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Navarrese jota singers. Source: Portal of Intangible Cultural Heritage of Spain.
When talking about authenticity, we tend to think of immutable things. Apparently, something is authentic if it remains the same, if it is not “contaminated,” and if it is reproduced repeatedly, faithful to an ancient form. This idea works quite well when we talk about tangible heritage (an altarpiece, a building, a sculpture). However, when it comes to Intangible Cultural Heritage (festivals, music, rituals, crafts, oral traditions)—hereafter, ICH—the concept of authenticity becomes more fluid.
Ellande Alfaro, craftsman, sewing the leather of a ball. Sara (Labourd). Source: Labrit Ondarea.
When undertaking inventories of Intangible Cultural Heritage (ICH), it is not always easy to determine its limits. Many believe it is a sea without borders. Often, projects without a systematized methodology hide its impossibility under the pretext of an unlimited scope. It is not a question of constantly reviewing inventories, but rather of their temporal scope, aware of their constant evolution and the need for periodic updating.
Bilbo-Abando
Colon de Larreategi 14, 2. esk.48001 Bilbo (Bizkaia)
Tel.: +34 94 443 76 84
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Bilbo-Bolueta
Metroalde eraikinaBilbo-Galdakao errep. 6A
48004 Bilbo (Bizkaia)
Tel.: +34 94 607 72 10
[email protected]
