ࡱ>  7bjbjVV fP<<""""",",","8d"D#,"2&&:&&&()*) :ܙ" +((" + +""&&”=== +,"&"&= +==JW\O&0v5dJ,"99:Dؔ0Xs9Jc"c6)>t),=)$)I6)6)6);6)6)6) + + + +6)6)6)6)6)6)6)6)6) : CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE INTERGOVERNMENTAL COMMITTEE FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE Sixth session Bali, Indonesia November 2011 Nomination file no. 00563 for Inscription on the Representative List of the Intangible Cultural Heritage of Humanity in 2011 A. State(s) Party(ies)For multi-national nominations, States Parties should be listed in the order on which they have mutually agreed.PortugalB. Name of the element (i) Name of the element in English or FrenchThis is the official name of the element that will appear in published material about the Representative List. It should be concise. Please do not exceed 200 characters, including spaces and punctuation. The name should be transcribed in Latin Unicode characters (Basic Latin, Latin-1 Supplement, Latin Extended-A or Latin Extended Additional).Fado, urban popular song of Portugal(ii) Name of the element in the language and script of the community concerned, if applicableThis is the official name of the element in the vernacular language corresponding to the official name in English or French (point B.i). It should be concise. Please do not exceed 200 characters in Unicode (Latin or others), including spaces and punctuation.Fado(iii) Other name(s) of the element, if anyIn addition to the official name(s) of the element (B.i) please mention alternate name(s), if any, by which the element is known, in Unicode characters (Latin or others).Urban Popular Song Urban SongC. Characteristics of the element(i) Identification of the communities, groups or, if applicable, individuals concernedAccording to the 2003 Convention, intangible heritage can only be identified with reference to communities, groups or individuals that recognize it as part of their cultural heritage. Thus it is important to identify clearly one or several communities, groups or, if applicable, individuals concerned with the nominated element. The information provided should allow the Committee to identify the communities, groups or individuals concerned with an element, and should be mutually coherent with the information in sections 1 to 5 below.Fado is a genre widely practiced by various communities in Lisbon, represented by numerous neighbourhood associations and other grass-root groups as well as by individual agents such as artists (singers and musicians), authors (composers and poets), instrument makers, book and record publishers and other leading exponents of the genres practice. It is practised professionally both in the concert circuit and in a network of small Fado houses with resident artistic staff, but it is also sung by amateurs in numerous grass-root associations located throughout all older neighbourhoods of Lisbon. Its performers, both singers and players, usually come from an informal, orally transmitted training which takes place in traditional performance spaces and often in successive generations within the same families. The present nomination and the safeguarding measures proposed in it result from a significant involvement of representatives of these communities and practitioners in their conception and implementation.(ii) Geographic location and range of the element and location of the communities, groups or, if applicable, individuals concernedThis section should identify the range of distribution of the element, indicating if possible the geographic locations in which it is centred. If related elements are practiced in neighbouring areas, please so indicate.Although incorporating previous components drawn from various geographical origins, Fado originally developed in Lisbon. Its diffusion on a national scale took place mostly after the inauguration of radio and throughout the second third of the 20th century, while its international dissemination is a more recent phenomenon which started in the 1950s through the 70s. It remains, nevertheless, a practice deeply ingrained in the daily life of the local communities in the older neighbourhoods of Lisbon, such as Alcntara, Alfama, Bairro Alto, Bica, Madragoa, Mouraria and others. It was also carried into other cities of Portugal as well as into the Portuguese migrant communities abroad. Fado remains therefore to this day a living symbol of the citys and the Portuguese cultural identity as a whole.(iii) Domain(s) represented by the elementIdentify concisely 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. (This information will be used primarily for visibility, if the element is inscribed.) Not to exceed 100 words. oral traditions and expressions, including language as a vehicle of the intangible cultural heritage; performing arts; social practices, rituals and festive events;D. Brief summary of the elementThe brief description of the element will be particularly helpful in allowing the Committee to know at a glance what element is being proposed for inscription, and, in the event of inscription, will be used for purposes of visibility. It should be a summary of the description provided in point 1 below but is not an introduction to that longer description. Not to exceed 200 words.Fado is a performance genre incorporating music and poetry which developed in Lisbon in the second quarter of the 19th century, as the result of a multicultural synthesis involving Afro-Brazilian sung dances newly arrived to Europe, a heritage of local genres of song and dance, musical traditions from rural areas of the country brought by successive waves of internal immigration, and the cosmopolitan urban song patterns of the early 19th-century. Originally cultivated in the lower-class neighbourhoods of the city it gradually expanded to other geographic and social contexts. It is widely recognized by most of Lisbons inhabitants as a significant part of its cultural heritage, reflecting, through its practices and representations, the process of constitution of the modern city throughout the last two centuries. In the 20th century Fado has become the most popular genre of urban song in Portugal and is acknowledged by most Portuguese communities as a symbol of national cultural identity. Its dissemination through Portuguese emigration to Europe and the Americas and more recently through the World Music circuit has also reinforced this same perception of Fado as a symbol of Portuguese identity, leading also to an increasing process of cross-cultural exchange involving other musical traditions.1. Identification and definition of the element (cf. Criterion R.1)This is the key section of the nomination to satisfy criterion R.1: The element constitutes intangible cultural heritage as defined in Article 2 of the Convention. A clear and complete explanation is essential to demonstrate that the nominated element meets the Conventions definition of intangible heritage. This section should address all the significant features of the element as it exists at present, and should include: an explanation of its social and cultural functions and meanings today, within and for its community, the characteristics of the bearers and practitioners of the element, any specific roles or categories of persons with special responsibilities towards the element, the current modes of transmission of the knowledge and skills related to the element. The Committee should receive sufficient information to determine: that the element is among the practices, representations, expressions, knowledge, skills as well as the instruments, objects, artefacts and cultural spaces associated therewith ; that communities, groups and, in some cases, individuals recognize [it] as part of their cultural heritage; that it is being transmitted from generation to generation, [and] is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history; that it provides communities and groups involved with a sense of identity and continuity; and that it is not incompatible with existing international human rights instruments as well as with the requirements of mutual respect among communities, groups and individuals, and of sustainable development. Overly technical descriptions should be avoided and submitting States should keep in mind that this section must explain the element to readers who have no prior knowledge or direct experience of it. Nomination files need not address in detail the history of the element, or its origin or antiquity. Not to exceed 1,000 words.Fado is a type of song usually performed by a soloistic voice, male or female, accompanied traditionally by a Portuguese guitar and an acoustic guitar, both wire-strung, although in the past few decades this instrumental accompaniment has been often expanded to two Portuguese guitars, a guitar and a bass guitar (or string double bass). The Portuguese guitar, a pear-shaped instrument of the cittern family, with twelve wire strings, which is unique to Portugal, is used particularly for the accompaniment of the voice, in association with an acoustic guitar, but also has an extensive soloistic repertoire. The genre is based on a widespread amateur practice of informal performance from which emerge the majority of its professional practitioners, but there is a permanent interaction between these two circles. Young performers, both singers and players, usually come from an informal, orally transmitted training which takes place in the traditional performance spaces (neighbourhood associations and Fado houses), and often in successive generations in the same families. Informal tuition by older, respected exponents is a key element in this process of transmission and reprocessing. Fado developed in Lisbon since the second quarter of the 19th century and has been ever since widely recognized by most of Lisbons inhabitants as a significant part of the citys cultural heritage, reflecting, through its practices and representations, the process of constitution of the modern city and its contemporary reality. The history of Fado evolved with the contribution of communities, groups and individuals who transmitted it from generation to generation, and who were continuously involved in its production and re-enactment within their historic and social framework. Nowadays Fado is still a symbol of identity that confers a feeling of belonging and continuity to all individuals and associations involved in the genre: singers, musicians, composers, both professional and amateur, as well as most members of the communities in which it is practised and received. From the 1930s to the early 60s Fado knew a number of major performers who redefined its repertory and its performance practice such as Alfredo Marceneiro, Erclia Costa, Berta Cardoso, Hermnia Silva, Maria Teresa de Noronha, Luclia do Carmo, Carlos Ramos and Fernando Farinha. The international career of Amlia Rodrigues from the early 1950s on and later that of Carlos do Carmo attracted a worldwide audience to the genre. These and other leading practitioners continue to be major references of repertory and performance practice for the younger performers. In the past two decades Fado has shown signs of an ever increasing vitality, with a significant number of young singers, instrumentalists, composers and poets emerging every year. Fado is an essentially oral tradition, and even when it began to be written, the notated score could only partially represent the considerable amount of improvisation that continues to characterize its performance practice nowadays. Much of the current repertoire is based on a limited number of traditional melodies that have remained unchanged throughout much of the 20th century and are still regarded as the core of the genre, even if they are the object of an ever renewed performance practice. Nevertheless, the repertory is constantly expanded by new tunes and poems. Its current intense process of multicultural interaction with other musical traditions reaffirms it part of a constant reshaping of the cultural identity of the communities in which it is practiced.2. Contribution to ensuring visibility and awareness and to encouraging dialogue (cf. Criterion R.2)The nomination should demonstrate (Criterion R.2) 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. Please explain how the elements inscription on the Representative List will contribute to ensuring visibility of the intangible cultural heritage and will raise awareness at the local, national and international levels of its importance. This section need not address how inscription will bring greater visibility to the element, but how its inscription will contribute to the visibility of intangible cultural heritage more broadly. Explain how inscription will promote respect for cultural diversity and human creativity, and will promote mutual respect among communities, groups and individuals. Not to exceed 1,000 words.Fado plays a significant role as an intangible manifestation of the cultural identity of the communities that practice it, and has shown a continuous ability to interact creatively with other living musical traditions throughout its history and in the present. It is to be expected that the evolution of the genre, while preserving the visibility and awareness of its essential identity, will be increasingly open to the interaction with other musical genres, both at the national and the international levels, particularly with those of the Portuguese-speaking communities which originate from Africa and Brazil and currently represent significant segments of the citys population. In this sense, the genre is an essential part of any strategy for social cohesion and integration in an increasingly multiethnic and multicultural society. Fados inscription on the Representative List may thus assure a reinforcement of the international awareness of the importance of cultural diversity and intercultural dialogue, as well as of the central place of the intangible cultural heritage within this framework. The current success of Fado within the popular music circuit in Portugal as well as internationally has reinforced its role as a significant segment of the cultural life of the country and of its international representation, leading to a considerable growth in the number of its listeners and practitioners. It would be unrealistic and undesirable to establish for Fado a canon of authenticity which would not correspond to any specific stage of its continuous process of internal change in history and which would be seen as an artificial norm hindering the natural flow of innovation and creativity in any living artistic genre, as defined by the communities that practice it. But the preservation of Fados historical heritage, which in many cases is currently at risk, is undoubtedly an urgent task and an important component of the effort to assure the continuity and reinforcement of its practice, not as a mere historical record but as a permanent source of awareness of the genres intrinsic nature, of its ability to reflect Portuguese cultural identity as a whole and of inspiration for new creative approaches to the genre. 3. Safeguarding measures (cf. Criterion R.3)Items 3.a. to 3.c. request the elaboration of a coherent set of safeguarding measures as called for in Criterion R.3: Safeguarding measures are elaborated that may protect and promote the element. Such measures should reflect the broadest possible participation of the communities, groups or, if applicable, individuals concerned, both in their formulation and in their implementation.a. Current and recent efforts to safeguard the elementPlease describe the current and recent efforts of the concerned communities, groups or, if applicable, individuals to ensure the viability of the element. Describe efforts of the concerned State(s) Party(ies) to safeguard the element, taking note of external or internal constraints, such as limited resources. Not to exceed 500 words.At the centre of the safeguarding program currently being implemented is the Museu do Fado, established by the Lisbon City Council in 1998 in the historical neighbourhood of Alfama, one of the central communities of Fado practice. The Museum, entirely devoted to the preserving, safeguarding, researching, fruition and promotion of the heritage of Fado and of the Portuguese guitar, was founded in close interaction with the local communities. Its holdings, featuring collections of recordings, iconography, musical instruments and other musical artefacts are mostly the result of donations from hundreds of singers, composers, poets, musicians, instrument makers, collectors and experts or by their families and heirs, as well as from neighbourhood associations and grass-root groups, to which in 2009 was added a collection of 5000 historical recordings of Fado acquired by the Municipality and the Ministry of Culture. The Museum features a school promoting workshops and informal tuition on Fado vocal and instrumental performance, given by instructors who are leading exponents of the genre. There is also a Documentation Centre and an Auditorium, in which takes place an intense programme of concerts, talks, workshops, debates and record and book releases addressed to the public in general as well as to students of elementary and secondary schools all over the city. Community-oriented workshops with Fado singers are also held in various neighbourhood associations in Lisbon and elsewhere in the country. An average of ca. 35.000 visitors takes part every year in these activities. The Lisbon City Council promotes since 2004 the Festa do Fado, a large-scale annual performing event aimed at the community at large, and regularly supports Fado performances abroad, particularly in cities with significant Portuguese communities. Financial support was granted to the production of the film Fados (2007), by Carlos Saura, which had a wide international circulation, increasing the visibility of this tradition. Since 2005, in cooperation with the Instituto de Etnomusicologia (Universidade Nova de Lisboa), projects implemented included interviews with leading fado singers, instrumentalists and instrument makers; the establishment of an integrated database of the documentary sources of all natures concerning the history of Fado belonging to various public and private institutions (libraries, state archives, sound archives, museums, neighbourhood associations, private collections, etc.); a thorough survey, republication and critical reading of historical sources; a dissemination of information guidelines regarding good practices for the preservation of Fado mementos. Amongst the research projects already developed are the organization of the International Congress Fado, Percursos e Perspectivas, (2008), the publication of an Enciclopdia da Msica em Portugal no Sculo XX (2010) and the establishment of the open-access online database Msica Popular Portuguesa (2010), both including numerous entries on Fado and Fado performers. The Museum has also collaborated with the Portuguese state television network, RTP, in producing a six-hour long documentary on the history of Fado, Trovas Antigas, Saudade Louca (2007-09) and in proving iconography for various publications on this topic, including Rui Vieira Nerys Para uma Histria do Fado (2004 Italian translation 2007, English and Polish translations currently in preparation).b. Safeguarding measures proposedFor the Representative List, the safeguarding measures are those that may help to solidify the elements current viability and to ensure that its viability is not jeopardized in the future, especially as an unintended result of inscription and the resulting visibility and public attention. Identify and describe the various safeguarding measures that are elaborated that may, if implemented, protect and promote the element, and provide brief information concerning, for example, their priority, scope, approaches, timetables, responsible persons or bodies, and costs. Not to exceed 1,000 words.City Council of Lisbon, with the support of the Ministry of Culture and in close cooperation with the communities involved, has defined a long-term project of safeguarding measures, with the following initial steps for the period of 2010-13: I. ARCHIVE NETWORK Implementation of an institutional cooperation network encompassing a wide range of museums and archives holding relevant collections for the study of Fado, aiming at a strategic cooperation for the safeguarding, study, research, and fruition of the heritage of Fado. This network includes the following institutions, among others: Museu do Fado, Biblioteca Nacional, Rdio Televiso Portuguesa e Rdio Difuso Portuguesa, Museu da Msica, Museu Nacional do Teatro, Museu Nacional de Etnologia, Museu Jos Malhoa, Museu de Arte Popular, Fundao Amlia Rodrigues, Cinemateca Portuguesa, Museu da Cidade, Fonoteca Municipal de Lisboa, Voz do Operrio, Sociedade Portuguesa de Autores, Sindicato dos Msicos; Deadline: December 2010 Responsible Bodies: CML, EGEAC./Museu do Fado Amount: 35,000 II. DIGITAL ARCHIVE OF FADO PHONOGRAMS Goals: To create a Digital Archive of Fado Phonograms - 78, 33 and 45 rpm  gathering the information of the existing records belonging to various archives and museums. Actions:To digitalise, archive, restore and programme a database encompassing 78, 33 and 45 rpm vinyl records fado phonograms collections existing in the different institutions, including the newly purchased collection of 5000 78 rpm recordings. Deadline: December 2013 Responsible Bodies: CML, EGEAC/Museu do Fado Amount: 500,000 III. EDUCATION PROGRAM Goals: To implement an Educational Plan aiming at a gradual transversal integration of the contents related to the universe and culture of Fado on all academic levels  from year 1 to year 12 -, thus combining the academic and scientific points of view with the knowledge and true participation of the Fado community: singers, musicians, authors, and musical instruments manufacturers. Actions: III.1. Museu do Fado School: Workshops on Portuguese Guitar, Fado Viola, Fado Poetry seminars and Singing workshops; III.2. Museu do Fado workshops: Talks and workshops aiming at creating a steady venue for the debate and reflexion within the fado community; III.3.Singing Tours of Museu do Fado, featuring interpreters and musicians from different generations. III.4. Portuguese Guitar manufacturing: to support the Portuguese guitar manufacture, thus ensuring this know-how is safeguarded and conveyed, namely through: III.4.1.Scholarships for more than a year awarded to trainees selected by the Portuguese guitar manufacturers Gilberto Grcio and scar Cardoso; III. 4.2.The creation of a Portuguese guitar manufacture workshop in the historical area of Alfama, close to Museu do Fado; III.4.3.Temporary exhibitions dedicated to the craftsmanship of the Portuguese guitar manufacturers (guitarreiros); III.5. The establishment of education plans for the different education levels (Year 1 to Year 12), namely through: III.5.1.The creation of pedagogical material; III.5.2.Training seminars for trainers/teachers; III.5.3.The implementation of an educational pilot project in schools in Lisbon and its replication at a regional and national level; III.5.4.The promotion of regular school field trips to the Museu do Fado in close connection with the Fado community that plays an active role as educational agent; III. 6.Support given to Performing Arts Schools including Fado in their pedagogical program, both at a local and national level; III.7. Technical and scientific expert training in museum and archive research practices, through graduation and post-graduation university programs; III. 8.Organising an International Fado Congress to be held every two years intertwining academic perspectives with the knowledge of composers, interpreters, poets and other agents involved in the creation and dissemination of this musical genre; III.9. Training the Fado community through a network of local associations and clubs, promoting seminars dedicated to the good practices of preservation and maintenance of the heritage of Fado; III.10. Scheduling conferences on Fado with researchers in different fields; Deadline: (Undergoing projects in various stages of development; Implementation of Educational Plans for the 2010/2011 academic year) January 2012; Responsible Bodies: CML, EGEAC /Museu do Fado in partnership with several schools. Amount: 250,000 IV. PUBLICATIONS Implementing the following publishing program: IV.1. Historical sources (facsimile publication of classical works relevant for the History of Fado, ng including analysis and indexes); IV.2.Other books (historical and analytical essays, testimonies, documental sources catalogues); musical sources (anthologies with facsimile printed music scores, and transcriptions of hand-written Fado music scoress); IV.3. Poetic sources (Anthologies of Fado poetry); IV.4. Iconographic sources (Anthologies of the iconography of Fado in Art) IV.5.Sound sources; a CD series including substantial booklets with analytical texts and Ficonography of historical recordings of Fado (1900  1950), IV.6. Documentaries/audiovisual; Deadline: (in different stages); March 2012; Responsible Bodies: CML, EGEAC/Museu do Fado Amount: 200,000 V. FADO CIRCUITS Goals: To promote Fado Theme Circuits within the city of Lisbon, involving professional and amateur Fado performing venues in order to promote and bring new life to some of these venues; Actions: V.1.Network programming and/or promotion of events held on casas de Fado and clubs that have a regular activity in conveying this heritage to the younger generations, and that are still today living Fado workshops; V.2. To publish and release digital and printed theme circuits; V.3.To organise scheduled guided tours to the most famous Fado venues in town; Deadline: (In different development stages); July 2012 Responsible Bodies: CML, EGEAC/Museu do Fado Amount: 80,000 VI. PROMOTION/RELEASES Actions: VI.1.Trovas Antigas, Saudade Louca: Broadcast of the first TV show dedicated to the history of Fado  a series of 6 episodes on the different genres of Fado (Broadcasting as of September 2010) VI.2.Concerts/Workshops by artists from different generations in the countrys district capital cities; VI.3.To produce specific documents to be released in Universities, Museums, Cultural Centres, and Foundations, among other venues; VI.4.To promote the visit of foreign researchers who will carry out projects on Fado VI.5. To design an international dissemination of Fado program through the embassies and lectureships network in co-operation with Instituto Cames; Deadline: January 2013 Responsible Bodies: CML, EGEAC /Museu do Fado Amount: 150,000c. Commitment of communities, groups or individuals concernedThe feasibility of safeguarding depends in large part on the aspirations and commitment of the communities, groups or, if applicable, individuals concerned. This section should provide evidence that the communities, groups or, if applicable, individuals concerned have the will and commitment to safeguard the element if conditions are favourable. The best evidence will often be an explanation of their involvement in past and ongoing safeguarding measures and of their participation in the formulation and implementation of future safeguarding measures, rather than simple pledges or affirmations of their support or commitment. Not to exceed 250 words.The nomination of Fado to the Representative List was conceived and developed with the active support and participation of the Fado communities. In order to ensure their involvement in the definition and implementation of the safeguarding measures now proposed, a wide range of workshops, seminars, meetings, debates and interviews took place at Museu do Fado, with large citizen participation. The ongoing research projects strongly involved from the beginning individual participants and representatives from neighbourhood and grass-root associations, who took part in the identification of sources, individual figures, significant repertory or performance practices. The safeguarding programme received a significant input from the Museu do Fados Consultant Committee integrated by singers, musicians, collectors and researchers acknowledged by the community as well as by representatives of the two main associationsbut involves numerous individual artists who will ensure the transmission of their knowledge to the next generations according to the various measures now proposed. As shown in the appendix, this commitment and active involvement of the Fado community in the nomination and the safeguarding plan proposed is certified by declarations of support from individual musicians, authors and instruments manufacturers, as well as from professional and community associations.d. Commitment of State(s) Party(ies)The feasibility of safeguarding also depends on the support and cooperation of the concerned State(s) Party(ies). This section should provide evidence that the State Party concerned has the commitment to support the safeguarding effort by creating favourable conditions for its implementation and should describe how the State Party has previously and will in the future demonstrate such commitment. Declarations or pledges of support are less informative than explanations and demonstrations. Not to exceed 250 words.The Lisbon City Council and the Portuguese Ministry of Culture have been highly focused on the nomination of Fado to the Representative List of Intangible Cultural Heritage, following their continuous commitment to the awareness and preservation of the genre, as illustrated by all the safeguarding measures that took place in the last few years: promoting exhibitions, book and record editions and concerts within the programme of Lisbon - European Capital of Culture (1994); establishing the Museu do Fado (1998) and renovating its exhibition circuit (2008) with the joint support of European Union funding (Programa Operacional da Cultura); developing community-oriented activities involving the public in general and the student population; and sponsoring a large gamut of source inventory projects implemented by research teams in close cooperation with the communities and many of the leading individual exponents of Fado practice. As shown in the appendix, the present nomination received the prior and unanimous support of all political forces represented in the Lisbon City Council and in the Municipal Assembly as well as the official support of the Portuguese Ministry of Culture, as shown in the appendix. It was also approved by an unanimous vote of the National Parliament (Assembleia da Repblica) and was granted the high patronage of His Excellency the President of the Portuguese Republic.4. Community participation and consent in the nomination process (cf. Criterion R.4) This section asks the submitting State Party to establish that the nomination satisfies Criterion R.4: 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.a. Participation of communities, groups and individuals in the nomination processDescribe how and in what ways the community, group or, if applicable, individuals concerned have participated actively in the nomination process at all stages, as required by Criterion R.4. States Parties are further encouraged to prepare nominations with the participation of a wide variety of other concerned parties, including where appropriate local and regional governments, neighbouring communities, NGOs, research institutes, centres of expertise and other interested parties. The participation of communities in the practice and transmission of the element should be addressed in point 1 above, and their participation in safeguarding should be addressed in point 3; here the submitting State should describe the widest possible participation of communities in the nomination process.This application of Fado to the Representative List of the Intangible Cultural Heritage was presented with the active support and participation of the communities in which Fado is practiced. The preparation of the proposed safeguarding plan was carried out with the communities active participation, both collectively, through a wide range of public workshops, meetings, debates and interviews and through individual contributions by acknowledged exponents of the genre. The research effort developed since 2005 included collecting oral testimonies from domain agents (performers, authors, and community leaders), identifying and cataloguing relevant archival sources, critical reading of historical sources, as well as the creation of a database encompassing all collected data and the launching of an intense editorial programme now being implemented. The research teams involved not only senior scholars and graduate students about also performers and authors integrated in the Fado community itself. Various strategic cooperation protocols were signed with all public and private archives holding relevant collections for the study of Fado, including those of the most representative professional and neighbourhood associations in the field. The nomination was ultimately prepared by a Scientific Committee that includes well known experts (Rui Vieira Nery Chairman Salwa El-Shawan Castelo-Branco - INET - and Sara Pereira Museu do Fado), with the active participation of a Consulting Committee whose members are leading recognized exponents of fado practice (Carlos do Carmo, Vicente da Cmara, Gilberto Grcio, Daniel Gouveia, Antnio Chanho, Lusa Amaro) or representatives of grass-root associations (Lus Penedo, from the Academia da Guitarra Portuguesa e do Fado, and Lus de Castro and Julieta Estrela, from the Associao Portuguesa dos Amigos do Fado).b. Free, prior and informed consent to the nominationThe free, prior and informed consent to the nomination of the element from the community, group or, if applicable, individuals concerned may be demonstrated through written or recorded concurrence, or through other means, according to the legal regimens of the State Party and the infinite variety of communities and groups concerned. The Committee will welcome a broad range of demonstrations or attestations of community consent in preference to standard or uniform declarations.Please attach supporting evidence demonstrating such consent and indicate below what evidence you are providing and what form it takes.As stated in the appendix, the community approves of this Fado application, and reaffirms its commitment to the safeguarding plan, namely through its active participation in the proposed measures / actions aiming at maintaining, safeguarding, studying and conveying this art to the future generations. See Appendix.c. Respect for customary practices governing accessAccess to certain specific aspects of intangible cultural heritage is sometimes restricted by customary practices governing, for example, its transmission or performance or maintaining the secrecy of certain knowledge. Please indicate if such practices exist and, if they do, demonstrate that inscription of the element and implementation of the safeguarding measures would fully respect such customary practices governing access to specific aspects of such heritage (cf. Article 13 of the Convention). Describe any specific measures that might need to be taken to ensure such respect.Fado has by definition an open practice accessible to the whole community. The inventories, databases and publications of the safeguarding plan will enhance public access to the information concerning the genres history and current practice.5. Inclusion of the element in an inventory (cf. Criterion R.5)This section is where the State Party establishes that the nomination satisfies Criterion R.5: The element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies) as defined in Articles 11 and 12. Identify the inventory in which the element has been included and the office, agency, organization or body responsible for maintaining that inventory. Demonstrate that the inventory has been drawn up in conformity with Articles 11 and 12, in particular Article 11(b) that stipulates that intangible cultural heritage shall be identified and defined with the participation of communities, groups and relevant non-governmental organizations and Article 12 requiring that inventories be regularly updated. The nominated elements inclusion in an inventory should not in any way imply or require that the inventory(ies) should have been completed prior to nomination. Rather, a submitting State Party may be in the process of completing or updating one or more inventories, but has already duly included the nominated element on an inventory-in-progress. Since its establishment in 1998, the Museu do Fado has systematically catalogued its acquisitions of photographs, music scores, lyrics, instruments, phonograms, professional documents, book and Fado journals, amongst many others testimonies, almost all donated by private individuals or associations of the Fado community. This catalogue currently includes 18.205 entries: 441 books, 1396 Fado journals, 5517 photographs, 2123 posters, 3052 Fado lyrics, 46 music instruments, 317 audiovisual recordings, 327 professional documents (contracts, professional licenses,) 2572 records, 2321 music scores, 32 costumes, 61 medals/trophies, among other testimonies. These collections were mostly donated by Fado singers (51%) musicians (17%) authors - composers or poets (13%), associations and Fado houses (13%), collectors (6%). Since 2005 this catalogue was greatly expanded into a general inventory including also the collections of a wide range of public and private museums and archives holding relevant collections for the study of Fado, aiming at a strategic cooperation for the safeguarding, study, research, and fruition of the heritage of the genre. The database of phonograms of Fado still under construction, part of which is already on public access (www.http://www.fcsh.unl.pt/inet/basesdedados/fonogramas/pagina.html), currently lists more than 15.000 entries. These inventories are ready to be transferred at any time to the future national inventory of the Portuguese immaterial cultural heritage as soon as it is implemented by the Portuguese Ministry of Culture, which has already published all the necessary national legislation. The Ministry of Culture, in its capacity as the institution which is responsible for implementing and validating the national inventory, has stated its official commitment to and support of the present nomination.Documentation All documentation that is provided should add value to the nomination file by offering information about the element, its role within its community, its viability and any challenges it faces. If the element is inscribed, such documentation will also be used to achieve the Representative Lists purpose of ensuring visibility for intangible heritage. Photographic, sound and audiovisual documents should be submitted according to the technical specifications in the Annex below. Supplementary materials (within the maximums set out below) may be submitted, and will be helpful in allowing visibility activities, but they will not be considered in the process of examining or evaluating the nomination.a. Required and supplementary documentation Primary materials Supplementary materials Photos 10 recent photographs (required for evaluation) Maximum 30 Video edited video (maximum 10 minutes) (strongly encouraged for evaluation and visibility) Maximum 60 minutes Audio - Maximum 60 minutes Maps - Maximum 3 Books - Maximum 3 Regrettably, materials in excess of the maximum quantities listed in the Supplementary materials category cannot be accepted by UNESCO. In sending materials, clearly distinguish the primary materials from any supplementary materials you may wish to include. None of the materials will be returned to the submitting States.b. Cession of rights including registry of itemsPrimary materials must be accompanied by a non-exclusive cession of rights document granting worldwide rights to UNESCO to use the materials (see Form ICH-07). The ICH-07 form must be submitted in English or French, without alteration of any kind to the text and be signed by an authorized signatory. The cession of rights must include a registry of the items submitted, describing for each item: identifier (file name and/or reference) copyright information, including creators name date of creation caption (in English or French) Supplementary materials should, whenever possible, also be covered by a non-exclusive cession of rights to UNESCO, including the same identifying information.c. List of additional resources Submitting States may wish to list the principal published references, using standard bibliographic format, as well as websites or multimedia resources providing supplementary information on the element. Not to exceed one page.Brito, Joaquim Pais de (Dir.), Fado: Vozes e Sombras, Lisboa, Lisboa 94/Electa, 1994. Castelo-Branco, Salwa El Shawan e BRANCO, Jorge Freitas, Vozes do Povo, A Folclorizao em Portugal, Lisboa, Celta, 2003. Castelo-Branco, Salwa El Shawan, Enciclopdia da Msica em Portugal no Sculo XX, 4 volumes, Lisboa, Crculo de Leitores, 2010. Carvalho, Pinto de, (Tinop) Histria do Fado, Lisboa, Empresa da Histria de Portugal, 1903, reed. Prefcio de Joaquim Pais de Brito, Lisboa, Publicaes Dom Quixote, 1984. Carvalho, Ruben de, Um Sculo de Fado, prefcio de Rui Vieira Nery, Lisboa, Ediclube, 1999. Chougnet, Jean Franois (Coord.) Amlia Corao Independente, Lisboa, Museu Berardo, 2009 Colvin, Michael The Reconstruction of Lisbon: Severas Legacy and the Rewriting of Urban History. Lewisburg: Bucknell University Press, 2008 Elliot, Richard, Fado and the Place of Laughing: Loss, Memory and the City, London, Ashgate, 2010. Gallop, Rodney, The Fado in Portugal A Book of Folk Ways, Cambridge Press, 1961. Gouveia, Daniel, Ao Fado Tudo se Canta? Lisboa, DG Edies, 2010 Halpern, Manuel, 2004, O Futuro da Saudade: O Novo Fado e os Novos Fadistas, Lisboa, Publicaes Dom Quixote; Kalvathi, Mimi, Saudade: an Anthology of Fado Poetry, London, Gulbenkian Foundation, 2010 Lima, Paulo, O Fado Operrio no Alentejo, Tradisom, 2004. Morais, Manuel (coord.) A Guitarra Portuguesa, Actas do Simpsio Internacional, Universidade de vora, vora, Estar, 2001 Moura, Vasco Graa Amlia: dos Poetas Populares aos Poetas Cultivados, Lisboa, Tugalnad, 2010 Nery, Rui Vieira, Para Uma Histria do Fado, Lisboa, Pblico, Corda Seca, 2004. Nery, Rui Vieira, Amlia Nossa, Lisboa, Pblico, Tugaland, 2009 Nery, Rui Vieira, Pensar Amlia, Lisboa, Tugaland, 2010 Pais, Jos Machado, O Enigma do Fado e a Identidade Luso-Brasileira, Ler Histria, n 34, 1998. Pereira, Sara (coord.) Carlos do Carmo Um Homem no Mundo, Lisboa, CML, EGEAC/Museu do Fado, Lisboa, 2003. Pereira, Sara (coord) Museu do Fado 1998-2008, Lisboa, CML, EGEAC/Museu do Fado, 2008 Pereira, Sara (coord.) As Mos que Trago, Alain Oulman (1928-1990), Lisboa, CML, EGEAC/Museu do Fado, Lisboa, 2009 Pimentel, Alberto, (1904), A Triste Cano do Sul: Subsdios para a Histria do Fado, Lisboa, Publicaes Dom Quixote, 1989. Santos, Vtor Pavo dos, Amlia: uma Biografia, Lisboa, Contexto, 1987, (2 edio 2009). Sucena, Eduardo, Lisboa, o Fado e os Fadistas, Lisboa, Veja, 1992 Tinhoro, Jos Ramos, As Origens da Cano Urbana, Lisboa, Caminho, 1997. Vernon, Paul, A History of the Portuguese Fado, Ashgate, s/dContact information a. Contact person for correspondenceProvide the name, address and other contact information of the person responsible for correspondence concerning the nomination. If an e-mail address cannot be provided, the information should include a fax number. For multi-national nominations provide contact information for one person designated by the States Parties as the main contact person for all correspondence relating to the nomination (request for additional information, etc). For multi-national nominations, also provide contact information for one person in each State Party. Dr. Antnio Costa The Honorable Mayor of Lisbon, Portugal Paos do Concelho Praa do Municpio, 1, 1149-014 Lisboa Tel. + 351 21 323 62 00 Fax + 351 21 817 12 22 gab.presidente@cm-lisboa.pt Dra. Catarina Vaz Pinto The Honorable Cultural Councillor of Lisbon, Portugal Paos do Concelho Praa do Municpio, 1 , 1149-014 Lisboa Tel. + 351 21 323 62 00 Fax + 351 21 817 12 22 ver.catarina.vaz.pinto@cm-lisboa.ptb. Competent body involved This section should provide the name, address and contact information of the competent body (agency, museum, institution, or manager) with responsibility for the local management and safeguarding of the element. EGEAC EEM/Museu do Fado Dr. Miguel Honrado CEO/ President of the Boarding Administration - EGEAC EEM Palcio Marqus de Tancos, Calada Marqus de Tancos, n2,1100-340 Lisboa Tel. +351 21 882 00 90 Fax. +351 21 882 0098 miguelhonrado@egeac.pt Dra. Sara Pereira Director of Museu do Fado Largo do Chafariz de Dentro n1, 1100-139 Lisboa +351 21 882 34 70 Fax. +351 21 882 34 78 sarapereira@egeac.ptc. 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, who are concerned with the element such as associations, organizations, clubs, guilds, steering committees, etc.Instituto de Etnomusicologia - Centro de Estudos em Msica e Dana Prof. Doutor Rui Vieira Nery (Chairman of the Scientific Committee) and Prof. Doutora Salwa El-Shawan Castelo-Branco (Director of INET) Faculdade de Cincias Sociais e Humanas da Universidade Nova de Lisboa, Av. de Berna 26 C 1069-061 Lisboa Tel.: (351) 217908300 Fax.: (351) 217908303 secb@fcsh.unl.pt Associao Portuguesa dos Amigos do Fado Julieta Estrela Castro Rua Toms Anunciao, 31 2 D 1350-032 Lisboa Tel. (351) 396 86 39 Academia da Guitarra Portuguesa e do Fado Eng Lus Penedo Praceta Santo Antnio, 2 - 3 D 2685-237 Portela LRS Tel: (351) 219 430425 agpg@guitarra-portuguesa.com Fundao Amlia Rodrigues Dr. Amrico Loureno Rua de So Bento, 193 1250-219 Lisboa Tel. (351) 21 3971896 siberjuris@netcabo.pt Associao Fonogrfica Portuguesa Dr. Eduardo Simes Avenida Sidnio Pais, 20 - R/c Dt 1050 - 215 Lisboa Tel: (351) 21 3156655 Fax: (351) 21 3156683 contactar@afp.org.pt Sindicato dos Msicos Dr. Adriano Aguiar Av. D. Carlos I, 72 D 2 1200-649 Lisboa Tel. (351) 21 3966551 Fax (351) 21 3950208 sindicato.musicos@gmail.com Sindicato dos Trabalhadores das Artes do Espectculo Dra. Carmen Santos Rua da F, 23 - 2 1150-149 LISBOA Tel. (351) 21 8852728 Fax. (351) 21 8853787 startistas@mail.telepac.pt SPA Sociedade Portuguesa de Autores Dr. Jos Jorge Letria Av. Duque de Loul, 31 1069 - 153 Lisboa Codex Tel. (351) 21 3594400 Fax: (351) 21 3530257 geral@spautores.pt Confederao Portuguesa das Colectividades de Cultura, Recreio e Desporto Dr. Augusto Flor Rua da Palma, 248 1100-394 LISBOA Tel. (351) 21 8882619 Fax: (351) 21 8882866 cpccrd@confederacaodascolectividades.com INATEL Carla Raposeira Diviso de Actividades Culturais Calada de Santana, 180 1169-062 Lisboa Tel. (351) 21 0027000 Fax: (351) 21 0027027 inatel@inatel.pt Instituto de Histria da Arte Prof. Doutor Vtor Serro Faculdade de Letras da Universidade de Lisboa Alameda da Universidade1600-214 Lisboa Tel.: (351) 21 792 00 00  !DEij    2 = D E F G I J K P úúúẮzdP&hhy75CJPJ\aJmH sH *htNhy75CJPJ\^JaJmH sH htNhy7CJaJmH sH *hhy75CJPJ\^JaJmH sH hhCJaJmH sH hyhmH sH *h+mH sH *h_nmH sH *h$BmH sH *h$Bh+mH sH *h h+mH sH *h+mH sH h|h+mH sH EF G _ ` dvkd$$Ifq&  t 044 qap ytY*$$xx$Ifa$gd&?xxgd8gdy7gd+P S ^ _ ` ȷ{m[E6ȷEhtNhy7CJaJmH sH *hhy75CJPJ\^JaJmH sH #h$Bhy7CJPJ\aJmH sH h<}h<}CJPJ\aJ&hhy76CJ\^JaJmH sH &hhy76CJPJ\aJmH sH &hhy76CJPJ\aJmH sH  hhy7CJ^JaJmH sH $htNhy7CJPJ^JaJmH sH &hhy75CJPJ\aJmH sH  hy75CJPJ\aJmH sH  | xx$Ifgd&?vkd$$Ifq&  t 044 qap ytY* $$xx$Ifa$gd&?mkd$$Ifq& t044 qap ytY* $ w$$xx$Ifa$gd&?vkd)$$Ifq&  t 044 qap ytY* # $ % } ~  ͷ}k\I6 *hhy75CJPJ\^JaJmH sH $hr}hy7CJPJ^JaJmH sH $h$Bhy7CJPJ^JaJmH sH h<}h<}CJPJ^JaJ#hhy76CJ^JaJmH sH )hhy756CJPJ\aJmH sH &hhy76CJPJ\aJmH sH  hhy7CJ^JaJmH sH *htNhy75CJPJ\^JaJmH sH &hhy75CJPJ\aJmH sH "h.hy75CJPJ\^JaJh.hy7CJ^JaJ $ % ~ w$$xx$Ifa$gd&?vkd$$Ifq&  t 044 qap ytY*~  | xx$Ifgd&?vkd$$Ifq&  t 044 qap ytY*  {$7xx$If^7`gd&?mkdd$$Ifq& t044 qap ytY*        dzygTA.$hr}hy7CJPJ^JaJmH sH $h$Bhy7CJPJ^JaJmH sH $h$Bh$BCJPJ^JaJmH sH #hhy76CJ^JaJmH sH )hhy756CJPJ\aJmH sH &hhy76CJPJ\aJmH sH  hhy7CJ^JaJmH sH &h@4hy75CJPJ\aJmH sH &hhy75CJPJ\aJmH sH *htNhy75CJPJ\^JaJmH sH htNhy7CJaJmH sH     w$$xx$Ifa$gd&?vkd$$Ifq&  t 044 qap ytY*  | xx$Ifgd&?vkd$$Ifq&  t 044 qap ytY*  ; $xx$Ifgd&?mkd$$Ifq& t044 qap ytY*    : ; <    űxcQ>+$hy7hy7CJPJ^JaJmH sH $h$Bh$BCJPJ^JaJmH sH #hhy76CJ^JaJmH sH )hhy756CJPJ\aJmH sH &hhy76CJPJ\aJmH sH  hhy7CJ^JaJmH sH 'hhy7CJPJ\^JaJmH sH &hhy75CJPJ\aJmH sH *htNhy75CJPJ\^JaJmH sH htNhy7CJaJmH sH *hhy75CJPJ\^JaJmH sH ; < w$$xx$Ifa$gd&?vkd0$$Ifq&  t 044 qap ytY* || xx$Ifgd$Bvkd$$Ifq&  t 044 qap ytY**$$xx$Ifa$gd&?mkd$$Ifq& t044 qap ytY* *+./PWʲ~fN42hhy756CJOJPJQJ^JaJmH sH /hhy76CJOJPJQJ^JaJmH sH /h@4hy75CJOJPJQJ^JaJmH sH )hy75CJOJPJQJ^JaJmH sH =htNhy7B*CJOJPJQJ^JaJmH nH phsH tH /hhy75CJOJPJQJ^JaJmH sH  hhy7CJ^JaJmH sH &hhy75CJPJ\aJmH sH  hy75CJPJ\aJmH sH  *+q.$7xx$1$If^7`gd&?vkdY $$Ifq&  t 044 qap ytY*v.$$xx$1$Ifa$gd&?vkd $$Ifq&  t 044 qap ytY*y$xx$Ifa$gdvkd $$Ifq&  t 044 qap ytY*PQR\]ʺںcD/)hy75CJOJPJQJ^JaJmH sH =htNhy7B*CJOJPJQJ^JaJmH nH phsH tH 9htNhy7B*CJOJQJ^JaJmH nH phsH tH /hhy75CJOJPJQJ^JaJmH sH $hr}hy7CJPJ^JaJmH sH h$Bhy7CJPJ^JaJh$BCJPJ^JaJmH sH hCJPJ^JaJmH sH $h$Bh$BCJPJ^JaJmH sH #hhy76CJ^JaJmH sH z.$7xx$1$If^7`gd&?mkd $$Ifq& t044 qap ytY* !"#()־lYA$9htNhy7B*CJOJQJ^JaJmH nH phsH tH /hhy75CJOJPJQJ^JaJmH sH $hr}hy7CJPJ^JaJmH sH $h$Bhy7CJPJ^JaJmH sH $h$Bh$BCJPJ^JaJmH sH #hhy76CJ^JaJmH sH 2hhy756CJOJPJQJ^JaJmH sH /hhy76CJOJPJQJ^JaJmH sH  hhy7CJ^JaJmH sH /h@4hy75CJOJPJQJ^JaJmH sH   v.$$xx$1$Ifa$gd&?vkd7 $$Ifq&  t 044 qap ytY*"y$xx$Ifa$gd$Bvkd $$Ifq&  t 044 qap ytY*"#O.$$xx$1$Ifa$gd&?mkd $$Ifq& t044 qap ytY*)*NOPxy{$&)ȰubO?O,$hr}hy7CJPJ^JaJmH sH h$BCJPJ^JaJmH sH $h$Bh$BCJPJ^JaJmH sH $h$Bh$BCJPJ^JaJmH sH #hhy76CJ^JaJmH sH /hhy76CJOJPJQJ^JaJmH sH  hhy7CJ^JaJmH sH /h@4hy75CJOJPJQJ^JaJmH sH /hhy75CJOJPJQJ^JaJmH sH =htNhy7B*CJOJPJQJ^JaJmH nH phsH tH  OP_xvv.$$xx$1$Ifa$gd&?vkd`$$Ifq&  t 044 qap ytY*xy%{k[[$xx$Ifa$gd$B$7$If^7a$gdZ$x$Ifa$gdZvkd#$$Ifq&  t 044 qap ytY*%&G.$xx$1$Ifgd&?mkd$$Ifq& t044 qap ytY*)*08FGH!ǯǗnTB/$h$Bh$BCJPJ^JaJmH sH #hhy76CJ^JaJmH sH 2hhy756CJOJPJQJ^JaJmH sH /hhy76CJOJPJQJ^JaJmH sH  hhy7CJ^JaJmH sH /h@4hy75CJOJPJQJ^JaJmH sH /h{lhy75CJOJPJQJ^JaJmH sH /hhy75CJOJPJQJ^JaJmH sH @htNhy75B*CJOJPJQJ^JaJmH nH phsH tH  GHvf.$xx$1$Ifgd&?.$$xx$1$Ifa$gd&?vkd$$Ifq&  t 044 qap ytY* !yy$xx$Ifa$gd$BvkdL$$Ifq&  t 044 qap ytY*!!1".$$xx$1$Ifa$gdbmkd$$Ifq& t044 qap ytY*!!!!! 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ytY*%&PQjkͺ𺧍pQ72h!>kh5CJOJPJQJ\^JaJmH sH =htNhB*CJOJPJQJ^JaJmH nH phsH tH 9htNhB*CJOJQJ^JaJmH nH phsH tH 2hh5CJOJPJQJ\^JaJmH sH $hr}hCJPJ^JaJmH sH $h3h3CJPJ^JaJmH sH h( CJPJ^JaJmHsH$h3h3CJPJ^JaJmHsHh( CJPJ^JaJmH sH |.$$xx$1$Ifa$gdbokdv=$$Ifq& t044 qap ytY*s.$$xx$1$Ifa$gdbxkd>$$Ifq&  t 044 qap ytY*>^.?@OPfg|}NOnx "#mnŲh( CJPJ^JaJh3h3CJPJ^JaJh( CJPJ^JaJmHsH$h3h3CJPJ^JaJmHsH#hh6CJ^JaJmH sH /hh6CJOJPJQJ^JaJmH sH  hhCJ^JaJmH sH 5^>9[yyyyyyyyyyyyy xx$Ifgd3xkd>$$Ifq&  t 044 qap ytY* ()89NOcdpq:;LM\]rs'(=>lmSTwxͻUh3CJPJ^JaJmHsHhACJPJ^JaJmHsHh( CJPJ^JaJmHsH$h3h3CJPJ^JaJmHsHJ5[*O:>_ xx$IfgdA xx$Ifgd3Fax: (351) 21 796 00 63 Instituto de Museus e Conservao Prof. Doutor Joo Brigola Palcio Nacional da Ajuda - Ala Sul 4 - 1349-021 LISBOA Tel. (351) 213 614200 Fax: (351) 21 364 78 21 Biblioteca Nacional de Portugal Dr. Jorge Couto Campo Grande, 83 1749-081 Lisboa Tel. (351) 21 798 20 00 Fax. (351) 21 798 21 40 RTP Rdio Televiso portuguesa Gabinete de Estudos e Documentao da RTP Dr. Pedro Braumann Av. Marechal Gomes da Costa, 37 1849-030 Lisboa Tel. (351) 217 947000 Fax (351) 217 947180 cdoc@rtp.pt Rdio Amlia Luis Montez Rua Viriato, 25 3 Esq. 1050-234 Lisboa Tel. (351) 21 010 57 40 Fax: (351) 21 315 57 69 geral@amalia.fmSignature on behalf of the State Party The nomination 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 nominations, the document should contain the name, title and signature of an official of each State Party submitting the nomination. 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