AFRICA AND WORLD HERITAGE

• AFRICA AND WORLD HERITAGE
• AFRICA WORLD HERITAGE LIST
• ORAL AND INTANGIBLE HERITAGE
• Operational Projects and International Safeguarding Campaigns
• World Heritage Center












Monuments and sites included in the World Heritage List and biosphere reserves in Africa


As regards the safeguarding of sites and monuments and the conservation of biosphere reserves, UNESCO places increasing emphasis on a regional approach through the organization of regional, subregional and national training courses which enable students, technicians and specialists to deepen their knowledge in their own familiar environment and make use of techniques based on local materials and equipment. These activities, organized by the World Heritage Centre at UNESCO, have resulted in the creation of a network of African experts and the preparation of a 10-year training programme known as “Africa 2009”.

At present, the number of sub-Saharan African sites included on the World Heritage List totals 46. Of these 29 are natural sites, 16 cultural sites and one a combined site. (go to http://www.unesco.org/whc/nwhc/pages/sites/maplist/africa.htm).

In view of the limited number of African sites and monuments figuring on the World Heritage List, UNESCO has devised a global strategic policy to enable African States to present lists indicating cultural properties that they wish to have included in the World Heritage List.











ORAL AND INTANGIBLE WORLD HERITAGE



• INTRODUCTION
• MASTERPIECES OF THE ORAL AND INTANGIBLE HERITAGE OF HUMANITY
• Web Site of the UNESCO Programme














African oral and intangible heritage:




Nineteen "masterpieces of the oral and intangible heritage of humanity" were proclaimed by UNESCO, for the first time ever, at a ceremony presided over by the Director-General on Friday, 18 May 2001. They included three African cultural spaces and forms of expression: the Gelede Oral Tradition (submitted by Benin, supported by Nigeria and Togo); the Gbofe Trumpets of Afounkaha: the Music and the Cultural Space of the Tagbana Community (Côte d'Ivoire) and the Cultural Space of the Sosso-Bala (Guinea).


"Oral and intangible heritage", as UNESCO defines it, means "the totality of tradition-based creations of a cultural community, expressed by a group or individuals and recognized as reflecting the expectations of a community in so far as they reflect its cultural and social identity; its standards are transmitted orally, by imitation or by other means. Its forms are, among others, language, literature, music, dance, games, mythology, rituals, customs, handicrafts, architecture and other arts. In addition to these examples, account will also be taken of traditional forms of communication and information".


Making the proclamation, the Director-General M.Koïchiro Matsuura stressed that inclusion by UNESCO of these masterpieces on its list is a commitment to doing its utmost to assist the country or countries possessing the proclaimed masterpieces in financing the plan to safeguard them.











MASTERPIECES OF THE ORAL AND INTANGIBLE HERITAGE OF HUMANITY



Proclaimed on 18 May 2001






• The Oral Heritage of Gelede
• The Gbofe of Afounkaha
• The Cultural Space of ‘Sosso-Bala’ in Niagassola









The Oral Heritage of Gelede

Benin (supported by Nigeria and Togo)


For 100 years, the Yoruba-nago, Fon and Mahi communities have practiced their rites and dances after the harvest, as well as during droughts and epidemics. The ritual, featuring carved masks, is sung in Yoruba, recalling the history and myths of the Yoruba-nago people. The community is divided into groups which could be led by a man or a woman - the only mask society where women can play that role. Singers accompanied by a drum perform in this night-time ceremony, followed by dancers accompanied by an orchestra. Satirical masks mock certain types of behaviour.

The mythical origin of the Gelede is said to reflect the transformation from a matriarchal society into a patriarchal society. It aims to pacify the anger of the mythical mothers and the spirits of the ancestors. Animal figures are often used -- the snake, symbol of power, or the bird, messenger of the "mothers."



Threats: Technological development and tourism jeopardize the future of the Gelede.



Action plan: Proposals include the creation of community centres for performances and training of craftspeople and students. An inventory of the best Gelede groups, masks and craftspeople is being compiled. Audio-visual material is needed. Heritage laws are being revised. National and international festivals are planned and craftwork will be sold.



The Gbofe of Afounkaha :

the Music of the Transverse Trumpets of the Tagbana Community

Côte d’Ivoire


The Gbofe of Afounkaha are side-blown trumpets used in rituals and traditional ceremonies. The term "gbofe" may refer to the instruments, the players, he music of the trumpets or the entire performance. Gbofes are used in rituals and traditional ceremonies which are deeply rooted in the tradition of the Tagbana people.



The making of the instruments is also a ritual occasion, whereby a ceremony is held when the roots of a tree from which they are made is cut. The trumpets are used in groups of six with the fifth trumpet playing the leading part and accompanied by traditional drums and costumed male dancers performing ritual dances. As Tagbana dialect is a tonal language, certain "words" can be played on the trumpets which are "translated" by a choir of costumed women. Themes of these songs include love, mourning, education and daily life.



Threats: Industrialization and rural exodus are jeopardizing the continued creation of Gbofe trumpets. Young people are less interested in the traditions of the Gbofe.



Action plan: The Gbofe will be reinforced by inclusion in school curricula, through research, promotional activities, and through the organizing of festivals in the Tagbana community. It is envisaged that scholarships be given to train young musicians.




The Cultural Space of ‘Sosso-Bala’ in Niagassola

Guinea

The sacred instrument Sosso-Bala has symbolized the freedom and cohesion of the Mandingue community since the 13th century. The ritual site where the Sosso-Bala is practiced is also the home of the Dökala family in the village of Niagassola, Guinea. The Balatigui or patriarch of the Dökala family is the guardian of the Sosso-Bala, a long version of the balafon, an African percussion instrument. The patriarch can only play the Sosso-Bala on special occasions like Islamic New Year or for certain burials. He is also responsible for teaching children from the age of seven how to play the sacred instrument. The Sosso-Bala accompanies epic poems of the African Middles Ages, and hymns celebrating the builders of the "Empire of Mali" of the Middle Ages.

Threats: The Sosso-Bala and its site are at risk from rural migration, the difficult living conditions in Niagassola, trafficking in artifacts, and frequent fires.

Action plan: Proposals include balafon festivals and conferences and introducing young people to instrument-making. A museum conserving the Sosso-Bala is foreseen as well as a special library at Niagassola. A school where the Balatigui and his brothers can hand on their traditional knowledge is envisioned along with a research institute. Plans call for re-foresting Niagassola and its surroundings to protect the eco-system and control the invasion of the desert.