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La conception du monde garifuna représente un syncrétisme entre les éléments amérindiens et africains dans lequel des éléments catholiques ont été incorporés. La base de la religion repose sur la conviction que les ancêtres décédés interfèrent dans la vie quotidienne de leurs descendants. Leurs principaux rites sont destinés à l'ascension des parents morts à l'état de déification ( gubida). Le Dügü (connu sous le nom de Walagallo au Nicaragua), est le plus grand rite que la religiosité garifuna offre aux ancêtres, preuve de la relation entre passé et présent de leur identité. Les cérémonies du dügü renforcent les concepts de vie après la mort, la continuité des lignées familiales et l'assistance mutuelle, renforçant les liens qui unissent les Garífuna.
L'âme
Elle est composée de trois parties :

Anigi Sobadora est la force vitale. Elle se manifeste dans le fonctionnement des principaux organes : battements cardiaques, pulsations des artères, respiration et chaleur corporelle. Elle s'éteint immédiatement après sa mort, ou après quelques mois. Pour certains, l'ombre, iawawa, est une projection directe de l' anigi. Les maladies d' Anigi sont traitées par des massages énergétiques appliqués par les " sobadoras".

Placée dans la tête, elle est immatérielle et quitte le corps immédiatement après la mort. Elle n'est pas perceptible par les sens et ne peut donc pas être révélée aux vivants.

, littéralement"l'autre du couple", se situe entre l' anigi physique et l'iwani spirituel. Pendant la vie d'une personne, l' afurugu n'existe pas de manière indépendante et, bien qu'elle puisse s'éloigner du corps physique, elle y est indissolublement attachée et ses absences prolongées ont de graves conséquences sur la santé de la personne. C'est un corps astral qui reproduit la forme matérielle de la personne dans tous ses détails mais qui est formé par une substance qui ressemble à des entités surnaturelles, dont elle participe apparemment aux qualités.
Elle est l'intermédiaire entre le surnaturel et la réalité quotidienne. Elle a du discernement et de la clairvoyance, ce qui lui permet d'anticiper les dangers qui menacent la personne qui est unie, avant qu'elle n'en prenne conscience. Elle la remarque à l'aide de signes reconnaissables, tels que des démangeaisons dans différentes parties du corps.

La séparation prolongée d'un individu et de son double spirituel peut causer la mort ou, du moins, la perte permanente des facultés mentales, ce qui, en réalité, fait de lui un corps vivant. Cette séparation peut résulter d'attaques d'entités surnaturelles nuisibles ou de mauvaises pratiques magiques.

Pour recevoir les bienfaits de l' afurugu, la personne doit remplir avec ferveur ses devoirs religieux.
Le monde des morts

Atteindre les plus hautes positions dans le monde des morts est un processus lent et progressif. Après la mort, l'iwani (âme) va au ciel, parfois directement, parfois après être passé par le purgatoire. L' afurugu, doit être traité avec prudence, après avoir vécu dans la terre c'est difficile d'y renoncer. Selon la personnalité du défunt et les circonstances de sa mort montreront un attachement plus ou moins prononcé, ceux qui ont eu une vie marquée par de fortes passions -ambitieuses, sensuelles, gourmandes, etc.- qui sont les plus réticents à partir. Leurs proches doivent accomplir les rites appropriés pour qu'ils puissent partir, une tâche qui peut prendre plus d'un an jusqu'à ce qu'ils commencent le chemin pour s'unir à leur âme ( iwani) dans leur demeure permanente.

Les défunts récemment décédés ( áhari) ne se laissent pas voir par leurs proches, mais au moyen de fissures et de claquements ils révèlent leur présence dans la maison. Lorsqu'ils sont irrités, ils peuvent causer des accidents domestiques. La nuit, ils parcourent les rues du village et peuvent être vus par les gens qui reviennent de vacances religieuses ou par les pêcheurs qui partent en mer avant l'aube. Ces esprits sont les ufiñeu. Les Ufiñeu de personnes violentes ou qui sont mortes dans des circonstances étranges peuvent attaquer quiconque s'approche d'eux sans avertissement ; on peut empêcher ces attaques en portant des amulettes sur le corps, en récitant des prières ou des sorts. La chose la plus fréquente, cependant, est que les esprits soient vus de loin et indifférents à la présence des vivants. L' ufiñeu serait la force vitale du cadavre (l' anigi), sa disparition serait concomitante à la décomposition du corps et sa disparition coïnciderait avec la désintégration complète du corps.

Sur le chemin vers le monde des morts, les esprits demandent des bains rafraîchissants et des offrandes de nourriture pour restaurer leur force. Au cours du voyage, l' áhari s'arrête pour rencontrer des amis qui sont morts avant lui mais qui n'ont pas pu voyager aussi vite que lui ; s'ils ne le maintiennent pas dans un "mauvais endroit", même le plus lent des áhari atteindra sa destination finale. Les parents survivants sont tenus informés de l'évolution du voyage à travers les présages et les rêves, jusqu'à ce qu'ils rencontrent le gubida.

source

Les Caraïbes noirs du Honduras

Ruy Galvão de Andrade Coelho
Editorial Guaymuras, 2002

traduction carolita du site Pueblos originarios.com

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La conception du monde garifuna représente un syncrétisme entre les éléments amérindiens et africains dans lequel des éléments catholiques ont été incorporés. La base de la religion repose sur la conviction que les ancêtres décédés interfèrent dans la vie quotidienne de leurs descendants.

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Le pepián

Le pepián est un plat en sauce - rouge - typique guatémaltèque à base de porc (ou de poulet ou de bœuf, voire un mélange des trois), de tomates, de piment fort ( chile), de sésame et de pepitoria(sauce constituée à base de jus de cuisson de viande, jaune d'œuf dur et amandes moulues). Le pepián n'est pas une spécialité rattachée à une région particulière. Les Guatémaltèques ont trois types de pepián,selon le type de piment utilisé : le pepián noir, le pepián huéhuétèque (de la ville de Huehuetenango) et le pepián coloré.

L'histoire du pepián commence avant la conquête espagnole, quand la cuisine maya était principalement basée sur le maïs, les herbes et les haricots. Les Mayas utilisaient le chile comme cadeau pour les dieux et pour des événements spéciaux. Pendant la conquête, sous l'influence espagnole, les Mayas commencent à utiliser la dinde dans les plats. Par la suite, la nourriture se métisse et l'on commence alors à utiliser le riz : et c'est alors que naît le pepián.

Pour la recette du pepián, cliquez ici (en espagnol).
Juan Antonio Bolaños
Le est un bouillon de fruits de mer et de bananes vertes au lait de coco. Comme beaucoup de plats nationaux, il est le fruit parfait des métissages qui ont fait l'histoire du Guatémala. A la fin du XIXe siècle, le besoin de main-d'œuvre dans la région atlantique (Izabal, Livingston...) du pays provoque la venue de Caribéens (les garifunas), qui apportent avec eux un fort héritage africain passé dans la cuisine caribéenne. La présence de noix de coco et de fruits de mer dans l'alimentation des habitants de la côte atlantique témoigne de l'abondance de ces fruits dans la région. L'intégration de la banane et de la banane plantain s'est faite naturellement, en raison de leur importance dans l'agriculture locale. De tels ingrédients et de telles saveurs garantissent aux amoureux de la gastronomie exotique une dégustation surprenante, qui pourrait enchanter leur palais.
Mario Rios
Originaire de Huehuetenango (ouest/nord du Guatémala), le jocon est un plat que l'on peut aujourd'hui consommer dans tout le Guatémala. Le mot et signifie " cinq légumes ", en raison de ses ingrédients : tomates vertes, tomates, oignon vert, coriandre et le piment fort ( chile). Ces cinq ingrédients, mixés, forment une sauce épaisse pour accompagner le poulet. Ce plat est généralement servi avec les omniprésentes tortillas de maïs blanc et avec du riz.

Le jocon est un plat très connu, sinon le plus connu, de la gastronomie guatémaltèque, consommé très fréquemment.

La recette (en français), c'est sur le blog Tour du Monde en recettes.
Jimena Argueta
A l'époque préhispanique, des repas exceptionnels étaient réalisés pour commémorer les ancêtres. Après la conquête espagnole, une hybridation des cultures mayas et espagnole conduit à l'apparition, à la fin du XVIe siècle, d'un plat froid spécialement conçu pour être consommé à l'occasion de la Fête des Morts ( Día de los Muertos, équivalent de la Toussaint), les 1er et 2 novembre.

Une légende raconte qu'un jour, à l'occasion de la Fête des Morts, une servante qui ne savait que cuisiner pour ses patrons, décida de mettre dans un seul plat toute la nourriture qu'elle avait à disposition. Ayant été très bien accueilli par les commensaux, ceux-ci lui demandèrent le nom du plat ; elle répondit alors : " Fiambre ".

Au XIXe siècle, le fiambre confirma son statut de " nourriture du mort " ; jusqu'à aujourd'hui, ce plat, qui connaît beaucoup de variantes, demeure la nourriture typique de ces journées de commémoration mortuaires. Ce plat, devenu traditionnel, est uniquement servi début novembre, à l'occasion de la Fête des Morts . Il est constitué d'une variété de légumes, de viandes et saucisses, de fromage, de câpres, d'olives et autres épices. Une combinaison riche qui, avec le temps, s'est grandement diversifié, chacun l'adaptant à sa manière : jamais le fiambre de l'un ne ressemble à celui d'un autre. Traduisant un triple héritage, il reflète l'identité guatémaltèque même : les légumes et l'assaisonnement sont issus de l'héritage préhispanique, les viandes et charcuteries de l'héritage hispanique et les fromages, câpres, olives et épices tiennent de l'héritage arabe assimilé par les Espagnols.

Il existe trois types de fiambre. Le fiambre vient de la région centrale du Guatémala et de l'ère maya kaqchikel ; il est composé notamment de betteraves confites au vinaigre et de viandes. Le fiambre dulce ( fiambre doux), de l'ouest et du nord du Guatémala, est un plat aigre-doux, aromatisé avec du miel, et enrichi de fèves et d'orge. Enfin, le ( fiambre divorcé), originaire de l'est du pays, est présenté en deux plateaux distincts : l'un avec les légumes ; l'autre avec les saucisses, les viandes et les fromages.

Plat essentiellement familial et destiné à la commémoration des morts, il n'apparaît pas au menu des restaurants du Guatémala à part dans quelques rares restaurants. Le meilleur " Fiambre " est certainement c elui que prépare les grands-mères guatémaltèques, et je ne dis pas ça seulement parce que celui que prépare ma grand-mère est vraiment délicieux !
[Recette - en espagnol - du fiambre colorado.] Susan Reyes
Les rellenitos

Parmi les meilleurs plats de la gastronomie guatémaltèque, se trouvent les rellenitos. Ce dessert typique combine deux des ingrédients principaux de l'alimentation guatémaltèque : la banane plantain et le haricot. Les rellenitos sont des boulettes de banane plantain écrasée, fourrées de purée de haricots sucrés, puis frites à l'huile et couvertes de sucre glace. Ils ne se consomment habituellement que lors de réceptions ou de dîners de famille.

Les rellenitos sont issus de la rencontre des cultures espagnole et maya et sont emblématiques de la cuisine métisse du pays. Ce plat n'est pas représentatif d'un département spécifique du Guatemala : de même que le pepián, il se consomme en effet dans tout le pays.

Pour la recette, c'est par ici (en espagnol).
Andrea Ruano

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Cuisine du Guatemala : cinq plats traditionnels présentés par les locaux

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Le pepián est un plat en sauce - rouge - typique guatémaltèque à base de porc (ou de poulet ou de bœuf, voire un mélange des trois), de tomates, de piment fort ( chile), de sésame et de pepitoria(sauce constituée à base de jus de cuisson de viande, jaune d'œuf dur et amandes moulues).

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Day-1-Tuesday-17/7/18-It is now 3:50 in the morning and has been thinking about an event that will unfold in front of our eyes tomorrow. Tomorrow will be one hundred years since Nelson Mandela was born and here we are thinking about what Gangadiwali will be one hundred years from tomorrow.

Garifuna Heritage Park in Gangadiwali, Labuga Livingston will celebrate and honor the birth date of Rolihlahla which is his birth name, which means trouble maker in the English language. In this case we have been nurturing a Mahogany Tree for the past year for a moment like the one we are expecting tomorrow. Tomorrow will be history in the making at Gangadiwali that our readers and the world should know about.

On the other hand yesterday was Day-40 and we were in Gangadiwali on a "Spiritual Mission" and came to the conclusion that our struggle continues, for example we have been having problems with the electrical companies in Labuga Livingston Guatemala for more than twenty years and we have not manage to find a solution for the expensive and meager service the company is providing us, sometimes leaving the communities without electric energy for days in a row.

There is a Town Board meeting scheduled for today at 10:00 in the morning and we are planning to attend. We hope to attend our second meeting regarding our problems with the electrical company at the head-quarters of the actual Mayor of Labuga Livingston and would like to informed our readers, the world at large and our mayor and the electrical company that according to the declaration of the United Nations in relations to our human rights as an indigenous group, is being violated and we are ready to look for a permanent solutions.

In a previous meeting with the Town Board members, at the head quarters of the mayor we managed to mention that "We" the Garifuna Nation in Guatemala would like to continue the process of a friendship and cooperation relationship with the neighboring country of Belize that we began at the mayor's office on 21st June 2018 and would like to investigate the possibilities of getting our electrical service from Belize.

Day-4-Fri. 20/7/19-It is now 7:14 in the morning and have been thinking about some of the events that are unfold in front of our eyes because we just got through reading Unfolding, it was a message that was revealed to us on the 24th July 2012, it this case if our readers and the world would like to take a deeper look, you are more than welcome to visit our blog- garifunareality

Another document that unfolded in front of our eyes this morning, is a document that we have had in our hands since the 8th July 2008 and have had the opportunity to put it in the hands of our actual Mayor Miguel Rax twice in ten years and now we are looking forward to the third time which will fall on Day-8- Tuesday 24th July 2018. In this case, our readers and the world will be our witness to the "truth."

Before we continue we would like our readers and the world to understand that the events that are unfolding in front of our eyes are not designed for the naked eyes to see, if we had seen this coming ten years ago, things would have been different today, but be that as it may, we are here today to thank you, for being here to "see" for yourself.

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Garifuna Reality in Livingston "Labuga" Guatemala

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History was made in early 2010 when Tomas Sanchez became the very first Garífuna in Guatemala to start blogging. If you are interested in learning about the Garífuna on a deeper level, Garifuna culture and spirituality beyond the tourists' vision, then here is where you need to be.

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Garifuna history, geography, and social information about the community; includes contact details for supportive organizations and current news.

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Belize, Guatemala, Honduras et Nicaragua

Inscrit en 2008 ( 3.COM) sur la Liste représentative du patrimoine culturel immatériel de l'humanité (originellement proclamé en 2001)

Les Garifuna sont issus de métissages entre des groupes originaires d'Afrique et des Caraïbes dont ils ont intégré des éléments culturels. Ils se sont établis au dix-huitième siècle le long de la côte atlantique de l'Amérique centrale après avoir été obligés de fuir Saint-Vincent. Aujourd'hui, ils vivent principalement au Honduras, au Guatemala, au Nicaragua et au Belize.

La langue garifuna, qui appartient au groupe de langues arawak, a survécu à des siècles de discrimination et de domination linguistique. Elle est riche en récits (úraga) à l'origine racontés lors des veillées ou de grands rassemblements. Les mélodies mêlent des éléments africains et amérindiens et les textes constituent un véritable creuset de l'histoire et des savoirs traditionnels des Garifuna, tels la culture du manioc, la fabrication de canoës ou la construction de maisons en terre cuite. Il y a également une veine satirique très importante dans ces chansons rythmées par des tambours et accompagnées de danses auxquelles se mêlent les spectateurs.

Ces traditions restent essentielles dans la vie des Garifuna. Ce sont les anciens qui perpétuent la plupart des cérémonies, fêtes et traditions orales. La transmission pâtit pourtant des migrations économiques, de la discrimination et de l'absence de la langue garifuna dans le système scolaire. Bien qu'elle ait encore de nombreux locuteurs, elle n'est plus enseignée que dans un seul village.

A. Page de couverture

A.3. Élément inscrit sur la Liste de sauvegarde urgente qui fait l'objet du présent rapport

A.6. Synthèse du rapport

Cultural traditions which are practiced in an area populated by the suiti community and are of significance to suiti, alongside the traditional drone singing, folk songs, and suiti dialect, also cover annual festivities, cooking, wedding rituals, playing of musical instruments, dances, wearing traditional costumes, and also the Catholic faith. The annual festivities related to the Catholic faith - Festivity of Saint John the Baptist in Gudenieki, Saint Anne's Day in Basi, Herb Day ["Zāļu diena"] in Jūrkalne and especially Saint Michael's Festivity in Alsunga every autumn - unite different generations and facilitate a strong link between popular traditions and the Catholic faith and inheriting thereof.

The number of people residing in the suiti cultural space which, at the time of submitting the nomination for UNESCO, was estimated to be approximately 2000 people has decreased, and also the number of newborn infants is small. Reduction in the suiti community causes justified concern regarding inheriting of the suiti traditions and safeguarding of the cultural space. Suiti reside in the western part of Latvia, near the Baltic Sea, and after the administrative reform the suiti cultural space has been divided into three municipalities - Alsunga municipality, Gudenieki rural territory [or "pagasts"] in Kuldīga municipality, and Jūrkalne rural territory [or "pagasts"] in Ventspils municipality. There are still different opinions in the community as regards the decision to divide the community into separate administrative units. This spatial division has resulted in far-reaching consequences. Currently it affects the everyday life of the community in such essential issues as education.

The links between different generations of the community are strengthened by ethnographic ensembles and folklore groups. Moreover, their range has diversified, and men have joined suiti women in singing and playing of musical instruments. Ensembles "Suitu vīri" ["Suiti men"] and "Suitu dūdenieki" ["Suiti bagpipers"] have been created, master classes have been implemented in order to improve the knowledge and experience in playing bagpipes, and several members of the group have mastered making of the bagpipes and play self-made instruments. Suiti have purposefully and successively looked for opportunities to restore several traditions which have historically discontinued. Concurrently with playing bagpipes, also the skills of playing kokle, making traditional costumes and wedding traditions are being restored. Suiti have managed to have continuous progress towards achieving the selected objectives by individual initiatives and initially local small-scale projects, and currently suiti may be proud of self-made traditional musical instruments and costumes. Restoration of several traditional trades - tailor, shoemaker, hatter, and jewellery designer - is still intended, and the subsequent steps of safeguarding the suiti cultural space will be dedicated thereto. It is also intended to strengthen the co-operation of local entrepreneurs and to promote recognisability of products created in the suiti cultural space and rooted in its traditions.

As recognised by representatives of the suiti community, inclusion in the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding has provided a significant take-off for resolution of the community to become more knowledgeable of their own cultural heritage and to preserve it, to share their experience, and to become acquainted with experience of other communities in safeguarding their culture both in Latvia and in other countries. Over the course of time it has also meant significant strengthening of their abilities for successfully defending the suiti cultural space safeguarding initiatives both in national and international cultural, regional development and cross-border co-operation programmes. Suiti are characterised by relentless attempts to safeguard their cultural environment, and it can be also seen in restoration works of secular and sacred heritage; Alsunga medieval castle which is located in the suiti cultural space is still waiting for its restoration.

A.7. Personne à contacter pour la correspondance

Institution/fonction

Director of the Latvian National Centre for Culture

Adresse

Pils laukums 4, Riga, Latvia, LV-1365, Latvia

Autres informations pertinentes

Contact person of the suiti community

Title (Ms/Mr, etc.): Ms
Family name: Martinova
Given name: Dace
Institution/position: Chairperson of the board of the Ethnic Culture Centre (ECC) "Suiti"
Address: Ziedulejas iela 1, Alsunga, Alsungas nov., LV-3306, Latvia
Telephone number: (+371) 29222103
E-mail address: dace.martinova@inbox.lv

B. Etat de l'élément inscrit sur la liste de sauvegarde urgente

B.1. Fonctions sociales et culturelles

The meaning of the suiti cultural space and its cultural function for the community is mainly related to being aware of suiti cultural identity, and belonging to the suiti community. Both the expressive and splendid suiti traditional costume worn on special occasions and the use of the characteristic linguistic dialect in everyday life, as well as singing and other traditions serve as symbols attesting to such belonging. Suiti identity is concurrently a source of strong self-confidence which is related to resolution and perseverance characteristic to the suiti, and also concern over well-kept cultural environment.

Alongside the meaning of cultural identity the suiti cultural space has a significant social function in promoting a link among different generations, the sense of responsibility and respect towards the knowledge and experience of the older generation in inheriting cultural traditions. Ethnographic ensembles and folklore groups of the suiti community are mainly based on experience of the older generation, and concurrently it means permanent involvement of the older generation in the public life of the community. Stable roles of different generations have emerged within the community where the older generation provides advice, opinions, evaluations, and shares experience. In turn, the middle and younger generation contributes its energy in planning and implementing different activities of safeguarding traditions. The youngest members of the community are involved in especially designed events of becoming acquainted with the suiti culture. Owing to active participation of the younger generation in the cultural life, revitalisation of suiti traditions is taking place - the customs which had disappeared from the everyday use are returning in families. Therefore, representatives of each generation have a significant role in activities of inheriting cultural traditions as they provide a different contribution for continuation of traditions.

The cultural heritage in the suiti community serves as the cultural identity and co-operation support, and also as a development resource. The community is becoming increasingly aware of its significance and possibilities of its diverse application. It adds an economic function to this heritage by promoting welfare of the community which, in turn, is of crucial importance to safeguarding of the cultural space of the community.

Safeguarding of the suiti cultural space is a personal responsibility of each suits. In turn, persons who have a special role in relation to joint cultural events of the community are participants of suiti ethnographic ensembles and folklore groups, also non-governmental organisations and interest groups, and members of suiti Catholic parishes.

B.2. Analyse de sa viabilité et risques auxquels il est actuellement exposé

Significant events which have received a positive feedback from the community, for example, restoration of several cultural traditions (singing of men, playing of bagpipes) and gradually increasing number of participants, achievements of the community in researching their traditions (history of wearing and making of the traditional costume), as well as deepening of the knowledge and acquisition of the necessary practical skills (strengthening of weaving skills), may be observed in safeguarding of the suiti cultural space. Gradually the interest of suiti in their wedding traditions has increased, and they have been implemented several times in the suiti cultural space during the preceding years.

Also children and young persons display interest in mastering suiti traditions (school of suiti traditions, dance camp), and inheriting of traditions among generations can be observed. Activities of formal and non-formal education (mastering of suiti dialect, drone singing) offer to once again make the traditions as part of the family life. Also co-operation between persons tending to different traditions (playing music by suiti as accompaniment to dances), as well as co-operation in selling products related to the heritage (craft and designing of a uniform mark of product identity) is developing. There is also a support of suiti Catholic priests to care for the cultural environment and local traditions.

However, several risks identified in the previous report are still current.

(1) Reduction in the number of inhabitants can be still observed in the suiti cultural space, and it can be explained with the young generation leaving for cities and regional centres and negative natural growth.

(2) Economic development of the community depends on the State regional policy which is still oriented towards population of regional centres, disregarding rural areas which are not concentrated around such regional centres.

(3) Development of the suiti cultural space depends on the State education policy which envisages closing schools in which the number of pupils is small, without taking into account the significance of such schools as the local culture centres.

(4) The financial support, particularly for implementation of large-scale projects, is inconsistent and insufficient. Apart from individual target programmes, it is mainly granted according to the procedures of project tenders, creating sense of insecurity as regards planning future activities.

Alongside the abovementioned aspects which were topical also during drafting of the previous periodic report, additional risk aspects have been recognised by the suiti community.

(5) Secularisation of the society, as the number of active members of suiti Catholic parishes keeps decreasing, and the number of suiti children attending Sunday schools is quite small. However, the community keeps emphasising the Catholic faith as the pillar of its cultural identity.

(6) Segregation between the persons actively practising suiti traditions and the part of the community which is passive in this regard and for which belonging to the suiti community is determined by other considerations can be observed in the community.

B.3. Mise en œuvre des mesures de sauvegarde

B.3c. Participation de communautés, de groupes ou d'individus aux activités de sauvegarde

Safeguarding of the suiti cultural space depends on the suiti community on the whole. During the last years the number of cultural activities organised has increased, however, a comparatively small part of the community participates in them. Members of non-governmental organisations want a more extensive and active involvement of the community in the events organised. Meanwhile, others acknowledge that suiti cultural identity should be viewed more widely, as part of the everyday life of suiti and as a sense of belonging. In comparison with the previous report (2013) the number of those members of the community who are actively involved in safeguarding of suiti traditions has changed.

(1) Participation of children and young persons in ensembles and folklore groups has decreased. It is caused both by reduction in the number of children and also their going to study at schools which are located outside the suiti cultural space. The folklore group in Basi "Krētainie suiti" (2002) has discontinued its operation from 2017. The number of dancers in dance collectives has decreased from 60 to 43 participants. The number of participants of the folklore group "Suitiņi" (1985) has decreased from 8 to 6 participants. Without doubt the range of activities implemented has been extensive and intense for the ensembles which continue their operation.

(2) Reduction in the number of participants has also been observed in several middle generation ensembles - in rural band "Suitu muzikanti" (2010) 5 of 8 musicians keep playing, the in ethnographic ensemble "Maģie suiti" (1959) in Jūrkalne there was a decrease from 13 to 6 participants. In turn, the number of participants in ethnographic ensemble "Gudenieku suiti" (1965) in Gudenieki has decreased from 16 to 12 participants.

(3) The number of participants in the ethnographic ensemble "Suitu sievas" (1955) has remained unchanged - 17, and 9 participants continue involvement in the traditions ensemble "Basu suiti" (2011). There are continuously 6 participants in the creative workshop "Austuve" (2009) and 6 weavers in the weaver's workshop (2013) in Jūrkalne. Increase in the number of participants, particularly in relation to suiti dancing traditions and involvement of men in singing and music-playing traditions, can also be observed - in the middle generation dance group Suiti (1982), from 18 to 22 participants, the middle generation dance collective "Jūrkalne" (2017) has resumed its operation, and (mainly middle generation) suiti groups "Suitu vīri" (2013, 10 participants) and "Suitu dūdenieki" (2014, 7 participants) have joined, restoring the tradition of playing bagpipes in the suiti cultural space and becoming the largest group playing traditional bagpipes in Latvia.

Number of participants of non-governmental organisations of the suiti community (see section C.3 of the report) is relatively small, however the events organised by them are open to the whole community, as well as other persons interested. Contribution to preservation of the suiti cultural heritage is also provided by parishes of the Roman Catholic Church - parish of St. Michael's Alsunga Roman Catholic church, parish of St. Joseph's Jūrkalne Roman Catholic church, and parish of St. John the Baptist's Gudenieki Roman Catholic church.

C. Mise à jour des mesures de sauvegarde

C.1. Plan de sauvegarde mis à jour

The updated safeguarding plan of the suiti cultural space continues the previously commenced direction, and principal objectives have been selected: (1) to ensure regular and methodical documenting and research of the suiti intangible cultural heritage, promoting co-operation between educational and research institutions and the suiti community; (2) to promote educational, practical, and transfer activities of all kinds in all levels of education, particularly among children and young persons, in order to ensure the sustainability of the traditions characteristic to the suiti cultural space and the co-operation of generations in their transfer; (3) to promote recognisability of the heritage characteristic to the suiti cultural space in Latvia and abroad; (4) to use the creative potential of the suiti cultural space for the development of new products and services with added value, ensuring that representatives of the suiti community are the main beneficiaries; (5) to ensure the support infrastructure necessary for safeguarding of the suiti cultural space, particularly promoting recovery and restoration of cultural and historical monuments and artefacts of significance to the suiti community. In order to achieve the objectives defined, the foreseeable results and activities have been determined:

(1) Research and documentation

Co-operation with the institutions of higher education and research will ensure that expressions of the suiti cultural heritage and the persons practising them will be studied. It is planned to pay special attention to the research of traditional celebrations. Several activities will promote access to the suiti heritage online: registers of local parishes will be digitalised, suiti folklore materials will be aggregated and made available, and place names of the suiti cultural space will be mapped. Alongside successful operation of the suiti heritage depositories, it is planned to open tourism and information centres. It is envisaged to ensure issuing of publications in suiti dialect with the objective of promoting the number of persons knowing and practising it in everyday life.

(2) Practising, transfer, education

It is planned to continue integration of suiti culture elements in the process of lessons in pre-school educational institutions, in study subjects in Alsunga Secondary School, as well as in interest education in Alsunga Music and Art School. Several of the planned activities continue successfully commenced practices: acquisition of the music and dance traditions, and wearing the traditional costume. Summer camps for suiti children are planned to be proposed also to diaspora. It is intended to continue the research and to organise training for adults, particularly with the intent of restoring the craft skills of a tailor, shoemaker, hatter, and jewellery designer, and traditions of making musical instruments - bagpipes, kokle, and violin.

(3) Promotion of recognisability

Essential role in forming the identity of suiti is played by traditional festivities and celebrations of suiti which also promote recognisability of the suiti cultural space. The international drone singing festival will continue the promotion of suiti culture. The visual identity of suiti is being considered - it is intended to create a brand for recognisability of products of suiti craftsmen and domestic producers. It is also planned to promote the recognisability of suiti with the help of audiovisual materials. Henceforth digital information resources will also be taken care of: website www.suitunovads.lv, as well as profiles of the suiti cultural space in social networks.

(4) Entrepreneurship and creative industries

In order to improve safe socio-economic grounds concurrently safeguarding the cultural environment characteristic to the suiti cultural space, it is intended to develop domestic production and craftsmanship based on suiti traditions and principles of organic farming. Development of entrepreneurial skills is planned with the help of general educational programmes and measures of lifelong education. It is planned to promote the establishment of cooperative societies and to ensure trade in articles of suiti craftsmen, creating an online platform "Suitu amatu māja" ["Suiti crafts house"].

(5) Infrastructure

In order to safeguard the suiti cultural space in long-term, the infrastructure must be developed and tending to the cultural environment must be continued. It is planned to renew roads in order to ensure the reachability of the suiti cultural space. Also work on restoration and renewal of suiti churches and historical buildings of parishes and objects related thereto, as well as of Alsunga medieval castle will be continued. For the purpose of promoting tourism it is planned to create nature and recreational parks, a centre of creative workshops and a suiti ethnographic farm, promoting exploration of the traditional farming and fisheries practices. For attracting entrepreneurship and financing a support fund for the suiti cultural space is to be established.

The safeguarding plan has been developed for 2017 to 2019, with the intent of updating it, upon co-operation of the association ECC "Suiti" with the local governments, the Latvian National Culture Centre, the UNESCO Latvian National Commission, and the Ministry of Culture. Involvement of all the abovementioned parties is intended in implementation of the plan. Alongside the abovementioned institutions, the plan also provides for involvement of the State Inspection for Heritage Protection, the Ministry of Education and Science, the Ministry of Environmental Protection and Regional Development, and the Nature Conservation Agency, also the Ministry of Agriculture and the Ministry of Transport, co-operating in implementation of the policy related to the maintenance of the cultural environment.

State funding for safeguarding suiti cultural space is planned in the form of yearly State budget earmarked grants for cultural education - 57 450, folk groups and ethnographic ensembles - 3 630, ECC "Suiti" - 10 000. For or a three year period it is 213 240, with possibility of its gradual increase. In turn, for restoration and renovation of the Alsunga medieval castle 281 000 are planned (2018-2019). Concurrently with contribution of State institutions substantial support is expected from the local governments. There is also an attributed funding of the European Union funds - 23 020 for developing entrepreneurship in tourism (2017-2020). Other potential resources are to be attracted based on projects, including from the State Culture Capital Fund.

C.2. Participation des communautés

The safeguarding plan has been developed on the basis of the memorandum of co-operation which was signed on 17 August 2016 between the association ECC "Suiti", the Ministry of Culture of the Republic of Latvia, the Latvian National Culture Centre, UNESCO Latvian National Commission, and three local governments - Alsunga Municipality Council, Kuldīga Municipality Council, and Ventspils Municipality Council. The present memorandum of co-operation is in effect until 31 December 2020. It was elaborated in order to promote implementation of cultural activities, formal and non-formal education and of economic activities which would ensure safeguarding of the suiti intangible cultural heritage. The first such memorandum of co-operation was signed on 20 January 2010, and the second memorandum attests to the continuation of the co-operation already commenced.

In order to update the safeguarding plan, three meetings were organised in September and October 2016 with participation of representatives of the suiti community from ECC "Suiti", priest of Catholic parishes of the suiti cultural space, teachers from Alsunga Secondary School, and representatives of the local governments, as well as representatives from those State institutions which signed the abovementioned memorandum of co-operation. The plan developed was approved by the board of the association ECC "Suiti" in which representatives of the community individually and the local governments involved are participating. According to the memorandum of co-operation, the parties involved, including representatives of the association ECC "Suiti", meet once a year in order to evaluate the implementation of the plan and the results achieved and to agree on the next action directions and planned activities.

In relation to gender roles, the operation of the association ECC "Suiti" is characterised by gender equality. The board of the association is periodically re-elected, and concurrently representatives of different genders of the society participate therein. Gender equality is also characteristic to other non-governmental organisations which operate for safeguarding of the suiti heritage and are involved in implementation activities of the plan. Similarly gender equality may be observed in the management and representation of local governments.

C.3. Contexte institutionnel

Local governments of three municipalities - Alsunga, Kuldīga (Gudenieki rural territory), and Ventspils (Jūrkalne rural territory) - are involved in the management and safeguarding of the suiti cultural space. Culture houses operate in all three municipalities. Each of them implements activities for safeguarding of the suiti cultural space. Also Catholic parishes are related to safeguarding of the suiti cultural space (see also section B.3c of the report).

The association ECC "Suiti" implements safeguarding activities and promotes co-operation of the community with local governments and State institutions. "Suitu amatnieki" ["Suiti craftsmen"] promote craftsmanship in the suiti community. Several other local associations stimulate the interest in suiti cultural heritage. "Suitu novads" ["Suiti County"] and "Suitu kultūras mantojums" ["Suiti Cultural Heritage"] contribute to the research and recognisability of suiti cultural history.

D. Participation des communautés a l'etablissement du présent rapport

Preparation of the report was planned and implemented upon co-operation between the Latvian National Centre for Culture, the Latvian Academy of Culture and the association ECC "Suiti". Participation of the suiti community in development of the report took place with the support of the association. The written report on safeguarding activities of the suiti cultural space prepared by the association served as informative basis.

In order to evaluate the current situation in safeguarding of the suiti cultural space, the initial meeting for planning the development of the report with representatives of the association ECC "Suiti" was followed by more extensive discussion. It gathered representatives of the community from different fields of activity - directors of ethnographic ensembles, representatives of local governments, priest of the suiti Catholic parishes, local entrepreneurs whose activity is related to the suiti cultural heritage - to a conversation at Alsunga Culture House on 2 November 2017. During development of the report several interviews were conducted and individual written opinions were received.

The initial version of the report was prepared in Latvian and disseminated through the ECC "Suiti" to community members. "Suiti dižsapulce" ["Suiti Grand Meeting"] was organised by the association on 20 November 2017 at Alsunga Culture House for discussing it, inviting all interested parties from the suiti community, as well as representatives of the local governments and State institutions. The opinions expressed at the meeting were taken into account in developing the final version of the report.

E. Signature au nom de l'état partie

Titre

Minister for Culture of the Republic of Latvia

Chargement du rapport périodique signé

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UNESCO - La langue, la danse et la musique des Garifuna

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Chaque année, le Comité se réunit pour évaluer des candidatures et décider d'inscrire ou non les pratiques et expressions culturelles du patrimoine immatériel proposées par les États parties à la Convention de 2003. En cliquant sur les éléments inscrits plus bas, vous pourrez découvrir les dossiers de candidatures, dont le consentement des communautés, les photographies et les ...

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Publicado por XplorHonduras

La comida tipica Garifuna esta basada principalmente en el uso de raices y tuberculos para su preparación. Entre ellos están la yuca dulce, yuca amarga, camotes, malanga, ñame, tambien los platanos, bananos y cocos.

Entre las carnes que utilizan estan la de res, cerdo y pollo, gallinas pero también la carne de tepezcuintle, iguana, venado, cusuco, guajolotes, mapaches, chancho de monte y tortugas de agua dulce, tortuga de agua salada, todo esto sin faltar los frutos del mar; pescado, camarones, caracoles, jaibas, cangrejos, langostas, tortugas,etc.

En la preparación de los ricos platos de comida tipica garifuna también son indispensables ingredientes como la harina de trigo, de maíz, arroz y frijoles.

Entre comidas, los Garifunas acostumbran comer una merienda, la que por lo general esta compuesta por una variedad de panes, postres dulces, atoles, budines y otros, los que son elaborados a base de harina de trigo, yuca dulce, coco, plátanos, bananos, camote, ayote, etc.

La mayor parte de la comida tipica garifuna se elabora a base de coco, tanto para la preparación de platos completos, como para postres. También poseen una gran variedad de ricas bebidas típicas que a continuación detallaremos.

Comida Tipica Garifuna

Machuca (Hudutu)

Tapado (Tapou)

Albondigas de guineo verde (Alabúndiga o barafu)

Rice and Beans (casamiento con coco)

Arroz dulce (Bimekaküle)

Donplini

Baili

Casabe (Ereba)

Marote (Marúmaruti)

Farina

Amánu

Katón

Harábada

Tatóu

Krísis

Mígou

Pauda-bonu

Traifulu o gefegua

Kasará

Pescado Frito

Panes y Postres

Pan de coco (Fein)

Pan enrollado o pan dulce (Bonu)

Pan duro (Keke)

Caballitos (Kawayitu)

Pastel de coco

Pan de Maiz (Pan de meisí)

Pan de camote (peteta)

Pan de ayote (Pónkini)

Tableta de coco (Dábuledu)

Galleta de Almidon (Salforita)

Pan de Banano (Pulanbredi)

Arroz con leche (Raisilabu)

Tamales (Gadámalu)

Tamal de yuca (Dani)

Tamal de guineo (Darasa)

Tamal de maíz

Atoles (Adulu)

Atol de mazapán (Gurentu Yamichiga o Luba)

Atol de harina con agua (Pulali)

Atol de harina con leche de coco (Ché papi)

Atol de maíz (Kan-labu)

Atol de banano (Letu)

Atol de camote (Gurentu mabi)

Atol de yuca (Gurentu gain)

Atol de platano maduro (Gurentu baruru)

Atol de banano verde (Pluplumaya o giladi)

Bebidas (Uniñei)

Kalawala

Gifiti

Agua de coco

Siete Tumba

Fresco de papas (Potato-wine)

Chicha (Mámara)

Vino de coyol (cañalaña)

Fuente: Victor Virgilio Lopez, libro La Cultura Garifuna.

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Comida Tipica Garifuna | Rica comida tipica Garifuna

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Publicado por XplorHonduras La comida tipica Garifuna esta basada principalmente en el uso de raices y tuberculos para su preparación. Entre ellos están la yuca dulce, yuca amarga, camotes, malanga, ñame, tambien los platanos, bananos y cocos.