{"id":1077,"date":"2024-08-09T12:44:21","date_gmt":"2024-08-09T12:44:21","guid":{"rendered":"http:\/\/patrimoinevivantmgte.com\/publications\/"},"modified":"2024-08-12T02:19:27","modified_gmt":"2024-08-12T02:19:27","slug":"publications","status":"publish","type":"page","link":"https:\/\/patrimoinevivantmgte.com\/en\/publications\/","title":{"rendered":"Publications"},"content":{"rendered":"

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State of Intangible Cultural Heritage (ICH) in Guadeloupe: A Global Perspective<\/span><\/h3>\n

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Collaborative Platform for Intangible Cultural Heritage (ICH) in Guadeloupe (youtube.com) <\/a><\/span>
<\/span><\/p>\n

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JPCI Acts 1st Edition, May 2019
<\/span><\/h3>\n

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In May 2019, the first “Days of Intangible Cultural Heritage of the Caribbean and Guyana” took place in Guadeloupe, organized by and at the initiative of the Patrimoine Vivant de Marie-Galante association.<\/p>\n

These days are presented here in a synthesized format, organized into four complementary and cross-cutting thematic areas across all presentations: [Link<\/a>].<\/p>\n

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ICH Inventory Sheets<\/span><\/h3>\n

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karanaval Kabwet \/ Labours\u00a0 \u00ab Chari \u00bb Song\u00a0 Inventory Sheet – Patrimoine Culturel Immat\u00e9riel en France (pci-lab.fr)<\/a><\/span><\/p>\n

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Knowledge-Based Tourism in Martinique<\/span><\/h3>\n

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Craft Tourism in Martinique and the Launch of the Petit Fut\u00e9 Guide on the Intangible Cultural Heritage of Martinique <\/span><\/a><\/p>\n

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Music, Songs, Dances, and Cultural Practices Representing Guadeloupean Identity<\/strong><\/p>\n

During its ninth session (9.COM) held at UNESCO Headquarters in Paris from November 24 to 28, 2014, the Intergovernmental Committee of the 2003 Convention decided to inscribe “Gwoka: music, songs, dances, and cultural practices representing Guadeloupean identity.” The experts described this dossier as exemplary. Congratulations to all members of the Comit\u00e9 lyannaj pou gwoka who supported this collective project!<\/p>\n

Gwoka is practiced by all ethnic and religious groups in Guadeloupean society. It combines responsorial singing in Guadeloupean Creole, rhythms played on ka drums, and dance. In its traditional form, Gwoka integrates these three expressive domains while emphasizing individual improvisation skills. Participants and the audience form a circle, with dancers and soloists taking turns facing the drums. The audience claps and sings along to the refrain set by the soloist. Several thousand people regularly engage in Gwoka during popular outdoor Gwoka evenings, where the circle serves as a venue for showcasing individual talents.<\/p>\n

The practice and craftsmanship related to the making of ka drums are passed down informally within family and social circles, but increasingly through formal workshops and traditional dance and music schools. Gwoka is one of the most emblematic elements of Guadeloupean society, and its contemporary expressions explore new musical, choreographic, or vocal avenues. It accompanies significant moments in daily life as well as festive, cultural, and secular events. It also supports social and political advocacy movements. Gwoka reinforces identity and provides a sense of collective valorization and individual pride, embodying values of conviviality, resistance, and dignity.<\/p>\n

Gwoka: Music, Songs, Dances, and Cultural Practices Representing Guadeloupean Identity \u2013 Intangible Heritage \u2013 Cultural Sector \u2013 UNESCO<\/a><\/p>\n

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