UNESCO
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. 01487
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. |
|SEYCHELLES |
|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 |
|Moutya |
|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 |
|Moutya |
|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. |
|none |
|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 population of Seychelles and the Seychelles diasporas can be considered as concerned by this particular element of our ICH as it remains |
|today one of our most popular traditional dances. Born out of the slave trade and plantation business in the 18th century, Moutya is one of our|
|traditional dances originating from our African ancestors. Although originally associated with slaves and their direct descendants, it has |
|evolved to become one of the main symbols of our shared culture as a nation and our national identity. In addition, Moutya is practised in |
|Seychellois Creole language, which is the mother tongue of Seychelles. As it is today the Moutya audiences which comprise of the entire |
|population of Seychelles, from the young to the very old participate in the performances and contributes to the safeguarding of Moutya. |
|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 |
|Republic of Seychelles, Indian Ocean. |
|It is practised by Seychellois living on the inhabited islands of the Seychelles archipelago, mainly on the main islands of Mahé, Praslin and |
|La Digue and other islands especially those having hotels and residing Seychellois workers. The traditional impromptu Moutya is mainly |
|practised in the ‘rural’ regions on Mahé, furthest from the Capital of Victoria and is common on La Digue island. The contemporary staged or |
|organised Moutya commonly takes place in the urban regions as well but mainly on the popular coastal districts of Beau-Vallon and Anse Royale. |
|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.): |
|Ms |
| |
|Family name: |
|Barra |
| |
|Given name: |
|Julienne |
| |
|Institution/position: |
|Director General -Culture |
| |
|Address: |
|National Cultural Centre |
| |
|Telephone number: |
|248 2724637/248 4321333 ext 8004 |
| |
|Email address: |
|barrajulienne@yahoo.co.uk/julienne.barra@gov.sc |
| |
|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. |
| |
|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) (festive events) |
|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 |
|Traditionally, Moutya is a nocturnal dance commonly performed outside in open spaces around a bonfire. The sole musical instrument is the |
|moutya drum, a large drum with a narrow rim made of goat hide. The dance ritual begins with heating of the drum over a bonfire made out of |
|dried coconut leaves. As the drums were warmed, the male members of he crowd would call out various 'themes', usually social commentaries, to |
|which the female dancers responded with very high pitched voices. In unison, they repeated the refrain, with variations on the main theme. With|
|the beating of the rhythm from three drums; "denote" "vannen" and "bas", the men and woman begin to dance on a moderate tempo of movement |
|involving the gyrating of the hips and the shuffling of feet. |
|With the effects of the alcohol, both the lyrics and the dance itself becomes more heated and erotic. At this point, the dancers would appear |
|to be lost in a sort of trance. The men would be dancing around their women-partners as they shuffled their feet on the dusty ground and moving|
|with slow but very rhythmic movements of their hips and shoulders. |
|The Moutya dance would usually go on for a whole night until the early hours of the morning. Contemporary moutya has retained some aspects of |
|the original dance. It is commonly performed on the beach and even on stage and is not restricted as a nocturnal dance. It is now being |
|commercialised. |
|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 |
|Bearers and practitioners of the Moutya dance can be found on the inhabited islands of Seychelles especially on the islands of Mahe, Praslin |
|and La Digue. There are various cultural groups which are conversant with all the elements of the traditional Seychellois Creole dance and |
|moutya is an obligatory activity in their repertoire. The cultural policy adopted by the Ministry of Culture and Tourism makes it imperative |
|that the National Cultural group perpetuates the practice of the moutya by teaching the young generation the elements of the dance and |
|instilling in them the importance of its cultural values and the absolute need to preserve its existence. This ensures that moutya is being |
|learnt continuously by each succeeding generation. |
|As it has always been the case, the moutya dance and also the crafting of the tanbour moutya are transmitted orally from generation to |
|generation, through performance and imitation, the knowledge and savoire faire passed on from existing practitioners. The media and |
|availability of documentation on the element also plays a key role in the transmission of the Moutya dance. |
|Key living performers include the Masezarin group located on La Digue, Andreix Rosalie, Norvil Ernesta, Marcel Crea, Channel Kilindo, Patrick |
|Victor, Davis Barbe (drummers) and Jessie Freminot , Miriam Derjaques ( dancers). Known crafters of the tambour moutya (Moutya drum) are Jude |
|Ernesta and Brian Matombe. Seychellois recording artist with Moutya tracks or albums include Jean-Marc Volcy, Ralph Amesbury, Joseph Sinon , |
|Norvil Ernesta , Joenise Juliette, Berno Cedras, Kevin Valentin and Sandra Esparon. |
|How are the knowledge and skills related to the element transmitted today? |
|Not fewer than 150 or more than 250 words |
|The knowledge and skills are mostly transmitted from generation to generation as it has always been the case; with parents, grandparents and |
|other elder members of the community passing on their savoire-faire to the younger generation; how to build and play a moutya drum, how to |
|dance the moutya, how to compose and sing the moutya song amongst the necessary knowledge and skills associated with this particular ICH. |
|Research, documentation and dissemination of Moutya music and dance is always a means to ensure the transmission of the element. This is being |
|undertaken by various institutions within the Department of Culture such as the National Heritage Research and Protection Section, National |
|Archives and Creole Institute. |
|Culture features widely in the local media; Television, radio and print media. Several features including detailed documentaries about Moutya |
|and all its associated elements have been disseminated in the local media. With the attempt by the Department of Culture and SEYMAS (Seychelles|
|Musicians Association) to revive this particular traditional dance nationally; the Moutya has received increased publicity in the local media. |
|The increase in the number of Moutya organised at cultural activities has also meant an increase in transmission through live performance. |
|What social functions and cultural meanings does the element have for its community nowadays? |
|Not fewer than 150 or more than 250 words |
|Although its functions just as some of its key components, have evolved throughout the years with the ongoing socio-economical, political, |
|legal and even environmental changes in society, one thing that has remained constant to this day is its ability to bring the community |
|together; creating and promoting a sense of unity and togetherness, allowing every Seychellois involved; whether direct descendents of colonial|
|masters or descendants of slaves, to establish some ties with their cultural heritage. It provides the majority of Seychellois with a sense of |
|national identity. |
|It has throughout the years broken any previously existing class barriers. It remains to this day a means of social expression where stories |
|and news are shared, although the context of the songs have changed drastically now being more light hearted compared to the issues related to |
|social injustice, hardships and other sufferings originally lamented by our ancestors. |
|The lyrics of the Moutya itself serves as a historical record, giving us a vivid insight into the key events, social conditions and day to day |
|occurrence of our colonial past from the view-point of the slaves and their descendents. It is an alternative historical record from the |
|official documented accounts of events as given by the colonial masters. |
|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 |
|No. absolutely none. Moutya has no particular aspect that can constitute an affront to the respectability of any community. Although it is a |
|dance that is naturally sensual, which is characteristic of many tribal dances; it also promotes respect amongst the performers. In fact, |
|Moutya remains one among the few elements of our cultural heritage that demonstrates the respect and pride that the Seychellois nation has |
|regarding its African Heritage.There are no gender disparity as both men and women, young and old participate equally. |
|Furthermore, it is one aspect of our cultural heritage that encourages unity amongst the population; surmounting any religious, social, |
|economic or political differences. It is one of the available mediums for freedom of expression whereby performers have the liberty to voice |
|out their sufferings or concerns albeit in a riddled manner, to ‘an audience’. |
|The moutya dance in Seychelles is now being use to promote peace and good dialogue amongst the population. |
|2. Contribution to ensuring visibility and awareness and to encouraging dialogue |
|For Criterion R.2, the States shall demonstrate that ‘Inscription of the element will contribute to ensuring visibility and awareness of the |
|significance of the intangible cultural heritage and to encouraging dialogue, thus reflecting cultural diversity worldwide and testifying to |
|human creativity’. 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 |
|Inscription of the Moutya would sensitize the Seychellois public at large on the importance of this particular aspect of our Intangible |
|Cultural Heritage and induce in them the positive attitude of appreciation for a traditional dance that we have inherited from our slave |
|ancestors. The status of recognition would increase its popularity as a cultural activity and cultural tourist attraction in the local context.|
|Increased visibility of the Moutya through increased live performances and in the local and international media will ensure that more people |
|will become aware of its existence. |
|It will also serve as a catalyst to persuade key decision makers to ensure that proper safeguarding measures are developed and implemented;|
|that necessary resources are allocated to the management including, research, promotion and dissemination; of this particular aspect of our |
|cultural heritage. |
|(i.b) Please explain how this would be achieved at the national level. |
|Not fewer than 100 or more than 150 words |
|It will encourage the general population especially the youth to continue to practice it, as an adaptable and living heritage, while preserving|
|the essential numerous aspects, know-hows and knowledge associated to moutya. They will understand the importance of paying attention on how to|
|preserve the very essence of moutya in order to not alternate its functio, meaning and related performing arts. |
|As it will be a first for Seychelles as a small island state, the inscription will cement dialogue and linkage to other industries like the |
|creative industry and create opportunities for our performing arts and artists, as well as the community at large. |
| (i.c) Please explain how this would be achieved at the international level. |
|Not fewer than 100 or more than 150 words |
|Moutya is very popular in Seychelles, enjoying the support of all the Seychellois people as part of our life. Its role in community |
|togetherness, would contribute to ICH generally allowing the community to share its values worldwide. It will help the international community |
|to understand the very specific Seychellois cultural background and how through such cultural heritage , the inhabitants managed to build on an|
|inclusive society based on reconciliation, the sharing of a common accepted history and mutual-understanding between communities. Moutya |
|performers in Seychelles are invited at various international festivals, trade fairs, attracting attention of scholars, including |
|ethomusicologists, therefore inscription will increase visibility of this ich element regionally. |
|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 |
|It will provide further awareness and visibility amongst Seychellois locally and in other Diasporas; be it individuals, groups or communities |
|and thus prompt further dialogue in regards to the status of Moutya and how to enhance existing safeguarding measures. |
|The inscription will enhance respect for ICH and mould relationships. It will create a wider platforms for interaction and exchange between |
|artists of different cultures and backgrounds. It will also increase exchanges and participation in national and international festivals, |
|creating a wider international performing communities. |
|Recognition will further enhance ties with countries in the region or in the world that have a shared common culture of slavery. Moreover, |
|being of African origin, the recognition of the Moutya as a native dance of Seychelles will definitely strengthen our historical link with |
|Africa where much interest will be galvanised in regards to a small island state that has preserve a two hundred year old dance. |
|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 |
|The impact of worldwide recognition could be a catalyst for removing any inhibitions that might exist in the socio-cultural mindset of a |
|segment of the Seychellois population; in view of the fact that the population of Seychelles are the descendents of the first white settlers |
|and African slaves; each with their own cultural backgrounds. |
|Moutya would be seen as an intangible cultural heritage that belongs to all Seychellois. It would consolidate and even rejuvenate national |
|unity and make them proud to know that they are entitled to preserve one of their oldest traditional dances for posterity and humanity. |
|International recognition will encourage practitioners, knowledge holders,decision makers, different communities and individuals to value this |
|element and inspire them to elevate it to its highest level. |
|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 |
|Cultural institutions such as the National Heritage Research and Protection Section (NHRPS), Creole Institute, National Archives, National |
|Museums and the National Conservatoire of Performing Arts have the responsibility of ensuring that research , analysis, documentation and |
|dissemination of various elements of Moutya including the living practitioners and linguistic implications are conducted..The NHRPS have been |
|conducting research and inventoring the ICH of Seychelles including Moutya dance, music and instrument since the 1980’s. Local researchers such|
|as Mr. Jean-Claude Mahoune and Mrs. Penda Choppy have contributed to the existing documentation. |
|There has been a revival of the Moutya in recent years motivated by the introduction of the regular and popular Dimans Moutya (Sunday Moutya) |
|activity by the Seychelles Musician Association (SEYMAS) and the annual July Moutya Festival . Moutya performances has also become a common |
|feature at National cultural events such the annual Creole Festival and National Day celebrations. The revival has also been spurred on by the |
|Seychelles Tourism Board’s move towards Cultural Tourism; marketing and showcasing Moutya as one of our key cultural assets especially during |
|monthly and weekly activities such as the 'Bazar Labrin', 'Bazar O Van' and ‘Bazar Victoria’. Moutya performances also features on the |
|entertainment programs of several Tourism establishments. The existence of Moutya groups and enthusiasts ensures that spontaneous Moutya |
|performances remains a common occurrence. |
|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 |
|In order to ensure that proper legislations are in place for the safeguarding of ICH, a Heritage Bill for the protection of tangible and |
|Intangible Cultural Heritage is being drafted. This will be supported by the reviewed cultural policy of Seychelles and the Department of |
|Culture’s new strategic plan for 2018-2020. |
|The establishment of a Department of Culture and associated institutions such as the National Arts Council (NAC), National Museum of History, |
|National Dance Troupe and the Creole Institute amongst others have ensured the safeguarding of our cultural heritage including the Moutya dance|
|and music and their associated tangible elements. The NHRPS have conducted several research studies on Moutya assisted by local practitioners |
|and knowledge holders.The NCPA has been offering classes in Traditional dance and music, including how to play the Moutya drum since 1987. |
|Through these institutions the state has facilitated the performance of Moutya artists both on the national and international platforms, |
|encouraged musical productions, ensured research, documentation and transmission programs for the element. |
|Several activities throughout the year are used to promote the Moutya including the weekly ‘Bazar Labrin’, ‘Bazar Victoria’, the annual Kreol |
|Festival, Moutya Festival and all other community and national events. The local media also contribute by constantly broadcasting performances,|
|documentaries, music videos and playing Moutya songs. |
|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 |
|Several initiatives with the aim of ensuring the viability of the moutya are envisaged. They are described below. |
|- Setting up of a national committee for the safeguarding of the moutya. The committee will advise the Culture Department (including the |
|National Heritage Research and Protection Section) on safeguarding measures and their implementation. It will consist of key bearers and |
|practitioners, persons knowledgeable in intangible cultural heritage and officers of the Culture Department. |
|- Finalising the revision of the national culture policy to enhance in it the place of intangible cultural heritage and its safeguarding, the |
|drafting and adoption of a Heritage Law to replace the National Monuments Act 1980 and include intangible cultural heritage in legislation. |
|- Strengthening the capability of the staff of various bodies as well as committed individuals in safeguarding. The project approved under the |
|Intangible Cultural Heritage Fund in October 2016 is a major contribution to this. |
|- Intensification of work to identify practitioners in all localities of Seychelles and obtaining information on their practice of the moutya, |
|its meaning for them, how they acquired their knowledge and know-how and on other pertinent aspects. Such an initiative will be a way of giving|
|recognition to practitioners and to the element as well as enriching information and documentation on the element. |
|- Identification of sites in various localities where the moutya was practised in open air, and negotiation with district administrations and |
|other concerned authorities and property owners for these places to be used, where still possible, for the practice of the moutya by |
|practitioners and others interested, including young people. The restitution of such sites to the practice of the moutya times would help to |
|inform and educate on its practice in former times, strengthen the sense of continuity and ownership by communities for the element and |
|contibute to tranmission. |
|- Support accessibility to materials for drum making. Ensure the preservation and propagation of trees providing the best wood for the drum rim|
|such as "var" and "bwa zozo". |
|- Organisation of workshops over the next five years in drum making, targeting young people in particular as participants, to increase the low |
|number of persons possessing this know-how and thus ensure its viability and satisfy the demand of certain practitioners who consider that the |
|use of synthetic drums diminishes the nature and meaning of the element. |
|- Organisation of workshops for groups that include the moutya in performances for tourist audiences to educate on the element and its value |
|and guard against commodification. Tourism is a major industry of Seychelles and performers respecting the moutya as an element of the nation's|
|intangible cultural heritage may give visibility to visitors from different countries on intangible cultural heritage and contribute to the |
|Seychelles tourism authorities' efforts to promote ethical cultural tourism while permitting performers to gain their livelihood. |
|- Recognition to key bearers and practitioners at national level through awards including through the newly-reestablished Seychelles National |
|Arts Awards and through other means such as participation in national events and through the media. |
|The Seychelles Musicians Association will continue to organise moutya evenings in various districts of the country. |
|- Produce a number of albums and videos consisting of recordings of the practice of the moutya over time that illustrate its practice by the |
|older generations and its evolution. |
|- Produce radio and TV documentaries on the element for public broadcasting. |
|- Produce publications on the moutya using research carried out by individuals and the National Heritage Research and Protection Section and |
|documentation from the National Archives and other sources. |
|- Setting up of a permanent exhibition on the moutya by the National Museum to show its evolution over time and its value as a living heritage |
|of the Seychellois people. |
|- Organising in the period 2018-2020 activities to educate on the moutya and to promote its practice, leading to the organisation in 2020 of a |
|national moutya festival that will include the participation of outstanding practitioners and youth groups, as part of the commemmoration of |
|the 250th anniversary of the start of human settlement in Seychelles. The possibility of groups from Indian Ocean islands with similar elements|
|also participating is to be considered. |
|- Inclusion of intangible cultural heritage in cooperation agreements with other countries and multilateral organisations. |
|- Exchanges between Seychellois practitioners and knowledge holders and practitioners and knowledge holders of similar elements from other |
|countries. |
|How will the States Parties concerned support the implementation of the proposed safeguarding measures? |
|Not fewer than 150 or more than 250 words |
|All the proposed measures involve the state party to a greater or lesser extent. |
|A number of the measures will be led and others supported by the staff of bodies including the National Heritage Research and Protection |
|Section, the National Conservatoire of Performing Arts, the National Dance Troupe, the National Arts Council, the National Archives, the Creole|
|Institute, the National Youth Council, district administrations, state schools and training centres that are financed and supported by the |
|state. |
|The Culture Department has the responsibility for the revision of the culture policy, including organising stakeholder consultation, and |
|presenting it to the Cabinet of Ministers for approval. It is also responsible for the formulation of the intended Heritage legislation |
|together with the Office of the Attorney General, and its presentation to the Cabinet of Ministers for approval before it is submitted to the |
|the National Assembly. |
|The Culture Department and the Department of Foreign Affairs are responsible for negotiation of cooperation agreements with other countries and|
|international organisations. |
|The state facilitates and provides financial assistance to practitioners participating in festivals overseas and supports the organisation of |
|events locally and nationally. |
|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 |
|Since the initiation of the project, several meetings have been held with stakeholders including Moutya performers, moutya drum makers, |
|knowledge holders, heritage professionals, legal representatives, and representatives of relevant government ministries and agencies such as |
|those responsible for community development, education and relevant organizations in the private sector, to allow opinions, concerns and |
|suggestions to be heard and discussed. At the consultative meeting with stakeholders on the 16th September 2015, a SWOT analysis was conducted |
|to analyze the viability of the element, the different threats and opportunities. Solutions were proposed for each identified issue such as |
|transmission, documentation and others related to the safeguarding of the element. These proposals formed the basis for the safeguarding |
|measures being proposed above. UNESCO has early in 2017 approved financial assistance to the sum of $90,000 which will go towards the |
|development of a National Heritage bill to ensure the legal protection of our ICH on a national level and the development of a national |
|strategy for the safeguarding of ICH in Seychelles. The safeguarding plan will be prepared and approved by all relevant stakeholders with a |
|joint commitment towards its implementation. Assistance will be provided by Government Ministries and agencies. |
|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: |
|National Heritage Research and Protection Section, Department of Culture |
| |
|Name and title of the contact person: |
|Ms. Julienne Barra, Director General-Culture |
| |
|Address: |
|National Cultural Centre |
| |
|Telephone number: |
|248 2724637/ 2484321333 ext 8004 |
| |
|Email address: |
|barrajulienne@yahoo.co.uk/ julienne.barra@gov.sc |
| |
|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 |
|In 2013, consultations were initially made with key stakeholders including Seychelles Music Association (SEYMAS) representative musician Ralph |
|Amesbury, musicologist Norbert Salomon, historian Tony Mathiot and heritage professionals ( National Heritage Research and Protection) to |
|discuss the process for preparing the dossier and the possible roles of each stakeholders as well as which other individuals should be brought |
|on board. |
|A committee made up of seasoned performers;Jessie Freminot (vocalist/ dancer), Brian Matombe ( vocalist/drummer), Marietta Matombe ( dancer), |
|musicologist, historian, heritage professionals (Marcel Rosalie, Gabriel Essack, Julienne Barra, Sophia Rosalie, Mosianne Jeremie, Joshinta |
|Horter, Berthilda Walter and Therese Barbe ) and Urny Mathiot (photographer) was formed to plan the filming of the video required as |
|documentation for the dossier as well as what type of photographs should be included in the dossier. A film production managed by brothers |
|Johnny Volcere (dancer) and Roger Volcere ( musician) was chosen and they represented the youth on the committee. |
|Key Knowledge holders such as Patrick Prosper, Jerry Souris, Jovanie Ally, Jude Ernesta and Hilary Seth were accordingly interviewed and |
|consulted on numerous occasions. |
|The stakeholders’ workshop on the 16th September 2015 saw the participation of various stakeholders both male and female, from different |
|sectors of society; individual performers, instrument makers and knowledge holders, historian, representatives of the Ministry of Education, |
|Fire services, Community Development Department, Seychelles Tourism Board (STB) , Creole Institute, Museum, National Arts Council, National |
|Researchers in the cultural domain and musicians representing SEYMAS amongst others. The workshop was organized in collaboration with SEYMAS. |
|The stakeholders had the opportunity to participate actively in the process of preparing the nomination dossier, voicing out any concerns and |
|suggestions. They participated fully in the SWOT analysis to assess the viability of Moutya (music/dance) and propose realistic safeguarding |
|measures for the element which are included in the form. |
|The nomination dossier for Moutya as well as the national ICH inventory was discussed on national radio and any Seychellois who felt that they |
|had something to contribute were invited to do so. The ICH inventory was accordingly compiled with the participation of various community |
|members; practitioners or knowledge holders as well as heritage and culture professionals. |
|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 |
|Since February 2013 during several meetings held in Seychelles all the stakeholders representing the moutya dance including the artists, men |
|and women, the youth, dancers, musicians, knowledge holders, scholars, instruments makers, singers and other people within the communities were|
|fully informed about the convention and its list. They were also informed that the Department of Culture wanted the moutya dance to be inscrib |
|on the list and the consequences following the inscription of the element. They were informed that is is very important that they participate |
|fully and give their consent to the file and their ultimate responsibility in safeguarding the element. |
|All the parties involved are very committed and the consents were given by people of all genders, orally and written on paper. The written |
|consent has the name of the element, the name of the individuals, purpose for which consent is given, contact details and their signatures. All|
|the signed consents forms are attached to the file. |
|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 is currently no customary restrictions governing access to moutya. Any person, Seychellois or not, from any background have the |
|opportunity to learn and perform the moutya dance and music if they want. Although the knowledge regarding moutya; how to dance the moutya , |
|moutya songs, how to make and play the moutya drums is primarily transmitted from generation to generation, moutya is not taboo and is |
|practiced openly and is easily accessible to anyone interested. |
|Public access is limited and restricted only for moutya performed at private functions. Otherwise, everyone is welcomed to join in at impromptu|
|beach performances or public events be it a stage performance or not. |
|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. |
|Seychelles Music Association (SEYMAS) |
|Mr. Jean-Marc Volcy |
|Chairman |
|National Arts Council (NAC), Maison des Arts, Place de la République, P. O. Box 1383, Victoria, Mahé |
|Tel : (+248) 2761235 |
|Email : prozedada@ |
|------------------------------------------------------------------------------------------------------------------------------ |
|Patrick Victor Cultural Foundation |
|Mr. Emmanuelle D’Offay |
|Chairman |
|National Cultural Centre |
|Victoria |
|Mahé |
|Tel: (+248) 2713930 |
|Email: edoffay@ |
|Mr. Kevin Valentin |
|Sokwe Group |
|Port Glaud |
|Mr. Norville Ernesta |
|Fek arive Group |
|National Cultural Centre |
|Mr. Berno Cedras |
|L'Echo Group |
|National Cultural Centre |
|Mr. Joseph Sinon |
|Tanmi Group |
|Victoria |
|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 the Intangible Cultural Heritage of the Republic of Seychelles. |
| |
|(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: |
|National Heritage Research & Protection Section from the Department of Culture, Ministry Of Youth, Sports and Culture is the office responsible|
|for maintaining and updating those inventories. |
| |
|(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 Heritage Research and Protection Section has been working on the inventory to identify and collect relevant information and |
|regularly updating it for the past few years. |
|NHRPS has worked alongside various communities and other groups to engage them in safeguarding their ICH. The communities, custodians of |
|heritage and main beneficiary of any safeguarding effort were actively involved with the inventories.The Cultural District Award launched in |
|2013 to enhance the capacity of the communities so as to recognize, promote and safeguards their heritage and showcase it to other communities |
|and foreign visitors, also helped with the compilation of those inventories. |
| |
|(iv) Reference number(s) and name(s) of the element in the relevant inventory(ies): |
|Reference number 5, Name: The moutya dance under the traditional dances category. |
| |
|(v) Date of inclusion of the element in the inventory(ies) (this date should precede the submission of this nomination): |
|November 2010 |
| |
|(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). |
|Moutya dance is one of the elements included in the National Inventory of ICH for the Republic of Seychelles compiled by the National Heritage |
|Research & Protection Section (NHRPS) since 2009. The official inventory subsequently updated and is being maintained by the NHRPS. Inventory |
|entries are updated on a regular basis as the information comes in and moutya dance most recent update was carried out in 2017. |
|Representatives of practitioners, artists, instruments-makers, community organisations participated in the identification of the element, in |
|the compilation and revision of the inventory entry with the guidance of Researchers from the NHRPS. |
|The updates inventory "Inventory of the Cultural Heritage of Seychelles' is attached and will soon be made available on the Department of |
|Culture Website. |
|Several workshop and activities has been organised over the years in regards to the compilation of the inventory. |
|The University of Seychelles under the guidance of Mrs. Penda Choppy and other scholars is organising a debate that surround the moutya dance |
|and other traditional dances of Seychelles. |
|The community-based ICH inventorying workshop which will be held in November 2018 will also facilitate the updating of the National inventory. |
| |
|(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: |
|Copy of the updated inventory “Inventory of the Cultural Heritage of Seychelles” |
| |
|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. |
|nation.sc/article.htm |
|Traditional moutya drum making workshop, 31 march 2016, keeping the tradition alive. |
|index.php |
|moutya: A dance rooted in the flame of the past, January 4th 2018 |
|Moutya Bovalon seychelles: youtube 4 2015 |
|Diksyonner Trileng, Kreol seselwa, Francais, English. by Colette Gillieaux |
|Dance the Moutya, Seychelles Bulletin, June 30, 1973 |
|Ladans tradisyonnel Sesel, Seychelles News bulletin 14th September, 1985 |
|Regard sur la tradition populaire Creole, Seychelles Weekend Nation, Samedi 22 avril 1989. |
|La Musique creole traditionelle de l'ocean Indien, festival Kreol 1990 |
|The world Encyclopedia of Comtemporary theatre Africa, edited by Don Rubin, ousmane Diakhate and Hansel Ndumbe EY041 |
|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: |
|Cecile Kalebi |
| |
|Title: |
|Principal Secretary |
| |
|Date: |
|25 September 2018 (revised version) |
| |
|Signature: |
| |
| |
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