Institutions, organizations, contacts
Permanent Delegation of the Kingdom of Belgium to UNESCO
Délégation permanente de la Belgique auprès de l’UNESCO
Maison de l’UNESCO
1, rue Miollis
75732 PARIS CEDEX 15
Flemish Commission for UNESCO - Belgian French speaking and German speaking Commission for UNESCO
Secretariat of the Flemish Commission for UNESCO
Foreign Affairs Division
Boudewijnlaan 30 bus 80
Sécretariat de la Commission belge francophone et germanophone pour lUNESCO
Place Sainctelette, 2
Commission flamande pour lUNESCO: firstname.lastname@example.org (Pt); email@example.com (SG); Commission belge francophone et germanophone pour lUNESCO: firstname.lastname@example.org (SG); Secrétariat de la Commission nationale belge pour l'UNESCO: email@example.com, Pour toutes les informations par courriel: firstname.lastname@example.org
Scepi, Giovanni (email@example.com)
Accredited NGOs located in this country
|Name, address and source||Activities related to ICH|
|Centrum voor Sportcultuur vzw.|
Centre for Sport Culture
Centre pour la Culture Sportive [fr]
Year of creation: 1980
- social practices, rituals and festive
- identification, documentation,
research (including inventory-making)
Belgium, Denmark, France, Germany, Italy, Netherlands, Portugal, Spain, United Kingdom of Great Britain and Northern IrelandObjectives:
The Centre for Sport Culture (CSC, formerly Vlaamse Volkssport Centrale) - a non profit organisation - was established for the study, promotion and safeguarding of traditional sports and games. The roots of the CSC lie in an extensive research programme (Katholieke Universtiteit Leuven) on the history and the current situation of traditional games in Flanders (the Dutch speaking part of Belgium), started by prof. R Renson in 1973. The unexpected richness and variety of traditional games lead to the foundation of the CSC in order to promote this (endangered) sporting heritage and to get people acquainted (again) with the traditional games.
The mission of the CSC states that the CSC must be a centre of expertise in safeguarding the intangible heritage of the traditional and modern movement culture in vivo and in situ via identification, documentation, research, protection, handing down, revitalizing … on a national and international level.
To achieve this objective the CSC took over, partially, the research from the university and developed a range of initiatives (publications, library & documentation centre, exhibitions, tourist routes, conferences, lending services, …).
Gradually the CSC broadened its scope to a European and even a worldwide scale. On a European level the CSC carried out a lot of demonstrations of traditional games abroad and invited traditional games practitioners from many countries to Belgium for demonstrations and exchanges. In line with these activities, the CSC was among the founding members of the European Traditional Sports and Games Association (2001). The activities worldwide concern mainly research, publications, the gathering of documentation and exchange of information.
From 2000 onwards, the CSC committed itself, together with Sportmuseum Vlaanderen (Sports Museum Flanders) to realise the Sportimonium-project, a museum about the sports history of Flanders in its national and international context. Especially as traditional games are concerned, both the tangible (artefacts) and intangible (loan service, games park –see further) aspect of the sporting heritage is taken into account.
The Centre for Sport Culture (CSC) has launched a variety of initiatives for safeguarding the tangible and intangible heritage of traditional games and sports:
- In collaboration with the Katholieke Universiteit Leuven, the CSC carries out research on traditional games (inventory, evolution, organisational structure, ..) and supervises, as co-promotor, papers and theses (bachelor and master degree). For enquiries the centre calls upon the traditional sports federations for collaboration.
- the CSC organized the ‘Second European Seminar on Traditional Games’ (Leuven, 1990) on behalf of the Council of Europe.
- the CSC organised a symposion (Leuven, 2004) to present and discuss the results of its research project on the evolution of traditional games in Flanders 1982-2002.
- CSC was the editor of a series of 8 publications on traditional games (history, specific language, rules, dissemination, social aspects, …), 1980-1988
- CSC is editor of the journal ‘Sportimonium’ (history of sport, traditional games), 1980–up to now
- Staff members contributed about one hundred articles to many (inter)national reviews and books, 1980–up to now.
Documentation centre and library (open to the general public)
- ca. 2000 books on traditional games (worldwide)
- a series of periodicals
The CSC has gathered hundreds of artefacts and thousands of audiovisual documents related to traditional games (playing equipment, garment, photographs, posters, songs, interviews with the practitioners, footage …). This collection has been handed over to the Sportimonium in 2000. In this museum one of the sections is entirely dedicated to traditional games worldwide.
- a large travelling exhibition ‘Traditional games in Flanders’ has been set up in about 15 cities (1980-1990) and smaller travelling exhibitions are available for schools, cultural and sport centres. A travelling exhibition ‘Traditional games in Europe’ is also available,
- organizing demonstrations/festivals and initiations of traditional games (in close cooperation with the practitioners),
- the CSC manages within the Sportimonium-project a park of traditional games (since 2005). The action and interaction inherent in this sort of heritage cannot be ‘stowed’ in the museum depot nor can it be experienced in a static exhibition. Therefore the visitors can get acquainted with the skills of a variety of traditional games which are still practised (locally) in Flanders.
- in the same line the CSC runs a series of loan services all over the country for traditional games in order to provide people with the equipment for practising at festivals, family feasts, school and youth movement activities,
- the games equipment for the above mentioned loan service is produced, based on the authentic examples, in the CSC’s own workshop.The CSC provides assistance in building/restoring traditional sports infrastructure.
- the Sportimonium mainly focuses on school classes (10-14 year) to teach them about sports heritage. Another important target group are the students physical education/sports (bachelor and master degree). As the future teachers and sport administrators they are invited to the Sportimonium in order to sensitize them and to get them acquainted with traditional games. They are therefore able to hand this down to the next generations in schools or by supporting the practitioners of traditional games, the bearers of intangible heritage, on regional/municipal level.
Counselling and support
- supporting festivals organized by the traditional games players
- helping clubs, federation and their individual members in research matters
- counselling associations or federations for candidatures for the Belgian list of elements of intangible heritage
- participation in (governmental) assessment committees (cultural matters)
- collaboration with Unesco (project on traditional games 1990, platform for traditional games worldwide 2006-2009).
Personnel: manager (1), research/fieldworker (1), administrator (1), workshop (3), library (2).
The staff of the CSC has almost 30 years experience in safeguarding traditional games. The staff members (3) have university degrees and have followed in the course of years many courses related to the safeguarding of (intangible) heritage. The CSC is in close contact with other organisations in the country taking care of popular culture in order to exchange experience.
The same goes for engagement in the international network of the European Association for Traditional Sports and Games, of which the CSC has been among the pioneers. Due to these constant contacts, on the one hand with the practitioners of traditional games and at the other hand with professionals working in the fields of culture, sport and tourism the personnel of the CSC has acquainted its competences.
The composition of the supervising CSC-General Assembly – a mix of university professors (sports history, sports sociology, ethnography, literature, …), directors/chairmen of (traditional) sports organisations, museum collaborators, directors of cultural institutions … guarantees a high standard quality
The CSC has established over the years good contacts with many practitioners and their clubs and federations. The CSC has been instrumental in helping the clubs to get in contact with each other and to found (if appropriate) federations of their own. This resulted in 1988 in the foundation of a confederation for traditional games (Vlaamse Traditionele Sporten vzw, VlaS) with the CSC as one of the founding members. This confederation grew steadily from 500 to 12.000 members and acts now as an umbrella organisation for 23 types of traditional games.
The CSC is member of the board of directors of VlaS and vice versa, firstly in order to be well informed about each other activities and initiatives, secondly to collaborate where appropriate.
While constructing the traditional games park, there has been close cooperation with practitioners in testing and adapting the facilities in full respect with the games while using – if possible - modern materials. The latter being important to make the ‘old fashioned’ games a little more attractive to young(er) people.
One of the CSC objectives is to make the bearers of the intangible heritage, i.e. the players themselves, aware of the importance and richness of their activities. This must lead to an enhanced self-consciousness towards heritage in order to hand it down and to defend it.
Important for the CSC remains, furthermore, exchange and collaboration with other organisations experienced in the domain of popular culture and in safeguarding intangible heritage.
|Conseil international des radios télévision d'expression française - CIRTEF|
52, boulevard Auguste Reyers BRR 034
Tel.: 32 2 732 45 85
Year of creation: 1978
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
Belgium, Benin, Burkina Faso, Cameroon, Canada, Central African Republic, Chad, Comoros, Congo, Côte d'Ivoire, Djibouti, France, Gabon, Guinea, Haiti, Lebanon, Madagascar, Mali, Mauritania, Mauritius, Morocco, Niger, Rwanda, Senegal, Seychelles, Switzerland, Togo, Tunisia, United Kingdom of Great Britain and Northern Ireland, Vanuatu, VietObjectives:
Le CIRTEF, qui, sans esprit de lucre, poursuit des buts notamment d'ordre culturel,
scientifique, artistique et pedagogique a pour objet:
a) Encourager les echanges interculturels par Ie biais de la communication par la
promotion des expressions orales notamment aux fins de consolider les savoirs
tradition nels, les expressions culturelles et leur transmission;
b) d'etablir, a travers Ie monde, un dialogue permanent entre les cultures par Ie biais de
ses organismes de radiodiffusion qui utilisent entierement ou partiellement la langue
fran9aise dans leurs programmes nationaux ou regionaux ;
c) de soutenir, dans tous les domaines, les interets et les strategies de developpement
de ses membres et de promouvoir Ie role de la radio et de la television en tant que
moteur de developpement et de dialogue interculturel au service de la collectivite et des
communautes detentrices des savoirs tradition nels notamment leur patrimoine culturel
d) d'aider ses membres a accomplir leur mission sociale, culturelle et educative dans un
esprit de pluralite, de respect de I'ethique, de valorisation des Oroits de I'Homme et de
promotion de la paix ;
e) de promouvoir entre ses membres une large communication d'experiences et de
renseignements sur tous les aspects de la radio et de la television;
f) de favoriser de diverses manieres la cooperation entre ses membres, notamment par
I'assistance mutuelle en matiere de gestion, de production et de technique, par I'entraide
dansla prestation de services d'experts, dans la formation des personnels, de meme
que par I'echange et la coproduction d'emissions ainsi que dans I'acces aux reseaux
internationaux de I'information ;
g) de permettre, dans Ie cadre de son activite, la connaissance et Ie respect des
particularites et des aspirations de chacun des pays comptant des membres du CIRTEF
h) d'entretenir des rapports avec les autres organismes a vocation internationale qui
peuvent faciliter la poursuite de ses objectifs ;
i) de permettre, notamment, la conservation et la sauvegarde, directe et indirecte, de la
diversite et du patrimoine culturel de chacun des pays comptant dans les membres du
CIRTEF par Ie biais d'images et de sons traitant de ces matieres et a travers les
communautes et groupes cuiturels de ces pays creant et tansmettant leur patrimoine
Le CIRTEF, membre du comite de liaison des ONG a des relations formelles
d'association avec I'UNESCO. Cree en 1978, il rassemble aUjourd'hui 45 organismes de
radio etlou de television issus de 31 pays sur les cinq continents. C'est un instrument
de cooperation entre pays du Nord et du Sud et constitue un lieu de rencontres,
d'echanges et de partenariats de contenus entre chaines.
II assure une programmation reguliere sur tous les reseaux TV5, ce qui permet aux
images du Sud d'etre vues sur tous les continents. II impulse des echanges de
programmes (sa videotheque a plus de 1 000 programmes africains et son marche des
echanges radio propose plus de 100 programmes et series chaque annee) et des
coproductions radio et TV.
Le CIRTEF procede a la creation de centres de production et de formation dans Ie Sud.
Cotonou en 1995, Yaounde en 1998, Niamey en 2002 et un 4e en 2006 a Maurice.
A I'occasion du Mica de Ouagadougou et du Mip TV de Cannes, l'OIF et Ie CIRTEF
tiennent ensemble un stand pour presenter les productions recentes coproduites par les
organismes du Sud et faire leur promotion.
Le Cirtef a aussi, entre autres, d'autres activites dans Ie domaine de la sauvegarde du
patrimoine culturel dont voici deux exemples concrets :
a) La sauvegarde du patrimoine audiovisuel avec un format de representation
numerique permettant de Ie faire circuler sur des supports c1assiques, des DVD ou sous
forme de fichier informatique adapte aux nouveaux medias.
L'objectif etant de numeriser. d'indexer et de faire circuler les ceuvres audiovisuelles du
Sud dans Ie Sud et dans Ie Nord entre autres pour la circulation et la promotion des
expressions des communautes.
L'OIF et la Cooperation franyaise soutiennent ce projet appele, AIME (Archivage
Interactif Multimedia Economique) implante aujourd'hui du continent africain. Et bientat
en Republique Democratique du Congo et a HartL Des formations a la sauvegarde et a
la conservation des archives ont ete organisees dans ces pays et en Afrique.
b) Le Fonds francophone de production audiovisuelle du Sud cogere par Ie CIRTEF et
l'OIF permet que la creation et la production audiovisuelle du Sud puissent beneficier de
moyens qui leur font defaut souvent (des series d'ceuvres documentaires sur les
instruments de musique, I'habitat traditionnel, des petits metiers, ...)
Le CIRTEF se penche aussi depuis quelques annees deja sur les medias audiovisuels
et leur role face au patrimoine immateriel. Ainsi, il a organise en 2003 a Bamako un
seminaire sur ce theme avec plus de 200 participants venant de 40 pays.
Son Secretaire general a aussi delivre une conference sur Ie meme theme aux
Universites Africaines de la Communication de Ouagadougou (UACO) en octobre 2005 .
En radio, creation d'activites radiophoniques (creation de series, creation de reseaux
d'echanges, creation de radios temporaires, de banques de programmes,... ) en
collaboration notamment avec I'UNESCO, I'ONU, les Radios Francophones Publiques,
Ie RAPAF... traitant de themes comme la diversite culturelle, les Droits de I'Homme, de
I'art, de I'artisanat, les traditions, la musique, Ie developpement durable, les jeunes, ...
Le CIRTEF, membre du comité de liaison des ONG, a des relations formelles d'association avec l'UNESCO. Créé en 1978, il rassemble aujourd'hui 45 organismes de radio et/ou télévision issus de 31 pays sur les cinq continents, est un instrument de coopération entre pays du Nord et du Sud et constitute un lieu de rencontres, d'échanges et de partenariats de contenus entre chaînes.
Il assure une programmation régulière sur les réseaux TV5 (Monde et Québec Canada), ce qui permet aux images du Sud d'être vues sur tous les continents. Il impulse des échanges de programmes (sa vidéothèque a plus de 1 000 programmes africains et son marché des échanges radios propose plus de 100 programmes et séries chaque année) et des coproductions radio et TV.
Le CIRTEF procède à la création de centres de production et de formation dans le Sud. Cotonou en 1995, Yaoundé en 1998, Niamey en 2002 et un 4e en 2006 à Maurice.
A l'occassion du Mica de Ouagadougou et du Mip TV de Cannes, l'OIF et le CIRTEF tiennent ensemble un stand pour présenter les productions récentes coproduites par les organismes du Sud et faire leur promotion.
Le CIRTEF a aussi, entre autres, d'autres activités dont voici deux exemples concrets :
a) la sauvegarde du patrimoine audiovisuel avec un format de représentation numérique permettant de le faire circuler sur des supports classiques, des DVD ou sous forme de fichier informatique adapté aux nouveaux médias.
L'objectif étant de numériser, d'indexer et de faire circuler les oeuvres audiovisuelles du Sud dans le Sud et dans le Nord.
L'OIF et la Coopération française soutiennent ce projet appelé, AIME (Archivage Intelligent ou Interactif Multimédia Economique) implanté aujourd'hui dans 15 pays (Bénin, Burundi, Cameroun, Centrafrique, Djibouti, Gabon, Guinée, Madagascar, Mali, Maurice qui a servi de phase test, Mauritanie, Niger, Sénégal et Togo. Et bientôt en République Démocratique du Congo et à Haïti).
b) Le Fonds francophone de production audiovisuelle du Sud cogéré par le CIRTEF et l'OIF permet que la création et la production audiovisuelle du Sud puissent bénéficier de moyens qui leur font défaut souvent.
C'est ainsi que nous avons pu lancer des séries d'oeuvres documentaires sur les instruments de musique, sur la cuisine, sur les métiers traditionnels, sur l'artisanat, sur l'habitat traditionnel, etc.
Le CIRTEF se penche aussi depuis quelques années déjà sur les médias audiovisuels et leur rôle dans la diversité culturelle. C'est ainsi que :
- le thème du séminaire SEFOR de 2003 organisé à Bamako (MALI) était : "la diversité culturelle dans nos Radios et Télévisions" ;
- en relation avec Radio Canada, un colloque a été organisé dans ses locaux en avril 2005 avec le thème : "diversité culturelle et médias" ;
- le Secrétaire général a délivré une conférence lors de la deuxième éditions des Universités Africaines de la Communication de Ouagadougou (UACO) en octobre 2005 sur le thème "Médias de service public et la Convention sur la diversité culturelle" ;
- le Secrétaire général du CIRTEF a délivré une conférence lors de la deuxième édition des Universités Africaines de la Communication de Ouagadougou (UACO) en novembre 2006 sur le thème de l'émergence des savoirs locaux dans la société de l'Information".
Au niveau natiDnal et IDcal, les membres du CIRTEF en appelent couramment aux
communautes detentrices des elements du PCI en particulier dans Ie domaine de la
musique, de la tradition Drale et des savoirs. En les diffusant, Ie CIRTEF permet nDn
seulement un sDcialisation de ces expressiDns mais aussi une valorisation de ses
Dans Ie cadre de la sauvegarde du patrimoine culturel immateriel, Ie CIRTEF et ses
membres mement des actiDns directes et indirectes aupres des cDmmunautes, des
groupes et des praticiens du patrimoine culturel immateriel.
Actions directes : conservation, sur des supports images ou sonores, d'actions, de
temoignages et de savoir-faire dans les domaines par ex. de la musique traditionnelle
des pays du Sud, de I'artisanat, de I'art, des contes et legendes, de la medecine
traditionnelle, des coutumes, des langues locales, des petits metiers.
Actions indirectes : valorisation, diffusion et archivage, dans un but de promotion du
patrimoine immateriel des images et des sons, entre les radios-TV membres du CIRTEF
et leurs publics sur des themes comme par exemple : les expressions typiques, les
proverbes, I'habitat traditionnel, les instruments de musique, les metiers traditionnels,
I'artisanat, I'art, I'Histoire, les monuments et sites historiques, les musees, la tradition
En TV, certaines productions sont visibles sur la plateforme audiovisuelle en ligne de
I'UNESCO avec a chaque fois la participation active des communautes detentrices du
patrimDine immateriel concerne.
HABITAT TRADITIONNEL : exples: Benin (Tofinnu ou les habitants de I'eau), Mali
(Nloudje, les belels de Pondoril), Cameroun ( Les cases rDyales Bamileke), Niger
(habitat touareg), Vietnam (la vallee des M'Hong).
INSTRUMENTS DE MUSIQUE : exples : lie Maurice (La Ravenne), Tunisie (Le
oanoun), Burkina Faso (Donso n'Gonil), ...
CONTES ET LEGENDES : exples: Burkina Faso (Le pacte de pierre), Cote d'ivoire (La
fillette et la colombe), Niger (Le roi et Ie feticheur), ...
CITES: exples : Cameroun (Foumbam, la cite Royaume), Madagascar (Mahajanga Vel,
Niger (Gao, Ie PDrt de sable, ... )
ALTER METIER metiers traditionnels : exples : Centrafrique (Matawa), Mali (Peinture de
terre), Vietnam (I'heritage de Truong Cong Thanh), ...
En Radio: series radiophoniques dans Ie cadre de jumelages entre Radios du Nord et
du Sud sur "A la croisee de f1euves" (petits metiers, legendes, ... ), "Les festivals
culturels", "Les contes", "La chanson", "Les ecrivains contemporains".
"Reseaux radiDs jeunes" : mise en ceuvre d'une coliabDration entre radios du Sud
destinees aux jeunes, dans Ie but que les publics jeunes de ces radios apprehendent
mieux la diversite culturelle de l'Afrique, communiquent et se connaissent. Dans ce
cadre, creation avec I'UNESCO de la serie Baladeurs sur des themes comme la
preservatiDn du patrimoine, Ie developpement durable, la paix et democratie, les Droits
de I'Homme et I'egalite entre les sexes.
Le CIRTEF assure des productions et des coproductions audiovisuelles pour collecter le patrimoine culturel. Voici quelques exemples dont certains peuvent être visionnés sur la plateforme audiovisuelle en ligne de l'UNESCO.
Bénin (Tofinnu ou les habitants de l'eau), Burkina Faso (Purin ou les mains magiques Gurunsi), Mali (Nloudje, les Belels de Pondori), Mali (Nyama, l'être vital (Pays Dogon)), Maroc (Ghrem Tighremt), Tunisie (Hleljabal, ceux de la montagne), Bénin (Le Agouda, l'habitat brésilien), Cameroun (les cases royales bamileke), Canada (les grandes maisons kwakiutl), Côte d'Ivoire (cases senoufo), Maroc (les ksour au Maroc), Niger (habitat Touareg), Burkina Faso (sanctuaire Lobi), Congo (le Mounkoulou), Côte d'Ivoire (case Dan), Gabon (un village de l'Ogooue), Ile Maurice (Varangue sous les alizés), Tchad (l'habitat Moundang), Togo (les châteaux Tamberma), Seychelles (sur la pointe des pieds), Suisse (chalet d'alpage), Tchad (la cité Kotoko de Gaoui), Belgique (ma maison ardennaise), Burundi (le Rugo), Centrafrique (la terre, la brique, la poule), Congo (Olebe), Tunisie (Tozeur, oasis aux mirages), Vietnam (la vallée des M'hong).
Instruments de musique :
Cameroun (le mvet), Côte d'Ivoire (le knon), Ile Maurice (la ravanne), Tunisie (le qanoun), Burkina Faso (donso n'goni), Congo (nkonzi), Niger (goge)
Contes et légendes :
Burkina Faso (le pacte de Pierre), Côte d'Ivoire (la fillette colombe), Niger (le roi et le féticheur)
Affaires de goûts :
Gabon (l'ofoss), Tchad (le savonnier), Benin (le goussi), Côte d'Ivoire (le soumbara), Guinée (le yinyan), Mali (le tamarin), Mauritanie (les vertus du safran), Niger (le niebe), Sénégal (couleur bissap), Togo (mil messi), congo (le saka saka), Gabon (l'odika), Niger (le magaria).
Bénin (yemedje), Guinée (wassamkoumba), Ile Maurice (mangal sutra), Madagascar (sacre rajoana), Togo (né dans la forge), Bénin (les doigts sacrés), Mali (le ciwara), Niger (de boura a boubon), Seychelles (later rouz), Togo (l'ancêtre de Nyogbo).
Cameroun (Foumban, la cité royaume), Côte d'Ivoire (l'empire Kong), Madagascar (Mahajanga ve), Niger (Gao, le port de sable).
Alter métier -métiers traditionnels- :
Centrafrique (matawa), Mali (peinture de terre), Niger (la tresse waffa), Vietnam (l'héritage de Truong Cong Thanh).
|FARO Vlaams steunpunt voor cultureel erfgoed vzw|
Flemish Interface for Cultural Heritage - FARO
BE 1000 Brussels
Tel.: 0032 - 2 - 213.10.60
Year of creation: 1999
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
Belgium, France, Netherlands, South AfricaObjectives:
The Non-Governmental Organization FARO functions as a support center to make interesting policy instruments like the 2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage, the 2005 Council of Europe Framework Convention on the Value of Cultural Heritage for Society and in particular the (new) cultural heritage decree of the Flemish Community (23 May 2008), work in practice and to explore their full potential. FARO acts as an interface between local, provincial, regional and national governments, international networks, local and national heritage organizations and institutions, the academic world and civil society. Cultivating open collaboration and win-win-situations is a preferred method, next to stimulating communities of practice, reflexivity and working towards milestones and good practices in heritage projects. FARO assists heritage networks and organizations to develop strategies and helps to put these plans in practice. FARO is a professional interdisciplinary organization doing and facilitating research, exploring and distributing information about new working methods and good practices, cultivating innovation in safeguarding programs. Raising awareness and promoting dialogue about and through cultural heritage and enhancing visibility of safeguarding practices in the field of intangible and tangible heritage, are main objectives. Studying the effects and impact of cultural heritage policy and practices and giving feedback to policy makers and organizations are also an important challenge. Facilitating international cooperation and exchange and stimulating organisations in Flanders and Brussels to participate in international debates and projects is a crucial objective. For more information see www.faronet.be.
FARO is the interface for cultural heritage in Flanders/Belgium, providing practical support and other services for museums, archives, popular culture organisations,heritage NGOs and intangible cultural heritage practioners. This includes organizing courses, workshops and training programs, coaching and training field specialists and cultural brokers, publishing books, journals, DVDs and making websites about cultural heritage, developing a documentation and information center, conducting surveys and systematic research, sensitizing and envolving civil society for cultural heritage issues. The interdisciplinary team uses methods and theories of cultural anthropology, ethnology, cultural and social history, public history, art history, linguistics, information science, cultural studies, museology, archivistics and heritage studies. FARO has a specialized library focussed on heritage studies, popular culture and methodology. Special efforts are devoted to ICT and digitization programs, in particular webbased applications and multimedia projects. Programs are being developed for sustainable development, deontology and ethics in heritage safeguarding practices and intercultural exchange. FARO provides expert assistance in safeguarding intangible cultural heritage to groups and communities requesting help. FARO also coordinates recurrent national events, like the cultural heritage day or the week of taste. Implementing and combining international conventions is crucial in the strategy of FARO.
FARO has a staff of (on average) 30 full-time employees (21 staff members and, on average, 9 temporary project managers or collaborators) , of which 80% has an academic degree (Ph.D. or master) in heritage studies, history, art history, linguistics, anthropology, information and computer sciences or other disciplines. FARO is the result of the fusion in 2007/2008 of the VCV (NGO founded in 1999, for safeguarding intangible cultural heritage) and CBV (NGO for museums, archives and heritage consultants). The staff of both organizations (VCV en CBV) is now active in the new network organisation FARO, cultivating interdisciplinary collaboration and working. The annual budget ranges between 2 and 3 million euros.
Marc Jacobs, Ph. D., director of FARO, has participated as an official expert in all phases of the drafting process of the 2003 UNESCO convention and was the expert representing Belgium in the Intergovernmental Committee in 2006-2008. This illustrates how active VCV, now FARO, has been involved in the whole process of preparing and then implementing the 2003 UNESCO-convention for the safeguarding of ICH.
FARO is the official national support organization in Flanders (including Brussels) for heritage networks, volunteer organisations, local communities, tangible and intangible heritage specialist and practioners.(see www.faronet.be). It is subsidized by the Flemish government to develop and implement methods, training programs and platforms for empowering groups and practitioners to participate in heritage work and policy issues. The Flemish Center for the study of Popular Culture (VCV) now FARO, has since 1999 succesfully managed (in helping) to include volunteer networks and NGOs as full participants in heritage policy and debates, resulting in the official recognition in the 23-5-2008 decree on cultural heritage in Flanders. VCV/FARO has set up dozens of projects with heritage communities and groups (see www.faronet.be). Intercultural contacts, cultural diversity and working with migrant groups is a specific focus of FARO. FARO is also participating in projects establishing international networks of NGOs and stimulating communication (see for instance http://www.heritage-organisations.eu/).
|Federatie van Vlaamse Historische Schuttersgilden|
Federation of Flemish Historical Guilds
De heer Peter Ressen
Tel.: +32 (0) 89-70 29 50
Year of creation: 1999
- social practices, rituals and festive
- identification, documentation,
research (including inventory-making)
The objectives of the Federatie van Vlaamse Historische Schuttersgilden are:
- To protect and to promote the flemisch guilds.
- To achive this the organization will collect, study, demonstrate and publicize the cultural heritage of the historical guilds in Flanders.
- Setup an inventory of all the intangible cultural heritage of all the guilds that are member of the Federatie van Vlaamse Historische Schuttersgilden.
- Organization of the day of the guilds, where all the guilds that are a member of the Federatie van Vlaamse Historische Schuttersgilden are invited to participate.
- Organization of an annual exebition of all the patrimony of all the guilds.
- Organization of trainings and educations on safeguarding of the intangible cultural heritage.
- 3 times a year issue of an illustrated magazine.
The Federatie van Vlaamse Historische Schuttersgilden is an independent organization that cooperates with several national and international organizations who have the same objectives as the Federatie van Vlaamse Historische Schuttersgilden such as Het Belgisch Overlegorgaan van Historische Schuttersgilden, de Oud Limburgse Schuttersfederatie and the European Community of Historical Guildes (EGS).
The Federatie van Vlaamse Historische Schuttersgilden, as an umbrella organization, cooperates with all the organisations that are a member of the Federatie van Vlaamse Historische Schuttersgilden on the intangible cultural heritage. These members are individual working on safeguarding and maintaining the intangible cultural heritage. They do this by participating in parades, demonstrations, exhibitions and competitions. The Federatie van Vlaamse Historische Schuttersgilden stimulates and supports the connected organisations by publishing, organisation of the day of the guilds and exhibitions. Also by the organisation of information sessions, and trainings on several issues, all ment to maintain and safeguarding the intangible cultural heritage, and to
make in known.
Union Number of guilds / Number of active individuals
1. Verbond Beringen-Mijnstreek: 10 / 500
2. Verbond Lummen: 10 / 500
3. Bond “Maas en Kempen”: 23 / 1.000
4. Hoofdschuttersgilde van Brabant: 13 / 500
5. Lommelse Schuttersgilden: 3 / 200
6. Confed. Historische schuttersgilden: 15 / 800
7. Zuid-Westland & Veurne-Ambacht: 25 / 1.000
8. Het verbond der Schuttersgilden Genk: 7 / 350
9. Verbond van Sint-Jorisgilden: 7 / 350
10. Bond van Schutterijen “De Maasvallei: 6 / 350
11. Vlaamse Handboogliga afdeling Limburg: 16 / 400
|Federation of Associations for Hunting and Conservation of the EU - FACE|
Fédération des Associations de Chasse et Conservation de la Faune Sauvage de l'UE [fr]
Rue Frédéric Pelletier 82
Tel.: +32 (0) 2 732 69 00
Year of creation: 1978
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
Albania, Austria, Belgium, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Montenegro, Netherlands, Norway, Poland, Portugal, Republic of Moldova, Romania, Serbia, Slovakia, Spain, Sweden, Switzerland, TurkeObjectives:
FACE's main objectives are to promote hunting, in accordance with the principle of wise and sustainable use of natural resources, as a tool for rural development and conservation of our wildlife and biodiversity, as well as to preserve hunting as a cultural heritage together with the hunters' communities by allowing hunting traditions and shared knowledge to be passed on. As part of this FACE, representing 7,000,000 hunters and recognising the rich cultural traditions associated with hunting and hunters, works to safeguarding the undeniable, rich and varied cultural aspects that sustainable hunting traditions have added to and have helped to enriched Europe’s common heritage, as reflected over the centuries in our art, gastronomy, music and literature.
1) To promote and defend hunting, in accordance with the principles of sustainable use of natural ressources. Hunting has long and deep traditions spanning over thousands of years. Hunting as such (i.e. different hunting methods, such as hunting with hounds, falconry, stalking, calling etc.) as well as the traditions associated with hunting (like music, art, festive events, literature, knowledge about nature, gastronomy, hunting artefacts) constitute a rich and multiMfaceted intangible cultural heritage. In promoting and defending hunting, FACE seeks to safeguard a cultural heritage together with hunters' communities by allowing hunting traditions and shared knowledge to be passed on.
2) To establish and maintain permanent relations and exchanges between hunting associations, supporting their efforts and taking part in their work.
3) To defend the moral and physical interests of members of Member Associations, taking joint decisions on subjects of common interest and implementing those decisions.
This along with the promotion of hunting (as mentioned in point 1) implies to develop, maintain and amend national and international laws, treaties and conventions to permit the pursuit and perpetuation of hunting traditions, hunters' interaction with nature and their history, which provide our members with a sense of identity and continuity.
4) To contribute towards enlightening the public at large as to the principles of sustainable hunting, their value in the management and wise use of game and its habitats, as well as to the important role the public can play in the conservation of game and its habitats. This includes to uphold a positive public image of hunting and respect for hunting culture and traditions.
5) To promote all forms of activity, research and contacts associated with game and habitats, in particular with all national and international organisations which have similar concerns or would help in achieving the Federation's goal.
6) To raise and manage funds to contribute financially to projects of scientific research, of technical work, of conservation and management of wildlife and its habitats, of information and awareness raising and to any other initiative aiming to promote biodiversity conservation through the sustainable use of renewable natural resources.
As a Federation much of the direct activities related to safeguarding cultural heritage is conducted by our Members who in many cases have persons dedicated to managing cultural heritage activities (e.g. horn blowing, different hunting methods, gastronomy, etc.) and regularly organise training and events to keep the traditions alive. (See section 7)
We have also organised events at a European level to showcase hunting's rich cultural heritage, including a high level event at the European Parliament called “Hunting & Culture”.
FACE is a non-profit international organisation, which represents national Member Associations from 36 European countries whose total membership is 7,000,000 individuals. FACE is ensuring an active membership community to pursue the objectives for which it was established. It regularly convenes the Member Associations in various Working Groups, such as the ones on 'hunting with hounds', 'bow hunting', 'ethics', 'how to communicate hunting' and others. It organises an Annual General Meeting to discuss matters of the Federation. It provides a platform for contacts between its Members and
European decision-makers, inter alia in the framework of the Intergroup "Sustainable Hunting, Biodiversity & Rural Activities", which meets regularly in the European Parliament and for which FACE is providing the Secretariat. In addition FACE is organising events showcasing huntings' rich cultural heritage, such as the recent on "Hunting and Culture" in the European Parliament, held on 22 April 2009, where participants had a gastronomic experience of game meat traditions from Austria and France, could listen to German and French hornblowers and met wildlife painters displaying their art.
Representatives of FACE in our Member Associations are organising numerous activities related to the safeguarding of hunting as a cultural heritage and are dedicated to managing cultural heritage activities (e.g. different hunting methods - such as stalking, calling, hunting with hounds, falconry, hornblowing, gastronomy, festive events, etc.). They regularly organise training (hunting courses, courses in taxidermy and the making of hunting artefacts) and events to keep the traditions alive. A part of showing hunting to
the greater public is the organising of hunters' festivals: e.g. the annual Mednieku festivals Minhauzens in Latvia (the 12th being organised by FACE's Latvian Association in 2010), bringing together hunters and non-hunters to share knowledge about hunting. FACE's Slovak Association organised the annual Hunting Days in Levice (this year for the 15th time), where representatives from the State and Town Council, and a large
number of visistors could admire exhibitions about nature and animals and the presentation and science on hunting trophies. Seminars are organised to promote and inform about specific traditions in the domain of hunting, like the one on hunting with hounds in Chambourg, France, in June 2009, or the one on game-meat in Stockholm, Sweden, in July 2009. In Italy and France and other Mediterranean countries hunters
organisations hold bird regular calling competitions.
Hunting as a intangible cultural heritage is being described by FACE and its Members in Ibooks and films: e.g. the role of hunters as holders of certain cultural values in society is described by our Swedish Association in the short film "Ett satt att leva" - "A way of living". Similar actions are carried out by most FACE Members.
As mentioned above our Members, who are the representative hunting associations of 36 European countries, contribute to safeguarding the intangible cultural heritage of hunting. As a Federation we recognise four broad social cultures of hunting in Europe as follows:
We as a Federation maintain dialogue and exchanges between these different hunting cultures and also with other rural stakeholders. Individually our Members maintain cultural practices in their countries in line with the standards and ethics of hunting. In particular they maintain traditions and practices through training and organisation of events - e.g. horn blowing, singing, story telling, bird calling, hunting terms/language and cooking.
It should also be recognised that hunters being both urban and rural based bridge the growing urban-rural divide and actively participate in important local cultural activities e.g. The Baltic Song and Dance Celebrations & the Slovácko Verbuňk, Recruit Dances.
Since its foundation in 1978, FACE, through various Members, has promoted and defended the practice, tradition and heritage of hunting where it has existed for centuries. As a Federation, our Members undertake to maintain aspects of their national hunting culture together with other rural stakeholders. FACE Members organise national exhibitions, contests and educational events related to their hunting culture. Where regions share similar cultures (Anglo-Saxon, Nordic, Central European & Mediterranean)
their Membership to FACE facilitates cooperation in promoting and safeguarding their hunting culture. At European and international levels FACE promotes this rich hunting heritage as shown in our Manifesto for the period 2009-2014. This is done through various means, but in all cases through drawing on the expertise and knowledge from within our Membership. Where the cultural elements relate directly to the taking of wildlife we work to ensure that these traditional socio-cultural practices are in line with
the provisions of the Convention on Biological Diversity (Articles 8j & 10c). We are aware that there is a need to cooperate in a spirit of mutual respect especially on heritage issues related to hunting, which can on occasion be divisive. In this regard we are engaging in proactive consultation to overcome conflicts, where they exist.
As a Secretariat we intervene when required to protect or promote the practice tradition and heritage of hunting. We regularly attend and lend support to national hunting events,most of which include significant elements related to the tradition and heritage of hunting.
|Heemkunde Vlaanderen vzw|
Association for the Study of Local History in Flanders
Huis De Zalm
URL: http://www.heemkunde-vlaanderen.be ;
Tel.: +32 15 20 51 74
Accreditation request No. 90033
Year of creation: 1941
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
Heemkunde Vlaanderen wants to be a platform for the heritage community of volunteers studying the local and regional history in Flanders. All objectives of the organization contribute to the general aim of safeguarding the intangible and tangible heritage in Flanders, and sustaining and transmitting this heritage to future generations:
- Heemkunde Vlaanderen wants to support all volunteers and voluntary organizations that are active in the field of local and regional history and heritage. Heemkunde Vlaanderen stimulates the work carried out by 600 local organizations by giving support and training, by informing them through publications and newsletters, by facilitating the access to information, by organizing conferences, by informing them about policy decisions, by making their voice heard at a political level, by participating as a representative body in decision making processes, etc.
- Heemkunde Vlaanderen wants to support and train local museums, archives and documentation centers. This support concerns all aspects of managing and presenting the local heritage collections.
- Heemkunde Vlaanderen is an association that brings people together who value the history and the heritage of their own local environment and region. The exchange of ideas and information is a central point of departure.
- Heemkunde Vlaanderen wants to be an organization that works in a European and international perspective and that stimulates people to use culture as an instrument towards mutual understanding, respect and sustainable development.
- Heemkunde Vlaanderen wants to be an organization that contributes to an honest and democratic society, respecting cultural diversity and human creativity.
Heemkunde Vlaanderen offers support and training to local heritage organisations, individual heritage volunteers and local museums and archives dedicated to local heritage. The activities of the organization are of great value for safeguarding the intangible heritage in Flanders, albeit often in an indirect way. By stimulating and supporting the local commitment of thousands of volunteers, the organization plays an important role in safeguarding the Flemish heritage. The organization currently has five staff members, all of them specialized in (public) history and heritage, both tangible and intangible. One of the staff members acts as a consultant for local voluntary groups,
while two staff members both coordinate a specific project, resp. about local heritage museums and an international heritage project. A coordinator oversees the activities of the organization, backed up by a director. It is impossible to present all activities in which the organization is involved, but some recent examples will illustrate the wide range of activities concerning intangible heritage carried out by the organization.
- Organization of courses about a.o. oral history and preservation of audiovisual media: the aim is to offer methodologies and good practices to the community of volunteers, giving them the opportunity to preserve their heritage in a durable and qualitative way.
- Organization of annual general meetings, focusing on a specific heritage theme. Often this theme is related to intangible cultural heritage, e.g. culinary heritage and folk language (2005) or carnival (2007).
- Promotion of intangible heritage at general cultural and heritage events. Recently a heritage movie was broadcasted at the annual Flemish Heritage Day, showing testimonies of several people with a different (cultural) background. Cultural diversity is an important issue for the organization in general, and this subject is explored through several pilot projects.
- In a lot of activities, special attention is given to the participation of children and youngsters. Heritage education is an important issue for the organization in general.
- The organization permanently follows up national and international evolutions in heritage policy. Recently, the organization was asked to be a partner to support the nomination of the well-known carnival in Aalst for inscription on the Representative list of intangible heritage.
- In recent years the organization was a partner in projects about a.o. folk dances, the immaterial remains of the colonial history in Flanders, the immaterial heritage of stone quarries, the heritage of a youth movement and a competition for heritage movies.
Heemkunde Vlaanderen is the umbrella organization of associations of local history volunteers in Flanders. The membership of this non-profit association consists of roughly 450 voluntary associations, 426 local museums and 306 local archives and doumentation centres. The cooperation with all these heritage volunteers forms the
backbone of the organization. The collaboration with and among these heritage volunteers is genereally considered as a enriching experience for all parties. All collaborative projects are carried out in a spirit of mutual respect. As the examples mentioned above cleary indicate, the exchange of ideas and information is a central
point of departure. Through all its activities Heemkunde Vlaanderen strives to contribute to a honest and democratic society, respecting cultural diversity and human creativity.
One project, however, deserves special attention. Together with two other Belgian heritage NGOs Heemkunde Vlaanderen also took the initiative to build up a new and open European network of heritage organizations: the Inventory of Heritage Organisations in Europe (IHOE - www.heritage-organisations.eu). At this moment more
than 330 organizations registered themselves on this website. This network is still constantly growing. This bottom-up initiative is a pioneering venture and might play a crucial role in the future of an active European civil society for heritage. In March 2009 a European conference on civil society organizations active in the field of heritage will be organized in Mechelen. About 180 people from 25 countries are expected to participate
at this conference.
|Het Domein Bokrijk vzw|
The Domain Bokrijk
Tel.: +32 11 265 300
Year of creation: 1958
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
The Domain Bokrijk houses a large open air museum. Bokrijk is the museum in Flanders where in a 1-to-1 scale peasant houses from all over Flanders in open air are shown, preserved and studied. Through its unique collection of buildings, objects, churches, chapels, interiors, tools, its knowledge about crafts, rituals and practices in daily life and historical fauna and flora the museum wants visitors to experience what it could have meant to live in the countryside in what is now called Flanders. Through interactive means and media (theatre, music, word, images) and in an appealing and understandable language the museum aims to confront people living in the 21st Century with the way in which a former rural society - its people, dwellings, and daily practices - has gradually changed by showing them the cradle of the present. Moreover the museum wants to tease and wonder a culturally diverse public, to have them rethinking their own lives and memories and to make them sensible about the relativity of past, present and future. The museum aims to keep and upgrade the innovative methods it works with to achieve this mission for a socially and culturally diverse public.
In short, the Domain Bokrijk including the Open Air Museum Bokrijk aims a culturally and socially diverse public to appreciate, enjoy and understand the cultural (both tangible and intangible) and natural heritage since 1500 on the countryside in what is now called Flanders by collecting, preserving, protecting, researching and valorising aspects from the culture of daily life.
The Domain and the museum has over the years, from its opening in 1958, created a substantial pool of knowledge on local building traditions, materials, techniques, crafts, tools, rituals and building and crafting practices in Flanders. This knowledge has been tested and proven in daily practice in the museum. There are three groups of personnel that are actively involved in these forms of intangible cultural heritage: Marc Jansen and Kristien Ceyssens, respectively head and architect to the technical department; Jef Brebels, Johny Lowet, Raoul Putzeys amongst others, respectively carpenter and wagon maker, thatcher, cooper and allround restoration worker; Raf Schepers, head of collections, and Hilde Schoefs, curator, who research the history of crafts and craftsmanship and the rituals and practices concerned.
The museum participates since several years in the work of the Interface Centre for Living Heritage (www.sle.be). In concreto this means the museum and domain of Bokrijk help preserving rare breeds of local historical livestock as sheep, cows, pigs, horses, goats, turkeys, …by breeding new genetic offspring. The person responsible for this program is Frank Libens, head of fauna to the technical department since 1996.
The Domain and the museum organised in 2010 the 29th edition of its Dialect- and Street Theatre Festival. Frank De Roeck, cultural worker and musician, is responsible for this programme. On Whit Monday a selection of traditional forms of street theatre are performed in their respective dialects by local groups from all over Flanders. Together with quality music groups, that bring a historical repertoire on replica’s of historical music instruments and in confrontation with more recent artistic performances these traditional performances are given a stage to present their work to a large, and socially and culturally diverse public. It is every year more difficult to attract quality performances rooted in traditional practices as these performances are partly looked upon as old fashioned and out of time. The museum considers it to be its role to safeguard these performances by giving them an annual stage.
The Domain and museum is known for its original and replica installations of historical games and play as for example archery, playing skittles, curling, 'struifvogelen', 'bikkelen', ... and for its array of regional and historical parlour games. Visitors can not only try for free parlour games and sports, they can also take the challenge to compete in teams in some of these historical games guided by a trained museum guide.The person responsible for installing this diverse programme in the museum during the last decade is Bea Vaes, head of the educational cell, who previously won her spurs working for what is now Sportimonium, the museum of sports and games (www.sportimonium.be).
Luc Frenken, historian, is responsible for the 1st person living history in the Haspengouw part of the museum. He researches food, clothes, habits, micro and macro history and brings this together in daily performances.
In 2009 the museum started together with FARO. The interface centre for cultural heritage in Flanders and other local organisations in Flanders in partnership with Alan Govenar (Documentary Arts inc, Dallas) an exhibition called 'Treasures in/from People', which will travel around Flanders in 2010-2011 accompanied by public activities (see below). It opened in the UNESCO headquarters in Paris April 2010. In the exhibition we try to translate the meaning of the concepts 'intangible heritage' and 'living human treasures' as defined by UNESCO in the 2003 Convention to the visitors. Americans from the National Heritage Fellowship are portrayed next to Flemish people who are passionate about their knowledge, practice or skill.
The kick-off of the above mentioned exhibition and tour is on July 18th 2010 when the museum organises the first edition of 'Passion & Tradition. Living human treasures in Flanders'. This day the visitors can watch demonstrations, performances, skills, … from passionate and skilled people concerning intangible heritage all over the museum. People can not only watch, but are actively invited to ask questions, to give it a try themselves in free workshops, to discuss the Convention in a debate, … A special link is made to the USA, as guest country.
On July 19th 2010 the museum organises together with FARO an international colloquium titled ‘Visibility, Awareness, Dialogue. Learning from elsewhere: the USA’. Guest speakers that day are Barrey Bergey (director of Folk and Traditional Arts, National Endowment for the Arts), Peggy Bulger (director of the American Folklife Center, Library of Congress) and Alan Govenar.
Hilde Schoefs, curator, who previously worked for FARO as researcher and member of staff responsible for oral and intangible heritage, has taken the lead for these interconnected initiatives.
The Domain and Open Air Museum of Bokrijk has a longstanding tradition of collecting, sharing, preserving and staging intangible heritage with and by both communities and individual practitioners.
The museum started in 2008 'Learning from the Past' where skilled craftsmen teach their skills and their knowledge on wagonry making, cooping and thatching amongst others in a one to one learning trajectory with a pupil. This form of life long adult learning is supervised by the Personnel Department of the Province of Limburg.
The museum shares its diverse knowledge on intangible cultural heritage forms and practices actively within a broader community of open air museums (AEOM, www.aeom.org), that meets yearly. Next to these official meetings the museum holds close contacts with several open air and other museums, to share knowledge, as for example in 2009 with the Open Air Museum of Arnhem, het Huis van Alijn, Sportimonium, and the Open Air Museum Kommern. In 2010 the museum was host to two delegates from the Norwegian Ministry of Culture making a study on the ratification of the Convention and the manner in which different countries, ministries and cultural heritage organisations try to implement it and translate it to the public.
As stated below 6c the museum offers yearly on Whit Monday a stage to performing groups of street theatre from all over Flanders. This is the only occasion where street theatre performances from different regions and different sorts are shown together.
Also mentioned below 6c is the first edition of the museum festival 'Passion & Tradition. Living human treasures in Flanders'. This day the visitors can watch demonstrations, performances, skills, … from passionate and skilled people concerning intangible heritage all over the museum. Individuals and groups that will share their expertise that day are amongst others Frank Degruyter (expert narrator), Guy Vandecasteele (expert puppet making), Magda Vaes (expert in breast feeding advice), the ladies from Kant in Vlaanderen (lace making), the Steltlopers van Merchtem, the ‘krulbollers’.
Tel.: +32 (0) 15 34 94 36
Year of creation: 1973
- performing arts
- MISSION STATEMENT
The Firmament is an acknowledged nationwide centre for puppetry heritage. It acts as an inspiring and professional pioneering organisation, by acquiring and transferring knowledge and expertise on the tangible as well as the intangible aspects of puppetry heritage. The main focus is on safeguarding, research, and contemporary techniques of presentation. By doing so, The Firmament tries to enhance the visibility of the art of puppetry and its dynamic heritage.
The Firmament wants to be a place where people related to theatre and heritage, can meet each other, and can connect with the public. In this way, it wants to broaden the puppetry heritage community, both nationally and internationally.
All objectives contribute to the general aim of safeguarding the intangible and tangible heritage of puppetry in Flanders, and sustaining and transmitting this heritage to future generations:
1. The Firmament maps the puppetry heritage in Flanders in a methodological manner.
2. The Firmament proactively puts its knowledge and expertise concerning the intangible puppetry heritage at the disposal of the cultural heritage community. This community consists of organizations and persons who value the puppetry heritage.
3. The Firmament continually wants to extend its services, by:
- improving the safeguarding of tangible and intangible puppetry heritage in Flanders;
- bringing the tangible and intangible puppetry heritage in Flanders under the attention of the public;
- stimulating education and academic research on the subject of puppetry heritage;
- sharing international networks and knowledge gained through these networks with the cultural heritage community. The Firmament is an organization that operates in a European and international perspective and that stimulates the use of culture as an instrument of communication.
4. The Firmament takes responsibility in digitalizing the cultural heritage according to internationally accepted standards.
5. The Firmament focuses its attention on the ethnic-cultural diversity of its staff and board of directors and initiates activities with regard to diversity and intercultural projects.
Since the foundation of The Firmament in 1968, important initiatives are taken in order to safeguard the tangible and intangible heritage of puppetry in Flanders. Taken into account the elaborate history of the organization, only some recent activities will be looked at more closely.
One project however deserves special attention:
1. Realisation of the ‘masterplan for puppetry and its heritage in Flanders’ (September 2009).
The latest UNESCO convention regarding intangible cultural heritage has gone anything but unnoticed in Flanders. Due to the fast pace of activities at the convention with regard to intangible cultural heritage, the heritage guardians in Flanders were also addressed very rapidly: as it happens, there did not, and still do not exist any ready-made models, guidelines or regulations on how to fit this ‘new’ and very fragile heritage form into the dynamics of the existing cultural policy. Hence, the Flemish government reasoned that by examining a limited number of ‘good examples’ it would be possible to determine how best this immaterial cultural heritage would be assured a stable future.
The ‘masterplan for puppetry and its heritage’ can be seen as one such ‘good example’, because the methodology utilized can be transported and re-used without much difficulty in many similar fields. The research project has been conducted by The Firmament for three years, at the request of the Ministry of Culture, the Department of Art and Heritage.
During these three years, multiple methods were developed to gather, preserve and share the intangible puppetry heritage.
A vast amount of information was gathered this way, which never had been done before. By doing so, The Firmament hopes to have created a foundation for a profound policy concerning puppetry heritage in Flanders.
2. The organization of yearly conferences for everybody with a keen interest in puppetry and its heritage.
Through lectures, workshops and interviews, current topics concerning puppetry theatre and its heritage are dealt with. Renowned speakers clarify their vision on puppetry theatre and its heritage in the 21st century. Different performances demonstrate the diversity of the world of puppetry. The conferences offer a lot of opportunities to establish and maintain networks. Also, the intermediate results of the ‘masterplan’ are presented to international experts. Het Firmament already had the privilege to welcome Janne Vibaek of the ‘Opera dei Pupi’ from Sicily (2006), Lucile Bodson from the ‘Institut International de la Marionnette’ in France (2008), and many other guests from the Netherlands and Germany.
3. The organization of exhibitions concerning puppetry and its heritage, with special attention to intangible puppetry heritage.
Current examples are ‘Encounters in the puppetry theatre’ and ‘Bedtime stories in the castle’. Apart form that, The Firmament takes initiatives on a regular base to present the puppetry heritage in an original way, for example the project In-Fusion/Hayat, a puppetry project in hospitals about diversity and racial differences. The Firmament also made a promotional video clip for the Belgian National Television. Using puppets created over 60 years ago, a modern video clip was recorded.
4. The Firmament nurses the intangible puppetry heritage, which is incorporated in the 'living human treasures'. They get the opportunity to pass on their unique knowledge and expertise to students, by means of workshops (among other things). Since there is no formal training for puppeteers in Flanders at the moment, workshops are an important means to preserve and transfer this intangible heritage.
5. The website of The Firmament (www.hetfirmament.be) serves as a platform where a large amount of information about puppetry (history, techniques, theatre companies, etc.) can be found. The website also features a multimedia page containing samples of puppetry videos, with special attention to the intangible aspect of the puppetry heritage.
The Firmament seeks to surprise a diverse audience with the unique magic of puppetry and its heritage. The Firmament develops a stimulating meeting point on the crossroads of tradition and experiment, art and education, heritage and theatre, research and practice.
Belgium is renowned for its extensive puppetry tradition, which can be traced back to the Middle Ages. Travelling puppeteers established themselves as community in Flanders around 1800. As of then, certain (local) traditions took shape gradually, and were passed on from generation to generation. As an example: 'Koninklijk Poppentheater Toone' from Brussels performed for the first time in the 1830s, and the ‘Poesje van de Reep’ from Antwerp in 1862. Both are still performing today.
The Flanders puppetry heritage is situated in the performance arts as well as in the traditional craftsmanship. Intangible puppetry heritage consists of construction techniques, stage techniques, stories and myths, but also of performances. These are passed on by means of education, interviewing key players and performances. Indeed, performances are not just a way to pass on intangible heritage, but are intangible heritage themselves.
Nowadays, some eighty puppetry companies are active in Flanders, and they range from very traditional to contemporary. All these companies, added up with the sixty non-active companies, are regularly contacted by The Firmament and get into debate about the value of heritage.
Together, they preserve no less than 16.500 puppets. This is an impressive figure, but the real meaning of puppetry heritage relies in the fact of reusing and updating it, e.g. by means of performances.
In this perspective, The Firmament keeps tight connections with the performance arts in general and the amateur puppetry arts, and presents it on a regular base to the public.
The Firmament is, as such, active on the crossroads of different domains in which it has built an extensive network over years.
The organisation can rely on different heritage experts and partner organizations. Apart from oral history projects, The Firmament gives special attention to the transfer of intangible heritage, like stage and construction techniques. ‘Living human treasures’ get the opportunity to pass on their unique knowledge and expertise to students, so that this intangible heritage is not lost. In this way, The Firmament has a broad contact with puppeteers in Flanders, both starters and experienced performers.
|Het Huis van Alijn|
The House of Alijn
Tel.: +32/9 269 23 50
Year of creation: 2000
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
The House of Alijn collects, preserves, documents and presents the material and intangible aspects of everyday heritage. These activities are conducted according to international standards as defined by ICOM. The House of Alijn, a museological institution and centre of knowledge, is an officially recognized organization. It has the assignment to develop expert knowledge about the study of everyday life culture. The organization stands at the crossroads of the local and international heritage community. This (inter)national network consists of cultural heritage institutions, communities and individuals focusing their attention on the various components of everyday heritage. Acting as a reference institution the House of Alijn deals with global, universal themes such as rituals and social practices at transitional moments, festive events, religious experiences and popular belief. Furthermore, the museum records, studies and documents more specific aspects, such as local habits and customs of certain subcultures or smaller communities within the Flemish and broader international context.
Being a museological institution and a centre of knowledge the House of Alijn has the task to pass on this knowledge about man and his relation to objects, rituals, stories, habits and customs to the public. The museum acts as an exchange platform: knowledge is exchanged through public presentations such as exhibitions, publications and web 2.0. applications. We are driven by the following mission: 'The House of Alijn is fascinated by the culture of everyday life, here and elsewhere, and wants to share that passion in a dynamic, thoughtful, inspiring and mind-broadening way with both young and old in order to deploy and pass on meaning-engendering ideas, stories and images.' One of the operational foundations is the search for active and structural interactions with the public. The museum has grown into a workplace for memory, establishing hyperlinks between present, past and future. In other words, it has become a meeting place for individual and collective stories. The museum has an open look on the world and believes that heritage has a role to play in the creation of a participative, intercultural society; heritage is seen as a leverage for the empowerment of individuals and groups.
The material heritage is traditionally significant to any museological institution managing collections, but these last years the intangible cultural heritage has gained an even larger importance. As a matter of fact, its safeguarding has become a major operational pillar.
The House of Alijn has acquired the necessary experience in various fields regarding the safeguarding of intangible cultural heritage. Collaborating in mutual respect with individuals, communities and other cultural heritage organizations constitutes a basic attitude. The staff members of the House of Alijn are trained in order to optimize their intercultural competences. The museum sees itself as a link in a larger network, as is shown by the examples below. Those projects focus on specific aspects of the broader subject ‘culture of everyday life’, our general field of research. Given that the House of Alijn acts as a museological institution managing collections, there are inevitable links between material and intangible components. The expertise of the House of Alijn mainly concerns aspects of opening up to the public and the search for new forms of presentation.
The past five years the museum has performed structural work in the field of the linguistic heritage. A multimedia presentation has been set up in collaboration with the Dutch Linguistics Department of the University of Ghent, thus enabling visitors of the museum and the website to get an interactive introduction to the southern Dutch dialects. This project led to large-scale digitalization, as well as the presentation of sound-recordings to the public. The persons responsible and their competences: Nele Van Uytsel, Germanist / collection recorder, and Greet Vanderhaegen, art historian / collection administrator, in collaboration with prof. dr. Jacques Van Keymeulen, Dutch Linguistics Department of the University of Ghent.
The House of Alijn is also the initiator of a large cooperation with regional tradition and local customs museums in Flanders. This project concentrates on documenting the culture of celebrating, both in its historical context and today. By using a mix of visual supports, the museum contributes to the preservation of aspects of the collective memory of regions and traces of popular and regional traditions. Thanks to a contemporary presentation we attract the attention of a broad public. The person responsible and her competences: Sylvie Dhaene, psychologist and art historian / museum director.
The House of Alijn is familiar with the methods of contemporary oral history. This multi-disciplinary research method is a major operational pillar linked, among other things, to the constitution of the collection, stock-taking, digitalization and research, as well as the presentation of 20th-century moving and still images (family films and pictures).
Furthermore, this method is also used for ongoing projects with regard to recording the history and documenting the repertoire and techniques of traditional puppet theatre, the nomadic existence of circuses, everyday post-war life, and so on. The person responsible and her competences: Sarah Eloy, historian and expert in oral history / scientific collaborator.
These past few years the House of Alijn has collaborated with museums throughout the world. Thus, the exhibition 'L'arte popular do Brasil' was set up in cooperation with a museum in São Paulo (Brazil) and the department of Ethnic Art of the University of Ghent. Collaboration with the Ethnographic Museum in Sofia (Bulgaria) resulted in an exhibition about the traditions and habits performed at transitional moments. The National Museum of Greenland (Nuuk) was our partner on the occasion of an exhibition about the Inuit culture. Other cultures shown in the museum were Nagaland and Thibet. At present, Turkish partners in Belgium and Turkey are working on a project about gastronomic culture.
As shown in the various projects of question 6.c., we think that close collaboration with different partners in the national and international heritage community is essential. Those partners can be a specialized expertise centre, a university or research institute, a museum, but also individual persons. The scope is national and international. The House of Alijn takes a lively interest in the world and wants to narrow the gap between the various cultures and the general public. Apart from the nature of the project, we attach great importance to the progress of the process, the exchange of knowledge and experience and shared responsibility. All partners are equal and cultural differences are seen as assets. Partaking and involvement are our guidelines. Working together, we search for a (final) result, sc. an exhibition, a publication, a web page, an audio tour, and so on. The past few years, this method has helped the House of Alijn to create a solid support and a reliable network of volunteers and experts in the heritage community.
|Instituut Voor Vlaamse Volkskunst vzw|
Year of creation: 1964
- oral traditions and expressions
IVV is a partner to all active participants, organisations and people interested in Flemish Folk Art. Up to now all publications have been made in Flemish (Dutch), but in the near future cooperation will be sought on an international level for publishing.
The members of the IVV are experienced practitioners of folk dance, folk music, flag waving and traditional fashions. IVV is an open organisation with no restriction as to people, politics or geographical boundaries.
Folk art includes every culturally precious ‘product’ from a living ethnic community. It can also be considered as all kind of art emerging from a community. Flemish folk art belongs to Flemish Folklore within the immaterial cultural heritage of Flanders. ‘Flemish’ refers to what has been traceable within the larger Flemish historical communities (= within the Belgian, French and Dutch context). IVV concentrates on traditional (= at least 50 years existence) and contemporary folkdances, folk music, flag waving and traditional fashions.
IVV consists of four working parties dealing with:
(1) the study of dances and dancing music;
(2) the study flag waving
(3) the study of traditional fashions
(4) communication: a.o; editing the quarterly journal.
All working parties are meeting at least 6 times a year and their members are working on publications in the field.
IVV is a non profit organisation. It has a general committee and a general assemblee.
IVV is officially recognized by the Flemish Government and receives a annual budget of
40,000 euro. IVV has one part-time staff member.
Main activities of IVV are concentrating on collecting, archiving, studying, translating,
reworking, publishing and teaching about folkdances, flag waving sequences, songs and
description of traditional fashions. Study is based on oral and written sources in Flanders
as well as abroad. IVV is co-operating with partner organizations within the field for study
and organizing courses and interactive workshops and for enabling the exploration of
From 1964 until now 18 books were published. They cover 160 traditional Flemish
dances. Another 10 editions have been made with dances recently designed in folk
dance groups. One edition deals with terminology and vocabulary used to describe the
dances. All editions instruct the reader with historical background, description, music and
figures or drawings of dances. The working party on Flemish folk dances is also involved
in courses and interactive workshops.
Activities are actually focused on historical elements and dances within the traditional
archery guilds, study and visualization of variations on basic dances like polka, scottish,
mazurka, walzer and quadrille and editing newly created dances. The main challenge for
the working party is to keep folk dance attractive and to guarantee quality in performing.
A basic handbook about the historical background and the technique of flag waving was
published in 1974. Six other editions cover specific flag waving sequences, a part is
historically based, another part comprise newly created combinations. This working party
made an edition with vocabulary and terminology of flag waving and another edition
about drum playing when accompanying the flag waving.
Actually new creations are noticed and recorded. The working party on flag waving has
its annual instructive course and is co-operating with partner organizations to spread the
culture and technique of flag waving within these organizations.
A first standard work on local fashions in Flanders was published in 1994, the subject
being part of the ‘submerged cultural heritage’. It deals with local traditional costumes, a
fashion that’s always 50 years behind. A great deal of information on the development of
this clothing was obtained from paintings, drawings, description of people from the
recent past. In this book attention is devoted mainly to the period between 1750 and
1950, with an occasional glance back at the 16th and 17th centuries. A second edition
will appear in 2009. It will deal with thematic aspects (particular clothing elements),
geographical differences in clothing and the social role of clothing with special attention
to multicultural influences.
The working party started its activities officially in 2008. It deals with diverse aspects of communication. Challenges for this working party are the content of the quarterly journal and renewal of its lay-out. By optimizing the opportunities of the website and translating the texts disseminated in at least four languages this medium must enable IVV to spread its information across Europe.
The number of groups dealing with intangible cultural heritage is high in Flanders, due to individual, historical and political reasons. From its origin IVV has co-operated with different federations and organisations without any restriction. There is a large representation of these bodies within the working parties of IVV and within its
membership. Up to now there are no structural or ideological conflicts hampering cooperation of IVV with partners in the sector.
In July 2008, IVV presented a feasibility study to the Flemish Government about the role it could fulfil as intangible cultural heritage organisation in the Flemish community. A structural interview was carried out with 16 partner organisations. These interviews were written down verbatim, analysed on keywords grouped in a code book and clustered.
Additionally an inquiry was sent to 34 other partner organisations of which 62% responded. These inquiries were also analysed and the results qualitatively studied. This feasibility study gives us a clear view on the tasks and the responsibilities of IVV within the sector of intangible cultural heritage. According to the interviewees and the
inquired partner organisations IVV is regarded as a centre of excellence with regard to the study of traditional and contemporary Flemish folkdance (+ related songs and music), flag waving and fashions. It is expected that IVV collaborates within the sector for its research and that it will continue to spread the findings through the partner
organisations by publications, visualising, courses and interactive working parties.
Several partners offered to mediate in the multicultural approach of comparatively studying symbols and rites as well as outing of dance, song, music and fashions on the national and European level. The challenge of making the collaboration structurally visible within the sector of intangible cultural heritage can be met if IVV succeeds to get more staff and budget. As a direct consequence of the feasibility study, the above mentioned findings were translated into strategic and operational objectives and submitted to the Cultural Department of the Flemish Government.
|International Association for Falconry and Conservation of Birds of Prey (IAF)|
Rue de Longueville 13
B-1315 Sart-Risbart (Incourt)
Tel.: +32 10 88 1188
Year of creation: 1967
- social practices, rituals and festive
- preservation, protection
1. To represent falconry throughout the world. Falconry is the traditional sport of taking quarry in its natural state and habitat by means of trained birds of prey. It is a hunting art.
2. To preserve and encourage falconry within the context of sustainable use of wildlife.
3. To encourage conservation, the ecological and veterinary research on birds of prey and promote, under scientific guidance, domestic propagation for falconry.
4. To develop, maintain and amend national and international laws, treaties and conventions to permit the pursuit and perpetuation of falconry.
5. To require the observation of falconry, hunting, conservation and welfare laws, regulations, traditions and culture with regard to the taking, import, export and keeping of birds of prey, the taking of quarry species and the right of access to land in the country concerned.
6. To promote and uphold a positive public image of falconry with specialist organisation, which regulate or otherwise affect falconry.
The IAF is a non-profit international association, which represents 69 falconry Member Organizations from 48 nations whose total membership exceeds more than 30,000 individuals worldwide. Regarding active membership, which forms a community linked by the desire to pursue the objectives for which it was established, the IAF Officers, Advisory Committee, and Council of Delegates meet at its Annual General Meeting to discuss matters of the association.
Representatives of the IAF have been active as members of the board of directors, participants and supporters of the Archives of Falconry (USA) and the Falconry Heritage Trust (UK). Many representatives of the IAF made presentations on the cultural tradition and history of falconry in their respective nations at the international conference held on September 12-15, 2005 in Abu Dhabi, UAE, for the proposal of falconry as an intangible cultural heritage by UNESCO. In July 2007, the IAF, along with many of its Member Organizations, attended the Festival of Falconry, in Reading, England, which united and presented the heritage of falconry for UNESCO recognition for representatives and interested festival attendees. The IAF will attend another Festival Falconry to be held for the same purpose in 2009. In November 2006, the entire Council of Delegates visited the Archives of Falconry where the greatest collection of falconry heritage materials exists in a single location in the world. The collection includes paintings, books, documents, and other literature, artifacts, and also the Memorial Sing dedicated to the memory of the founder of the UAE, Sheikh Zayed bin Sultan al Nahyan, which depicts the culture, tradition, and heritage of Bedu falconry in the Arabian Gulf.
Over many years the IAF, through various representatives, has intervened to protect the practice, tradition, and heritage of falconry where it has existed for centuries. IAF representatives have met with falconers, local, regional, and national government authorities, and at the international level in the European Union. We have provided expert advice in law and regulation, cultural practices, and heritage history, conservation and biological information, where appropriate, in the following countries most recently: Belgium, China, Denmark, Estonia, Kazakhstan, PMalta, Morocco, Netherlands, Scotland, Switzerland, Slovakia, Slovenia, Sweden, Turkey, Turkmenistan, UAE, and USA. Because many falconers of the world rely on birds of prey produced in captivity, we have intervened to encourage and support captive propagation throughout the world, including in Europe and North America. Similarly, where local falconers rely on raptors harvested from naturally occurring wild populations, the IAF has intervened to support wild harvest on the principle of sustainable use, as part of the nations' cultural and traditional practice of falconry.
|Kant in Vlaanderen VZW|
Lace In Flanders - KiV
Tel.: +32 13 33 40 02; +32 33 40 02 + 32 16 25 75 01
Year of creation: 1997
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
Belgium, Germany, NetherlandsObjectives:
The non profit organisation “Lace in Flanders” (Kant in Vlaanderen) was founded in 1997 with the purpose of safeguarding the craft of needle and bobbin lace making and related techniques. The association has officially been acknowledged by the Flemish Government as a representative for lace and the craft of lace making and as such acts as its spokesperson.
"Lace in Flanders" is an organisation being led by highly motivated volunteers, mainly (but not exclusively) women, driven by a will to preserve this precious and historic tradition.
The Organization takes measures, through formal and informal education, to ensure the continuation and revitalisation of all aspects of lace and lace making, this includes identification, documentation, historical research, storage, preservation, conservation and promotion.
Needle and bobbin lace making, and various related techniques, are traditional crafts which have been passed on from generation to generation. The craft of lace making in Flanders has been constantly recreated by communities and groups in response to their environment, and their historical background, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.
‘Lace in Flanders’ is coordinating, optimising and stimulating many initiatives concerning the endangered intangible cultural heritage of needle- and bobbin lace making and the various related techniques. The organisation encompasses the academies, schools, centres, local organisations, and individuals interested in the traditional craft of lace making and its wide variety of aspects.
The organisation has competence to support the efforts which need to be made regarding the scientific studies of lacemaking and the improvement of the quality of the working techniques. It supports the academies, schools and associations promotes their activities at home and abroad.
“Lace in Flanders” organises exhibitions at home and abroad as well as lace contests for youth and adults for the promotion of lace as a creative skill. It organises workshops and lectures. Studies and research with respect to lace are supported and encouraged. Members and stakeholders are informed through the quarterly bulletin “FILUM”.
“Lace in Flanders” (Kant in Vlaanderen) treasures lace and lacemaking as an important intangible cultural heritage for Flanders, Europe and the World. The art of lacemaking is a valued craft with a long and important textile and social history. Starting simultaneously in Flanders and Italy in the early 16th C the craft has been passed down through the generations and has been, and still is constantly updated by designers and lacemakers . Despite industrialisation in the 19th Century this handcraft has spread throughout the world, and is still practised by thousands of lacemakers in many countries.
“Lace in Flanders” encourages and co-ordinates the study and the practice of all types of bobbin and needle lace, both traditional and contemporary. It stimulates contacts between lacemakers in Flanders and abroad in order to maintain and spread the old traditions, and to encourage contemporary creations.
According to its constitution “Lace in Flanders” aims to promote and co-ordinate the study, practice, and technical quality of bobbin and needle lace and related techniques, in both traditional and contemporary art creations.
Workgroups composed of highly motivated volunteers are active for the benefit of “Lace in Flanders”, its membership and stakeholders. To obtain its goals “Lace in Flanders” organises the following activities in both Flanders and abroad, covering a wide variety of topics concerning this valuable craft.
- History of lace and Lacemaking: “Lace in Flanders” maintains contacts with universities, research centres and lace experts in Flanders and abroad , aiming at extensive studies appertaining to lace history, and the spreading of the craft in various regions of the world. Reports of the research are published in a quarterly magazine ‘Filum’ which is sent to members.
The Organisation has a library, for the use of its members and researchers, with a large number of books and magazines relating to lace, lacemaking and other related topics.
- Education and Networking: “Lace in Flanders” is in contact with formal and non-formal educational establishments in order to revitalise the various aspects of the cultural heritage of lace. Lace Organisations are encouraged to provide courses and workshops for both adults and young people in order to spread the knowledge of the various and famous old Flemish lace techniques. Training programs in lace making techniques are organised for teachers, to guarantee the quality of the education provided.
Identification and conservation: many individuals, groups, churches and convents in Flanders own collections of valuable laces. “Lace in Flanders” is making a concerted effort to trace these collections, to support the owners with identification, cataloguing and providing information on storage, conservation and restoration.
- Contemporary Lace: Famous artists in contemporary lace are employed to lead workshops, courses and Lectures. Projects for contemporary lace design are provided to maximize the opportunity for international exchange and collaboration. Exhibitions of new creations are organised and have been staged not only in Belgium, but also in Barcelona, Spain; Kiskunhalas, Hungary; Minsk, Belarus; Vianen, The Netherlands and Cologne, Germany.
- Lace Museum: “Lace in Flanders” is managing its own Lace Museum in Sint-Truiden. The Museum was opened in 1970 in the historical building owned by the Ursaline Sisters. The Sisters have had a tradition of lace education for over a hundred years. In order to continue this tradition, and on request of the sisters “Lace in Flanders” provides lace education and workshops in this historical building. The museums display decorative lace pieces designed and executed by the sisters of the convent during the period of the revivs of lacemaking in the 1960s and 1970s.
- Communication: The journal ‘Filum’ is published four times a year containing many articles about the history of different types of lace and lace in other countries.
“Lace in Flanders” has officially been acknowledged by the Flemisch Government as a representative organisation for the intangible cultural heritage of lace, lace making and related techniques.
Safeguarding programmes are the core business of the organisation. Therefore “Lace in Flanders” co-operates with museums (c), experts (b), national (a), and international (d) organisations.
a) “Lace in Flanders”” operates in close contact with FARO. Flemish interface centre for cultural heritag (FARO. Vlaams steunpunt voor cultureel erfgoed vzw).
“Lace in Flanders” participates in national events such as ‘Erfgoeddag’ (Heritage day)
“Lace in Flanders” collaborates with the education department of the Flemish Government in order to set up programs for lace making courses for teachers in formal and non formal education.
“Lace in Flanders” co-operates with church communities, convents and private collectors of lace and advises them about storage conservation and cataloguing.
“Lace in Flanders” organises demonstrations with practitioners in order to promote the intangible cultural heritage of lace. “Lace in Flanders” organises also seminars for lace schools, organisations, groups and individual practitioners of the craft.
Information and news-letters are sent to stakeholders by e-mail.
b)“Lace in Flanders” has close contacts with experts from lace, textile and fashion museums such as Musea Brugge; Bruges, Vlasmuseum, Kortrijk (Flax museum Courtrai), Lace and Costume Museum, Brussels; MOMU, Antwerp.
c) “Lace in Flanders” has set up projects with museums in Belgium:
- National Flax and Linen Museum
- International Lace Contest for adults: ‘Linum’ 2004
- International Lace Contest for youth : ‘In space’ 2007
- Brugge Museum
- Seminar : Lace History, Lace as inspiration for design
d) “Lace in Flanders” has also set up projects with similar organisations in European Countries:
- Generalitat de Catalunya: Lace exhibition with contemporary lace from artists in Flanders (exchange program with the University of Barcelona)
-“Lace in Flanders” is in contact the centre for needle lace making in Kiskunhallas, Hungary
- LOKK - National Lace Organisation in the Netherlands)
- Forum Alte Spitze - Germany (Forum for Vintage Laces)
- “Lace in Flanders” is in contact with the Catalan Association of Lace makers and aims at organising an exchange program between lace makers of both regions, Flanders and Catalunia.
|Tapis plein vzw.|
Tel.: +32 (0) 50 68 37 94
Year of creation: 2003
- oral traditions and expressions
- promotion, enhancement
Belgium, South AfricaObjectives:
Tapis plein NGO as an organisation inspires and realizes vivid projects concerning cultural heritage and a contemporary approach of our collective intangible heritage. It aims to interact strongly with people in its projects, going to schools, youth centres, diving into the city life or the neighbourhood. Heritage education, diversity and public sensitisation are the most important dimensions in our mission. Tapis plein NGO always tries to realize projects in a young, experimental and graphical attractive way so to function as an eye-opener for people who usually aren't involved into heritage themes.
As an acknowledged and subsidied organisation bij the Flemish Government, tapis plein NGO invest its expertise in networks in the professional heritage field as well as spreading heritage methodology in the civil society.
Tapis plein NGO every year realizes laboratory/experimental heritage projects in which civil particpation in heritage themes is the central goal. The focus or theme of these initiatives is always depending on the specific context (partnerships, locality, ... ) and on new challenges in the heritage field or society. Tapis plein this way realised during the 7 past years diverse neigbourhood projects, oral tradition projects, as well as wide travelling workshops and exhibitions UN-TOUCHABLE (2005-2007; on the theme of the UNESCO convention of ICH) and 'Never Enough' (2007-2009; on the phenomenon of collecting as a democratic heritage practice done by thousands of people in Flanders and about). In 2009-2010 our biggest project is Quartier Bricole, an ambitious project setting up shops, workshops, exhibitions, markets, ... all on the theme of 'rooted design' or: contemporary craftmanship with roots in traditional techniques, knowledge and forms.
In 2010 tapis plein vzw is also an active partner in the UNESCO project with FARO and Documentary Arts starting from the photographical and documentary work of Alan Govenar "Visibility, awareness and dialogue", whch was exposured in the UNESCO 'salle des pas perdus' in april 2010. For the Flemishg part of this project tapis plein NGO will be working with lots of partner organizations from Belgium and from Central-Europe (Croatia, Tsjechia) realizing masterclasses, public events, exhibition, etc.
The personnel of tapis plein are masters in art history, ethnography and graphism, and all have educational training above.
Next to the specific projects, tapis plein NGO travels around Flanders in its role as expert center for methodology on active and civic participation, helping and inspiring lots of museums, archives, local policies and more, to make up heritage practices that are participatory and enhancing democratic and community engagement of/for heritage.
As described above (6), this makes up the very heart of the work of tapis plein NGO. We are in every project and every process of sharing experiences, driven by the principle that heritage is and should be a mirror of our diverse contemporary society and we are always looking for ways in which this spirit of mutual respect and diversity can be encorporated, enhanced and be shared in public initiative.
|Volkskunde Vlaanderen vzw.|
Ethnology in Flanders
Sint-Amandstraat 72 (dichtbij Sint-Pietersplein)
Tel.: + 32 9 223 97 00
Year of creation: 1992
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
Volkskunde Vlaanderen vzw is a national organization for intangible heritage and ethnology in Flanders - Belgium. The organization aims to be a platform for the heritage community of volunteers dedicated to ethnology in Flanders. Volkskunde Vlaanderen is a partner to all active participants, organizations and people interested in etnology and folklore in Flanders. We function as an umbrella organization representing a number of thematic ethnology organizations and provincial societies of ethnology volunteers. The main interest of Volkskunde Vlaanderen vzw is (the study of) everyday life of the past and present. Volkskunde Vlaanderen vzw offers information and support on demand to local heritage organizations and individual heritage volunteers dedicated to ethnology.
The general aim of the organization is to contribute to the safeguarding of the intangible and tangible heritage in Flanders, and sustaining and transmitting this heritage to future generations:
- Volkskunde Vlaanderen vzw supports volunteers and voluntary organizations
that are active in the field of ethnology. Volkskunde Vlaanderen stimulates the work carried out by the organizations by giving support and training, by informing them through publications, websites and newsletters, by facilitating the access to information, by organizing conferences and networking meetings, etc.
- Volkskunde Vlaanderen vzw is an association that brings people together who value the
ethnology and heritage of Flanders. The exchange of ideas and information is a central point of departure.
- Volkskunde Vlaanderen vzw aims to be an organization that works in a international perspective and that stimulates people to use culture as an instrument towards mutual understanding and respect.
Volkskunde Vlaanderen vzw is a non profit organization. It has a general committee and a general assemblee. Volkskunde Vlaanderen vzw is officially recognized by the Flemish Government and receives a annual budget of 200,000 euro. Volkskunde Vlaanderen vzw has three full-time staff members.
Volkskunde Vlaanderen vzw is a recognized national non-profit organisation for intangible heritage in Flanders and Brussels. Our main focus is on ethnology in Flanders and Brussels. Volkskunde Vlaanderen vzw functions as an umbrella organization representing all societies of ethnology volunteers in Flanders and Brussels. The main interest of Volkskunde Vlaanderen vzw is the everyday life of the past and the present, with constant attention for cultural diversity. Volkskunde Vlaanderen vzw offers support to local heritage organizations and individual heritage volunteers dedicated to ethnology.
Volkskunde Vlaanderen vzw carries out a wide range of activities:
- We offer support to heritage organizations and individual heritage volunteers dedicated to ethnology, f.e. when applying for funds or for a nomination for inscription on the Representative list of intangible heritage and the inventory of Flemish intangible heritage or with practical issues.
- With large-scale, multi-annual projects we try to raise the public awareness about the importance of (safeguarding) intangible heritage. Our most recent project ‘Hart voor volkscafés’ (‘Heart for historical pubs’) is about historical pubs, which are considered to be a characteristic element of the Flemish cultural heritage. Recently many historical pubs in Flanders and Brussels had to close their doors. Apart from their valuable historic interiors, these pubs also have an important intangible component, so we want to prevent that all these pubs disappear. In order to create public support for that idea, we launched the website www.volkscafés.be, a dynamic inventory based on user generated content. The project includes also the contemporary photo book ‘Volkscafés. Vrouwentongen en mannenpraat’, a touristic bicycle route and a viability study.
- Our other thematic websites are www.feestelijkvlaanderen.be (about festive culture) , www.volksverhalenbank.be (about oral culture) and www.vlaanderenverzamelt.be (about the culture of collectioning). These are low-treshold websites, where everyone is easily informed about specific aspects of our intangible heritage.
- On our general website www.volkskunde-vlaanderen.be we inform about such matters as international movements in the heritage sector, the national legislation on intangible heritage, our own activities, the activities of colleague organisations…
- Heritage education is another area we work on. By developing educative kits about ethnology and distributing free didactic letters, we want to stimulate the awareness for heritage of children.
- Twice a year we publish our own newspaper ‘De Gazet’, about a variety of things related to ethnology. 16.000 copies of De Gazet are distributed via public libraries, via the Cultural Departments of all the cities in Flanders and via colleague organisations. With this periodical we aim to inform as many people as possible about a wide range of topics related to ethnology and intangible heritage, in apleasant, but yet informative way.
- We organise colloquia and info sessions about (certain aspects of) ethnology for both professional heritage workers and volunteers dedicated to ethnology. The last colloquium we organised was on 1st april 2009 and it focussed on how folk stories and urban legends can be used as a means for cultural tourism.
- We participate in national initiatives about intangible heritage, such as the Heritage Day and the Week of Culinary Culture.
- Volkskunde Vlaanderen vzw is present at cultural manifestations such as the Cultural Market in Antwerp and in Ghent or the National Day of Monuments. We do this for two reasons: it allows us to inform people about the activities of Volkskunde Vlaanderen vzw as well as to recruit volunteers.
- We are an active participant in projects of collegue organizations lullabies, the tobacco industry, DNA and family history, managing local heritage collections and more.
- In all our activities we pay a lot of attention to cultural diversity.
Volkskunde Vlaanderen vzw was founded by the 5 Flemish provincial organisations for ethnology. Each of them groups has a large number of volunteers. Together these volunteers form an important part of the constituency of Volkskunde Vlaanderen vzw.
3 employees with a university degree in different study areas work fulltime at the Volkskunde Vlaanderen vzw Secretariat: one coordinator, one consulent and one junior associate who works specifically on the project about the historical pubs. Each of the employees had working experience in a heritage organization before joining Volkskunde Vlaanderen vzw. For the daily activities all 3 of them have often contact with staff members of colleague organisations, thus forming an extended network in the Flemish heritage sector. Trough working on specific projects the Secretariat is gaining profound expertise on specific topics in the field of ethnology. The secretariat can also rely on a large number of volunteers and each year there is an academic internship.
Volkskunde Vlaanderen vzw is a representative non-profit member-for-member society for ethnology in Flanders and is the umbrella society representing all societies of ethnology volunteers in Flanders. The cooperation with and among these heritage volunteers forms the essence of the organization. Networking with these volunteers is considered as a enriching for all parties.