Portugal - Winter festivities, Carnival of Podence

Winter festivities, Carnival of Podence is a social practice which initially functioned as a rite of passage for men. Now extended to women and children, it has been readjusted to its contemporary context. The festivity is associated with the celebration of the end of winter and the arrival of spring and takes place over three days in the streets of the village and in the houses of neighbours who visit each other. During the performance, the Caretos – modelled on the traditional masked character – dance around women with their cowbells, rhythmically moving their hips. Possibly connected symbolically to old fertility rites, this action is performed by those behind the mask as a way of interacting with others anonymously. The Caretos wear tinplate or leather masks, costumes covered with colourful wool fringes and small bells. On the Monday night, there is a theatrical play, when a group of men announce a fictional list of engaged couples, satirizing them and eliciting collective laughter. On Shrove Tuesday, some people mask themselves as ‘matrafonas’, a masked character from rural carnivals. On Tuesday afternoon, the ritual of the burning of a Shrovetide figure takes place, and the group of Caretos then goes around the homes of friends and relatives. Participation in the Carnival begins during childhood, and the activities of the Group of Caretos Association have considerably boosted opportunities for transmission. Source: UNESCO Intangible Cultural Heritage

Portugal - Bisalhães black pottery manufacturing process

Bisalhães in Portugal is known as ‘the land of pot and pan producers’ or more specifically, where black pottery is made. Designed for decorative and cooking purposes, the traditional practice that features on the village’s coat of arms has been an important part of the community’s identity, with old methods still used today to create pieces resembling those of the past. Several steps are involved in making black pottery. First, the clay is crushed with a wooden hammer in a stone tank before it is sifted, water added to it, then kneaded, formed, defined using various laths, smoothened by pebbles, decorated using a stick and finally fired in a kiln. The division of work has evolved over time with the labour-intensive clay preparation now assigned to men, while women still mainly decorate the pots. Furthermore, clay used in the process is now sourced from local tile factories instead of being extracted from pits. Transmitted almost exclusively through kinship ties, the future of the practice appears in jeopardy due to a diminishing number of bearers, waning interest from younger generations to continue the tradition and popular demand for industrially-made alternatives. Source: UNESCO Intangible Cultural Heritage

Austria, Belgium, Croatia, Czechia, France, Germany, Hungary, Ireland, Italy, Kazakhstan, Kyrgyzstan, Morocco, Mongolia, Netherlands, Pakistan, Poland, Portugal, Qatar, Saudi Arabia, Slovakia, South Korea, Spain, Syria, UAE - Falconry, a living human heritage

"Originally a method of obtaining food, the practice of falconry has evolved over time to be more associated with nature conservation, cultural heritage and social engagement within and amongst communities. Following their own set of traditions and ethical principles, falconers train, fly and breed birds of prey (which includes besides falcons, birds such as eagles and hawks) developing a bond with them and becoming their main source of protection. The practice, present in many countries around the world, may vary regarding certain aspects, for example the type of equipment used but the methods remain similar. Falconers regard themselves as a group and may travel weeks at a time engaging in the practice, while in the evenings recounting stories of the day together. They consider falconry as providing a connection to the past, particularly for communities for which the practice is one of their few remaining links with their natural environment and traditional culture. Knowledge and skills are transmitted in an intergenerational manner within families by formal mentoring, apprenticeship or training in clubs and schools. In some countries, a national examination must be passed in order to become a falconer. Field meets and festivals provide opportunities for communities to share knowledge, raise awareness and promote diversity."

Source: UNESCO Intangible Cultural Heritage

Portugal - Bisalhães black pottery manufacturing process

Bisalhães in Portugal is known as ‘the land of pot and pan producers’ or more specifically, where black pottery is made. Designed for decorative and cooking purposes, the traditional practice that features on the village’s coat of arms has been an important part of the community’s identity, with old methods still used today to create pieces resembling those of the past. Several steps are involved in making black pottery. First, the clay is crushed with a wooden hammer in a stone tank before it is sifted, water added to it, then kneaded, formed, defined using various laths, smoothened by pebbles, decorated using a stick and finally fired in a kiln. The division of work has evolved over time with the labour-intensive clay preparation now assigned to men, while women still mainly decorate the pots. Furthermore, clay used in the process is now sourced from local tile factories instead of being extracted from pits. Transmitted almost exclusively through kinship ties, the future of the practice appears in jeopardy due to a diminishing number of bearers, waning interest from younger generations to continue the tradition and popular demand for industrially-made alternatives.

Portugal - Community festivities in Campo Maior

The Community Festivities of Campo Maior is a popular event during which the streets of Campo Maior in Portugal are decorated with millions of paper flowers in various shapes, colours and patterns. The community, which is organized in street commissions, decides the date and develops the concept of the decorative elements and the colour theme. Members then work on the decorations over a period of nine months. Preparations typically take place at night, in homes or in storage areas. The practice strengthens creativity and community belonging, and there is a sense of a friendly competition between street commissions to see which street will have the most original and colourful design. The decorations are thus kept secret until the eve of the festivities, when the town is completely transformed overnight. The result is the creation of a colourful, festive town, with open doors and no social distinctions. On the day of the festival, the community fills the streets. The Community Festivities started as a religious celebration called ‘Festivities in Honour of St. John the Baptist’. Although they haven’t had that title since 1921, the saint’s presence still endures, with his image carried through the streets in a small procession. The practice is transmitted within families and in schools.