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CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGEINTERGOVERNMENTAL COMMITTEE FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE Ninth sessionParis, FranceNovember 2014Nomination file no. 01017for Inscription on the Register of BestSafeguarding Practices in 2014A.State(s) Party(ies)For multi-national proposals, States Parties should be listed in the order on which they have mutually agreed.BelgiumB.Contact person for correspondenceProvide the name, address and other contact information of the person responsible for correspondence concerning the proposal. If an e-mail address cannot be provided, indicate a fax number. For multi-national proposals provide complete contact information for one person designated by the States Parties as the main contact person for all correspondence relating to the proposal and for one person in each State Party involved.Main contact person:Title (Ms/Mr, etc.):Ms.Family name:LaureysGiven name:MarinaInstitution/position:Ministry of Culture of the Flemish Community / Head of Heritage DivisionAddress:Arenbergstraat 9, B-1000 Brussels, BelgiumTelephone number:+ 32 2 553 06 79Fax number:+ 32 2 553 68 43E-mail address:marina.laureys@cjsm.vlaanderen.beC.TitleThis is the official title of the programme, project or activity, in English or French, that will appear in published material. Not to exceed 200 charactersSafeguarding the carillon culture: preservation, transmission, exchange and awareness-raisingD.Geographic scopeTick one box to identify whether the geographic scope of the programme, project or activity is essentially national, sub-regional, regional or international (the last category includes projects carried out in geographically non-continuous areas). FORMCHECKBOX national (within a single country) FORMCHECKBOX sub-regional (more than one country) FORMCHECKBOX regional (more than one country) FORMCHECKBOX international (including geographically non-continuous areas)E.Geographical locationIdentify the locations in which the programme, project or activity was or is being carried out.Not to exceed 150 wordsThe programme runs in the 76 cities and villages in Belgium where musical series of bells or carillons are located. Although all sites have a specific carillon culture, adapted to local contexts, all of those sub-programs have a common core that originated in the city of Mechelen in the beginning of the 20th century (repertoire, centralised education, tradition of summer recitals etc.). Both the Flemish and French communities in Belgium consider carillon music as an important element of their cultural heritage. Later in the 20th century the Belgian approach to carillon playing was adopted in neighbouring countries with a century-old carillon tradition (the Netherlands and France), and in “new” carillon countries (Germany, Scandinavia, the USA, and others). Today the program runs in 30 countries worldwide. The Belgian carillon program is still the central inspiring force in the international carillon culture. F.StatusTick one box to identify whether the programme, project or activity is completed or in progress at the time the proposal is submitted. FORMCHECKBOX completed FORMCHECKBOX in progressG.Name of the communities, groups or, if applicable, individuals concernedIdentify clearly one or several communities, groups or, if applicable, individuals concerned with the proposed programme, project or activity. Not to exceed 150 wordsThe driving force of the programme consists today of two sister organisations: the Flemish Carillon Association and the Walloon Campanological Association. Most of their memberships are carillon players, municipal governments and lovers of carillon music. On a structural or project basis, a wide variety of cultural organisations support the carillon culture: local heritage centres, municipal cultural centres and museums, etc. In 15 towns, carillon enthusiasts are organised in local associations “friends of the carillon” (Bruges, Ghent, Grimbergen, Hoogstraten, Leuven, Liège, Lier, Mol, Mechelen, Nivelles, Peer, Roeselare, Soignies, Verviers, Wavre). In addition to the dedicated carillon public, that attends carillon concerts on quiet listening sites, there is a large group of people who enjoy carillon music as local residents or tourists. The important role of transmission is carried out by several educational initiatives, of which the Royal Carillon School in Mechelen, founded in 1922, is the oldest and largest one. H.Domain(s)Tick one or more boxes to identify the domain(s) of intangible cultural heritage covered by the programme, project or activity, which might include one or more of the domains identified in Article 2.2 of the Convention. If you tick ‘others’, specify the domain(s) in brackets. FORMCHECKBOX oral traditions and expressions, including language as a vehicle of the intangible cultural heritage FORMCHECKBOX performing arts FORMCHECKBOX social practices, rituals and festive events FORMCHECKBOX knowledge and practices concerning nature and the universe FORMCHECKBOX traditional craftsmanship FORMCHECKBOX other(s) ( )1.DescriptionCriterion P.1 requires that ‘the programme, project or activity involves safeguarding, as defined in Article 2.3 of the Convention.’ Article 2.3 states that ‘“Safeguarding” means measures aimed at ensuring the viability of the intangible cultural heritage, including the identification, documentation, research, preservation, protection, promotion, enhancement, transmission, particularly through formal and non-formal education, as well as the revitalization of the various aspects of such heritage’. For sections 1.a and 1.b together, provide succinct descriptions of the programme, project or activity and its main components, describing what actually happened or is underway.1.a.Background, rationale and objectivesDescribe the situation that led to the creation of the programme, project or activity – what safeguarding needs were identified and by whom, and how priorities were identified and established. Identify the programme, project and activity’s primary objectives. Not fewer than 300 or more than 500 wordsThe art of making music with bells developed in the Low Countries (now Belgium, the Netherlands and Northern France) in the 16th century, when people started to play hymns and songs on tuned bells by means of baton-type keyboards. Since then, bell-players, the so-called carillonneurs, have been playing weekly auditions during market and festive days. In addition, carillons structured time for the population, as they sounded 4 to 8 times per hour, driven by gigantic 'music boxes' that were connected to the tower clocks. From 1550 to 1800, public bell music was a distinctive feature of the cities in the Low Countries, increasing their sense of identity and the community spirit of their inhabitants. Carillon music came under serious pressure in the 19th century due to the advent of public concert halls and the development of compact mechanical music instruments and recording devices. As a result, using these instruments went through a period of decline and the practices were merely valued as relics from the past. In the beginning of the 20th century, Mechelen city carillonneur Jef Denyn understood there were challenges related to transmission of carillon playing and to cultivating public support. Hence he initiated a durable relaunch of the art of the carillon. Since then, the carillon culture kept growing, notwithstanding the destruction of many instruments during the two World Wars (when bells were turned into guns). The so-called Mechelen carillon movement and in particular the carillon school, which was founded in 1922, defined a number of coherent safeguarding measures. They are still relevant today: Organising special evening concerts in Summer, in addition to the usual weekly auditionsExpanding and updating the repertoire of carillon music and good musical arrangements for carillon Installing high-level training of young musicians to become carillonneurUpgrading existing instruments to increase their musical potentialSystematic promotional efforts on local, national and international levelDuring the first decades of the carillon school, a number of its foreign alumni applied the same measures in their home country. Some of them founded new carillon schools.During the last 60 years, the carillon community identified and prioritized 5 additional safeguarding methods: Creation of a platform for contacts and exchange within the international carillon communityDeveloping a discourse for giving carillon music a meaningful function in (late-)modern society Scientific research on historic carillon music, bell casting methods etc.Documentation of carillons, bells, and carillon musicRestauration of historic instruments in order to restore their original sound qualities These 10 needs and measures together cover the 2 primary objectives of the programme to safeguard carillon culture :1. Preservation of the components of historic carillon culture (practices, repertoire, instruments, music, oral and written history) (measures 8 to 10)2. Assurance of the continuity and sustainable development of carillon music as a living heritage that fosters cultural identity and social cohesion (measures 1 to 7) 1.b.Safeguarding measures involvedDescribe the specific safeguarding measures the programme, project or activity includes and why they were adopted. Identify what innovative methods or modalities were involved, if any.Not fewer than 300 or more than 500 words1) TransmissionTransmission of carillon playing is secured by a number of educational initiatives, from which the Mechelen carillon school is the most important one. In order to attract international students, the carillon school allows students to attend classes in alternation with periods of practicing in their home country. Children get initiation to the carillon by means of hand-bell playing. Advanced students receive extra coaching by local carillonneurs in a so-called kangaroo project. Transmission is also organised via congresses, lectures and playing competitions, like the Queen Fabiola Competition in Mechelen. 2) Identification, documentation and researchSince 1985, sustained research efforts led to: 4 facsimile editions of historic carillon music, from which 1 is available on line (), carillon inventories in Flanders () and Wallonia (), the adoption of ca. 2,120 18th century carillon tunes in the RISM database (enter "carillon" in ), and the identification by Resonant of the private archives of living carillonneurs (). 3) Preservation and protectionBetween 1970 and 2013, almost all of the historic carillons in Belgium were restaured. The last achievements were the carillons of Thuin (2004), Tournai (2004), Bruges (2010), Wingene (2011), Oudenaarde (2012) en Ieper (2013). In the last decades, several carillons in Wallonia that had been silent for many years have been put in service again (Gembloux, Florenville, Huy, Liège, Verviers). 4) Promotion, enhancementSome cities are successful in attracting new target groups by direct video transmission of the recitalist in the tower on large screens on the listening site or by tower visits or lectures. Other innovative initiatives are the use in recent years, of mobile carillons make carillon playing visible for the public. Mobile carillons feature innovative programmes, such as playing with other music instruments, with declamation, with a DJ, etc. The most recent achievement with this respect is the so-called Bronze Piano, created by carillonneur Koen Van Assche in 2013. Several carillon towers are transformed to experience zones and open the traditionnaly hidden world of the carillon to the public (Bruges, Ghent, Hasselt, Ieper, Leuven, Mechelen, Mol).Innovative formats have proven to attract new targets groups: university students (mass singing with carillon accompaniment in Leuven, Lier and Ghent since 2000), music lovers (musical dictation in Bruges, in 2009; musical blindtests in Liège and Verviers), children (didactic packages about carillon culture for primary schools, developed in Hasselt and Verviers; theatrical visit to the carillon tower in Hasselt), and handicapped people (special visits in Liège and in Nieuwpoort).In recent years, there is a strong increase in the use of digital and social media by carillonneurs. YouTube films and live-streaming made the carillonneur in his tower visible on notebooks, tablets and handheld devices. Facebook and Twitter allowed for new forms of interaction with carillonneurs, etc. New social media appeared to be instrumental to raise public awareness of the 'old' social medium of the carillon. 5) RevitalisationWriting arrangements and new music for carillon is encouraged by assignments and competitions for composers. The Flemish Carillon Society published composition guidelines (poneren.html).1.petent body(ies) involved 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 of the programme, project or activity.Name of the body:Vlaamse Beiaard Vereniging (Flemish Carillon Association)Name and title of the contact person:Frank Deleu, PresidentAddress:Koningstraat 9, B-8000 Brugge, BelgiumTelephone number:+32 475 61 20 44Fax number:+32 50 33 01 73E-mail address:vbv@ (personal: frank.deleu@skynet.be)Other relevant information:website Coordination UNESCO-file: Luc Rombouts, De Bruelen 22, B-2980 Zoersel, Belgium (tel. +32-475-69 06 69; mail luc.rombouts@telenet.be)Belgium (Name of the body:Association Campanaire Wallonne (Walloon Campanological Association)Name and title of the contact person:Jean-Christophe Michallek, PresidentAddress:Haute Voie,19, B-4000 Liège, BelgiumTelephone number:+32 4 256 42 35Fax number:E-mail address:jeanchristophe.michallek@ Other relevant information:website campano.be Coordination UNESCO-file: Serge Joris, Rue Emile Labarre 45, B-5030 Gembloux, Belgium (sc.joris@skynet.be)2.Coordination on regional, sub-regional and/or international levelsCriterion P.2 requires that ‘the programme, project or activity promotes the coordination of efforts for safeguarding intangible cultural heritage on regional, subregional and/or international levels’. Explain, if applicable, how the programme, project or activity has promoted such coordination. If the programme was or is conducted exclusively at a national level and has not involved such coordination, state so clearly.Not to exceed 500 wordsThe Belgian carillon safeguarding programme (carried by the 2 carillon associations mentioned in 1c.) is inspiring for carillon communities, not only in Europe but in the world. On the international level, the programme is shared and coordinated via the framework of the World Carillon Federation (WCF), which unites 13 regional, national and supranational carillon associations. The WCF organises a congress and committee meetings every 3 years, in addition to more frequent board meetings. Besides being a platform for sharing best practices, the WCF covers specific projects, such as the website , and the development of a world standard carillon keyboard. 3 of the 7 members of the executive committee of the WCF are Belgians. Outside the framework of the WCF, there are different supra-national cooperation initiatives: Cooperation of the recently started North American School in Centralia, Illinois, USA, with the Mechelen carillon school, of which it is an affiliate and the representative for North America ()Structural cooperation between the Mechelen carillon school and the State University of Sint-Petersburg (classes are given by staff of the carillon school)International workshops and masterclasses of the Mechelen carillon school (in March 2013 for students of Yale University; in summer 2013 in Sydney and Canberra)The 5-year International Carillon Competition ‘Queen Fabiola’ in Mechelen, with international participationCooperation between Belgian carillonneurs and the National Carillon Museum ‘Klok en Peel’ in Asten, the Netherlands (Belgian board member, Belgian content in the museum collection, plans for an academic network in campanology ‘Singing Bronze’, with participation of Dutch and Belgian Universities)Interregional project “Soundscape”, a transnational project between Belgian and French carillon cities in West-Flanders (Belgium) and Nord-Pas de Calais (France): shared concert calendar, exchange of students etc.Yearly international exchange of guest carillonneurs for summer concerts in Belgium and abroad; this exchange has also led to formal appointments of Belgian carillonneurs on carillons abroad (Carl Van Eyndhoven in Tilburg, the Netherlands; Erik Vandevoort in Roermond, the Netherlands; Geert D’hollander in Lake Wales, Florida, USA) and vice versa (French carillonneur Charles Dairay in Deinze; Russian carillonneur Elena Sadina as professor at the Mechelen carillon school). 3.Reflection of the principles and objectives of the ConventionCriterion P.3 requires that ‘the programme, project or activity reflects the principles and objectives of the Convention’. Identify the specific principles and objectives of the Convention that are addressed by the programme, project or activity and explain how it reflects those principles and objectives in its conception, design and implementation.Not fewer than 300 or more than 500 wordsThe programme of safeguarding the carillon culture reflects clearly the principles and objectives of the UNESCO Convention 2003. Promotion of cultural diversityCultivating cultural diversity is key. Whereas historically, carillon music reflected the taste of local communities in the Low Countries, nowadays an increasing variety of musical genres has been arranged to carillon music, ranging from so-called classical music, pop music, folk music, world music, etc. In the Mechelen carillon school, the presence of Japanese, Chinese and Russian students resulted in carillon arrangements of songs from these countries. In Leuven, Luc Rombouts runs since 2009 the programme "Fusion on Bells", in which he introduces immigrants to the instrument by playing music from their country of origin (Moroccan, Turkish, Iraqi, Chinese, etc.). Since 2013, a first musician with Moroccan roots attends classes in the Mechelen carillon school. Human creativityThe objective to warranty the continuity of the carillon culture in a changing societal context can only be met by showing creativity and by finding adequate solutions to that changing context, e.g. by designing innovative programmes and integrating carillon music in present-day social events. In the programme, social media are used in a creative way as new means of promotion for the carillon. It proves that actual social media are not a threat, but rather a support for the 'old' medium of the carillon. Intercultural dialogue, international cooperation and mutual appreciationAlthough historically, the carillon is a typical music instrument from the Low Countries, in the 20th century an international network of artists and carillon builders emerged, who exchange experiences, listen to each other’s’ achievements, and respect different approaches to the instrument. The Belgian carillon programme remains an important factor in this exchange. At the occasion of the centennial of World War I, a new cooperative network is being established. The destruction of 11 Belgian carillons in World War I led to the erection of a number of memorial and peace carillons in the 1920ies (Leuven, Toronto, Ottawa, Loughborough, Richmond, Sydney, Wellington, Cape Town…) and the carillonneurs of the instruments will establish a network in 1914.Sense of continuityCarillon music is a trusted anchor point in a rapid-changing world: the weekly carillon auditions as well as the regular automatic carillon music of tower clocks offer strong feelings of continuity to a community. For that reason the carillon communities invests in the education of young carillonneurs, and promote the continuation of carillonneurs' positions on the payroll of towns and villages - as it has been for centuries - in spite of budgetary restrictions by local governments. Social cohesion and ensuring respectListening to carillon music is a collective emotional and esthetic experience that can be shared with all people without any exclusion on the basis of income, race, religion, or whatsoever. This experience builds up social cohesion and compensates for the actual trends of segmenting society in isolated target groups and individual consumption of music.4.Effectiveness Criterion P.4 requires that ‘the programme, project or activity has demonstrated effectiveness in contributing to the viability of the intangible cultural heritage concerned’. Describe how the programme, project or activity has demonstrated such effectiveness and how it has contributed concretely to the strengthened viability of the heritage.Not fewer than 300 or more than 500 wordsThe fact that the phenomenon of playing music on bells still exists, despite the strong decline in the 19th century and the enormous proliferation of more "modern" musical media and the diversification of the collective and individual soundscape, proves that the programme of safeguarding the carillon culture has been very successful. But there are more specific quantitative and qualitative factors to show that not only in Belgium, but also in other parts of the world, carillon culture is flourishing. Sharing and reflexively improving the methods of cultivating carillon music have been successful: Since 1945, the number of carillons worldwide more than doubled, from less than 300 tot ca. 640.The number of countries in which carillons were present, increased from less than 15 in 1945 to 30 in 2013. In 1945, there were no mobile carillons yet. Today, there are 15 such mobile instruments worldwide, providing extra accessibility to the public.When the World Carillon Federation (WCF) was founded in 1978, it consisted of 5 national carillon associations. Today it comprises 13 regional, national and supranational carillon associations. Since 1945, the number of original compositions for carillon grew from less than 100 in 1945 to many hundreds in 2013. Thousands of pieces of music are available as arrangements for the carillon. Since 1945, the number of places where musicians can be trained to become carillonneur grew worldwide from less than 10 to ca. 50 in 2013. Those international developments are partly a result of sharing and propagating the carillon safeguarding programme in Belgium. There is also a number of qualitative evolutions: A growing diversity in concert formulas (solo, duo, with other music instruments, with dance performance etc.).A growing diversity of types of music that is arranged for the carillon (baroque, romantic, contemporary, classical, folk, ethnic, pop). The fact that a higher number of heterogeneous groups feel attracted by the carillon (children and young people, students, immigrants …).The increased mobility of carillonneurs worldwide and the sense of cooperation and mutual respect that has grown with it.The recognition of the carillon culture on the Inventory of intangible cultural heritage in Flanders (2011), and the list of Masterpieces of Oral and Intangible Heritage in Wallonia (2012).Those recognitions imply a yearly reporting and evaluation procedure of the achievements of the safeguarding programmes of the carillon communities (for Flanders on the platform immaterieelerfgoed.be). munity participation and consentCriterion P.5 requires that ‘the programme, project or activity is or has been implemented with the participation of the community, group or, if applicable, individuals concerned and with their free, prior and informed consent’. 5.a.Participation of the community, group or individualsDescribe how the community, group or, if applicable, individuals concerned have participated in the programme, project or activity at all stages of its planning and implementation.Over the previous century, the number of stakeholders in the carillon safeguarding programme has kept increasing. The programme was started around 1900 by Mechelen city carillonneur Jef Denyn (1862-1941). He opted for a combination of several initiatives: the practice of special evenings concerts in addition to usual market auditions, improved the playing mechanism of the instruments, promoting an expressive playing technique, and he expanded the repertoire. In 1922, when Denyn was 60 years old, his pupils and admirers supported the foundation of a institution, a school for carillonneurs, with the purpose to continue his legacy and to expand the Mechelen carillon culture approach geographically. In 1954, the Alumni Association of the Carillon School was founded. In 1980, the organisation was renamed to Belgian Carillonneurs’ Guild, in order to open itself to foreign carillonneurs who had their training outside Mechelen. Adapting to the subsequent reforms of the state structures in Belgium, the organisation split up in two sister associations in 1994: the Flemish Carillon Association and the Walloon Campanological Association. Both organisations broadened their range of activities, so that also non-carillonneurs were attracted to the membership. They kept excellent contacts. In parallel with the broadening of the carillon community, the original 5 objectives of the safeguarding programme, as defined by the Mechelen carillon school in 1922, were enlarged with 5 additional objectives (see session 1a). To this purpose, other actors in the cultural field became involved: the University Library of KU Leuven (from 1989 on), the Bell and Carillon Museum of Tellin, the museum ‘The Sound of the City’ (Vleeshuis, Antwerpen, from 2006 on), Resonant, Centre of Expertise in Musical Heritage (from 2009 on). In 2010, the Belgian carillon community celebrated the 500th anniversary of the carillon with a colloquium in the heritage centre ‘Lamot’ in Mechelen and a celebration in the city hall of Oudenaarde, where the first documented carillon keyboard was placed. Lecturers stressed the fact that carillon music, a 500-year old means of musical expression for the public space, had survived so many transformations in the technical and societal environment, and has even a potential for the future. This remarkable achievement was the result of consistent efforts in the safeguarding program that started in Mechelen around 1900 that runs today in hundreds of locations in Belgium and other countries. The carillon safeguarding programme was considered a valuable candidate for possible recognition as a best practice in safeguarding immaterial cultural heritage. In short, the program is a paradigmatic example of bottom-up initiatives that have grown as a rolling snowball, transgressing national borders and attracting adherence, consent and support from many actors. The idea to present the programme to UNESCO was developed in meetings of the Flemish Carillon Association and the Walloon Campanological Association, in response to the fact that (the Communities of) Belgium ratified the 2003 convention, the world wide movement of safeguarding intangible cultural heritage gained momentum and policies were actively developed and implemented. They contacted UNESCO accredited heritage organisations (like FARO) and the government officials in 2011 to start up the process of preparing a nomination. The Flemish and French communities in Belgium joined forces and both the Flemish and Walloon carillon culture were inscribed on the inventories of intangible cultural heritage. Presentations about the safeguarding programme of the Belgian carillon culture and the UNESCO file were given at the World Carillon Congress by Koen Cosaert, director of the Mechelen carillon school (Bloomfield Hills, June 2, 2011), and at a number of other occasions by project coordinator Luc Rombouts (heritage colloquium in Mechelen, September 17, 2011; study day of Faro, Flemish Interface for Cultural Heritage in Brussels, June 2, 2012 ; colloquium of Tapis Plein in Brussels, September 14, 2012; kick-off meeting of VIE, Dutch Centre of Folk Culture and Intangible Heritage in Utrecht, October 13, 2012 ; Belgian Senate, Palace of the Nation Brussels, June 21, 2013. The UNESCO nomination was discussed in a working group with representatives of the two carillon societies and the heritage administrations (meetings in Ath, November 16, 2011, and Brussels, January 11, 2012). In the meantime, the Belgian example gave inspiration to other countries. In 2012, the French carillon culture was added to the National Inventory in France, and currently the Dutch Carillon Society is preparing a file for recognition on the Dutch Inventory of Intangible Heritage. 5.b.Free, prior and informed consent to this proposal and involvement in its preparationSubmitting States Parties shall involve the community, group or, if applicable, individuals concerned in the preparation of the file Their free, prior and informed consent for its submission may be demonstrated through written or recorded concurrence, or through other means, according to the legal regimens of the State Party and the infinite variety of communities and groups concerned. The Committee will welcome a broad range of demonstrations or attestations of community consent in preference to standard or uniform declarations. Evidence of free, prior and informed consent shall be provided in one of the working languages of the Committee (English or French), as well as the language of the community concerned if its members use languages other than English or French..Attach information showing such consent and indicate below what documents you are providing and what form they take. Describe below how the community, group or individuals concerned have been involved in the preparation of this file.Not fewer than 150 or more than 250 wordsThis proposal is introduced by Belgium. This proposal is elaborated and officially supported by the two national umbrella organisations for carillon culture that are active in Belgium. They have initiated and elaborated this UNESCO file and express the intention to follow up and elaborated the programme in the future.Vlaamse Beiaardvereniging (Flemish Carillon Society)Association Campanaire Wallonne (Walloon Campanological Association)These 2 associations are presented in 1c. This proposal is presented with the free, prior and informed consent of the two most important educational institutions for carillonneurs:The Royal Carillon School 'Jef Denyn' at Mechelen (Malines)The carillon class in the music academy of the City of Ath (carillonneurs' training for the French community)Resonant (Flemish Institute for Musical Heritage), that has done conservation projects around carillon heritage (see 1b)Faro (Flemish Interface for Cultural Heritage)Deelraad Erfgoed Leuven (Leuven Heritage Center - Leuven)The City of Antwerp, as organiser of the World Carillon Congress in 2014, and owner of the museum "Sound of the City"The World Carillon Federation (representing 13 member associations) 5.c.Concerned community organization(s) or representative(s)Provide the name, address and other contact information of community organizations or representatives, or other non-governmental organizations, that are concerned with the programme, project or activity such as associations, organizations, clubs, guilds, steering committees, etc.The 2 national carillon organisations: see anization/ Community:Royal Carillon School ‘Jef Denyn’, MechelenName and title of the contact person:Koen Cosaert, DirectorAddress:Bruul 52/5, B-2800 Mechelen, BelgiumTelephone number:+32 15 20 47 92E-mail address:beiaardschool@mechelen.be Other relevant information:website beiaardschool.be Organization/ Community:Resonant vzw (Study Centre for Flemish Musical Heritage)Name and title of the contact person:Mariet Calsius, DirectorAddress:Parijsstraat 72b, B-3000 Leuven, BelgiumTelephone number:+32 16 32 99 55E-mail address:info@resonant.be Organization/ Community:Faro (Flemish Interface Centre for Cultural HeritageName and title of the contact person:Marc Jacobs, DirectorAddress:Priemstraat 51, B-1000 Brussel, BelgiumTelephone number:+32 2 213 10 60E-mail address:info@faronet.be Other relevant information:website faronet.be Organization/ Community:Deelraad erfgoed LeuvenName and title of the contact person:Rob Belemans, ChairmanAddress:Leuven City Building, Professor Van Overstraetenplein 1, B-3000 Leuven, BelgiumTelephone number:+32 16 27 33 85E-mail address:erfgoedcel@leuven.be Other relevant information:website erfgoedcelleuven.be Organization/ Community:City of AntwerpName and title of the contact person:Philip Heylen, Alderman of Culture and TourismAddress:Grote Markt 13, B-2000 Antwerp, BelgiumTelephone number:+32 3 338 83 62E-mail address:philip.heylen@philip.heylen.be Other relevant information:website antwerpen.be Organization/ Community:City of AthName and title of the contact person:Mr Marc Duvivier, Bourgmestre et le Collège des EchevinsMr Bruno Bo?l, Secrétaire communalAddress:Rue de Pintamont, 54, B-7800 Ath - BelgiqueTelephone number:+32 68 26 91 10E-mail address:mduvivier@ath.be Other relevant information:website ath.be Organization/ Community:World Carillon FederationName and title of the contact person:Wylie Crawford, PresidentAddress:1700 East 56th Street, Unit #3302, Chicago, IL 60637 USATelephone number:+1 773 288 2333E-mail address:Wylie@ Other relevant information: This federation represents 13 regional and national carillon societies worldwide. Although not all of those societies were formally involved in this file, the board wishes to express its moral support to this proposal. 6.Regional, sub-regional and/or international model Criterion P.6 requires that ‘the programme, project or activity may serve as a subregional, regional or international model, as the case may be, for safeguarding activities’. Describe how the programme, project or activity may serve as such a model for safeguarding activities, identifying the particular components, methods or practices that would be relevant in other contexts. Not fewer than 300 or more than 500 wordsThe carillon safeguarding programme in Belgium is a good model for safeguarding activities in other countries and in other cultural domains because it deploys an internationally oriented and integrated approach, which is the best way to obtain sustainable results: 1) The programme applies to different types of safeguarding activities, as defined by UNESCO (protection, transmission, documentation, promotion, and revitalisation). 2) In its primary objectives, the programme combines respect for tradition and willingness to innovate: it not only preserves the achievements of the past, but it seeks constantly new ways to maximise the value of carillon music and carillon culture for the changing communities of today. The programme positions carillon culture as a living heritage that renews itself constantly.3) The programme has a clear line and promotes proven best practices. But it has also a deep respect for the local players in the field and builds on their dynamics and actors (local governments, committees, musicians, instrument builders, groups of listeners). It fosters dialogue and exchange on national and international levels and allows for experiments and different opinions. Many actors in the field are volunteers who get involved in the programme by spontaneous application after having listened to carillon music. 4) The carillon safeguarding programme is a long-lasting programme, covering 3 or 4 generations of stakeholders who have transferred their enthusiasm and experience to the next generation. The carillon schools play a crucial role in this intergenerational aspect. During the last decennia, learning methods, handbooks and tutorials have been developed, translated and used5) Despite the volunteering approach, there is a clear focus on quality, thanks to formal examinations by the schools or by the national guilds and thanks to playing and composition competitions. 6) The intensive exchange of experiences and know-how between Belgium and other carillon countries in Europe and other parts of the world works in two directions. This can be inspiring for other heritage communities. It not only proves that the Belgian carillon community has a stimulating impact on the development of the carillon culture worldwide; it also shows that foreign influence is beneficial for the quality of the Belgian carillon scene. This international and integrated approach can be inspiring for other programmes in the field of safeguarding intangible cultural heritage.7.Willingness to cooperate in the dissemination of best safeguarding practices Criterion P.7 requires that ‘the submitting State(s) Party(ies), implementing body(ies), and community, group or, if applicable, individuals concerned are willing to cooperate in the dissemination of best practices, if their programme, project or activity is selected’. Describe its(their) willingness to cooperate in such dissemination.If you attach supporting evidence demonstrating such willingness, especially expressed by the community, group or, if applicable, individuals concerned, indicate below what evidence you are providing and what form it takes. Such evidence, if any, shall be provided in one of the working languages of the Committee (English or French), as well as the language of the community concerned if its members use languages other than English or French.Not fewer than 300 or more than 500 wordsThe safeguarding programme for the carillon contains a number of structural measures that will be continued. We mention the educational activities of the carillon schools of Mechelen and Ath, the practice of market auditions and summer recitals in most Belgian carillon towns, etc. The Mechelen Carillon School started a fund-raising programme to acquire an outdoor mobile carillon that will spread out the carillon culture in cities and regions without a tower carillon. In order to keep attracting students from all over the world, the Mechelen Carillon School launched a new website in Dutch, French, English and German (beiaardschool.be). The carillon community actively participates in the Flemish exchange platform immaterieelerfgoed.be. In addition to this, and at the occasion of the candidacy for UNESCO, a committee was set up, consisting of members of the 2 involved carillon associations, the 2 corresponding administrations, and several experts in other cultural domains (heritage, museology, social media). This committee, called the Safeguarding Carillon Heritage Committee, acts as a sounding board for reflection on and monitoring of the safeguarding efforts of the carillon communities of Flanders and Wallonia. This committee will act as the go-between between UNESCO and the carillon communities and will collaborate with the Belgian UNESCO commissions. The networks behind the triennial World Carillon Congress will be mobilised to start up programmes. A first key moment for the further dissemination will be the next triennial World Carillon Congress that takes place in Flanders in 2014, from June 25 to July 6 (). It is organised by the Flemish Carillon Association and the World Carillon Federation, in cooperation with the cities of Mechelen, Antwerp, Lier, Leuven, Bruges, Ieper, and Nieuwpoort. Highlights will be: The 7th International Carillon Competition ‘Queen Fabiola’ in Mechelen (June 25-28)A study day around carillon culture as intangible cultural heritage and safeguarding methods in Lier (July 1)Thematic days in Ieper and Leuven (July 3 en 4) about the significance of carillon music during and after World War I. The carillonneurs of post-war peace carillons will participate and establish a network of musical ambassadors of peace.Another upcoming event in the international dissemination of the carillon safeguarding programme is the publication in April 2014 of ‘Singing Bronze. A History of Carillon Music’, the English translation of Luc Rombouts’ award-winning book. This is the first general book about carillon culture in English since Percival Price’s pioneering book ‘The Carillon’ from 1933. In the Summer of 2015, FARO. The Flemish Interface for Cultural Heritage will organise an international colloquium about integrating carillon music in the municipal life of today and tomorrow, within the paradigm of the 2003 UNESCO convention. Participants will be carillonneurs, municipal touristic officers and specialists in urban planning. Here possibilities and strategies for international exchanges and projects will be on the agenda.8.Susceptibility to an assessment of resultsCriterion P.8 requires that ‘the programme, project or activity features experiences that are susceptible to an assessment of their results’. Provide concrete examples of assessments that have been or are being carried out. Not fewer than 300 or more than 500 wordsAs stated in 4), the programme of safeguarding carillon culture has proven its effectiveness, as well on a quantitative as a qualitative basis. There exist several mechanisms to assess the results of the Belgian programme of safeguarding the carillon culture. Since the adoption of the carillon culture on national inventories of intangible cultural heritage in Flanders (2011) and Wallonia (2012), the carillon communities are requested to submit yearly progress reports to the governmental services. Special efforts are made to ensure permanent quality control. This is used to monitor the effects of the programme, in close collaboration with the core partners. The Flemish government has implemented in 2012 the website immaterieelerfgoed.be to present exchange and monitor safeguarding experiences. In 2018, Belgium will send a general status report about the elements of intangible cultural heritage. To this purpose an evaluation will be made of all heritage communities in scope in 2017. From 2014 onwards, the Safeguarding Carillon Heritage Committee will act as an advisory and monitoring committee and gives advice to the carillon communities about measures to be taken. It assesses the efforts of the carillon communities, gives feedback to the stakeholders involved and signals needs to policy makers on appropriate levels of government. The success of the programme will be assessed not only by the input from the community, but also by the results in terms of media coverage, appreciation by the public, etc. All regional and national carillon organisations offer a yearly overview of their achievements to their members. Results of research, activity reports and so on are published in the different magazines or on websites. Every three years the regional and national carillon organisations report to the congress of the World Carillon Federation about the status of the carillon culture in their countries. These reports are published in congress books. In addition to these overviews, the different commissions of the World Carillon Federation present progress reports (e.g. the keyboard committee).9.Model for developing countries Criterion P.9 requires that ‘the programme, project or activity is primarily applicable to the particular needs of developing countries’. Describe how the programme, project or activity may be relevant to the needs of developing countries and appropriate to their circumstances, identifying the particular components, methods or practices that would be relevant to them. Not fewer than 300 or more than 500 wordsThe approach of the carillon culture programme can be applied to other expressions of intangible cultural heritage, especially to other means of creating music in the public space as accompaniment of regular community life or as an instrument to structure time. That music does not have to be restricted to bell music: it can also apply to music on other percussion, string or wind instruments, or to vocal music. Also non-musical systems of communication and signalling in the public space can take advantage of the findings of the carillon culture programme. Traditional music and other forms of cultural expression and communication are powerful media to transmit collective emotions and to consolidate them into art. They offer structure, positive identification, and a community spirit. Therefore, they have to be valued as factors of cultural continuity. Structural social changes in developing countries may harm these traditions of social cohesion, not unlike the industrial revolution and disintegration of the old city culture in Belgium put the carillon culture under pressure in the 19th century, before the safeguarding programme started. Central concepts in any exchange of experience with the developing countries will be: 1. A flexible approach to traditions in time and placeTraditional art forms should show enough flexibility to renew themselves to changing societal contexts and to the changing needs of the communities, groups and individuals involved - this was demonstrated by the carillon safeguarding programme. The carillon community preserves the legacy of the past, and at the same time adapts the carillon culture to a changing societal context, not only in its repertoire, but also by updating its mission. This twofold flexibility is taught in the carillon training programmes.Flexibility with respect to place implies that local or regional creativity can establish a fusion between the carillon culture and indigenous music styles, so that cultural diversity increases and new musical idioms emerge, thus enriching the 'traditional' carillon culture. 2. Development of a meaningful public soundscape: eye-(or ear-)opener projectsThe carillon is played per definition in the public space, and preferably during market days or at other occasions where many people meet and interact. The carillon programme has the intention to inspire debates about the relation between safeguarding intangible cultural heritage, managing soundscapes and stimulating access to art, in order to reflect on what can be done with public or market spaces for performances. 3. Synergy between ancient and new social mediaAs a public music channel, the carillon is a predecessor of the social media of today. Experience has proven that the new digital and social media such as Facebook and YouTube have not threatened the carillon culture. On the contrary, social media have proven to be instrumental to bridge the gap between carillon players and the audiences, e.g. by stimulating feedback to performers, by public participation in the repertoire, and by offering context to the public. The use of new social media can be a key for many cultural communities to safeguard their ancient social media.10.DocumentationThe documentation listed below is mandatory and will be used in the process of evaluating and examining the proposal. It will also be helpful for visibility activities if the programme, project and activity is selected. Tick the following boxes to confirm that related items are included with the proposal and that they follow the instructions. Additional materials other than those specified below cannot be accepted and will not be returned. FORMCHECKBOX 10 recent photographs in high definition FORMCHECKBOX cession(s) of rights corresponding to the photos (Form ICH-07-photo) FORMCHECKBOX edited video (from 5 to 10 minutes), subtitled in one of the languages of the Committee (English or French) if the language utilized is other than English or French FORMCHECKBOX cession of rights corresponding to the video recording (Form ICH-07-video)11.Signature on behalf of the State(s) Party(ies)The proposal should conclude with the original signature of the official empowered to sign it on behalf of the State Party, together with his or her name, title and the date of submission.In the case of multi-national proposals, the document should contain the name, title and signature of an official of each State Party submitting the proposal.Name:Marina LaureysTitle:Head of the Division of Cultural Heritage, Flemish Community, BelgiumSignature:<signed>Name:Madame Fadila LaananTitle:Ministre de la Culture, de l’Audiovisuel, de la Santé et de l’?galité des chancesSignature:<signed>Date:2014-02-17 (last revision) ................
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