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CONVENTION FOR THE SAFEGUARDING

OF THE INTANGIBLE CULTURAL HERITAGE

INTERGOVERNMENTAL COMMITTEE FOR THE

SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE

Fourteenth session

Bogotá, Colombia

9 to 14 December 2019

Nomination file No. 01461

for inscription in 2019 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. |

|IRELAND |

|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 |

|Irish harping |

|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 |

|Cruitireacht na hÉireann |

|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. |

|Not applicable |

|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 |

|Irish harping is represented by Cruit Éireann, Harp Ireland, the national resource organisation, established in 2016 to promote the Irish harp |

|and safeguard the tradition of Irish harp playing. Based in Dublin, it draws its membership from Ireland and Northern Ireland. It reflects harp|

|players from diverse practices, and includes harp makers, academics, contemporary composers and those involved in the conservation of the harp |

|tradition. Cruit Éireann, Harp Ireland coordinates the support of its membership, other harp organisations and Irish harp players located in |

|Europe, UK, Scandinavia, Australia and US. |

|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 harp is played throughout the island of Ireland. There are a number of significant centres where harp playing features more strongly, |

|namely, Dublin, Cork, Galway, Laois, Mayo, Meath and Derry. The harp is also played in Donegal, Sligo, Galway, Limerick, Clare, Kerry, Cork, |

|Carlow, Wexford, Longford, Kilkenny, Wicklow, Dublin, Louth, Cavan, Monaghan, Armagh, and Belfast. It is played at many national festivals and |

|Irish music competitions. It has an ever-growing on-line presence. It features internationally, particularly in the US, Brittany, Scandinavia,|

|Europe, Japan, Russia, Canada and Australia, where Irish harpers regularly perform, sharing their knowledge and skills. Irish harpers work at |

|international folk festivals delivering workshops and tuition, passing the tradition to new practitioners and audiences. Increased interest in |

|Irish harping has prompted instrument makers and wood workers to produce Irish harps in other countries such as England, Scotland, Wales, US, |

|Canada and France. |

|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.): |

|Mr |

| |

|Family name: |

|Kenneally |

| |

|Given name: |

|Stephen |

| |

|Institution/position: |

|Department of Culture Heritage and the Gaeltacht |

| |

|Address: |

|23,Kildare St, Dublin 2 DO2TD30 |

| |

|Telephone number: |

|353 1 631 3822 |

| |

|Email address: |

|Stephen.Kenneally@.ie |

| |

|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. |

|Not applicable |

|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 |

|The harp is Ireland’s national symbol and has been played for more than 1,000 years. Its bell-like sounds and music captivate all who hear it |

|and are celebrated in Irish mythology, folklore and literature. Today, harp players are generally women and children, contrary to the ancient |

|practice, where each chieftain had his own harper, usually blind and male. Moreover, instead of a harp hewn from a single solid piece of |

|willow, strung with wire strings, played with the nails and transmitted aurally, the majority of contemporary harps are made of varying types |

|of hardwood, strung with gut or nylon and are played with the finger tips. Skills are transmitted both aurally and/or by notation in the art |

|music style.The early wirestrung harp declined in the late 1700s and was superseded by the gut-strung harp. This circumstantial change |

|continues to influence harp repertoire and its performance (including singing with harp), harp design and the current bearers of the tradition.|

|Since the 1960s, the continuity of both harp styles has been secured with a revival of interest in harp playing and making, performance of its|

|ancient repertoire, integration with traditional music together with support from Government. Irish harping is at the heart of our national |

|identity. As our national emblem, the harp appears on State notepaper, on the President’s seal of office, on coinage, on uniforms of our |

|security forces, on national monuments and on many of our public buildings. |

|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 |

|There has been a major resurgence of interest in harp playing over the past sixty years, due to a growing appreciation of the harp’s role in |

|Irish identity, language and culture. The bearers and practitioners of the element number around 1500 individuals, and these numbers are |

|growing steadily. While there are some men and boys playing harps; women, girls and children are the primary practitioners. Irish people |

|experience an instinctive response to harp music as demonstrated by the growing interest in government-sponsored music education programmes |

|providing harp tuition. Harp playing has facilitated peace-making in Northern Ireland, embracing diversity and bridging the sectarian divide |

|where communities have been fractured. Contemporary exponents of the early wire-strung harp are bearers of a precious legacy of music, composed|

|solely for their wire-strung instrument, reflecting the ancient aristocratic role of the harper in Irish medieval and sixteenth /seventeenth |

|century society. Contemporary gut-strung harp players have safeguarded this repertoire and ensured its continuity while integrating with |

|traditional music practice and responding to evolving harp styles. Harp players are distinguished by their ability to interpret and perform the|

|music and are held in high regard. The Irish harp is played in the US, Scandinavia, Europe, Japan, Russia, Canada and Australia, where players |

|share a fascination for its Irish identity, its dynamic sound, its heritage and its distinctive repertoire. While Irish harp makers have a |

|distinctly Irish approach to harp making, makers of the Irish harp are also located in Europe, US, Canada and Japan. |

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

|Not fewer than 150 or more than 250 words |

|Harping knowledge and skills are transmitted as follows: |

|• In many cases, the music of the harp is transmitted aurally by professional harp players or by self taught enthusiasts; other learners may be|

|familiar with art music notation or play another Irish traditional instrument. |

|• Information is gleaned from historic tracts and manuscripts dating from the seventeenth century, which illustrate the techniques and |

|repertoire of the ancient harpers and are applied to study of the instrument. |

|• Individual lessons take place between the master teacher and the student using ‘observe, listen, play and learn’ techniques. |

|• Group/ensemble lessons take place, whereby the master harper teaches in a group format and students ‘take the tune’ performing individually, |

|and in groups. |

|• 1/1 lessons are conducted with a professionaly qualified teacher in a formal pedaogical setting, where the classical principles of art |

|music are also studied alongside the Irish harp. |

|• Bespoke harp classes at harp festivals where there is a special focus on ‘passing on’ repertoire and skills development through mixed ability|

|workshops and performance. |

|• Playing at informal music gatherings or "sessions" with other traditional musicians. |

|• Performing in harp ensembles, which provide valuable social interaction for the community. |

|• Observing and listening to master harpers in performance. |

|• Employing learning aids such as sheet music, recording devices, on-line learning, You Tube, dedicated websites and skype to assist the |

|learning process. |

|Irish harp players regularly perform and teach on the international circuit. This contributes to the continuity of the practice and extends its|

|reach to new practitioners and audiences. |

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

|Not fewer than 150 or more than 250 words |

|Harp playing has permeated the Irish psyche over many centuries. It holds an intrinsic place in the ritualistic aspects of Irish culture and |

|life, echoing the duties of the ancient harper for his patron: celebrating birth and marrriage, honouring valour in warfare and lamenting |

|warrior death. Harpers today meet in many ways; performing for, and with one another, and their communities. They perform at State occasions, |

|in concert, at social gatherings or music sessions; at weddings, funeral ceremonies; connecting people and communities at times of heightened |

|emotions; its music reflecting joy, celebration or sadness, thus affirming their sense of Irish identity. Harpers and poets replicate the |

|ancient tradition of harper and reciter in public performance, where the spoken word is accompanied by harp music emulating the ancient bardic |

|tradition. Harp playing has mediated in helping to address conflict and encourage peace-making in Northern Ireland, building greater |

|understanding between its diverse communities. The evolving practice of large groups of young harp players performing together in ensembles has|

|enhanced personal and social interaction in a world where digital contact endangers human connectivity. This practice also enhances a sense of |

|community ’belonging’ and affirmation, where commerical commoditisation is ignored. Additionally, the practice supports increased interaction |

|with harp makers and composers of new works for the harp and the wider participating audience. Harping’s global impact provides links for |

|international players with Ireland, enabling them to share a sense of pride in Ireland’s harp heritage and enjoy performing and listening to |

|its music. |

|Is there any part of the element that is not compatible with existing international human rights instruments or with the requirement of mutual |

|respect among communities, groups and individuals, or with sustainable development? |

|Not fewer than 150 or more than 250 words |

|There is no 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 indviduals. |

|Since the early 1960s, in order to sustain the practice, individuals and voluntary groups,(including the recently established Cruit Éireann, |

|Harp Ireland), have worked on a voluntary basis and taken steps to safeguard the tradition by: |

|Providing harp tuition and instruments, |

|Faciltating availability of repertoire for the harp through research, composition, publishing harp music and producing recordings, |

|Operating harp hire schemes, at a subsidised low cost, enabling more widespread access to the harp, where economic circumstances would have |

|previously precluded involvement. |

|Through its members, Cruit Éireann, Harp Ireland collaborates with various national traditional music organisations, music programmes, music |

|schools, primary and second level schools, community access programmes and individual teachers to encourage more young people to learn the |

|early Irish harp and the modern Irish harp. |

|Through harp festivals, workshops and performances, run by its members, Harp Ireland supports further subsidised teaching and performance to |

|sustain the practice, preserve its native repertoire, and support its continuing development. |

|Materials used in the making of harps, such as tropical hardwoods, could be perceived to be incompatible with sustainable development. However,|

|makers have acknowledged their responsibiltiies and are exploring potential alternatives. |

|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 |

|Recognition of the element among harp players and the wider local traditional music communities can act as a catalyst for further promotion of |

|performing arts and social practices among local communities as elements of our local living cultural offering. It will encourage more local |

|connection with and understanding of the concepts and philosophy underpinning intangible cultural heritage, the need for sustainability and |

|motivate communities to collaborate with UNESCO ’from a distance’ promoting respect locally for our living cultures and practices. Awareness |

|of inscription will increase young players’ understanding and appreciation of intangible cultural heritage and encourage them to discuss it |

|with their peers and other young musicians; thus increasing awareness, and the drive to transmit from peer to peer and generation to |

|generation. The visibility of inscription will empower and enable young harp players to safeguard the harp and its repertoire as part of their |

|living heritage. |

|(i.b) Please explain how this would be achieved at the national level. |

|Not fewer than 100 or more than 150 words |

|Conferrring intangible cultural heritage status on Irish harping will inspire national discourse about intangible cultural heritage. It will |

|also increase awareness across Irish society about the importance of safeguarding our cultural heritage. it will provide a further opportunity |

|to highlight the National Inventory of Intangible Cultural Heritage which is mananged by the Ministry of Culture, Heritage and the Gaeltacht in|

|line with UNESCO guidelines. The UNESCO logo will also be visible on all Harp Ireland communications and acknowledged at harp gatherings. If we|

|are successful in our application for nomination, there will be extensive promotion and awareness of intangible cultural heritage. Information |

|will be dessiminated nationally and there will be an occasion of national celebration of Irish Harping, supported by the State. Successful |

|insciption of Irish harping will enourage more communities at national level to identify their living culture and safeguard its continuity in |

|line with UNESCO criteria. |

| (i.c) Please explain how this would be achieved at the international level. |

|Not fewer than 100 or more than 150 words |

|It will ensure that the Irish government acknowledges the honour of inscription in its diplomatic work at a global level; thus raising |

|awareness of UNESCO and recognising Intangible Cultural Heritage’s links with human creativity and cultural diversity more widely. It will |

|promote intangible cultural heritage internationally, as players of the Irish harp around the world have been asked to indicate their support, |

|and if inscription is awarded, will spread the welcome news in their countries of origin. Our extensive Irish global diaspora will acknowledge |

|the importance of inscription of Irish harping in its communications at all levels with its communities. Our on-line communications campaign in|

|relation to inscription of Irish harping has already introduced the concept to an on-line audience, many of whom would have previously been |

|unaware of it. |

|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 |

|Inscription of Irish harp playing will encourage dialogue between established communities of interest in the harping world, who have recently |

|united to sustain the instrument and support diverse styles of practice within the genre. It will create awareness of the value and importance |

|of being part of a global movement that protects indigenous artforms. |

|It will encourage more discourse at local level about the value of inscription. |

|Young harp players will be encouraged that they are part of this greater community protected by Intangible Cultural Heritage; it will add to |

|their understanding of national identity, self-awareness, self-worth and self-pride, and encourage a greater consciousness of the harp and its |

|music. |

|Inscription will continue to permeate and positively influence harpers and their communities living in divided communities, particularly in |

|Northern Ireland, where the Irish harp playing has contributed to forging stronger bonds between opposing factions and creeds. |

|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 will greatly benefit Irish Harp playing. The solitary nature of its practice, its less visible presence, the specialised skill |

|required to play, and until relatively recently, limited access to harps has been an inhibitor to its sustainability and its development. |

|While it is so deeply ingrained in our national identity, news of inscription will inform and raise awareness of it and promote respect for it |

|as an indigenous art form. It will highlight the creative nature of its practice in recovering, reviving and preserving its ancient repertoire |

|while encouraging contemporary evolution of compositional style and performance. It will encourage more harp-making. Inscription will also |

|continue to nurture cross-community tolerance and inclusion in Northern Ireland, and respect in general for cultural diversity, values that |

|have been arduously nurtured and cherished over decades.It will strengthen our respect for our national emblem and affirm our sense of |

|national pride in Ireland and internationally. |

|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 |

|At the end of the eighteenth century, several attempts were made to revive harp playing, the most significant being the Belfast Harp Festival |

|(1792) and the published collections of Edward Bunting (1796, 1801 and 1840.) Between 1850 -1950, there were numerous attempts to sustain harp |

|playing and the harp was regularly represented in iconography, politically and culturally, as the national symbol and as a call to liberation. |

|Throughout its multiple phases of revival and transformation; it consistently responded to emerging musical trends observable in other musical |

|instruments, genres and styles. The folk music revival in the 1960s and 1970s inspired a corresponding interest in harp playing. Individual |

|performers undertook research, revived its repertoire and performed nationally and internationally. Cairde na Cruite (Friends of the Irish |

|Harp) was founded in 1960, and was a seminal influence. Other organisations supported it, including national music organisations, media, Irish |

|language activists and recording companies. Influential composer, Seán Ó Riada revived and interpreted harpers’ music in ensemble, introducing |

|it to the traditional music repertoire. Convent schools initiated harp tuition. Numbers of teachers increased. Harp playing entered the formal |

|music assessment system with second and third level music institutions including it on syllabi. New works were commissioned and recordings |

|made. Music and academic research was published. Harp makers established themselves. Harp festivals were initiated, attracting harpers from |

|Ireland and overseas, and student numbers expanded. Following an Arts Council report, Harp Ireland, the national resource hub to sustain and |

|promote the Irish harp was established in 2016. |

|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 |

|Irish harping has been funded by the Arts Council of Ireland, the government state agency, on a project basis for the past thirty years. The |

|Arts Council also supports harp festivals and harp-related initiatives. Comhaltas Ceoltóirí Éireann, the national voluntary traditional music |

|organisation and the Willie Clancy Summer School feature the harp in many of their activities. Other state supported institutions, such as the |

|Traditional Music Archive, the national repository for traditional music and the National Library of Ireland, support the harp by offering |

|performance platforms, research opportunities, and storage for harp-related materials. Our National Museum has a large collection of ancient |

|harps. Third level institutions offer support-in-kind through academic research channels. Local authorities offer support on a once-off basis. |

|The Department of Education, through its partnership with Music Generation, the national Music Education programme, facilitates provision of |

|harp tuition. The Department of Culture, Heritage and Gaeltacht, through its agency Culture Ireland, provides opportunities for Irish Harp |

|playing to be promoted overseas and brought to a wider audience. The Government sponsored Creative Ireland Programme has invested at local |

|level. While national funding constraints have curtailed ambition, through its parent Department of Culture, Heritage and Gaeltacht, the Arts |

|Council adopted the Irish Harp as a strategic priority in 2014, supported the establishment of Harp Ireland in 2016, and is interacting with |

|the community to safeguard the harp’s legacy, define its future and sustain inclusive practice. |

|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 multiple phases of transformation experienced by the Irish harp demonstrate that it has never operated in a social or cultural vacuum. It |

|has; constantly redefined itself; responding to historic, social, and musical imperatives. Since 1960, voluntary groups and individuals have |

|been working to sustain the harp. Inscription, increased visibility and public attention will serve to highlight the necessity to safeguard |

|the long-term viability of the harp, appreciate its heritage and its role within a living culture. |

|The accumulated impact of voluntary initiatives will form the basis for future action and include: |

|Continuation of Harp Ireland’s activities to promote and sustain the harp. |

|Development of Harp Ireland’s on-line presence acting as a global one-stop shop for the harp. |

|National Harp Day (11 November 2017), a Harp Ireland initiative, which will be replicated and expanded worldwide in future years. |

|Continuation of the Belfast Harp Orchestra, established with peace funding to address diversity and strengthen cross-community relationships in|

|Northern Ireland. |

|Continuation of Cairde na Cruite’s investment in harps for its harp hire schemes. |

|Increased publications and recordings of harp music by all harp organisations. |

|Expand The Historical Harp Society of Ireland’s work to revive the early harp through harp making, historically informed performance, research |

|and tuition. |

|Expansion of festivals and workshops featuring harp as well as commissioning new works for the harp. |

|Continued promotion of the craft of Irish harp making by Irish harp makers. |

|Visibility of the harp is increasing as a solo instrument, as accompaniment to song, with uilleann pipes celebrating their historic links, in |

|multi-instrumental groups, as a collective of harps in ensembles and scored for symphony and chamber orchestra. |

|Apart from notable master harpers, there is a distinguished cohort of teachers and a younger generation of accomplished harpers emerging, who |

|are expanding harp practice. |

|Scholarship and research is encouraged through Master’s programmes with a concerted effort by third level institutions to embrace harp research|

|and provide a platform of learning, commentary and narrative to underpin endeavours at local level. Collectively, these efforts reveal a |

|mutually dependent framework of performer, researcher and pedagogue, which enriches Irish harp practice formally and informally. Other |

|academic harp commentators have enriched academic discourse, and this is continuing to evolve in tandem with evolving practice. |

|The Government-funded Music Generation music education programme has increased student numbers, and students are afforded the opportunity to |

|play in harp ensembles within their local communities. This enables social interaction among young harpers and allows them to listen and learn |

|from master teachers and from one another. Complementing this are increasing numbers of young harpers involved in national music festivals and |

|competitions. |

|The Clare Memory Orchestra and Belfast Harp Orchestra carry on the ancient tradition of tuition where experienced harp masters orally transmit |

|music to younger harpers. Through this, they are developing a community of young Irish harpers of exceptional ability. The Clare Memory |

|Orchestra is currently working with young visually impaired harp players; revisiting the ancient tradition of harping, encouraging creativity |

|and providing an opportunity for creative expression. |

|Another outcome has been the growing demand for Irish made harps, and the commissioning of new work for solo harp and harp ensembles. |

|Contemporary composers are writing for the harp, broadening, challenging and extending its scope in contemporary art music |

|Harp Ireland members, Cairde na Cruite, Historical Harp Society of Ireland and the Belfast Harp Orchestra (Northern Ireland) present three |

|separate festivals annually providing tuition, and a platform for performance for harpers. Each of these contributes to sustaining the |

|tradition. Noteworthy exciting and inventive artistic cross-genre collaborations are taking place; showcasing harpers working in different |

|ways and collaborating with different forces. |

|Inscription will not detract from these endeavours but can only serve to increase efforts to safeguard the tradition and nurture enthusiasm for|

|harp playing. |

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

|Not fewer than 150 or more than 250 words |

|The harp, as Ireland’s national symbol, will always be a key element of the State’s identity. Consequently, the Department of Culture, |

|Heritage and Gaeltacht, through the Arts Council, supports Harp Ireland’s mission and will safeguard the harp on a permanent basis in line with|

|its published strategic policy framework. The State supports a number of regularly funded organisations and festivals such as The Irish |

|Traditional Music Archive, Na PÍobairí Uilleann - the resource organisation for Irish Pipers, Comhaltas Ceoltóirí Éireann - the national |

|voluntary traditional music organisation, and Scoil Samhraidh Willie Clancy, a major traditional Irish music, song and dance event held |

|annually, each of whom supports the harp in different ways and because of their deep insights and connections with traditional music |

|understand the harp and the significance of its ancient heritage. |

|The Department of Culture, Heritage and Gaeltacht, the Department of Education and Skills, and the Arts Council collaborate together to |

|promote culture and creativity for children and youth in particular. This includes normal education at Primary and Post Primary schools |

|together with initiatives outside mainstream school hours, such as the Music Generation programme and a suite of new initiatives under the |

|Creative Youth Programme. |

|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 |

|Harp Ireland, the recently established resource organisation, comprising representatives from all over Ireland, has consulted extensively with |

|its steering group members and stakeholders in planning the proposed safeguarding measures (see support letters). Members of the Harp Ireland |

|Forum have also been closely involved in planning discussions as have Irish harp makers, who have a major role to play in ensuring that the |

|craft of Irish harp making endures for future generations. Researchers and academics will continue to input their expertise and will track an |

|evidence-based monitoring approach in implementing the safeguarding measures. Additionally, Harp Ireland has created links with harp players |

|overseas through professional harp players performing and teaching. In devising a five-year strategic plan, which sets clear goals, objectives |

|and actions to safeguard the harp, Harp Ireland has consulted specifically with its practitioners locally and across the country – mainly women|

|and children. It has also decided to encourage more young men and boys to play the harp, in keeping with the ancient custom of harp playing, |

|and to promote gender equality in the practice. Its colleagues in Northern Ireland are conscious of the tangible difference that the harp has |

|made in addressing diversity and conflict. Harp Ireland will continue to liaise with key national music and archival organisations who have a |

|keen interest in safeguarding the instrument and who acknowledge its repertoire of harpers’ music from the 16th, 17th and 18th centuries, music|

|which intrinsically differentiates the harp in Irish traditional music, and for which it has no equal. |

|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: |

|Cruit Éireann, Harp Ireland |

| |

|Name and title of the contact person: |

|Aibhlín McCrann, Chair |

| |

|Address: |

|c/o Communiqué International, 26, Herbert Place, Dublin, 2 |

| |

|Telephone number: |

|00 353 1 6768998 |

| |

|Email address: |

|aibhlin.mccrann@communique.ie |

| |

|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 |

|Cruit Éireann, Harp Ireland is the forum, which has initiated and implemented this submission in dialogue with the harp community nationally |

|and internationally, while its membership has supported and coordinated the submission within harping communities at local level. It is a |

|voluntary forum, which unites three key harp organisations in Ireland and Northern Ireland. Additionally, it represents all of the known |

|individual harp players in Ireland. It also has supporters outside of Ireland, through its diaspora, who are regular contributors to its |

|activities. Established in 2016 with the support of the Arts Council, it seeks to safeguard and promote inclusive, contemporary expression of |

|the 1000-year Irish harping tradition, encouraging a breadth of harp repertoire and performance across a broad range of genres. It is led by a |

|steering group of seventeen harp players from different genres of harp practice. It is incorporated as a company, limited by guarantee, and has|

|four directors, each of whom plays the harp, and works on a voluntary basis to further its aims. Stakeholders outside of Ireland have engaged |

|in the consultation process and indicated their support via testimonial letters through Harp Ireland’s network, the Department of Foreign |

|Affairs and Trade and the Department of Culture, Heritage and Gaeltacht. |

|The harping community and the broader traditional music community have been involved in different ways including: |

|• Proffering letters of support in response to requests by Harp Ireland to more than 100 national bodies, for whom the harp is a recognised |

|symbol; |

|• Convening meetings at local level across the country, among harp teachers with their students to engage them in the nomination at national |

|level; |

|• Participating in intensive web and media activity as well as in managing the online petition; |

|• Actively pursuing engagement with national media arts programmes to feature and support this nomination; |

|• Canvassing locally elected members of Government to grow support for Irish Harping |

|• Developing ongoing engagement with local authority arts officers; |

|• Interacting with the public in general who recognise and accept the symbolic nature of the harp and harping in Ireland and its centrality to |

|their living culture |

|• Actively engaging and participating in the preparation and delivery of the video, connecting contemporary practice to that of past |

|generations. |

|The feedback that Irish Harping has received as a result of this exercise has been incorporated into this application, and supporting |

|testimony from stakeholders all over the world, in the form of written messages is appended to the nomination. This activity is tangible proof |

|of our commitment to the heritage of the harp and its living culture. |

|No aspect of the making and playing of the Irish Harp instrument is gender specific. An open call went to all harp players, irrespective of |

|gender, and to all groups with an emphasis on gender inclusivity. |

|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 |

|All expressions were obtained through an open call, which included detailed information about UNESCO and Intangible Cultural Heritage. |

|Uachtarán na hÉireann/President of Ireland (Michael D. Higgins) Male, Letter |

|Lord Mayor of Dublin (Micheál MacDonnncha) Male, Letter |

|Arts Council of Ireland (Sheila Pratschke) Female, Letter |

|Fair Plé:Gender balance in Traditional Music.Female. Letter |

|Clifden Arts Festival (Brendan Flynn) Male, Letter |

|Comhaltas Ceoltóirí Éireann (Ann Finnegan) Female, Letter |

|Conservatory of Music and Drama, DIT (Orla McDonagh) Female, Letter |

|David Byers, conductor Male, Letter |

|Deirdre Danaher, harper Female, Letter |

|Dublin City Arts Office (Ray Yeates) Male ,Letter |

|Eilís Lavelle, harper Female, Letter |

|Siofra Gielty harper,Female 8 years,Letter |

|Foras na Gaeilge (Seán Ó Coinn) Male, Letter |

|Gael Linn (Antoine Ó Coileáin) Male, Letter |

|Galway City Museum (Eithne Verling) Female, Letter |

|International Society for Folk Harpers and Craftsmen (David Kolacny) Male, Letter |

|National Folklore Collection (Bairbre Ní Fhloinn) Female, Letter |

|Irish Traditional Music Archive (Grace Toland) Female, Letter |

|National University of Ireland, Galway (Máirín Ní Dhonnchadha) Female ,Letter |

|Michael Ball, composer Male, Letter |

|Milwaukee Irish Festival (Barry Stapleton) Male,Letter |

|Moya Cannon, poet Female, Letter |

|Music Critic, The Irish Times (Siobhán Long) Female ,Letter |

|Music Generation Laois (Rosa Flannery) Female, Letter |

|Na Píobairí Uilleann (Gay McKeon) Male, Letter |

|O’Brien International (Martin Fahey) Male, Letter |

|Phil Coulter, musician Male, Letter |

|RTÉ Lyric FM (Aodán Ó Dubhghaill) Male, Letter |

|Royal Irish Academy of Music (Deborah Kelleher) Female ,Letter |

|Ruaidhrí Dall Harp School (Nodlaig Ní Bhrollaigh) Female, Letter |

|Willie Clancy Summer School (Harry Hughes) Male, Letter |

|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 |

|There are no customary practices, which restrict access to Irish harping. It is gender inclusive across the practice and it encourages |

|diversity. This ranges from styles, techniques, repertoire, academic activity and teaching through to harp making. Harp makers do not conceal |

|their skills but share them freely with harp players and their communities, and are also gender inclusive. |

|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. |

|Na Píobairí Uilleann |

|Gay McKeon, CEO |

|15 Henrietta Street, Dublin 1, Ireland |

|+353 (0)1 87300093 |

|info@pipers.ie |

|Comhaltas Ceoltóirí Éireann |

|Ann Finnegan, President |

|32 Belgrave Square, Co. Dublin, Ireland |

|+353 (0)1 298 8730 |

|eolas@ |

|The Irish Traditional Music Archive |

|Dr Grace Toland, Director |

|73 Merrion Square, Dublin 2, Ireland |

|+353 (0)1 661 9699 gtoland@itma.ie |

|Scoil Samhraidh Willie Clancy / The Willie Clancy Summer School |

|Harry Hughes, Director |

|Miltown Malbay, Co. Clare, Ireland |

|+353 (0)65 708 4281 |

|angleann@ |

|The Irish National Folklore Collection |

|Dr Bairbre Ní Fhloinn, Director |

|John Henry Newman Bldg, Stillorgan Rd, Belfield, Co. Dublin, Ireland |

|+353 (0)71 68216 |

|bairbre.nifhloinn@ucd.ie |

|Irish World Academy of Music and Dance |

|Mel Mercier, Professor |

|University of Limerick, Limerick, Ireland |

|+353 (0) 61 202065 |

|mel.mercier@ul.ie |

|Cairde na Cruite |

|Áine Ní Dhubhghaill |

|26 Herbert Place, Dublin 2, Ireland |

|+353 (0) 87 2460014 |

|andharp@ |

|Royal Irish Academy of Music |

|Deborah Kelleher Director |

|36-38 Westland Row, Dublin 2, Ireland |

|+353 (0) 6764412 |

|deborahkelleher@riam.ie |

|International Society of Folk Harpers and Craftsmen |

|David W. Kolacny,President |

| |

|harpdavidK@ |

|Historical Harp Society of Ireland |

|Siobhán Armstrong, Chair |

|33 Altamount Park, Kilkenny, Ireland |

|+353 (0) 86 8623430 |

|siobhan@ |

|Belfast Harp Orchestra |

|Janet Harbison, Director |

|24A Northland Rd., Derry, BT48 7JD, Northern Ireland |

|+44 7495 644355 |

|janet@ |

|Music Generation Laois |

|Rosa Flannery, Coordinator |

|Laois County Council, Áras an Chontae, Laois, Ireland |

|+353 (0)57 8664176 |

|musicgenerationlaois@laoiscoco.ie |

|The Arts Council, An Chomhairle Ealaíon |

|Sheila Pratschke, Chair |

|70 Merrion Square, Dublin 2, Ireland |

|+353 (0)1 6180200 |

|sheila.pratschke@artscouncil.ie |

|Achill International Harp Festival |

|Laoise Kelly, Artistic Director |

|Achill Island, Co. Mayo, Ireland |

|info@laoisekelly.ie |

|DIT Conservatory of Music and Drama |

|Orla McDonagh, Director |

|163 Rathmines Road, Dublin 6, Ireland +353 (0)1 4023572. conservatory@dit.ie |

|Galway City Museum |

|Eithne Verling, Director |

|Spanish Parade, Galway, Ireland |

|+353 (0)91 532460 |

|museum@galwaycity.ie |

|RTÉ Lyric FM |

|Aodán Ó Dubhghaill, Director of Performing Groups |

|RTÉ Lyric FM, Cornmarket Square, Limerick, Ireland |

|+353 (0)61 207300 |

|lyric@rte.ie |

|O’Brien International |

|Martin Fahey, Owner |

|5215 Old Orchard Road, Suite 630, Skokie, Illinois 60077, USA |

|+1 312 (847) 581 4200 |

| |

|North Texas Irish Festival |

|Sheri Bush, Director |

|7324 Gaston Avenue, #124-382, Dallas TX 75214, USA |

|Sherimbush56@ |

|Cairde Ceoil Wexford |

|Aileen Kennedy, Director |

|Coolnaveagh, Gorey, Co. Wexford, Ireland |

|aileenkennedy1@ |

|Tradfest Dingle |

|Deirdre Granville, Director |

|Sráid Eoin, Daingean Uí Chúis, Co. Chiarraí, Ireland |

|+353 (0)66 9151125 |

|deirdregranville@ |

|O’Carolan Harp Festival Nobber |

|Dearbhail Finnegan, Director |

|Fells Cottage, Cruicetown. Nobber. Co Meath |

|+353 (0)87 618 6305 |

|dearbhail@ |

|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: |

|National Inventory of Intangible Cultural Heritage |

| |

|(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: |

|Department of Culture, Heritage and the Gaeltacht |

| |

|(iii) 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). |

|The National Inventory of Intangible Cultural Heritage first inscriptions took place in March, 2016. In March, 2018 an Expert Advisory |

|Committee (EAC), established to assess new applications for inscription, met to review in excess of 70 expressions of interests. This followed|

|an open call issued by the Minister in November 2017, as part of the ongoing commitment by the Ministry to increase public awareness of our |

|National intangible cultural heritage. The Terms of Reference for the EAC provide for the Committee to meet twice yearly or more frequently, |

|to revise existing elements already inscribed and to add new elements as appropriate. |

| |

|(iv) Reference number(s) and name(s) of the element in the relevant inventory(ies): |

|NIICH - 003 Irish Harping |

| |

|(v) Date of inclusion of the element in the inventory(ies) (this date should precede the submission of this nomination): |

|17 March, 2018 |

| |

|(vi) 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). |

|Responding to the open call by the Minister for Culture, Heritage and the Gaeltacht of November, 2017, and building on the public success of |

|the Uilleann Piping application for inscription to the representative list of ICH, Irish Harping responded to requests from local communities |

|to submit an expression of interest for recognition on the National Inventory; the focus objective being to attain registration on the National|

|Inventory initially, as part of the process for submitting an application to UNESCO. Harp Ireland is best placed to coordinate and plan the |

|input of other groups and individuals, and to respond to the ground swell of interest from communities and Irish Harping groups, across the |

|whole of the island of Ireland. Supported by the NGO for Uilleann Piping, schools, harping ensembles and in partnership with Music Generation,|

|the National music education programme, together with Arts Council, Irish Harping continues to be the lead resource organisation for Irish Harp|

|players . No aspect of Irish Harping is gender specific, while participants have tended in past centuries to be male, contemporary harpers |

|tend to be female. A commitment exists to encourage more younger male harpers to participate in learning Irish harping. (See attached letters |

|for centres of excellence and research). |

| |

|(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: |

| |

| |

|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. |

|Arts Council / An Chomhairle Ealaíon, Report on the Harping Tradition in Ireland (Dublin: the Arts Council/An Chomhairle Ealaíon, 2014). |

|Boydell, Barra. ‘The iconography of the Irish harp as a national symbol’, in Irish Musical Studies 5: The Maynooth International Musicological |

|Conference 1995: Select Proceedings: Part 2, eds., Patrick F. Devine and Harry White (Dublin: Four Courts Press, 1996), pp 131-45. |

|Breathnach, Breandán. Folk Music and Dances of Ireland, rev. edn (Cork: Mercier Press, 1977). |

|Bunting, Edward. The Ancient Music of Ireland (Dublin, 1796). |

|_____. A General Collection of the Ancient Music of Ireland (London: Clementi & Co., 1809). _____. The Ancient Music of Ireland (Dublin: Hodges|

|and Smith,1840). |

|Carolan, Nicholas, ed. John and William Neal: A Collection of the Most Celebrated Irish Tunes Proper for the Violin, German Flute or Hautboy, |

|2nd facsimile edn (Dublin: Irish Traditional Music Archive in association with the Folk Music Society, University College Cork, 1990). |

|Donnelly, Seán. An eighteenth century harp medley’, in Ceol na hÉireann 1 (1993), pp 17-31. |

|Flood, W.H. Grattan. A History of Irish Music (Dublin: Browne and Nolan, 1905). |

|Fox, Charlotte Milligan. Annals of the Irish Harpers (London: Smith, Elder & Co., 1911). |

|Heymann, Ann and Charlie Heymann. ‘Cláirseach: the lore of the Irish harp’, in Éire Ireland 26:3 (Fall 1991), pp 82-95. |

|Joyce, Sandra and Helen Lawlor, eds. Harp Studies (Four Courts Press, 2016). |

|Lawlor, Helen. Irish Harping, 1900–2010 (Dublin: Four Courts Press, 2010). |

|Maher, Tom. The Harp’s a Wonder (Mullingar: Uisneach Press, 1991). |

|Moloney, Colette, ed. The Irish Music Manuscripts of Edward Bunting (1773-1843): An Introduction and Catalogue (Dublin: Irish Traditional Music|

|Archive 2000). |

|O’Donnell, Mary Louise. Ireland’s Harp: The Shaping of Irish Identity, c. 1770-1880 (Dublin: UCD Press, 2014). |

|O'Donnell, Teresa. 'Gráinne Yeats: a modern-day bard remembered,' in The American Harp Journal 24: 3 (Summer 2014), pp 15–21. |

|O’Sullivan, Donal. Carolan: The Life Times and Music of an Irish Harper (Cork: Ossian 2001). |

|Rensch, Roslyn. Harps and Harpists (London: Duckworth, 1989). |

|Rimmer, Joan. The Irish Harp 3rd edn. (Cork: Mercier Press, 1984). |

|Vallely, Fintan, ed. The Companion to Irish Traditional Music, 2nd edn (Cork: Cork University Press, 2011). |

|Yeats, Gráinne. Féile na gCruitirí Béal Feirste, 1792 (Publication and CD): The Belfast Harp Festival, 1792 (Dublin: Gael Linn, 1980). |

|Masters of the Irish Harp (CD), (Limerick: RTÉ Lyric FM, 2011). |

|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: |

|Feargal Ó Coigligh |

| |

|Title: |

|Assistant Secretary Department of Culture Heritage and Gaeltacht |

| |

|Date: |

|22 March 2018 |

| |

|Signature: |

| |

| |

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