FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / Este trabalho consiste na investigaÃÃo de duas manifestaÃÃes culturais que ocorrem no bairro Mucuripe, na cidade de Fortaleza: a festa de SÃo Pedro e os festejos de Nossa Senhora da SaÃde. O que despertou o interesse para esta pesquisa foi o registro da primeira manifestaÃÃo, no ano de 2011, como bem imaterial de Fortaleza, realizado pelo Conselho Municipal de PatrimÃnio HistÃrico e Cultural (COMPHIC). O questionamento surge da forte presenÃa da Santa da SaÃde na construÃÃo do imaginÃrio religioso no bairro Mucuripe, sendo representada pela sua imagem durante a Festa de SÃo Pedro, enquanto anteriormente padroeira da igrejinha homÃnima do santo. Observaremos os regimes imagÃticos das festas, apoiados em Durand, percebendo atà que ponto as imagens produzidas nos festejos influenciam no registro. Dessa forma, verificamos as paisagens festivas construÃdas durante os festejos, salientando a dinÃmica dos regimes diurno e noturno da imagem, observando a relaÃÃo destes com as polÃticas pÃblicas de proteÃÃo do patrimÃnio cultural imaterial. Para realizar esta investigaÃÃo utilizamos o subsÃdio literÃrio de geÃgrafos que discutem as manifestaÃÃes culturais no espaÃo e as paisagens reproduzidas no festejo. Fez-se necessÃrio o apoio de autores da psicologia e antropologia, principalmente. AlÃm disso, foram aplicados cem questionÃrios nas duas manifestaÃÃes observadas, utilizando a abordagem cultural da Geografia para evidenciar a relaÃÃo entre as paisagens festivas reproduzidas com o processo de (nÃo) registro do patrimÃnio cultural imaterial da cidade. Assim, observamos estreitas relaÃÃes entre a paisagem festiva reconstruÃda nos festejos e o processo de registro das manifestaÃÃes enquanto patrimÃnio cultural imaterial municipal. / This work consists in investigating two cultural events that occur in the Mucuripe neighborhood, Fortaleza: The celebration of Sao Pedro and the celebration of Nossa Senhora da SaÃde. What sparked interest for this research was the record in 2011 as official manifest of Fortaleza held by the Conselho Municipal de PatrimÃnio HistÃrico e Cultural (COMPHIC). The questioning arises from the strong presence of Nossa Senhora da SaÃde in the construction of religious imagery in Mucuripe neighborhood, represented by her image during the celebration of SÃo Pedro, as patron of the SÃo Pedro dos Pescadores Churchy. We observed the imagetic regimes of the festivities, supported by Durand, realizing the extent to which the images produced in the festivities influence on the record. Thus, we intend to analyze the festive landscapes built during the festivities, highlighting the dynamics of the day and night imagetic regimes, looking at the relationship of these with public policies for the protection of intangible cultural heritage. To carry out this research, we used bibliography references in the geographic field which discuss the cultural manifestations in space and the scenery reproduced in the celebration. The reference from authors of the Psychology and Anthropology fields had a significant importance to this research, as well as the application of a hundred questionnaires in both manifestations observed, using Geography's cultural approach to evidentiate the relationship between the festive scenery reproduced with the process of non registration of the intangible cultural heritage of the city. We can realize the relationship between the festive landscapes and the public politics about cultural heritage.

Actuellement, le travail de protection du patrimoine culturel immatériel est en plein essor. Il est au cœur de l’attention des médias et de la société, et également des recherches académiques. Malgré sa très longue histoire, sa promotion, son admission et sa protection sont récentes. En ce sens, le patrimoine immatériel est encore « jeune ». En tant que nouveau domaine et nouvel objet de recherche, son étude implique de nombreuses disciplines, et les mesures de protection nécessitent des innovations et une recherche audacieuse. L'animation est l’une des industries culturelles les plus à la mode en Chine et la plupart des recherches sur l'animation se focalisent sur le développement de l'industrie de l'animation. Ces recherches considèrent le patrimoine culturel immatériel comme ressource culturelle pour l’animation, et explorent les possibles utilisations pour promouvoir l'animation chinoise. Nous croyons que, dans le contexte culturel contemporain, l'animation constitue tant une industrie culturelle qu’un divertissement artistique et un loisir, ainsi qu’un moyen de transmission culturelle ; il peut aussi, par extension, être considéré comme un outil d'imagerie visuelle employé dans la production et la vie des personnes. L’animation est vivante et riche en inspiration, naturellement attractive, en particulier pour les jeunes. D’une certaine façon, elle est le langage commun de l'humanité. L’animation doit être une partie intégrante de la protection du patrimoine culturel immatériel ; elle est à même de promouvoir l’héritage et la transmission du patrimoine culturel immatériel. Ainsi, la présente thèse propose que nous considérions l’animation comme moyen de promotion de l’héritage et de transmission du patrimoine culturel immatériel. La transmission en est le moyen, et l’héritage est le but ultime de la protection du patrimoine culturel immatériel. La thèse démontre que l'animation peut effectivement être chargée de cette mission. Après la présentation du sujet de recherche, nous discuterons systématiquement du sujet à travers la recherche historique, la recherche interdisciplinaire, l'analyse de document, l'analyse de cas, l’enquête sur le terrain, etc., remontant ainsi jusqu’aux fondements des recherches existantes sur l’animation et le patrimoine culturel immatériel. / Currently, the protection work of intangible cultural heritage is booming. It is at the heart of attention of the media and society, and also academic research. Despite its long history, its promotion, admission and protection are recent. In this sense, the intangible heritage is still "young". As a new field and new object of research, the study involves many disciplines and safeguards require innovation and a bold research. Animation is one of the cultural industries more fashionable in China and most of the research on the animation focus on the development of the animation industry. This research considers the intangible cultural heritage as a cultural resource for animation, and explore the possible uses to promote the Chinese animation. We believe that in the contemporary cultural context, the animation is as a cultural industry that artistic entertainment and leisure, and a means of cultural transmission; it can also, by extension, be considered an employee visual imaging tool in the production and life of people. The animation is vibrant and rich in inspiration, naturally attractive, especially for young people. In a way, it is the common language of humanity. Animation must be an integral part of the protection of intangible cultural heritage; she is able to promote the heritage and transmission of intangible cultural heritage. Thus, this thesis proposes that we consider animation as a means of promoting the heritage and transmission of intangible cultural heritage. The transmission is the means, and the inheritance is the ultimate goal of protecting intangible cultural heritage. The thesis shows that animation can actually be entrusted with this mission. After the presentation of the research topic, we systematically discuss the subject through historical research, interdisciplinary research, document analysis, case analysis, field survey, etc., and dating back to foundations of existing research on the animation and intangible cultural heritage.

This study examines the long-established bi-weekly market held on Cape Town's Grand Parade to see if it constitutes living heritage. If it does, how is it connected with the urban landscape it inhabits, and how might it be acknowledged or safeguarded? Heritage practice in South Africa has long focused on the fabric of the historic built environment (not on the people using it or the uses to which it is put) with conservation methods tailored to that end. The importance of living heritage—or intangible cultural heritage—is increasingly accepted, particularly as a form of redress for the imbalance caused by the prioritisation of coloniser history. There is a growing sense of urgency, driven by those whose living heritage has been overlooked or ignored, to address this. In this study, I combine on-the-ground analysis of today's Wednesday/Saturday market drawn from interviews with traders, with a deep reading of various official and academic archives. This is interpreted through the most recent theoretical thinking regarding living heritage, together with the international charters, national laws and local policies that apply to the real world of Cape Town today. I determine that the market is, indeed, living heritage, and that it is important to recognise it is such. I argue that the heritage binary of intangible and tangible represents a false dichotomy, and that it is essential to consider heritage as a whole, with living heritage being indivisible from the urban landscape in which it exists. However, I identify the potential pitfalls that formal protection might bring to a living, dynamic system, and find that the significance values of tangible and living heritage require different actions to conserve and safeguard them. I show how, while the will to identify and acknowledge South Africa's living heritage has been expressed at the highest policy levels, the ensuing legislation, implementation policies and working practices of heritage practitioners are insufficient to deliver on this. I suggest that, to reflect this better in our management of heritage resources, a more trans-disciplinary approach is needed, one with processes and methodologies that accommodate diversity in the interpretation of cultural value and emphasise stakeholder involvement.

Pratiques et représentations sociales transmises de génération en génération, les patrimoines culturels immatériels (PCI) sont aujourd’hui définis dans le cadre de dispositifs internationaux et nationaux (Unesco, 2003). Dans certaines situations, l’attachement au PCI révèle l’existence d’« espaces en souffrance ». En effet, phénomènes spatiaux aux manifestations inscrites dans des lieux, les PCI contribuent à la capacité des individus et des sociétés à assurer leur pérennité en sauvegardant leurs sentiments d’identité, de présence territoriale et de continuité à travers l’histoire. Réussies ou échouées, les patrimonialisations témoignent d’un dynamisme de ceux qui les opèrent. In fine, les PCI traduisent des territorialités liées à la résilience pour les hommes qui les créent, et y tiennent. L’étude de terrain de neuf sites en Normandie et Pays-de-la-Loire montre que les manifestations du « PCI » sont autant de dépassements de perturbations par des résiliences inscrites dans des échelles géographiques multiples : depuis les échelles micro, celles où l’on soigne le sujet et son lieu corporel organique, aux échelles méso et macro où ces résiliences tendent à raccommoder des tissus socio-territoriaux plus vastes. Ainsi, entre lieux, milieux englobants et territoires, le patrimoine culturel immatériel relève d’une territorialité matricielle. Il participe à la permanente re-création de la relation de l’Homme à la Terre. / Social practices and representations, passed from generation to generation, are today defined as “intangible cultural heritage” and figure in both national and international patrimonial provisions (Unesco 2003). In some cases, people’s attachment to “intangible cultural heritage” can reveal the existence of “areas of suffering”, whether personal or societal. As a spatial phenomenon, the expression of which is often related to a geographical location, “intangible cultural heritage” contributes to Man’s and society’s capacity to ensure its sustainability through the preservation of Man’s feelings of identity, territorial presence and continuity through Time. Successful or not, patrimonialisations are proof of the energy of those who perpetrate them. In fine, “intangible cultural heritage” conveys territorialities linked to the resiliency of those who create such heritage and hold on to it. A field study of 9 sites, in the Normandy and Pays de la Loire regions, shows that these expressions of “ICH” provide Man with a way to overcome disruptions through resiliency, detectable on various geographical scales: from the micro scale, where we look after the individual and his organic corporal location, to the meso and macro scales, where they tend to mend the wider socio-territorial fabric. Thus, between locations, communities and territories, “intangible cultural heritage” becomes part of a matrix territoriality. It is, therefore, part of the permanent re-creation between Mankind and Earth.

<p>Human action recognition continues to evolve and is examined better using deep learning techniques. Several successes have been recorded in the field of action recognition but only very few has focused on dance. This is because dance actions and, especially Traditional African dance, are long and involve fast movement of body parts. This research proposes a novel framework that applies data science algorithms to the field of cultural preservation by applying various deep learning techniques to identify, classify and model Traditional African dances from videos. Traditional African dances are important part of the African culture and heritage. Digital preservation of these dances in their myriad forms is a problem. The dance dataset was constituted using freely available YouTube videos. Three Traditional African dances – Adowa, Bata and Swange – were used for the dance classification process. Two Convolutional Neural Network (CNN) models were used for the classification and they achieved an accuracy of 97% and 98% respectively. Sound classification of Adowa, Bata and Swange drum ensembles were also carried out; an accuracy of 96% was achieved. Human Pose Estimation Algorithms were applied to the Sinte dance. A model of Sinte dance, which can be exported to other environments, was obtained.</p>

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The focus has predominantly been on Southeast Asian countries like Japan and China. Meanwhile, such South Asian countries as India, Indonesia, and Pakistan, which are important from the point of view of understanding the processes of modernization, are undeservedly overlooked. Academics have maintained the necessity to study intangible cultural heritage, citing a new global context marked by a growing urban population and a changing climate as justification. UNESCO has also recognized the value of intangible cultural heritage (ICH) since 2003. Nonetheless, the link between ICH and green energy transition discourses is new. The aim of this study is to analyze how the intangible cultural heritage of Indian civilization affects the energy sector and to which conclusion it leads. Specifically, the paper is trying to expand on focusing on the clean energy sector in India. A systematic literature review (SLR) and the quantitative research method were used to answer the research questions in this work. Considerations for future approaches to ICH and the green energy sector are presented.

Ämnet för denna uppsats är dans som arkivmaterial. Teckningar, dansnotation, recensioner, fotografier, rörlig bild och motion capture studeras som handlingstyper som dans bevaras genom. Syftet är att ta reda på vad som har hänt mellan dans och danshandling. Vilken slags representanter av dansen är handlingarna? Vidare knyter studien an till ett användarperspektiv och en annan frågeställning lyder: vad får forskare som studerar rörelse som har skett ut av handlingarna? Hur kan handlingstyperna användas av dansforskare? Den teoretiska utgångspunkten är semiotik och jag använder mig av Ferdinand de Saussures begrepp signifie och signifiant för att orientera mig i skillnaden mellan dansen som skett i tid- rum och danshandlingarna, som berättar om dansen. Charles Sanders Peirce begrepp symbolisk, ikonisk och indexikal används för att beskriva vilket slags förhållande handlingen har till sin signifie, dansen. Metoden är kvalitativa intervjuer. Jag har intervjuat fyra dansvetenskapliga forskare och de inspelade intervjuerna är källan. Forskarna har kunskap om vilken slags representanter för dansen handlingarna är, eftersom de i sitt arbete studerar dans som har skett genom handlingar. Genom intervjuerna har jag även fått reda på vad forskare som studerar rörelse som har skett får ut av handlingarna och hur de kan använda dem. Forskare som studerar rörelse som har skett föredrar ofta rörlig bild som källa. Detta för att den rörliga bilden har ett ikoniskt förhållande (liknelseförhållande) till dansen och för att den, likt dansen, är rörlig. Dock så finns det ingen handlingstyp som är en absolut återgivning av en rörelse som har skett, alla handlingstyper har sina förutsättningar. Det finns inte heller en handlingstyp som kan anses vara bättre än en annan, vilken handlingstyp som är bättre skiftar beroende på forskarens syften. Handlingstyperna kompletterar varandra och många forskare vill använda sig av flera olika handlingstyper. Därför rekommenderas dansarkiv att satsa på pluralitet i handlingstyper som dans bevaras genom. / The subject of this thesis is dance as archive material. Illustrations, dance notation, reviews, photographs, moving imagery and motion capture are studied as different types of records which preserve dance. The purpose is to find out what has happened between dance and dance record. What kind of representation of dance are the records? The study also connects to a user perspective and poses another question: what do scholars who study movement which has happened get out of these types of records? In what way can dance scholars use these record types? The theoretical stance is semiotics and I use Ferdinand de Saussures concepts ‘signifiant’ and ‘signifié’ to orientate myself in the difference between dance which has happened and the records, which tell us something about this dance. Charles Sanders Peirce concepts ‘symbolic,’ ‘iconic’ and ‘indexical’ are used to describe the relationship between dance and record. The method is qualitative interviews. I have interviewed four dance scholars and the recorded interviews are the source material. The scholars have knowledge of what types of representatives of dance the records are, since they study dance which has happened through records. The interviews also answer the question related to the scholar’s perspective: what do dance scholars get out of the records when they study dance which has happened? Scholars who study dance which has happened often prefer moving imagery as a source. They do so because the moving image has an iconic relationship to the dance (a relationship built on likeness) and because it, like dance, is moving. There is no record which could give an absolute transferral of a movement which has happened, all types of records have their prerequisites. Nor is there a record type which is ‘better’ than another, which record is prefered depends on the scholar’s purpose of their study. The different record types complement each other and many scholars prefer to use several different types. Hence, this study recommends dance archives to aim for plurality of record types in their collections.

Care of the intangible cultural heritage is nowadays dependent on several elements. The main element is people and community in the places where the habit or tradition is still kept. But their effort must be supported by national and international authorities who invest considerable resources into their preservation. Except this also the general awareness of public that is a guarantee of passing the tradition to the next generations is very important. On the example of the Ride of Kings there is captured historical evolution of the tradition, which during the previous century undergo the change in the people's celebrations. By their formation was conditioned preservation of tradition, which began to vanish in the second half of the 20th century. Key words Intangible cultural heritage, cultural people's tradition, Ride of the Kings, folklore.

A Política de Patrimônio Imaterial no Brasil foi instituída em 2000. Desde então bens intangíveis são registrados como patrimônio cultural imaterial e ao Estado cabe garantir a salvaguarda destes, assegurando continuidade, fruição e sustentabilidade. A Roda de Capoeira e o Ofício de Mestre foram registrados como Patrimônio Cultural Imaterial do Brasil, em 2008, pelo Iphan Instituto de Patrimônio Histórico e Artístico Nacional. Como preveem as políticas de patrimônio, seguiram-se as ações de salvaguarda. Em 2012, estas foram descentralizadas para as superintendências estaduais do Iphan. Em 2014, a Roda de Capoeira foi inscrita pela Unesco Organização das Nações Unidas para a Educação, a Ciência e a Cultura como Patrimônio Cultural Imaterial da Humanidade. As controvérsias públicas dos últimos anos entre Estado e Capoeira, exibem questões teóricas para antropologia e para as políticas de patrimônio. Os objetivos desta tese são compreender como os capoeiristas conceituam o termo patrimônio, como semantizam o registro e o que esperam das ações de salvaguarda. Por meio da etnografia multissituada e a partir das ações do CGSPR - Comitê da Salvaguarda da Capoeira no Paraná, realizei a pesquisa de campo em eventos de Capoeira, lugares onde as ações para salvaguarda foram desenhadas e realizavam-se, como trocas de saberes e afetos entre capoeiras, entre Iphan e Capoeira. A tese divide-se em duas partes, como forma de remontar uma roda; na primeira parte o registro, na segunda a salvaguarda, com a intenção de demonstrar as especificidades de cada um dos instrumentos de patrimonialização, como complementares em suas intenções. O registro é analisado a partir dos relatos orais dos mestres, de documentos disponibilizados pelo Iphan e da bibliografia de capoeiristas. A salvaguarda é descrita a partir das ações do CGSCPR. Nos traçados da tese revela-se como os capoeiristas semantizam o registro por meio de suas trajetórias pregressas com o Estado e suas memórias não-vividas da escravidão e da criminalização. E esperam da patrimonialização ação, razão e reconhecimento em forma de direitos. Ao conotarem o conceito de salvaguarda os mestres consideram que a Capoeira já foi salvaguardada no século XX, enquanto os mestres morreram à mingua, portanto para estes agora a salvaguarda é esperada. / The Intangible Heritage Policy in Brazil was instituted in 2000. Since then, intangible assets have been registered as intangible cultural heritage and the state is responsible for ensuring their safeguarding, ensuring continuity, fruition and sustainability.Capoeira Circle and the Craft Master of Capoeira were declared as Intangible Cultural Heritage of Brazil in 2008, by the Institute of National Historical and Artistic Heritage (IPHAN). As it is provided in the heritage policies, safeguarding actions were carried out.In 2012, these actions were decentralized to Iphan\'s state superintendencies. In 2014, Capoeira Circle was inscribed by Unesco - United Nations Educational, Scientific and Cultural Organization - as Intangible Cultural Heritage of Humanity.Public controversies of recent years between State and Capoeira, present theoretical questions for anthropology and heritage policies. The objectives of this thesis are to understand how capoeiristas conceptualize the term heritage, how they semanticize the registry and what they expect from the actions of safeguarding. Through the multisituated ethnography and from the actions of the CGSPR (Capoeira Safeguarding Committee) in Paraná, I conducted field research at Capoeira events, places where safeguarding actions were designed and carried out, as exchanges of knowledge and affections between capoeiras, between Iphan and Capoeira. The thesis is divided into two parts, as a way of reassembling a Circle, the first part is the registry, the second is the safeguarding, meaning to demonstrate the specificities of each of the instruments of patrimonialization, as complementary in their intentions. The registry is analyzed from the oral reports of the craft master of Capoeira, documents made available by Iphan and the bibliography of capoeiristas. The safeguarding is described from the actions of the CGSCPR. In the traces of the thesis it is revealed how the capoeiristas semantize the registry by means of its previous trajectories with the state and its \"memories unlived\" of the slavery and the criminalization. And, they expect from the patrimonialization action, reason and recognition in the form of rights. In connoting the concept of safeguarding, the masters consider that Capoeira was already safeguarded in the 20th Century, while the masters morrem à mingua (to die without assistance). Therefore, safeguarding is expected to these present Mestres.