Tick the following boxes to |
|confirm that the 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 the community |
|concerned 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; |
|( ten recent photographs in high definition; |
|( grant(s) of rights corresponding to the photos (Form ICH-07-photo); |
|( edited video (from five to ten minutes), subtitled in one of the languages of the Committee (English or French) if the language utilized is |
|other than English or French; |
|( grant(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, the 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. |
|Bibliographie sommaire |
|• ALEXIS Patricia, Conservation des savoir-faire en horlogerie, La Chaux-de-Fonds, Musée international d’horlogerie, 1994, 55p. |
|• AUGEREAU Patrick, ‘ Transfert du savoir-faire en horlogerie : la formation professionnelle ’, dans Arts, métiers, culture technique et |
|développement local, Salins-les-Bains, Musée des techniques et cultures comtoises, 1995, p. 233-236. |
|• BELMONT Henry-Louis, L’Échappement à cylindre (1720-1950) : Le Haut-Doubs, centre mondial au XIXe siècle, Besançon : Technicmedia, 1985. |
|• BLANCHARD Philippe, L’établissage : étude historique d’un système de production horloger en Suisse (1750-1950), Chézard-Saint-Martin, La |
|Chatière, 2011, 303 p. |
|• BLYELLE Etienne, Dictionnaire technique et musical des boîtes à musique, Genève, Conservatoire autonome des boîtes à musique, 2000. |
|• BUJARD Jacques, TISSOT Laurent (dir.), Le pays de Neuchâtel et son patrimoine horloger, Chézard-St-Martin, La Chatière, 2008, 389 p. |
|• BRISELANCE Claude, Les Écoles d’horlogerie de Besançon. Une contribution décisive au développement industriel local et régional (1793-1974), |
|thèse de doctorat d’histoire, Université de Lyon 2, dir. Jean-Luc MAYAUD, 2015. |
|• CARDINAL Catherine, JEQUIER François, BARRELET Jean-Marc, BEYNER André (dir.), L’Homme et le temps en Suisse, 1291-1991, La Chaux-de-Fonds : |
|Institut L’Homme et le Temps, 1991, 399 p. |
|• COLLECTIF, Apprendre, créer, transmettre : la formation des horlogers, passé et avenir, La Chaux-de-Fonds, Musée international d’horlogerie, |
|1999, 115 p. |
|• DANIELS George, La Montre : principes et méthodes de fabrication, Lausanne, Scriptar, 1993, 415 p. |
|• DAUMAS Jean-Claude, Tissot Laurent (éd.), L’Arc jurassien : histoire d’un espace transfrontalier, Vesoul, Ed. Maé-Erti ; Yens-sur-Morges, |
|Cabédita, 2004, 293 p. |
|• DAUMAS Jean-Claude, Tissot Laurent, Les systèmes productifs dans l’Arc jurassien : acteurs, pratiques et territoires, Besançon, Presses |
|universitaires de Franche-Comté, 2004, 338 p. |
|• FALLET Estelle, SIMONIN Antoine (dir.), Dix écoles d’horlogerie suisses : chefs-d’œuvre de savoir-faire, Neuchâtel, Simonin, 2010, 565 p. |
|• JEQUIER François, Chollet Jean-Pierre, La Main et l’outil, La Chaux-de-Fonds, Musée international d’horlogerie, 1987, 141 p. |
|• LANDES David, L’heure qu’il est : les horloges, la mesure du temps et la formation du monde moderne, Paris, Gallimard, 1987, 622 p. |
|• MARTI Laurence, La grande famille, pratiques, représentations et identités horlogères dans le Jura suisse, Lyon, Université de Lyon, 1996, |
|548 p. |
|• MAUERHAN Joëlle, Horlogers et horlogères à Besançon (1793-1908). Editions L’Harmattan, 2018. |
|• MAYAUD Jean-Luc, Besançon horloger, 1793-1914. Editions musée du Temps, Besançon, 1994. |
|• MAYAUD Jean-Luc, HENRY Philippe (dir.), Horlogeries, le temps de l’histoire, Besançon, Presses universitaires franc-comtoises, 1995. |
|• MOINE Alexandre, ‘ Évolution d’un espace transfrontalier : le territoire horloger franco-suisse de l’Arc jurassien ’, dans Frontières, |
|Besançon, Presses universitaires franc-comtoises, 2003, p. 21-36. |
|• MUNZ Hervé, La transmission en jeu. Apprendre, pratiquer, patrimonialiser l’horlogerie en Suisse, Neuchâtel, Éditions Alphil/Presses |
|universitaires suisses, 2e éd., 2017. |
|• Piguet Jean-Claude, Les faiseurs de musique, Sainte-Croix, Editions du Journal de Sainte-Croix, 1996. |
|• Piguet Jean-Claude, ‘ Patrimoine industriel de Sainte-Croix ’, In. Ku. Association suisse d’histoire de la technique et du patrimoine |
|industriel, 2012. |
|• POUPARD Laurent (dir.). L’horlogerie, fille du temps : actes du cycle de conférences dans le massif du Jura (septembre 2016 - juin 2017). |
|Besançon, Association française des amateurs d’horlogerie ancienne, 2017. |
|• POUPARD Laurent. Autour de la montre en pays horloger, Images du patrimoine 308. Editions Lieux dits, 2019. |
|• Reuge Jean et Margot Denis, L’Auberson au temps des boîtes à musique, Sainte-Croix, Cercle d’histoire de la région de Sainte-Croix, |
|coll. ’ Cahiers ’ (no 12), 2013. |
|• Rouiller Philippe, Les instruments de musique mécanique, Paris, Editions Gründ, 1992. |
|• REYMONDIN Charles-André, MONNIER George, JEANNERET Didier et PELARATTI Umberto, Théorie de l’horlogerie, Le Locle, Fédération des écoles |
|techniques suisses, 1998. |
|• Troquet Daniel, ‘ Boîtes à musique ’ in Dictionnaire historique de la Suisse (en ligne), 23 février 2009. Lien URL |
|• Troquet Daniel, Au pays des boîtes à musique et des automates, Sainte-Croix, Editions du Cochet, 1989 |
|• VERNOTTE François, L’Observatoire de Besançon et la mesure du temps, s.l.n.d. |
|Filmographie sommaire |
|• Automates & merveilles Projet 2018, prod. Association Automates & Merveilles, 2018, 3 minutes 57 secondes. Lien URL |
|• Bourse horlogère de Mer, réal. Arc en ciel Vidéo, prod. Association française des amateurs d’horlogerie ancienne, 2018, 2 minutes 59 |
|secondes. |
|• L’Horlo, réal. David GAMET et Emmanuelle COURNARIE, prod. Musée du Temps, Ville de Besançon, 2013, 28 minutes 52 secondes |
|• La Naissance d’une montre. Le garde-temps, réal. NVP3D, prod. Time Aeon Foundation et Greubel Forsey, 2016, 17 minutes 31 secondes. Lien URL |
|• Le Diplôme des métiers d’art horloger, réal. Élèves de DMA, prod. Lycée Edgar-Faure à Morteau, 2012, 3 minutes 15 secondes. Lien URL |
|• Les Rouages de l’harmonie, réal. Philippe NICOLET, prod. NVP3D et espacehorloger.ch, 2012, 12 minutes. Lien URL |
|• Secret des maîtres - capsules vidéo, prod. Formation en Mécanique d’Art (FEMA), 2018, Lien URL |
|7. Signature(s) on behalf of the State(s) Party(ies) |
|The nomination should be signed by the official empowered to do so on behalf of the State Party, together with his or her name, title and the |
|date of submission. |
|In the case of multinational nominations, the document should contain the name, title and signature of an official of each State Party |
|submitting the nomination. |
|Name: |
|S. Exc. Martin MICHELET |
| |
|Title: |
|Ambassadeur de Suisse, délégué permanent auprès de l’UNESCO |
| |
|Date: |
|15 March 2019 |
| |
|Signature: |
| |
| |
|Name(s), title(s) and signature(s) of other official(s) (For multinational nominations only) |
|Name: |
|S. Exc. Laurent STEFANINI |
| |
|Title: |
|Ambassadeur de France, délégué permanent auprès de l’UNESCO |
| |
|Date: |
|15 March 2019 |
| |
|Signature: |
| |
| |
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