While ago,text by Piotr Gasiorowski
Why is a bridegroom called ‘a bridegroom’? The first half is easy, and the second seems to be the same as groom ‘a person employed to clean and look after horses’ or (archaic) ‘manservant’ . A bridegroom would therefore be ‘the male attendant of a bride’, perhaps, though none of the things he actually does to her is normally described as grooming.
This kind of explanation is called folk etymology or popular etymology. It looks sensible and most people would accept it without asking further questions. But the linguist’s duty is to make sure, just in case, that the etymology is endorsed by historical data. The word in question is known from early English, as well as from other Germanic languages, but in a slightly different shape:
Old English brydguma, Old Norse bruþgumi, Old High German brutigomo.
It begins to look as if the r in -groom were unetymological, that is to say added to a word that didn’t originally contain it. But what was guma supposed to mean? Fortunately, the word existed on its own in Old English with the meaning ‘man’. Some of its grammatical forms, such as the nominative plural guman, display a stem-final n lost in nominative singular. Guma has not survived (or it would be goom in Modern English) except in the compound bride-goom, reshaped into bride-groom precisely because after the extinction of goom people couldn’t make sense of the second element unless they misheard it as groom.
Old English guma and its cousins
Guma (pl. guman) is cognate to Latin homo (pl. homines) and Old Lithuanian žmuô (pl. žmónės). In Latin, the word-family grew larger: humanus, humanitas etc. All these nouns go back to something like PIE *ghmon-, *gh@mon-. But here a new story begins. In the stem just reconstructed, *-on is a suffix added to a root which is also found in a family of words meaning ‘earth, ground, land’ and the like. Here are some examples:
Latin hum-us
Old Macedonian zemlja
Lithuanian žem-ė
Avestan zam
Albanian dhe
Greek kham-aí ‘on the ground’
If you consult the long note in the left-hand margin, you will find that the initial consonant represents in each case the expected development of PIE *gh. We could finish here, reconstructing PIE *ghom-/*ghem- ‘earth’ and its derivative *gh(e)m-on- ‘earthling, man, human being’, were it not for the fact...
Mysterious chthonic roots
... that here and there we also find unexpected developments:
Greek khthōn, gen. khthonós
Sanskrit kšam-
Hittite tekan, gen. tagnas, cf. tagan ‘on the ground’
Tocharian tkam
It has always been clear that the two sets are somehow related, but the consonants of the second set do not seem to fit any established pattern of regular sound correspondences. Hittite and Tocharian were unknown to 19th-century linguists, so problematic forms were restricted to Greek and Sanskrit. Some scholars concluded that PIE had additional fricative sounds like those spelt th in English. The sounds would have been extremely rare and found only in some special environments. Thus reconstructed, the ‘earth’ root would be *ghðom-, with the initial *ghð giving Greek khth and Sanskrit kš. It was further supposed that the phonetic simplification of *ghð to *gh in most other IE dialects produced the first set of correspondences. Still other Indo-Europeanists posited an initial *ghz to account for the second set.
The solution
The discovery of Hittite and Tocharian texts in the early 20th century suggested a different solution. The PIE root was of the form *dheghm-/*dhghom- with vowels alternating between the two slots available for them.
Quite possibly the original state of affairs can be seen in Hittite: the noun *dheghm (>tekan) ‘earth, soil, ground’ (genitive *dhghmos or *dh@ghmos > tagnas) was a neuter; it had a by-form *dhgho:m or *dh@gho:m meaning ‘a lot of soil’, or collectively ‘the earth’. In this latter form it could be personalised as Mother Earth, the earth goddess (Hittite Dagan-tsipas).
You may well wonder why the final consonant of the root in Hittite is n rather than m. The most likely reason is the fact that word-final m became n in Hittite. To be sure, in inflected forms like the genitive tagnas the n is not final, but the analogy of the base form made it appear even there. A similar change took place in Greek, hence the inflected form khthonós instead of expected *khthomós. But Greek retains derivatives with m, e.g. khamaí and khthamalós, which betray the older state of affairs. They did not belong to the declensional paradigm of khthōn
While the original shape of the neuter noun was lost in the other branches of the family, the feminised form *dhgho:m survived. However, the embarrassing combination of consonants, *dhgh, was either simplified to *gh or underwent special transformations, the results of which are visible in Greek and Sanskrit.
Curiously enough, most native speakers of English find it impossible to pronounce the initial sequence in chthonic (Greek khth-) as two consonants, and say ‘thonic’ instead. They may draw some comfort from the reflection that early speakers of Indo-European experienced similar difficulties and solved them in a similar manner.
So do you know now why we call a bridegroom a bridegroom?
Net ling is out of order
http://www.geocities.com/caraculiambro/
Saturday, April 30, 2016
Sunday, April 24, 2016
Копачка-ОН
CONVENTION FOR THE SAFEGUARDING
OF THE INTANGIBLE CULTURAL HERITAGE
OF THE INTANGIBLE CULTURAL HERITAGE
INTERGOVERNMENTAL
COMMITTEE FOR THE
SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE
SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE
Seventh
session
Paris
December 2012
Paris
December 2012
Nomination file
no. 00736
for Inscription on the Representative List
of the Intangible Cultural Heritage of Humanity in 2012
for Inscription on the Representative List
of the Intangible Cultural Heritage of Humanity in 2012
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A. State(s) Party(ies)
For multi-national nominations, States Parties
should be listed in the order on which they have mutually agreed.
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B. Name
of the element
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B.1. Name of the element in English or French
This
is the official name of the element that will appear in published material.
Not to exceed 200
characters
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Kopachkata, a social dance from the village of
Dramche, Pijanec
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B.2. Name of the element in the language and script of the community
concerned,
if applicable
This is the official name of the element in the
vernacular language corresponding to the official name in English or French
(point B.1).
Not to exceed 200
characters
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Копачката, соборско оро од селото Драмче,Пијанец
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B.3. Other name(s) of the element, if any
In addition to the official name(s) of the
element (point B.1) mention alternate name(s), if any, by which the element
is known.
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Dramechka Kopachka
Драмечка Копачка
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C. Name
of the communities, groups or, if applicable, individuals concerned
Identify clearly one or
several communities, groups or, if applicable, individuals concerned with the
nominated element.
Not to exceed 150 words
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Kopachkata is a
dynamic and energetic social dance that is danced by the local residents from
the village of Dramche, Pijanec. The population in Pijanec (ethnographic
region in eastern Macedonia), belongs to the Macedonian Shopska ethnic group.
Musicians that accompany this dance are usually Roma, sometimes the group is
mixed Roma-Macedonian. For more than 60 years the dance Kopachkata is
cherished by the folk group "Kopachka" from the village of Dramche,
and the assistance in logistics, management and promotion of this dance is
provided by the NGO "Pijanec Voice" from Delchevo. Although this
dance is a collective way of expressing, without the individual efforts of
Dimitar Uzunski-Mitko, a local teacher from the nearby village Trabotivishte,
who devoted his whole life to encouraging the local residents to organize,
present and popularize their dance, the "Kopachkata" would have
probably been forgotten by now.
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D. Geographical
location and range of the element
Provide information on
the distribution of the element, indicating if possible the location(s) in
which it is centred. If related elements are practised in neighbouring areas,
please so indicate.
Not to exceed 150 words
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The Kopackata
from the village of Dramche, performed at gatherings and weddings is centered
in the "Crnichka Mahala" and "Belchinska Mahala" in the
village. In Pijanec region, this dance is wide spread more in thinly
populated villages in all Eastern Macedonia. It may be encountered in wide
region of villages Istibanja, Kalimanci, towns Makedonska Kamenica, Delcevo,
and even in the neighbouring region of Malesevo. After the constitution of
the folk dance group "Kopachka", the knowledge about the element
was wide spread throughout the state on the local, regional and national folk
festivals. The final range of the element is that the Kopachkata dance is now
part of the repertoire of the Professional dance ensemble "Tanec"
in Skopje and of the formal education of the professional dancers at the
Secondary dance school Ilija Nikolovski -Luj in Skopje and the Faculty of
Music Art in Shtip.
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E. Contact person for correspondence
Provide
the name, address and other contact information of the person responsible for
correspondence concerning the nomination. If an e-mail address cannot be
provided, indicate a fax number.
For
multi-national nominations provide complete contact information for one
person designated by the States Parties as the main contact person for all
correspondence relating to the nomination, and for one person in each State
Party involved.
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1. Identification and definition of the element
For Criterion R.1, the States shall demonstrate that
‘the element constitutes intangible cultural heritage as defined in Article 2
of the Convention’.
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oral traditions and expressions, including
language as a vehicle of the intangible cultural heritage
performing arts
social practices, rituals and festive events
knowledge and practices concerning nature
and the universe
traditional craftsmanship
other(s)
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This section should
address all the significant features of the element as it exists at present.
The Committee should
receive sufficient information to determine:
a.
that the element is among the ‘practices, representations,
expressions, knowledge, skills — as well as the instruments, objects,
artefacts and cultural spaces associated therewith —’;
b.
‘that communities, groups and, in some cases, individuals recognize
[it] as part of their cultural heritage’;
c. that
it is being ‘transmitted from generation to generation, [and] is constantly
recreated by communities and groups in response to their environment, their
interaction with nature and their history’;
d.
that it provides communities and groups involved with ‘a sense of
identity and continuity’; and
e.
that it is not incompatible with ‘existing international human rights
instruments as well as with the requirements of mutual respect among
communities, groups and individuals, and of sustainable development’.
Overly technical descriptions should be
avoided and submitting States should keep in mind that this section must
explain the element to readers who have no prior knowledge or direct
experience of it. Nomination files need not address in detail the history of
the element, or its origin or antiquity.
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(i)
Provide a brief summary description of the element that can introduce
it to readers who have never seen or experienced it.
Not
to exceed 250 words
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The traditional dance “Kopachkata” is a
dinamic social dance from the region of Pijanec in the eastern part of
Republic of Macedonia. The dance starts when the dance leader
("izvodacho") stands out from the crowd, pays the musicians and
starts the dance together with the “opashkaro” (the last dancer).
The male variant of the Kopachka gathering
dance has 4 dancing figures, which are performing in semicircle:
1. "Shetanica"
(walking figure), with function to form the dance and worm up the dancers,
2. Sitnoto,
(small steps figure) where the steps of the dancers are swift and short (the
skilful dancers actually slide their feet on the ground),
3. Prefrlachka
(crossing legs figure), when the left foot is swiftly switched over the right
foot and the dancers speed up the dance to its climax, and
4. Kopachkata
(digging figure), which is the fastest and most dynamic figure and where the
dancers jump to the right leg and stand firmly on it while the left foot is
repeatedly hitting the ground with the intention to dig.
Until the sixties of the 20th century, the female variant of the
Kopachka also existed. There is a growing intention in the local community
over the past years to revive it. The Kopachkata is best performed with two
drums but nowadays, the number of drums may rise to 4 or even 5. Apart from
drums, this dance may also be accompanied by a fiddle, sometimes even by a
tambura or bagpipe.
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(ii)
Who are the bearers and practitioners of the element? Are there any
specific roles or categories of persons with special responsibilities for the
practice and transmission of the element? If yes, who are they and what are
their responsibilities?
Not to exceed 250 words
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In the past there were separate male and
female Kopachkata. Today Kopachkata is most often danced by men. It is
performed by the best dancers from the village named “soborjani”
(participants in a public dance event).The most important roles in the dance
have the “izvodacho” (the dance leader), than the “opashkar” (the last
dancer), crucial for the performance is the middle dancer. He is the pillar
of all the dancers and holds together the left and the right part of the
dance semicircle group. The final number of participants is not limited. In
the traditional performance, the folk group “Kopachka” limits the number to 8
(eight) man (all of them members of the local community) so they can present
it in a best possible manner.
The dancers hold each other’s belts with
crossed which is important for the stability in the fastest part of the
dancing. The leader and the last dancers both hold a handkerchiefs
(“trijachka”) that serves as a signalling system for the changes of the
figures. The Dramche Kopachkata dance is accompanied by the best drummers
from the region. They have a role to mark the beginning of a dance event, to
invite the villagers to join in and to emotionally build-up the dance
performance.
The first dancers of the folk group
"Kopachka" in 1948 Dimitar Stanoevki, Risto Stanoevki, Pavle
Kostadinov, Trajan Kostadinov, Bogdan Angelov, Nikola Anakiev, Mladen
Georgiev, and the best drummers in the Pijanec region, Afet and Jasar
Memedov, are the enthusiasts who safeguard and transmitted Kopachkata in 21st
century.
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(iii)
How are the knowledge and skills related to the element transmitted
today?
Not to exceed 250 words
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Crucial for the transmission of the knowledge and
skills of the Kopačkata dance are the public and religious holidays, such as
St. George’s Day or Assumption of Mary, when dance fairs are organized in
front of the churches. Also, the weddings as a family gatherings are
wonderful possibility for transmission of the element to the younger
generations. Those who are too young to participate in the dance but are
strongly inspired to do that, take the last place in the semicircle. That
position allows them to feel the emotional energy in the collective dance and
to watch the dancing technique of the elders. The learning is not going
quickly. As the youngsters progress, they gain a new position which is closer
to the front, and after a few years of perfecting they can get one of the
leading roles. The forming of the "Kopačka" folk dance group within
the "Pijanečki glas" association in 1948 was of particular
importance in the process of transmission. In it`s 64 years of existence, 44
bearers of the element were included in the process of safeguarding and
transmission of the element. With providing a working space and with great
enthusiasm and care, their manager and active dancer Dimitar Uzunski,
promotes the group on every festival held in the state, always provoking
great interest of the audience, the media and the academic community. In
order to stimulate the active dancers he published all the activities of the
group in the press. Consequently, this dance was accepted in the repertory of
the professional ensemble "Tanec" and became a part of the formal
education process of the dancers in the music high school "Ilija
Nikolovski-luj" in Skopje and the Department for Ethnocoreology at “Goce
Delchev" University in Shtip.
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(iv)
What social and cultural functions and meanings does the element have
today for its community?
Not
to exceed 250 words
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Until 1965 the village of Dramche and it`s
surroundings had a rich social and culture life with the dance Kopachkata
taking the central place in it. This region has suffered big migration
processes two times. Between 1950 and 1965 "new neighbours" came
from the northern Shop villages. At the same time with the industrialization
of the country, many young residents left to work and live in the cities
while the older people stayed to work the fields. All the villages of Pijanec
were left with very small population. In time, the traditional ways of
holiday celebrations changed, and the lokal dance events on every Saturday
and Sundays which were very popular till the 70ties of the XX century were
forgotten. This started the process of changing and forgetting of the
traditions and losing the songs and dances. So, at the rare gatherings of the
older generation from this region, the Kopačka dance has become a symbol of
their cultural identity, not only of the local rural community of the village
of Dramče, but also beyond the Pijanec region;
In order to strengthen the social ties of the
remaining population, the Kopačka Folk Group was reconstituted two times. In
1961 and in 1975. Since than it has been acting as a generator of the
cultural and social life not only for the local residents but also in the
town of Delčevo and its surroundings. For the bearers who are unable to work
the fields anymore, the inclusion in the efforts of the folk group has been
an inspiration. With the subtle and successful promotion of the “Kopačkata”
traditional dance for decades, the bearers from Dramche have continually been
raising the awareness of the existence of this intangible cultural heritage
in the region, as well as nationally.
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(v)
Is there any part of the element that is not compatible with existing
international human rights instruments or with the requirement of mutual
respect among communities, groups and individuals, or with sustainable
development?
Not to
exceed 250 words
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The nurturing of this intangible cultural
heritage establishes an interactive cooperation between the sexes and generations.
No one from the community can be excluded from the dance, nor children or the
members of the other ethnic groups. On the contrary, there is cooperation
between Macedonians and Roma in the region specially in the performance of
the dance on the public social events, which is of course compatible with the
existing human rights instruments and with the requirements of mutual respect
among communities, groups and individuals.
Regarding the Sustainable development, present
generations have the responsibility to safeguard the good for the future
generations by the continuous reviving of the element. They try to involve more
young people from the community in the social sustainability of the element,
specially in the archiving and collecting the data, or in the popularization
of the element through modern media such as social networks, virtual space,
etc.
Different generations, different educational profiles of local
residents are unified in the concern for taking care about their cultural
symbol Kopachkata.
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2. Contribution to ensuring visibility and awareness and
to encouraging dialogue
For Criterion R.2, the States
shall demonstrate that ‘Inscription of the element will contribute to
ensuring visibility and awareness of the significance of the intangible
cultural heritage and to encouraging dialogue, thus reflecting cultural
diversity worldwide and testifying to human creativity’.
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(i)
How can inscription of the element on the Representative List
contribute to the visibility of the intangible cultural heritage in general
and raise awareness of its importance at the local, national and
international levels?
Not to exceed 150 words
|
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Having in mind that Republic of Macedonia responded quickly and
ratified the Convention for safeguarding of the Intangible cultural heritage
in 2006, that means that the state pays attention to the ICH. The inscription
of the Kopachkata on the Representative List will contribute to the
visibility of the ICH on the national scene, it will arise the awearness for
the contemporary situation with those elements which need urgent safeguarding
and will provide more attention of the possible donators to donate among the
local communities. The inscription of the Kopačka traditional dance on the
UNESCO Representative List would also validate every effort so far invested
by the active practitioners of this intangible cultural heritage and
nurturing this cultural asset. It would provide for continuity through
involvement of future younger bearers of this ICH good and, of course, it
would present a possibility for the greater Pijanec community to develop
cultural tourism.
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(ii)
How can inscription encourage dialogue among communities, groups and
individuals?
Not to
exceed 150 words
|
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The “Kopackata” traditional dance has been instrumental in promoting
the intercultural dialogue between the Macedonian and Roma ethnic communities
in the village of Dramche, as well as the whole Pijanec region, but we
believe that with the inscription of the dance on the UNESCO Representative
List, there would be greater awareness of nurturing the Kopachkata as a
common intangible cultural heritage. The need for performances on various
occasions in popularization purposes will bring a greater and closer
possibility for dialogue and cultural exchange in planning of their future
steps in the process of safeguarding of the element for both ethnic groups.
It will bring real socialization as opposed to virtual socialization
especially typical for the younger population.
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(iii)
How can inscription promote respect for cultural diversity and human
creativity?
Not to exceed 150 words
|
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The inscription of this traditional dance in the Representative List
of UNESCO can inspire creativity among its bearers/practitioners in the
aesthetics of performance. The concept of “cultural diversity” both “inside”
and “outside” each community can also strengthen the intercultural connection
between the musicians (predominantly ethnic Roma) and the dancers of
Macedonian nationality. The inscription can also improve or inspire the
creativity and give successful example to neighboring communities to work
hardly in identification, valorisation and preserving of their Intangible cultural
assets. We firmly believe that this dance dialogue could also reflect on the
everyday lives of the villagers of Dramche and the region. We hope that the
inscription can inspire them for the entire range of interactions which can
be revitalized through their own capacity for dialogue and openness.
Understood in this way, ICH encompasses, lifestyles, ways of living together,
value systems, traditions and beliefs.
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3. Safeguarding measures
For Criterion R.3, the States
shall demonstrate that ‘safeguarding measures are elaborated that may protect
and promote the element’.
|
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3.a. Past and current
efforts to safeguard the element
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(i)
How
is the viability of the element being ensured by the concerned communities,
groups or, if applicable, individuals? What past and current initiatives have
they taken in this regard?
Not to exceed 250 words
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The “Kopachka” folk dance group exist since
1948. It’s leader, Dimitar Uzunski, keeps all audio and video recordings and
all written articles about their performances with great care. He carefully
notes that dancers participate every year on 33 festivals and public events,
he notes the impressions of the audience and especially of the relevant
scholars about the Kopachkata dance. He has a list of 56 collaborators
(musicians, singers, and 33 Cultural associations etc) which performed with
the group on their concerts. Even though they do not have any commercial
benefit, the folk dance group “Kopachka” has actively participated in 10 TV
documentary projects, 8 radio programs, including the Macedonian national
radio and Radio Deutsche Welle. For 60 years, the local bearers of the
Kopachkata dance participate to the local celebrations of the municipality
holidays, to all regional and national festivals for traditional dance as a
cultural ambassador from that region. They are a generator of the cultural
life in Delchevo and its surroundings for decades. As a very successful
promoter of the “Kopachkata” dance, they are rising the awareness of
safeguarding the intangible cultural heritage and its protection. Two dancers
from the Kopachka group, were demonstrators in the professional dance
ensemble Tanec in Skopje, when Tanec included the Kopachkata in their
repertoire. In 1949 that was Nikola Ilkov Arsov - Nikolachko, and in late
90-ties of the XX ct. that was Dimitar Uzunski and Mitko Stanoevski. The
local government and the the native authors association "Pijanechki
glas" from Delchevo, support the folk dance group;
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Tick one or more boxes to identify the safeguarding
measures that have been and are currently being
taken by the communities, groups or
individuals concerned:
transmission, particularly through formal
and non-formal education
identification, documentation, research
preservation, protection
revitalization
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(ii) How have the concerned States
Parties safeguarded the element? Specify external or internal constraints,
such as limited resources. What are its past and current efforts in this
regard?
Not to exceed 250 words
|
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In the 2003 Cultural Heritage Protection Bill,
the folk goods, language and toponyms with definitions for each, were
identified as types of spiritual and cultural heritage. With slight
corrections, these definitions remained in the final draft of the National
Law for protection of Cultural Heritage from April 2004. Among the state
projects involving the intangible cultural heritage as a factor in the
sustainable development of Macedonian culture, we would like to single out
one strategy of the Ministry of Culture:
- The Strategy for Digitizing the Cultural
Heritage, promoted on January 25th 2010, and
Apart from the national legal framework,
Macedonia ratified on the level of law, two international conventions.
Convention for the Safeguarding of the Intangible Cultural Heritage only 8
days after it officially came into force, that is, on the April 28th 2006 and
Convention on the Protection and Promotion of the Diversity of Cultural
Expressions (Paris 2005) ratified on April 2nd 2007
But in lack of coordination between certain scientific institutions
and the state administration, there is a discrepancy in the execution of the
proposed measures for protection of Kopachkata dance. This problem should be
solved as soon as possible. Almost always, the best results come from the
personal enthusiastic involvement of individuals from the local bearers and
the Intangible Cultural Heritage protection office.
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Tick one or more boxes to identify the safeguarding
measures that have been and are currently being taken by the State(s) Party(ies) with regard to
the element:
transmission, particularly through formal
and non-formal education
identification, documentation, research
preservation, protection
promotion, enhancement
revitalization
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3.b. Safeguarding
measures proposed
This section should identify and describe safeguarding measures that
will be implemented, especially those intended to protect and promote the
element.
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(i) What measures are proposed
to help to ensure that the element’s viability is not jeopardized in the
future, especially as an unintended result of inscription and the resulting
visibility and public attention?
Not
to exceed 750 words
|
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The Cultural Heritage Protection Office has
carried out activities for implanting Article 9 from the Convention for the
Safeguarding of the Intangible Cultural Heritage, regarding the inclusion of
relevant organizations in the process of safeguarding the ICH on the
territory of the Republic of Macedonia. From November 2008, till now 8
nongovernmental and non-profit organizations from Macedonia sent written
corroboration for their participation in the processes.
The idea of establishing a special
governmental body covering the situation with the intangible cultural
heritage is next step. Replace the expression spiritual cultural heritage
with intangible cultural heritage;
To expand the definition what is intangible
heritage in Macedonia, or what is included or excluded in this system.
Public accessibility of intangible goods;
Transfer and nurture of cultural goods in original and other settings;
Improvement of the function and social importance of the goods in society and
its inclusion in the planning processes and programmes;
- Securing of sustainability of the goods
through education, identification and documentation, academic research,
preservation, safeguarding, improvement of their function in society,
transferring knowledge through formal and informal education and
revitalization of the neglected aspects of the goods;
- Popularization and promotion of cultural
goods through exhibitions, concerts, electronic media, audio and video
recordings, etc.
- Education of
experts for the transfer of knowledge and skills at seminars, workshop, etc.;
There is positive energy between all the active participants in this
nomination process. We still have to master the art of negotiation, tolerance
of human creativity, giving space to the natural traditional dance culture
for natural development, avoiding the tendencies for modern
"expert" intervention.
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(ii) How will the States Parties
concerned support the implementation of the proposed safeguarding measures?
Not to exceed 250 words
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The Department for intangible heritage inside
the Ministry of Culture and Cultural heritage Protection Office will
intensify the media campaign promoting the idea of safeguarding the proposed
intangible cultural heritage. It will start with identification and preparing
the List of
holders/bearers of the ICH property, at a
national level;
Also, to register the possibilities for
revitalizing the traditional dance events which are somehow
forgotten.
Of course to work on the digitization process
of the collected materials about the ICH property.
The Ministry of Culture has been preparing
special applications in the last 3 years through which not only institutions
but also NGO's are invited to apply for funds for safeguarding the intangible
cultural heritage. The "Pijanechki glas" assotiation applies every
year and receives small amount of money (around 2000-3000 EUR) for their
annual work, for organizing the event “Pijanechko-maleshevska wedding” as one
revitalizing event when Kopachkata can be danced. Last year they organized a
field work reseach named “In the traces of the Kemane players" which
resulted with one publication and revitalization of the cooperation between
the 33 active music instruments players from the Pijanec region and the folk
dance group Kopachka.
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(iii) How have communities, groups
or individuals been involved in planning the proposed safeguarding measures
and how will they be involved in their implementation?
Not to exceed 250 words
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For now, the
community was very much involved in the:
- Preparation
process for the Nomination,
- With their
applications for Funding in the Ministry of Culture, they create every year
their own plans, promotions, travelling, how and what they will do next year
within their folk dance group.
- Having in mind that the association
“Pijanechki Glas” was the initiator for the forming of the folk dance group
Kopachka, they work very closely and the association helps with logistic,
organization etc.
The Ministry of Culture of Republic of
Macedonia through its policy, provides separate fund for NGO's, so the
possibility for promotion of their ideas are open every year in June.
The "Kopachka" folk dance group as a legal subject is
supported by the Ministry of Culture for participating on other events
organized by other associations. The funds are limited and usually the cover
the traveling costs and the accommodation for the dancers and musicians.
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3.c. Competent body(ies) involved in
safeguarding
Provide the name, address and
other contact information of the competent body(ies), and if applicable, the
name and title of the contact person(s), with responsibility for the local
management and safeguarding of the element.
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4. Community
participation and consent in the nomination process
For Criterion R.4, the States shall demonstrate that ‘the element has
been nominated following the widest possible participation of the community,
group or, if applicable, individuals concerned and with their free, prior and
informed consent’.
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4.a. Participation of communities, groups and individuals concerned
in the nomination process
Describe how the community,
group or, if applicable, individuals concerned have participated actively in
preparing and elaborating the nomination at all stages.
States Parties are
encouraged to prepare nominations with the participation of a wide variety of
all concerned parties, including where appropriate local and regional
governments, communities, NGOs, research institutes, centres of expertise and
others.
Not
to exceed 500 words
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The initial idea for protection of Kopachkata
as ICH was given by Dimitar Uzunski, speaking at a radio show called "a
walk through Pijanec" in early 2000 (the period when the
"Masterpieces" program of UNESCO was taking place). That initiative
was never forgotten by the dancers of "Kopachka" folk group. Every
meeting that we had since than, at the "Pece Atanasovski" folk
fesival in Dolneni, at the Balkan folk festival in Ohrid or at the
"Ilindenski denovi" festival in Bitola, ended with the same
conversation over and over: Can we do something to propose
"Kopachkata" dance to UNESCO? The possibility for the inscription
of "Kopachkata" to the representative list of UNESCO which was
initiated in 2009, presented a big stimulus for the dancers, the activists of
"Pijanecki glas" NGO and the Delcevo municipality. They gathered a
vast amount of material relevant to this specific dance (6 DVDs with video
and audio materials, more than 300 pages of written materials and excerpts
from media, also 3 CDs with photos from their concerts and performances) and
delivered it to the Cultural heritage protection Office and the Insitute for
Folklor Research "Marko Cepenkov" - Skopje, along with an oficial
written intitative of the Folk dance group "Kopacka", No. 0302-23
from 15.07.2010. Since than they regestered a separate legal NGO named
“Kopachka” which will be responsible only for safeguarding of the Kopachkata
dance. They involved 25 new members, not from the village of Dramche, but
from the surrounding villages like Cera, Kamenica etc, to participate in
their work with Kopachkata. They engaged one young photographer Kircho
Atanasov to register every single perfomance of the dancers everywhere. The
younger dancers opened a Facebook page at this link
http://www.facebook.com/groups/120612861303873/
After this significant engagement, the
municipality pays more attentiion on Kopachkata dance and the folk group as a
brand of the whole region and supports it`s promotion with logistics and
financial assets.
Current links:
http://www.delcevo.gov.mk/2010-01-05-21-55-39/doma/47-2009-04-22-18-14-30/997-q-q-.html
http://www.delcevo.gov.mk/2010-01-05-21-55-39/doma/47-2009-04-22-18-14-30/999-2012-04-21-06-09-39.html
http://www.delcevo.gov.mk/2010-01-05-21-55-39/doma/47-2009-04-22-18-14-30/1000-2012-04-24-06-44-32.html
With the financial support of the Ministry of
Culture, native authors association "Pijanechki glas" from
Delchevo, supports the folk dance group and collects a lot of audio/visual
data, and organized the final field research in their region.
Also the Pijanechki glas, was a logistic for
the meetings, They also prepared special video materials, which are the basis
for the nomination video.
This last year is a period of suspense and hope for the people who
support this nomination and every next stage of the process is a reason for
celebration for them.
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4.b. Free,
prior and informed consent to the nomination
The free, prior and informed
consent to the nomination of the element from the community, group or, if
applicable, individuals concerned may be demonstrated through written or
recorded concurrence, or through other means, according to the legal regimens
of the State Party and the infinite variety of communities and groups
concerned. The Committee will welcome a broad range of demonstrations or
attestations of community consent in preference to standard or uniform
declarations. They should be provided in their original language as well as
in English or French, if needed.
Attach to the nomination form
information showing such consent and indicate below what documents you are
providing and what form they take.
Not to exceed 250 words
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Attached to the
electronic nomination, also included in the hard copy of the Nomination are:
- consent letter
of the Mayor of Delchevo town, where Dramche village belongs;
- consent letter
of the dance leader and manager of the folk dance group, Dimitar Uzunski;
- dozens of
diplomas, certificates, recognitions and awards from domestic and
international events which the dancers of Kopachkata received through the
decades. These documents were provided by the individuals form the group,
thus expressing (maybe not in written form) their readiness to cooperate on
this nomination file in all the stages of its preparation.
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4.c. Respect for customary practices governing access to the
element
Access to certain specific
aspects of intangible cultural heritage or to information about it is
sometimes restricted by customary practices enacted and conducted by the
communities in order, for example, to maintain the secrecy of certain
knowledge. Indicate whether or not such practices exist, and if they do,
demonstrate that inscription of the element and implementation of the
safeguarding measures would fully respect such customary practices governing
access to specific aspects of such heritage (cf. Article 13 of the
Convention). Describe any specific measures that might need to be taken to
ensure such respect. If no such practices exist, please provide a clear
statement on it.
Not to exceed 250 words
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In contrast to the secret practices, Kopachkata as a social dance in a
traditional context is performed in front of the whole community, in a public
space. The inclusion of both sexes and people of all ages is also it`s
characteristic. So, there are no secret beliefs and practices during the
learning process or before/after the performance of the dance. The "Kopachka"
folk group with it`s activities on the folk dance scene is trying to promote
all the knowledge related to this dance in a very transparent way. They
perform it as often as possible, they make documentaries about it, they show
it in educational purposes or at scientific conferences in front of the
members of the former federal association of folklorists of Yugoslavia or the
members of the international council for traditional music.
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4.d. Concerned
community organization(s) or representative(s)
Provide the name, address and
other contact information of community organizations or representatives, or
other non-governmental organizations, that are concerned with the element
such as associations, organizations, clubs, guilds, steering committees, etc.
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5. Inclusion of the element in an inventory
For Criterion R.5, the States
shall demonstrate that ‘the element is included in an inventory of the intangible
cultural heritage present in the territory(ies) of the submitting State(s)
Party(ies), as defined in Articles 11 and 12 of the Convention’.
Identify the inventory in which
the element has been included and the office, agency, organization or body
responsible for maintaining that inventory. Demonstrate that the inventory
has been drawn up in conformity with the Convention, in particular Article
11(b) that stipulates that intangible cultural heritage shall be identified
and defined ‘with the participation of communities, groups and relevant
non-governmental organizations’ and Article 12 requiring that inventories be
regularly updated.
The nominated element’s
inclusion in an inventory should not in any way imply or require that the
inventory(ies) should have been completed prior to nomination. Rather, a
submitting State Party may be in the process of completing or updating one or
more inventories, but has already duly included the nominated element on an
inventory-in-progress.
Attach to the nomination form
documents showing the inclusion of the element in an inventory or refer to a
website presenting that inventory.
Not to exceed 200 words
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In Republic of Macedonia the inventory of
protected goods is named as National Registry of Cultural heritage in Macedonia.
There are three types of registries/inventories in the Macedonian system:
a. National registry for immovable cultural
heritage;
b. National registry for moveable cultural
heritage;
c. National registry for spiritual cultural
heritage which implies the same criteria as articles 11b and 12 from the ICH
Convention (Paris 2003) and contains data on intangible cultural heritage.
The proces of inventoring the Kopachkata as
ICH element starts on the intitative of the Folk dance group “Kopačka”, No.
0302-23 from 15.07.2010. The membrs of the NGO Pijanechki Glas provided 6
DVDs with video, more than 300 pages of written materials and excerpts from
media, they provided also 3 CDs with photos from their concerts and
performances.
The community provided enough data for the
Insitute for Folklor Research “Marko Cepenkov” – Skopje as authorised
institution for protection of intangible cultural goods, to prepared the
scientific elaborate for valorisation and safeguarding of the “Kopačkata”
dance, No. 02-322 from 30.09.2010; finally,
The Cultural Heritage Protection Office govermental body for
protection of the cultural heritage, prepared the positive Report No.
28-3318. With this positive report the proposed intangible heritage is
proclaimed for cultural good of exceptional value, subcategory of great
value; This institution is responsible for preprairing and updating the
Inventory for ICH where the Kopachkata dance is inscribed under the
inventoring number 3.1.4.1.2.38
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6. Documentation
6.a. Appended documentation
The documentation listed below
is mandatory, except for the edited video, and will be used in the process of
examining and evaluating the nomination. It will also be helpful for
visibility activities if the element is inscribed. Tick the following boxes
to confirm that related items are included with the nomination and that they
follow the instructions. Additional materials other than those specified
below cannot be accepted and will not be returned.
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10 recent photographs in high definition
cession(s) of rights corresponding to the
photos (Form ICH-07-photo)
edited video (up to 10 minutes) (strongly
encouraged for evaluation and visibility)
cession(s) of rights corresponding to the
video recording (Form ICH-07-video)
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6.b. Principal published references
Submitting States may
wish to list, using a standard bibliographic format, principal published
references providing supplementary information on the element, such as books,
articles, audiovisual materials or websites. Such published works should not
be sent along with the nomination.
Not to exceed one standard page.
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Александар Атанасовски „Пијанец во
ХIII и ХIV век“ ,Куманово 1995 г
Архив на Мкедониј „Турски
документи,том V книга Скопје 1983г
Д.Христовски и Д..Арсов
„Делчево“ Кочани 1985г
Додовски В. „ Почна фестивалот“
Битолски весник,30.07. Битола 1975г
Димитар Узунски „Зборник на
фолк.материјали од драмче –не објавено
Димитар Узунски „Драмче големо
како Белград“ –Актуелности ,275 Кочани2007г
Димитар Узунски „Копачка
“-половина век амбасадор нанашиот фолклор “,
Пијанечки глас,број 1 ,јануари
Делчево 2000г
Димитар Узунски„Копачката бисерот на Пијанечкиот фолклор“, Р.Делчево
2000г
Димитар Узунски„По исконското во Драмче“,Радио емисија Р.Делчево 2001г
Димитар Узунски„На Ѓурѓовден во Драмче“ емисија на РТД Делчево 2002г
Димитар Узунски „Живата легенда на Копачката“,емисија ра . Делчево 2000г
Димитар Узунски „По фолклорното богатство на Драмче“,за радио Делчево 1995г
Димитар Узунски „Како настанало село Драмче“,емисија за радио Делчево 1989г
Димитар Узунски „Некогаш активни денеска не“ ,Просвета“ Скопје 15.11 .1968г
Дневник „Дедо Мите заигра на 90
год и со еден бубрег“,број 2881 од
8.10 2005г
Вест „Македонија нема ум да
туризам“,број 904 од 13.07. 2003г
Вест „Познатото оро прослави 60
години“ ,И.Ст. број 2532 од 24.11.
2008г
Вечер „Деведесеидве годишниот дедо
Митко ја изигра Копачката“ 9. 06.
2008г
Вест „Старци играат како момчиња“
Илинденски денови , Билтен број
Механџиски Ѓорѓи „Разигран вез на
Копачка“ , Екран Скопје
Механџиски Ѓорѓи „ Разиграни
драмчани“,Нова Македонија 9.07. 1975г
Маневски Васил „Настап на два фестивали“ , Вечер 30.07. 1976г
МТВ „Сокол од Драмче“
,документарна емисија Скопје
МТВ „Македонската книга на
живите“,документарен филм Скопје
МТВ „Фолклорно гумно“ музичка
емисија, Скопје 1976г
МТВ „Од изворот до
обработката“документарна муз.емисија Скопје
МТВ „Народни музички
инструменти-Тапан“ Скопје
М.Џима„Првата вечер во знак на Драмче и Амзибегово “,Н.Македонија
31/о7.1975г
Нова Македонија „Дедо Митко го
изигра орото Копачка “,9.06.2008 Скопје
Олга Иванова „Месните имиња на областа по сливот на Брегалница Скопје
1982г
Општина Делчево , „Делчево“ ,брошура
„Европа 92“ Кочани
Општина делчево „Добродојдовте во
Делчево“ „Европа 92„ Кочани
Општина Делчево „Саем на стари занаети“ „Европа 92“
Кочани
Општина Делчево изложба „Заслужни
граѓани на општината „ Делчево
2002
Општина Делчево и Републички завод за заштита на спомениците
на културата , „Пијанец од праисторијата до денес“,брошура Скопје
2001
Сусрети , весник на југословенските аматери-„Седми дан
сусрета“,Ваљево 1983
Шпиц „Копачка се игра и на 92 години“ 9.06. 2008
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7. Signature on behalf of the State(s) Party(ies)
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The nomination should conclude with the original signature of the
official empowered to sign it on behalf of the State Party, together with his
or her name, title and the date of submission.
In the case of multi-national
nominations, the document should contain the name, title and signature of an
official of each State Party submitting the nomination.
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