ICH by Hadeel Tenawi

Helwan University Faculty of Tourism and Hotel Management, Brandenburg University of Technology Cottbus-Senftenberg, Heritage Conservation & Site Management Masterâ&#x20AC;&#x2122;s Program

Integrating Conceptual Framework for Safeguarding the Syrian Intangible Cultural Heritage in Times of Crisis (Case Study; Al Aâ&#x20AC;&#x2122;rada in Egypt)

Under Supervision of: Prof. Hazem Attia Prof. Hosam Refai Prof. Rasha Metawi Dr. Nevine Nizar Presented by: Alaa Alouh - Hadeel Tenawi - Heba Khairy - Laura Abaza- Sara Mostafa

Cairo, September 2018

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List of Content List of Content …………………………………………………………………………….……..2 List of Figures …………………………………………………………………………....………5 List of Charts……………………………………………………………………….…..….……..6 List of Tables …………………………………………………………………….....…………….6 Introduction …………………………………………………………………………..………….7 Research Question…………………………………………………………………..…………....7 Research Methodology……………………………………………………………..…………….7 Data Collection Methods………………………………………………………….…………......8 Research Limitations…………………………………………………………….………………8 Research Significance…………………………………………………………….……………...8

Chapter 1: (General Recognition for the ICH Locally and Globally, Delineation of Syria’s ICH) ……….............................................................................................................................................9 1-1 Presenting the Syrian ICH, its Significant and its Domains……….………………..……...10 1-1-1 ICH and UNESCO 2003 Convention…………………………………………....………………….10 1-1-2 ICH Definition and its Domains………………………………………………………………….....11 1-1-3 Syrian ICH before the Crisis Status…………………………………………………...………13

1-2 Syria’s role and its engagement in preserving the ICH locally and internationally. (UNESCO Convention 2003, Inscribed element of Syrian in the Representative List) ...........…..14 1-2-1 Safeguarding Syrian ICH…………………………………………………………………………...14 1-2-2 Syria’s Local and International Efforts for Safeguarding ICH……………………………………..16

1-3 Syrian Crisis/Summary and its Reflection on the Syrian ICH……………………….……17 1-3-1 The Syrian Crisis, its Effect on People and Intangible Cultural Heritage …………………….……17 1-3-2 Syrian ICH after Crisis Status……………………………………………………………….……...19

Chapter 2: The Syrian presence in the host community-Egypt in all aspects- Syrian social practices that were and are still practiced in Egypt ………………….…………………………….……….. 21 2-1 Syria and Egypt; the Historical Relationship.............................................................…....22 .

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2-2 Egypt becoming a Main Destination for Displaced Syrians…………………..…………23 2-2-1

Legal Laws and Treatment for Syrians before and after the Crisis ………………………………23

2-2-2

Governmental and Non-Governmental Agencies Working with Displaced Syrians………….….24

2-3 2-4

Syrian Presence Aspects within the Egyptian Host Community during the Crisis …26 Syrian Social and Cultural Intangible Heritage in the Situation of Displacement in Egypt …………………………………………………………………………………….28

Chapter 3: Al A’rada’s in Egypt as a Case Study (Origins -Evolution –Value ….)- Al A’rada’s presence in Egypt (Current Status, Difficulties, The Changes…)....32 3-1 Al A’rada’s History Description and Stories of it (Origins-Evolution)………………...33 3-1-1 - Al A’rada Name………………………………………………………………………...…….…..33 3-1-2-Al A’rada Definition………………………………………………………………………....…….33 3-1-3 Al A’rada; its Main Components………………………………………………………….…...…..33 3-1-4- Historical Background and Development of Al A’rada Practice through Years…………..…..…35 3-1-5- Al A’rada Shows ………………………………………………………………………....….……37 3-1-6- Al A’rada Musical Instruments …………………………………………………..………...……..38 3-1-7- Al A’rada Clothes Styles…………………………………………………………………….…….39

3-2 Al A’rada’s Significant and Reflection on the Syrian Traditional Values……….…….41 3-3 Al A’rada’s Presence in Egypt……………………………...……………………….……41 3-3-1- Current Status for Al A’rada in Egypt…………………………….………….……………….…..45 3-3-2 The Difficulties, that are Facing Al’Arada in Egypt…………………………….….………….…..46 3-3-3 The Changing and Adaptation of Al A’rada in Egypt …………………………….…………….…49 3-3-4 The Local Host Communities and Their Role in Keeping Al A’rada Alive ………….…….……..50 3-3-5 The Syrian Community and its Role in Keeping Al A’rada Alive ………………….……….…….54 3-3-6 SWOT Analysis for Al A’rada in Egypt……………………………………………….…………..56

Chapter 4: Safeguarding Methods (Background – Principles- Similar Case Studies) Sustainability Plan …………………………………………………………………………57

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4-1 General Methods and Background on the Safeguarding Methods………58 4-1-1 Identification of ICH………………………………………………….……………..….....59 4-1-2 Conservation of ICH ………………………………………………………………..….....59 4-1-3 Preservation of ICH……………………………………………………….………..……..60 4-1-4 Dissemination of ICH…………………………………………………………………..…61 4-1-5 Protection of ICH……………………………………………………………………...…..62 4-1-6 International Co-operation…………………………………………………………..….…62 4-1-7 Types of International Assistance………………………………………………..…….….63

4-2 The Best Practices of Similar Case Studies. (Comparison of Status, Application and Protecting Measures)………………………………………....64 4-2-1 Why Vietnam Experience?..................................................................................................64 4-2-2 Vietnam’s Governmental Mechanism for Safeguarding its ICH…………………….…....65 4-2-3 The Involved Institutions and Organizations …………………………………………..…67 4-2-4 The Cooperation between the Institutions and the Ministry of Culture and Information....68 4-2-5 Effective Examples of the Applied Projects and Experiences …………………………....68 4-2-6 The Goals of these Projects ……………………….………………………………………69 4-2-7 The Essential Activities ……………………………………………………………………71 4-2-8 The Pilot Project Gained Achievements and Lessons………………………………..……71

4-3 The Current Applied Methods for Protecting and Practicing Al A’rada in Egypt…………………………………………..………………………………….72 4-4 Developing a Sustainability Plan including all the Possible Methods for keeping Al A’rada Alive…………………………………………………………73 Conclusion…………………………………………………...…………………………….……76 Bibliography ……………………………………………...…………………………………….78 Appendix One …………………………………………………………………………………. 80 Appendix Two……………………………………………………………….…………………..86 Appendix Three ……………………………………………………………….………………..90 Appendix Four ……………………………………………………….………………………..103

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List of Figures -

Figure 1. 1: ICH domains, http://www.gtwhi.com.my/about.html ....................................... 12 Figure 1. 2: Syrian Dabka, http://www.interaction.pavlovadesign.com/studio/finalcollection/dabke.html .................. 14 Figure 1. 3: Syrian Refugees statistics around the world, http://www.pewresearch.org/fact-tank/2018/01/29/where-displaced-syrians-haveresettled/ft_18-01-26_syriarefugees_map/ .............................................................................. 18 Figure 2. 1:The domains that Egyptian and international agencies focused on, 3RP ....... 25 Figure 2. 2:June statistics that shows refugees from Syrian in Egypt, UNHCR Report... 26 Figure 2. 3:Areas of settlement by area of origin in Syria, VSYR ................................... 27 Figure 2. 4:Al-Aghbani Handmade piece. Unknown www.lovedamascus.com/en/syrianhandicrafts/aghabani-textile. 2018. ........................... 29 Figure 2. 5:Hamam El Souq, 6th of October City. Awad, Ola.weladelbalad.com/wp/242696-2. 9 January 2017. ..................................................... 29 Figure 2. 6:Muneh, Federation, Syrian Exporters. sef-sy.org/?p=1705. n.d ....................... 30 Figure 2. 7:Last Hakawaty in Damascus, Known. www.radiosawa.com/a/syria-damascus/373052.html. 2017. .................................................................................................................... 31 Figure 3. 1:old photo for AlA'rada band member in Damascus via Abu heshim band .... 33 Figure 3. 2:Al'Arada band in traditional weding day (hamam el souq) via Abu heshim band ................................................................................................................................... 34 Figure 3. 3:The photo back to 1890 for Al A'rada in Damarcus via souriat website 2... 35 Figure 3. 4:The photo back to1990 in the house of Prince Abdul Qader Algerian at Al Amara via www.syria-in.com ........................................................................................... 36 Figure 3. 5:old photo for Al A'rada band member durid sword and shield show in Damascus via Abu heshim band ....................................................................................... 37 Figure 3. 6: Up left photo for Al-Mazher-Aldaf ‫ –المزهر او الدف‬Up right photo for AlTabl–Drum – ‫ الطبل‬............................................................................................................. 38 Figure 3. 7: Up left photo for Sherwal –Pants ‫الشروال‬with Kandrah–shoes –‫– كندرة او كسرية‬ ........................................................................................................................................... 39 Figure 3. 8:Left photo for Al-Aghbani style (by author) – Right photo for Al- Damer style (by author)......................................................................................................................... 40 Figure 3. 9:Left photo for Al-Al-Metan style (by author) – Right photo for Al- Al-Harer style (by author) ............................................................................................................... 41 Figure 3. 10: the methods that the research was based on to collect data (by author ) .... 42 Figure 3. 11: represent Al A’rada band member in Egypt, Abu Ali’s band ..................... 44 Figure 3. 12: one of the Al A’rada band in one of wedding cermonie ............................ 45 Figure 3. 13:during the interview with Abu Hashem band (by author ) ............................. 48 Figure 3. 14: A part of article with title Syrian show in middle of Egypt via Abu heshim band ................................................................................................................................... 49 Figure 3. 15: Abu Hashem band in drums festival via Abu heshim band ........................ 50 Figure 3. 16 : Abu Hashem band in Egyptian wedding party ........................................... 51 Page | 5

Figure 4. 1:UNESCO-Intangible Cultural Heritage Logo, via website https://ich.unesco.org/ ....................................................................................................... 58 Figure 4. 2:Nha-Nhac-Vietnam court music, via website https://tourguide.edu.vn/vietnam-information/world-heritage-in-vietnam-p4.html . ....... 65 Figure 4. 3:Giong festival in Phu-Dong and Soc temples, via website https://tourguide.edu.vn/vietnam-information/world-heritage-in-vietnam-p2.html. ......... 67 Figure 4. 4:The International Drums Festival, Al Moa’ez street, Egypt. Via website https://www.youm7.com ................................................................................................... 72 Figure 4. 5: Proposal design for Al A’rada Application (by Author). ............................ 74 Figure 4. 6 : Proposal design for Al A’rada Application’s options and services, (the Author). ............................................................................................................................. 75

List of Tables -

Table 2. 1: Legal Status for Syrians in Egypt before and After the Crisis, (by author).... 24 Table 2. 2: International and local parties, 3RP ................................................................ 25 Table 3. 1: The Table shows the percentage and amount of response according to their nationality (by author ).............................................................................................. 51 Table 3. 2: The Table the shows the numbers and the percentage for Egyptian response whether they attend any event and saw Al Arada through it (by author) ......................... 52 Table 3. 3:The Table represent the percentage and amount of Egyptian responses who requested Al A’rada for their event (bu author ).............................................................. 53 Table 3. 4: The Table represent the percentage and number for Syrain responses who saw Al A’rada show in Egypt ........................................................................................... 54 Table 3. 5: SOWT analysis (by author) ............................................................................ 56

List of Charts -

Chart 3. 1: The chart compares the response according the nationality(by author) ......... 52 Chart 3. 2: The chart compares Egyptian response whether they attend any event and saw Al Arada through it (by author) ........................................................................................ 52 53 Chart 3. 4: The chart represent the percentage for Syrain responses who saw Al A’rada show in Egypt ................................................................................................................... 45

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Introduction Globally, the impacts of conflict have risen rapidly over recent decades, affecting almost all sectors and rich countries and poor countries alike. The main result for that is millions of displacement people whether internally, across borders or even to a new land. Those people left their home without carrying anything that related to their tangible heritage , they just have local knowledge and know-how, artistic expression, crafts and religious and traditional practices such as (AlAâ&#x20AC;&#x2122;Rada), language and oral expressions, . All these elements, alone or in combination, form part of peopleâ&#x20AC;&#x2122;s individual and collective identity and memory. Although the efforts for saving the tangible cultural heritage have been mobilized widely to address the destruction and damage, but by contrast, the effects of these crises on ICH, have been less widely considered. On another aspect most of displacement people can't focus in the their ICH , they need to concentrate more on economic issues ,heath care ,education ,etc. as a necessity for life. Therefore ICH comes in the second place for them.

Research Question: How to keep the Syrian ICH alive in the view of ongoing crisis? Research Objectives: This study aims to: -

Identifying and understanding the full extent of risks and threats on Syriaâ&#x20AC;&#x2122;s ICH.

Developing institutional measures for integrating the community members as custodians/guardians for the Syrian ICH.

Research Methodology: This research will be accomplished by many methodologies: -

Data analysis will be applied in order to review and assure the community role impact.

Interviews, focus groups discussions and online surveys with Syrian displacement people and members of the hosting community will be held.

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Questionnaires will be organized and distributed to know more about how these traditions and practices are important for Syrian people and what the role of hosting community in saving ICH was

Data Collection Methods: To strength some points: -

Research process will be based on collecting secondary qualitative data to support the analyzing and observation phase, present and deliver the original context.

Many readings will take a place, Publications will be considered whether the digital or printed ones.

Research Limitations: -

Access to Statistics on refugees - States' policies.

Cooperation by the Syrian people.

The psychological impact on Syrian displacement people – conflict difficult and painful memories.

It is quite difficult to fully cover all traditions and practices of Syrian ICH.

In addition, it is beyond the scope of this study to examine in details the traditions and practices of Syria before the conflict.

Research Significance: What enhances this research to start is the importance of the Syrian cultural heritage and its domains, which are under threats, extensive pressure and possibility to disappear. It is very urgent to discuss the above to show how the Social cultural practices could enrich the present existence of a departed community. In addition, it is important to take the step to identify the efforts that served the Syrian intangible heritage safeguarding through archiving, documentation and practicing until now. You could see how the simple practices, arts, stories and even words became an important tools and spiritual figures for Syrian community that leaves in very difficult and complicated conditions, and how it reflected the needs for a connection with their home country “Syria”. Syrians and the world need cultural partners to wake up all their memories, define their roots, tell their stories, and share their interests. Also, help them to pass the knowledge and keep the connection alive by provide them with a sense of continuity and belonging to their mother country Syria. This research is a humble attempt to show a case study of Al-A’arada, which is one of the traditional and social practices that Syrians who live in Egypt is keeping and living with.

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Chapter 1:

General Recognition for the ICH Locally and Globally, Delineation of Syriaâ&#x20AC;&#x2122;s ICH

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1-1 Presenting the Syrian ICH, its Significant and its Domains. 1-1-1 ICH and UNESCO 2003 Convention: For many people the word heritage only refers to old buildings, monuments, and ruins. so, all the time they linked between material things and heritage as they feel heritage is only tangible thing. Therefore, they miss the fact that heritage has many types like tangible and intangible heritage. Intangible heritage mainly means traditions and customs that is related to the culture of a community or a group of people whom exist in the same geographical area. Also, intangible cultural heritage reflects to any famous culture or folklore transformed by people by practice or performance with the condition of being related to a place. The history of safeguarding of Intangible Cultural Heritage started long time ago, when the UNESCO established an international treaty “the Recommendation on the Safeguarding of Traditional Culture and Folklore”, this treaty considered as the first step to define the ICH. The negotiations started 1971 to build up a worldwide instrument that is related to ICH and that was the first document drafted by UNESCO. During the twenty-first of the General conference, 1980 the UNESCO was asked to conduct several researches that is related to international regulations for the protection of folklore, then in 1982 UNESCO and WIPO5 together set up ‘Model Provisions for National Laws on the Protection of Expressions of Folklore against Illicit and Other Prejudicial Actions’ and in 1984, they seek to evolve an international instrument relying on the model found in 1982. The UNESCO also tried to organize two governmental expert meetings to set up a proper definition for folklore that fits more the global approach. A long all these years the UNESCO adopted more than one concept to reach the concept “recommendation”. Another year witnessed an event, where in 1989 after extensive discussions, the principles of global standardizing instrument were set up by UNESCO and here came to light the recommendation on the Safeguarding of Traditional Cultural and Folklore in 1989. In 1999, the Smithsonian Institution Center for Folk life co-convened a joint conference with UNESCO titled “A global Assessment of the 1989 Recommendation on the safeguarding of Traditional Culture and Folklore: Local Empowerment and International Co-operation” for that conference, the Smithsonian’s experts and members made their analysis and studies on the approach to the recommendation adopted by UNESCO in 1989 to safeguard traditional cultural and folklore. They made a study of the interaction of over 100 country to a UNESCO survey about the effectiveness of the recommendation, they found that the recommendation is largely ineffective Page | 10

and disregarded. As a whole, the conference called for the urgent need for new an international convention for safeguarding, regulations for effective cooperation with communities, it also called for formation of definition.1 In 2003, the member states of the biennial General Conference of UNESCO, voted strongly for the adoption of a new international Convention: Convention for the Safeguarding of Intangible Cultural Heritage (2003). The Convention, based and building on the 1989 recommendation on the safeguarding of traditional culture and folklore, lays down the necessary measures that States should take to protect the intangible cultural heritage. The Convention defines the nature and forms of ICH it includes everything related to knowledge made and transmitted within cultural communities concerning the universe and nature from stories, tales and oral expressions to social celebrations, rituals, social practices and music, traditional crafts and folk medicine and their objects, artefacts, instruments and cultural spaces associated. In addition, suggesting methods of safeguarding them. The convention target is ensuring the survival of the communities' living cultural heritage in the face of societies transformation and the fastgrowing of globalization threats and negative impacts on cultural heritage by raising the awareness of communities nationally and internationally and providing an international assistance. In accordance with the foregoing, the present Convention is based on the previous agreement, but has been overtaken by the strengthening of measures of protection in an internationally supportive and strong manner. The convention adopted the same safeguarding measures within two major levels for safeguarding “The National Level and The International Level”.2

1-1-2 ICH Definition and its Domains: According to the UNESCO Convention for the safeguarding of Intangible Cultural Heritage, 2003, the formal definition of ICH is: “the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage”. The definition show how the UNESCO is describing the cultural heritage as it’s not heritage

Boylan, Patrick J. "Intangible Cultural Heritage, Education and Museums."

Kurin, Richard. "Safeguarding Intangible Cultural Heritage in the 2003 UNESCO Convention: a critical appraisal." Museum international 56.1‐2 (2004): 66-77.

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which only refer to monuments and museum collection or items, itâ&#x20AC;&#x2122;s about living intangible articulations that was practice or exist during a period of time and passed to other generations

ICH Domains: UNESCO in 2003 convention identified Intangible cultural heritage domains to have five main domains, -

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.

Figure 1. 1: ICH domains, http://www.gtwhi.com.my/about.html

No table of figures entries found.states may use a different system of domains rather than the division of the UNESCO, where these domains consider to be more comprehensive than exclusive, Page | 12

since there is a clear degree of variation in practice with some of these countries in dealing with ICH domains so they are free and not limited, it’s different from a country to another and in case of adding any new details to the domains, it’s not only recognized in this country.1

1-1-3 Syrian ICH before Crisis Status: As for Syrian intangible cultural heritage it falls under the same five domains listed above, the five domains vary from one region to another however they exist in all of them with varying significance and importance depending on the region’s culture, resources, and environment, the research will list below few examples of each domain: Oral traditions: In Syria there were different types of oral traditions identified as Hikaye and/or Al-Hakawati (story-telling) and Zajal and Qasid (poetry). Performing arts: Mostly music and dances were in this domain such as A’rada, Dabka, Al-Qudud and Samah dance. Social practices: Revolved around religious events such as Eids, Al-Mawlid Al-Nabawi (Prophet Muhammad PBUH birth), Islamic New Year and Christian celebrations such as Christmas and Easter. Other festivals also existed such as Mother’s Day which coincidence Nowruz festival, AlYawza, Al-Samer, and Al-Musana’a. Knowledge and practices concerning nature and the universe: Including traditional healing, medicine, dividing water for irrigation and knowledge about solar and lunar eclipses. Traditional craftsmanship: In this category falls copperware, wood appliances, carving, embroidery,

stonemasonry,

iron-manufacturing

productions,

and

tobacco

production.

Merillas, Olaia Fontal, and Marta Martínez Rodríguez. "An Analysis of Educational Designs in Intangible Cultural Heritage Programmes: the Case of Spain." INTERNATIONAL JOURNAL OF INTANGIBLE HERITAGE 13 (2018): 192-204.

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Figure 1. 2: Syrian Dabka, http://www.interaction.pavlovadesign.com/studio/finalcollection/dabke.html

1-2 Syriaâ&#x20AC;&#x2122;s Role and its Engagement in Preserving the ICH Locally and Internationally. These domains were preserved before the conflict through many efforts either by the government, the locals themselves and/or international cooperation. These efforts cooperated together to safeguard Syrian ICH mainly through documentation and reporting.

1-2-1 Safeguarding Syrian ICH.

ď&#x201A;ˇ

Documentation:

In each of the 14 governorates in Syria, there was a Heritage Committee responsible for the documentation of both tangible and intangible heritage in its governorate and chosen by the Ministry of Culture. Afterwards they would report to a central committee to review and endorse their documentation and accept them under the MEDLIHER ICH Programme. Among the main

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documentations were songs and types of Salamia Dabka, rural traditions and Folklore performances. Aside from the governmental committees other key organizations were also interested in documenting the Syrian ICH either for academic research or cultural reasons. The General Organization for Remote Sensing (G.O.R.S) founded the Satellite Atlas of the Syrian Coast which uses satellite imagery of the region in creating maps for cultural tourism purposes. The Antiques Society also played a role in preserving ICH and tangible heritage. Al-Adeyat Society, the Arab Scientific Heritage Institute, and The Antiques Society have all documented ICH academically. Other efforts such as the Tarim Centre for Architecture and Heritage have taken the responsibility to document and represent Syrian ICH in a project called the Memory of the Arab World that documents and published cultural heritage from 22 Arab countries online. ď&#x201A;ˇ

Challenges facing ICH:

Before the conflict ICH was facing many challenges and pressures, mainly due to the excessive urbanization process that was taking place, many villages and towns were slowly transforming into urban hubs to keep on with the technological and economic development taking places everywhere else while many youths would move to the urban cities seeking better employment opportunities and better life standards. This population mobility has led many agricultural and familial ICH grow loose and face extinction. For example, in Deir ez-Zour many new settlers coming from nearby towns have lost contact with their agricultural traditions, in Homs productions of crafts were being extinct and only few have lived on such as pottery and copperware work. While in Daraa the role of traditional judges in blood feuds has been growing less as well as the endangered ancient Hourani songs. ď&#x201A;ˇ

Legal Measures:

The Syrian legislative body before the conflict didnâ&#x20AC;&#x2122;t have a specific regulation concerning the safeguarding of ICH however the law of Antiques (no.222 of 1963) has overlapped with the issue, this law aimed at preserving and property prior to 200 AD or any other property considered by the General Directorate of Antiquities and Museums to have been historical, artistic or containing national characteristics, sometimes these definitions sometimes contained ICH within them. However, by the end of 2010 the Parliament had discussed a law on intellectual property and discussed heritage and expressions older than 50 years as elements needed to be preserved, these sayings include oral and musical expressions, movements, handicrafts and musical instruments. `

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ď&#x201A;ˇ

Governmental Bodies:

Under the supervision of the Ministry of Culture, which consider as the main body to maintain the process of safeguarding Syrian ICH, there are three Directorates divided as the following: -

Directorate of Revival and Promotion of Arab Heritage

General Directorate of Antiquities and Museums

Directorate of Popular Heritage

As for the Directorate of Popular Heritage its main responsibility about the popular heritage, which come under it intangible heritage as mentioned and categories based to UNESCO convention, also this Directorate is divided into three other bodies that have different types of tasks that are concerned about intangible heritage, (Study and Documentation Research Division, Technical Division, and follow- up and Storehouse) The time between 2007 and 2009 the Ministry gave orders to establish Popular Heritage Committees in all the Syrian Governorates, which were responsible supervising, documenting, registering, and collecting tangible and intangible cultural heritage, they were sending a report to all cultural managers in all the Syrian Governorates describing their work on the national level with list of recommendation that can engage more activities to reach a better understanding and achievement in safeguarding Syrian ICH.1

1-2-2 Syriaâ&#x20AC;&#x2122;s Local and International Efforts for Safeguarding ICH Syria was an active member concerning many efforts that was done to safeguarding ICH, as always Syria was present in any events on the local and international level. Organizations and individuals indorse and educate awareness of Syrian ICH using many tools and techniques, such as lectures, publications, festivals, and meetings. The Ministry of Culture hosted the International Bosra Festival for Traditional Arts, where its main purpose was to focus on traditional arts. Other bodies like Jarablos Cultural Centre in Aleppo, tried to maintain different activities as publications, lectures, and exhibitions about ICH in Aleppo. On the other hand, the Ministry of Tourism was a part in the promoting in hosting and participating in many international and local events to courage participants

showing

their

work.

Also, Syria was moving forward in cooperating with international actors, so the process of safeguarding ICH worldwide can reach a fulfill level that take it to maintain the cultural legacy to

UNESCO, NATIONAL ASSESSMENT OF THE STATE OF SAFEGUARDING INTANGIBLE CULTURAL HERITAGE IN SYRIAN ARAB REPUBLIC, https://ich.unesco.org/doc/src/07951-EN.pdf

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be saved for other generations. In 2009 Syria was a part of a nomination file for inscription on the Representative List of the 2003 Convention concerning traditional falconry, Syrian experts was an active member in attending meetings to finalize the file. Another project Syria was part of was raising awareness about the hammam as tangible and intangible heritage of Mediterranean countries, the project highlighted the risks that threaten hammam and how to find a proper technique

safeguarding

from

disappearing.1

1-3 Syrian Crisis/Summary and its Reflection on the Syrian’s ICH. 1-3-1 The Syrian Crisis, its Effect on People and Intangible Cultural Heritage: The Syrian Crisis started in March, 2011, the crisis started in a peaceful way where people where demonstrating calling for many political reforms that will led to better political life conditions. After a short period of time, weapons where used to stop the demonstrations, and that caused the death of many Syrians, at that point the Syrian crisis turned into and armed conflict. Many Arab and international actors tried to interfere to find a solution for the Syrian crisis, but all the efforts end up to a close road and the crisis kept evolving affecting the country and its people on all aspects, as economically, socially, and politically.2 The crucial situation of the Syrian Crisis forced many Syrians to flee outside Syria searching for safety and security, the destination of fleeing Syrian at first was countries that shared borders with Syria, such as Jordan, Lebanon, Iraq, and Turkey. After a while the many numbers of Syrian started to head toward different countries in the MENA region and Europe, as Egypt, Sudan, Germany, Sweden, and France. The Syrian refugee’s crisis considers as one of the massive problems that the whole world is facing due to its huge burden.3

According to UNHCR, number of Syrian refugees has exceeded five million in 2018, where more than three million are in Turkey, more than nine hundred thousand in Lebanon, nearly six hundred

UNESCO, NATIONAL ASSESSMENT OF THE STATE OF SAFEGUARDING INTANGIBLE CULTURAL HERITAGE IN SYRIAN ARAB REPUBLIC, https://ich.unesco.org/doc/src/07951-EN.pdf 2 Al-Saleh, Asaad, and Loren White. Dissecting an evolving conflict: the Syrian uprising and the future of the country. Institute for Social Policy and Understanding, 2013. 3

Savrum, Melike Yağmur. "RESOLVING THE SYRIAN REFUGEES CRISIS: THE FAILURE OF INTERNATIONAL RESPONSE AND ITS IMPACT ON HOST-SOCIETIES."

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thousand

Jordan,

and

one-hundred

thirty

thousand

Egypt.1

Figure 1. 3: Syrian Refugees statistics around the world, http://www.pewresearch.org/fact-tank/2018/01/29/wheredisplaced-syrians-have-resettled/ft_18-01-26_syriarefugees_map/

As this huge number of people faced the experience of leaving their homeland, these numbers do not only represent a statistic for the number of refugees, itâ&#x20AC;&#x2122;s a human experience for people that faced violence, the death of family members, and loss of property and livelihood on one hand, on the other hand that caused a loss in the tangible and intangible heritage, as many of historic places were damaged by the conflict, intangible heritage faced changed where people when they left the country were coping to some cultural and social changes that may affect the nature of intangible cultural heritage, also in some cases people were more attached to their heritage and tried to reestablish it in countries that they settled in. Syrian consider ICH as part of their identity and belonging so it was present as a way to represent their existence in host countries. At all levels armed conflicts had its disastrous consequences on both people and the country concerning all aspects, as social, cultural, and physical. On the social level during armed conflict, people cannot feel secure, and there is a lack of trust among different social groups, and all the relations between them have the shape of fear and uncertainty and that will affect their sense of belonging and identity to be very weak. Also, the process of continued displacement to more safe areas or other countries lead to sever changes in the demographic of the population and it may also lead to serious social problems such as unemployment, hunger, poverty and crimes in general.

UNHCR, 2018, https://data2.unhcr.org/en/situations/syria/location/113

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On the cultural level, the effect of an armed conflict is extremely damaging. As cultural heritage in areas of conflict will be partially or totally destroyed, looting of artifacts, burning of historical places, and many other losses. The war also leads sometimes to extinction of the non-religious heritage or due to demographic changes in society caused by displacement or the use of other countries culture. And it hits the continuity in social relations, where this can affect the connection between different generations, in the case of culture of daily life and its transmission through generations. On the other hand, habits, social behaviors, and patterners of thinking are changed by war, as accepting new behaviors, like theft and that comes as new and acceptable rather than old values

morality,

and

pride.1

1-3-2 Syrian ICH during Crisis Status. 2003 UNESCO Convention for Safeguarding of the Intangible Cultural Heritage main goal is to guarantee that practices, social expressions, skills, and knowledge that is related to specific community or group of people that share the same cultural heritage due to their existence in the same geographical area. In the times of crisis especially war, safeguarding ICH comes as a priority as all kinds of threats which can affect the situation of the ICH should deal with it and try to find a proper solution or way of intervention, and UNESCO in the convention does not make a clear status when talking about armed conflict, itâ&#x20AC;&#x2122;s mentioned in the relation to request for International Assistance that needs emergency request, also there is a section in the convention about social cohesion equity and how itâ&#x20AC;&#x2122;s related to spreading peace and security. During the crisis the Syrian heritage has been affected in a brutal way, and it considered as one of the most a damaged by conflict in the recent century. As for the Syrian ICH, many of its domains were affected either physically, socially, and economically. According to a survey that were assigned by UNESCO Intangible Cultural Heritage Section in 2016 to see the level of damage and the crisis affected Syrian ICH, as was mentioned in the survey, Syrians only recognize three domains out the five official one, the first one is customs and traditions, the second domain is traditional artistic expressions, and the third one is craftsmanship. The three domains were hit hardly due to the crisis, where for the handcrafts product, an industry like this stopped or it was hard to keep it alive as many artisans have been killed, and the one who 1 UNESCO, Survey report Intangible Cultural Heritage of Displaced Syrians, 2017, https://ich.unesco.org/doc/src/38275-EN.pdf, n.d.

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still a live itâ&#x20AC;&#x2122;s hard on them economically to afford the prices of the good that used in producing the handcrafts. In the case of the performing arts and festive social or religious event, many of these festivals stopped or was limited due to war, where in the areas outside the government control, people were facing many difficulties, musicians did not participate in concerts or on social media, even though all these activities did not disappear at once but only were able to be participate in the areas controlled by the government. In Daraa, the well-known popular music called hawrani music, this music was performed by bands and singers during weddings has been stopped as a response for the situation and it moved to other places, Like Jordan as many of the singers and people

from

Daraa

has

settled.

The food preparation and the provision of hospitality, consider as important social custom for Syrians as it represents pride and identity, but as the circumstances was very difficult and hard, it was

hard

maintain

due

shortage

goods

and

food.

All the Syrian customs and traditions has been stroked brutally by the situation that Syria is facing, in all means intangible and tangible heritage was damaged and moved to be presented in some cases in different way or shape depending on the surrounding environment and exitance.

UNESCO, Survey report Intangible Cultural Heritage of Displaced Syrians, 2017, https://ich.unesco.org/doc/src/38275-EN.pdf, n.d.

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Chapter 2

The Syrian presence in the host community-Egypt in all aspects

Syrian social practices that were and are still practiced in Egypt

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2-1 Syria and Egypt; the Historical Relationship Through decades, the two countries were close enough to unite, plan and share a future. Egypt and Syria attach always to each other in many different ways. Although they do not share, a borderline but they both have their share from the Mediterranean. They both had once the greatest ancient civilizations found on Earth. Their capitals known as the eldest cities in the history and their people known for their similarity and solidarity. All commercial routes planned to cover and to have both countries, the thing that strengthen their economic situation. To look back at history, several main events will pop up before we even start searching. Most of them were in the recent history in the nineteenth century. To be more specific, the 60s, 70s and 80s were active politically, economically and socially in both countries like mentioned below: -

United Arab Republic; the two countries were united in 1985 after the two nations elected Gamal Abdel Nasser to be their president and Cairo was the capital for the Arab United Republic. Until recently, the Syrian Army is still consider the first Army for Egypt. This new republic brought many collaboration between Syrians and Egyptians.

In that time, many initiatives taken to increase the commercial, agricultural and even industrial efforts and people were traveling between the two parts of the Figure 2. 1: The advertisement of the republic to explore the possibilities.

elected United Arab Republic in Al Ahram magazine, www.alahram.org

Cotton industry was a common base for the discussions, Syrian business men presented the problem to the president asking for his help. At that time, Syrian cotton was in a good condition but the workers fees were too high comparing to the Egyptian workers fees.

In addition, many problems in agriculture sector discussed like dividing the lands on the small farmers and the Egyptian experience was reflected in this point.

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Many factories were taking into the republic authority under the nationalization concept, the thing that made rich Syrian businessmen angry and not happy.

Nevertheless, one of the successful efforts was, when teachers transferred from Syria to Egypt and vice versa, to share experience and to apply capacity-building concept. In addition, the continuous and encouraged presence of the two nationsâ&#x20AC;&#x2122; people had raised the marriage percentage at that time. Many Egyptians moved to Syria and many Syrians moved to Egypt because of that.

Many other reasons and activities held but obviously the negative atmosphere, the external and internal attempts against the unity and many unfair decisions were the reasons to announce the end of the Arab United Republic in 1961.

Through years, the relationships were becoming better and calmer. Economically, many agreements signed for trade and distribution. Electricity, Energy and gas projects started. Agriculturally, Egyptian rice exported to Syria and Syrian wheat imported to Egypt. Egyptian construction and housing companies opened and started to work in Syria. But like every relationship there are ups and downs but never in the communitiesâ&#x20AC;&#x2122; level.1

2-2 Egypt becoming a Main Destination for Displaced Syrians To be a loyal neighbor is to help your neighbors in need. Egypt welcomed Syrians during the crisis when the conflict became violent and started to threaten their safety.

2-2-1 Legal Laws and Treatment for Syrians before and after the Crisis Before the Syrian crisis started, Syrians were able to enter Egypt without a visa. They book a flight and enter directly. But in July 2013, visa requirements were introduced for Syrians entering Egypt. The government policy allows family reunification and in 2017, the government had extended entry visas for first-degree relatives of Syrian refugees already residing in Egypt. Work was permitted before crisis and many Syrian investors were already working in Egypt and have their own shops, factories and properties. Nowadays, it is hard to obtain a visa to enter Egypt. Residency papers are very difficult to submit and have many types (refugee residency, student residency, marriage residency). Work permits do not allowed except for investors. 1

Ajam, Mohammed. https://aawsat.com/home/article/10165 11. 05 September 2017

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All documents have to be signed and certified from the Syrian embassy and Egyptian specialized authorities. Residency Conditions; Egypt is stretching its capabilities in every means possible to support the existing Syrian population living amongst the Egyptian people in an integrated manner, since there are no refugee camps in Egypt. Syrian refugees are living in urban settings among Egyptian communities across the country, with the most impacted areas being like Greater Cairo, Alexandria and Damietta.1 A wise man said once; Egypt has no camps for refugees because of the Nile, it connects everything even people. Therefore, we do not split between others and us.

Table 2. 1: Legal Status for Syrians in Egypt before and After the Crisis, (by author). Status

Before

Travel & Visas

Work Permits

Residency Types -

Touristic

No visa

Only Investors

Study

required

Special Conditions

Marriage/Investor

Residency Conditions

Egyptian Urban Settings

(Permanent)

After

Must obtain a visa

Only Investors

Touristic

Study

Marriage/Investor (Permanent)

Refugee

Egyptian Urban Settings No camps for refugees

2-2-2 Governmental and Non-Governmental Agencies working with Displaced Syrians The government of Egypt, represented by the Ministry of Foreign Affairs, remains the main counterpart for policy and coordination. Syrian presence has created a lot of disturbance in many sectors especially in a country that already has its own problems and difficulties.

It was necessary establishing a cooperation between local parties and international ones, to try to cover as much as possible and help countries, which hosted refugees like Egypt to run sustainable projects. All types of cooperation happened through private and public sectors and governmental and non-governmental units. 1

â&#x20AC;&#x201D;. "The Regional Refugee and Resilience Plan (3RP) ." Key Publications . 2018-2019

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As shown in the table 2. 2 some of the International and local agencies which are working with refugees in Egypt in different sectors.1 Table 2. 2: International and local parties, 3RP

Many responsibilities and strategies made concerning the Syrian presence in Egypt. Like any population, Syrians were one of the reasons to increase the demand on food, health services, transportations, education, basic needs and work. Funds, entities, buildings, psychosocial services, employment and

offers presented to cover the needs but maybe not enough to give

the

Syrians a home again or even a new one.

Starting with the protection, UNICEF, CARE and Terre Des

Figure 2. 1:The domains that Egyptian and international agencies focused on, 3RP

Hommes had played a big role in providing the Syrians and their families with psychosocial support, home visits and cash assistance. Abuse in all its types, house based violence and SGBV were the main subjects in all the workshops and activities that were organized by the above the mentioned agencies. Education sector is also an important and sensitive one because of the huge numbers of the existed community in need. That is why the Syrian demand here was putting a pressure on the educational 1

â&#x20AC;&#x201D;. "The Regional Refugee and Resilience Plan (3RP) ." Key Publications . 2018-2019

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system. The thing that make the governmental international agencies work together to support the Syrian community schools that established in the area were Syrians were living.1 Syrian students treated as Egyptians students with the fees and requirements. Syrians were able to enter all kinds and types of educational institutes. Food and health were also taking into consideration and some of the organizations who worked in this were Save the Children, Caritas and doctors without borders. Egypt’s market opened to have Syrians goods and shops. Many cafes, restaurants and factories opened. As for work, although it is not allowed for Syrians to work unless they have permissions. But this rule wasn’t that restricted and companies welcomed the Syrian workmen.

2-3 Syrian Presence Aspects within the Egyptian Host Community during the Crisis What is real is that the exact population number was not set for the Syrians in Egypt. There was regular visitors and after crisis, everyone has become a refugee.

Figure 2. 2:June statistics that shows refugees from Syrian in Egypt, UNHCR Report

What was observed when this research was written is that Syrians have become more than half of million. This fact is shared and known form Egyptians and Syrians but never measured.

As shown in the below figure 3, we will see that Egypt is hosting refugees from different Syrian cities.

—. Operational Update . Cairo , 2018

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It is not only Egypt who had affected the Syrians, no Syrians also affected Egypt in many many

Figure 2. 3:Areas of settlement by area of origin in Syria, VSYR

ways.

They contributed in its economy, education, other services and even in marketing it between the neighbor countries as the best destination for Syrians. Investors were the first main benefit for the economy with their factories and projects. Many Egyptian workers had the chance to work and be partner with Syrians. Food industry begin a new level after all the diversity of Syrian food and cuisines. Due to the similarites between the two communities, marraiges started to happened and social parctices were common like expressions, stories and family traditions.

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Many experts, researchers, artists, doctors and many more are living in Egypt and offering their services to the both communities. Demand as mnetioned above was icreased for all the services and goods, consumption rates are becoming high. Traffice problem also was affected by the Syrian presence.1

2-4 Syrian Social and Cultural Intangible Heritage in the Situation of Displacement in Egypt As Maureen Oâ&#x20AC;&#x2122;hara once said â&#x20AC;&#x153;My heritage has been my grounding, and it has brought me peace.â&#x20AC;?, this is exactly what heritage means now to Syrian people especially the intangible side of it. After facing a crisis, all what people need is a safe, quiet and understandable place where they can feel like home again. Syrians scattered all the over the world, holding their past and heading toward a safer present. But did they ever think about their heritage, their roots or their culture while suffering and moving. Obviously, they did but unconsciously, they had at some point to use their heritage, to rebirth it where they stayed. Because it is their peace after six long years of suffering. In a country like Egypt, where the people are open minded, social and looking forward to live new experiences, Syrians were able to settle and interact. Many of the intangible heritage ingredients helped them in daily life to feel like home, support their families and even entertain them.

In the making process of this research, many traditions and social practices knock our doors and made us think about the real reasons behind its existence. Therefore, most of the remaining practices were connected to Syrians living needs. They were practiced because they could help in improving life either economically or socially.

Being a refugee, is a thing that comes with many difficulties and hard conditions. For Syrians, they tried to fix their situation by using intangible heritage practices in their daily life.

Saqer, Atef. Al Ahram. 2018. http://www.ahram.org.eg/NewsPrint/638727.aspx .

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Economically, they were in need for anything that could help them and bring them money to settle and live in dignity. Craftsmen took the opportunity to present their unique Syrian work and to introduce new skills and techniques to the market. This thing made them save their original roots and brought them money to live better. Most of them had to adapt to the different demand, tastes and even materials. Unlike Al Figure 2. 4:Al-Aghbani Handmade piece. Unknown Aghabani (Textile)1, that stopped due to the lack of

www.lovedamascus.com/en/syrianhandic rafts/aghabani-textile. 2018.

materials and demand.

Hamam El Souq, also was founded in Egypt after a while of the Syrian presence. After they became more attached to the Egyptian land and their hopes of returning home became smaller. Of course there was a need for it, as it is included in many and different ceremonies; like weddings and men special outings. Now, Syrians are running Hamam El Souq as a business that is different from the restaurants and cafes and it is becoming a place to unite Syrians Figure 2. 5:Hamam El Souq, 6th of October City. residents and connect them.2

Awad, Ola.weladelbalad.com/wp/242696-2. 9 January 2017.

What was also related to the economic condition, is Al Seran, which is a special ceremonial in spring times. It is when all the family members and neighbors gather them selves and go to a public park or green land with their food, games, songs and even their dances. They celebrate life with the minimum amount of money.3

The art of making this handmade white or beige textile with its distinctive gold and silver embroideries originated in Damascus more than 150 years ago. Al- Aghabani cloth was originally made out of natural silk, which was abundant in Syria at the time; however, the high quality Syrian cotton is nowadays used to make this beautiful cloth, which is widely used as table linen. Unknown. www.lovedamascus.com/en/syrian-handicrafts/aghabani-textile. 2018. 2 Awad, Ola. weladelbalad.com/wp/242696-2. 9 January 2017. 3 Ramadan, Mohammed Khaled. AL Seran Al Demashqi. Damascus: Ministry of Culture , n.d.

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Syrians continued to do Al Seran ceremony in Egypt, because it was the only way to go out and spend a day with the family without spending a huge amount of money. Their economic situation couldnâ&#x20AC;&#x2122;t handle any type of luxurious picnics.

Additional to Al Seran, Syrians kept preparing Al Muneh1, where they tried to reduce costs and save some money for other needs. This practice help them also to sell products and bring more money.

Al Muneh was not the only practice that is related to food, as Syrians were always famous with their food and its diversity. Restaurants started to establish and offer different kinds of Syrian food.

Figure 2. 6:Muneh, Federation, Syrian Exporters. sefsy.org/?p=1705. n.d

As mentioned in a video report, that Syrian cuisine became famous because it is something new for the Egyptians and that the food presentation and quality is the reason for its success.2 Food was the easiest way to gain respect and good reputation. What is good about food was that itâ&#x20AC;&#x2122;s not only prepared in restaurants but also in houses by women to support their husbands and to help improving their economic situation. Like Aghbani textile, Syrian food preparation was also suffering from lack of some materials or the high prices of the others. But carriers could adapt and use different ingredients.

Besides improving economic conditions, Social ones were also considered by Syrians. Being in a new environment, area and different social atmosphere, forced them to keep practicing Al Sakbeh3, which is exchange food plates with the neighbors, this practice helped them to interact with their new Egyptian neighbors and made their social presence better.

Al Muneh is a tradition when people in summer times save different kinds of fruits and vegetables for winter times. They buy it for less money in summer and in large quantities to assure that they have enough for winter. Federation, Syrian Exporters. sef-sy.org/?p=1705. n.d.

www.youtube.com/watch?v=gyZ6hwgx95s

Mahdy, Osama. www.almasryalyoum.com/news/details/1147134. June 2017.

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Also, quotes and expressions were practiced in Egypt, to communicate between each other and to save their heritage. Even with their accent, Syrians continued to be welcomed and likeable from the Egyptians.

To Egyptians, supporting others was always the attitude. Not only Syrians but also Africans and foreigners. Thatâ&#x20AC;&#x2122;s why they tried their best to encourage the presence of all traditions. Many organizations relied on heritage practices to reach Syrians, like Terre Des Hommes, Unicef and many others. They wanted to work with children

and

environment.

find

them

Therefore

propper

they

used

traditionals games, storytelling methods like Al Hakawaty1. Methods that are similar to what they have and common with most of its details. Figure 2. 7:Last Hakawaty in Damascus, Known. www.radiosawa.com/a/syria-damascus-/373052.html. 2017.

All of what was mentioned above, represents a great example of how intangible heritage could save lives, empower families and reflect a history. Syrians wouldnâ&#x20AC;&#x2122;t survive without their roots and traditions even the humble ones.

As for this research, a practice was chosen because of its power, diversity of combining several traditions and practices, like textile, music, performance and expressions. Al Aâ&#x20AC;&#x2122;arada is a unique successful ICH component that helped many and it continues to do so.

AL Hakawaty, a storyteller that walks in the street and sits in the cafes to talk and spread the stories/tales about heritage, heroes and legends. Abdelwahab, Reham. www.dotmsr.com/news/204/319010 . 22 July 2015.

Page | 31

Chapter 3 Al A’rada’s in Egypt as a Case Study (Origins -Evolution –Value ….) Al A’rada’s presence in Egypt (Current Status, Difficulties, The Changes…)

Page | 32

Before starting the description part of Al A'rada. It is important to mention that according to UNSCO domains (as mentioned in chapter 1), Al A'rada comes under four of them. Therefore, Al A’rada in this research and as a case study will cover more than one domain. In addition, the case study is prepared in Egypt and this habit is still practiced with some integration with the Egyptian ones. Therefore, this research is focusing on Al A'rada in Egypt.

3-1Al A’rada’s History Description and Stories of it (OriginsEvolution) 3-1-1 – Al A'rada Name The first name for this practice is unknown; it was just a traditional practice in the Syrian society celebrations. However, it took an important role in the 1920s, during the time of the great Syrian Revolt,1 so it called the opposition (Al-Moarada). Then it turned to Al A'rada to make it far from politics, which is name that used until now.2

3-1-2- Al A'rada Definition Al A'rada is a traditional genre of singing, performed at the weddings and other celebrations. It consists of a lead singer followed by his band and they repeat his phrases or give answers to the questions with participation from audience. Accompanied with singing, playing drums and flute, also some shows like sword and shield performance. This exchange between singer and participants accompanied by rhythmic clapping and changes in tempo building towards dramatic crescendos. 2

3-1-3 Al A'rada; its Main Components Al A'rada band is composed of 10 to 15 members, including the president or the leader who usually known as "Al wasef", and the deputy or the main assistant and a third member whose task is to organize the band. Beside those three members who are classified as the first class members. There are musicians and special shows members and their responsibility is to play with the sword and

1 2

Alnen), M. A. (2018, 7 29). Appendix Two : Interviews with Al A’rada Bands Nembers -Abu Hashim Band. Ismail, S. (2011). The Syrian Uprising: Imagining and Performing the Nation. Studies in Ethnicity and Nationalism, 11(3), 538-549.

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shield and other performance dances. There are also the second-class members' whose task is to repeat the songs after the leader and clap.

Figure 3. 1:old photo for AlA'rada band member in Damascus via Abu heshim band

The members of the Al A'rada bands are usually from the old city of Damascus like El- Medan, Shaghoor, Amara, Saraja, Bab Al Sarijah, Salihiya and other neighborhoods areas and those people know the Damascus cultural environment very well. Also they have strong roughness and loudness voice with agility and promptness. It's very important that the member have a large mustache that symbolize to manhood.1 Most of those members are not full- time workers or working for money, they have their own works beside Al A’rada. They are just enjoying their time by doing shows that are related to their cultural and traditions. They consider it as a hobby.2 Al A'rada in the Damascene traditional weddings starts at the groom house, then go to the public bath "Hamam El- Figure 3. 2:Al'Arada band in traditional weding day (hamam el souq) via Abu heshim band

Horani, F. (2008). Between yesterday and today .. Al A’rada Al Samyah as tradition is still alive. Retrieved from Syrian Culture ministry: http://moc.gov.sy/15/?id=9555%20-2 Alnen, M. A. (2018, 7 29). Appendix Two : Interviews with Al A’rada Bands Members -Abu Hashim Band.

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Souq" with the groom family and friends, then return home to start the wedding party.1 There is always a band in every Damascus lane to participate in the community celebrations. However, when the lane did not have its own band, the people borrow a band from the nearest neighborhood. The songs the used by Al Aâ&#x20AC;&#x2122;rada are passed from generation to the other orally. Unfortunately, there is nothing written until now.2

3-1-4- Historical Background and Development of Al A'rada Practice through Years The original date for starting this practice is not specific or clear. It could be when the Damascene community has appeared or after some years.

Figure 3. 3:The photo back to 1890 for Al A'rada in Damarcus via souriat website

Horani, F. (2008). Between yesterday and today .. Al Aâ&#x20AC;&#x2122;rada Al Shamyah as tradition is still alive. Retrieved from Syrian Culture ministry: http://moc.gov.sy/15/?id=9555%20-2 n.d. (2015, 12 3). Al A'rada Alsamyah one of the important tradition parts in Damascus weddings Retrieved from souriat: http://www.souriat.com/2015/12/14272.html 1

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Figure 3. 4:The photo back to1990 in the house of Prince Abdul Qader Algerian at Al Amara via www.syria-in.com

It is a folkloric invention from local Damascene community; it has associated with their events like

wedding parties, Ramadan nights or a new baby party. Also in 1920s, Al A'rada had a very central role in the great Syrian revolution; a leader was saying the demonstration line and the rest of people repeated after him.1 Until 1960s, Al Aâ&#x20AC;&#x2122;rada kept associated with many of the usual events like wedding days, return of pilgrims, religious feasts, Ramadan nights and a new baby party. In addition, to reconciliation between the contestants. This association was very strong in this period. However, it started to become weaker gradually, because of the modernization idea that spreaded between societies in that time. But the Damascene community kept it in some events such as, Ramadan nights with ElMeshraty and Al- Hakwaty.2 Then in 1990s, Al A'rada became stronger again through many bands around Damascus and other cities. In that time, the events were not limited to the wedding days and Ramadan nights. Commercial bands started to appear and to become more organized. They started to work on new events like opening new shops, graduation parties and to participate in the heritage and cultural festivals. 3

1 Ismail, S. (2011). The Syrian Uprising: Imagining and Performing the Nation. Studies in Ethnicity and Nationalism, 11(3), 538-549 2 Horani, F. (2008). Between yesterday and today .. Al Aâ&#x20AC;&#x2122;rada Al Shamyah as tradition is still alive. Retrieved from Syrian Culture ministry: http://moc.gov.sy/15/?id=9555%20-3 Alnen), M. A. (2018, 7 29). Appendix Two : Interviews with Al Aâ&#x20AC;&#x2122;rada Bands Members -Abu Hashim Band.

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The bands number increased in the last couple of years. It reached to 760 bands in Damascus. In addition, Al A’rada started to spread around Damascus and other cities where people started to create their own bands. Al A’rada existed bands now are from Homs, Aleppo and other cities. 1

3-1-5-Al A’rada Shows Al A'rada show was just the sword and shield performance. Then it developed and added new shows according to the events like flags and fire shows. Some bands added a new feature which is bringing horses to participate in shows.

Figure 3. 5:old photo for Al A'rada band member durid sword and shield show in Damascus via Abu heshim band

The sword and shield performance is a dance with kind of a white weapon that indicate to the ancient Syrian history that had very beautiful models for honest man to man fighting. This show is not only a fighting performance; it is also a kind of a folkloric dance accompanied by organized movements with hands and feet. They dance in harmony with the music that they play. Usually, when the fighting become more stronger ,the audience

become more happy and

encouraging, because the show confirm for the manhood and steadfastness in battlefields.2

1 2

Alnen, M. A. (2018, 7 29). Appendix Two : Interviews with Al A’rada Bands Members -Abu Hashim Band. Kayan, M. (2011, 8 14). Folkloric Al A’rada's And their songs. Retrieved from Friends of Damascus Magazine: http://damascus-friends.com/modules/printArticle.php?nb=118

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3-1-6-Al A'rada Musical Instruments Al A'rada bands used some musical instruments that add to the songs a kind of uniformly of sound and aesthetic.

Figure 3. 6: Up left photo for Al-Mazher-Aldaf ‫ –المزهر او الدف‬Up right photo for Al-Tabl–Drum – ‫الطبل‬ Down left photo for Al-Darbika– ‫ – الدربكة‬Down right for Al Mezmar-Flute – ‫المزمار‬ (By author)

The band depends on their instruments to adjust the rhythm with the songs like drums, Al- daf and Al –darbika. Those instruments are usually made from animals’ skins. 1 However, the musical instruments that Al A'rada used had developed. Al A'rada bands had added the flute or the trumpet as a new instrument since about 14 years, and it is considered as the newest instrument.2

1 2

Kayan, M. (2011, 8 14). Folkloric Al A’rada's And their songs. Retrieved from Friends of Damascus Magazine: http://damascus-friends.com/modules/printArticle.php?nb=118 Alnen, M. A. (2018, 7 29). Appendix Two : Interviews with Al A’rada Bands Members -Abu Hashim Band.

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Beside of the drums and flute, Al A'rada used a kind of copper circular plates, which is known as "Sajat". Usually one member of the band carries them and produce the beats.

3-1-7-Al A'rada Clothes Styles

Figure 3. 7: Up left photo for Sherwal –Pants ‫الشروال‬with Kandrah–shoes –‫– كندرة او كسرية‬ Up right photo for Sedryeh–vest – ‫صدرية‬ Down photos for Shal–scarf- ‫ شال او حطة‬with Taeyah–cap- ‫طاقية‬ (By author)

At the beginning, there was not a customized uniform for Al A'rada members. It was only the traditional Damascene clothes, which came from Turkey in the Ottoman period1. Then and through the years, this traditional clothes started to be considered as a heritage costume and Al A'rada took it as its uniform.

Ali), H. E. (2018, 7 29). Appendix one: Interviews with Al A'rada Bands Members - Abu Ali Band.

Page | 39

The uniform consists of "taeyah", the cap on the head, and "Sedryah", the vest which they usually wear over the white shiny shirts, also the scarf "Shal" which is wrapped around the waist and the black pants which known as "Sherwal", it looks like pants but wider. As for the shoes, the members wear "Kandrah or Kasryah" the shoes with a pointed head.1 All the clothes are handmade by traditional tailors from old Damascus.2

Figure 3. 8:Left photo for Al-Aghbani style (by author) – Right photo for Al- Damer style (by author)

There are a lot of styles such as Al-Damer– ‫ الدامر‬,Al-Metan– ‫ الميتان‬,Al-Harer(Silk) –‫ الحرير‬AlAghbani– ‫ االغباني‬and others. Actually all of these styles have the same components but the different is in the embroidery works and colors. 1

1 2

Alnen), M. A. (2018, 7 29). Appendix Two : Interviews with Al A’rada Bands Members -Abu Hashim Band. Ali), H. E. (2018, 7 29). Appendix one: Interviews with Al A'rada Bands Members - Abu Ali Band.

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Figure 3. 9:Left photo for Al-Al-Metan style (by author) – Right photo for Al- Al-Harer style (by author)

3-2 Al A'rada's Significant and Reflection on the Syrian Traditional Values According to UNESCO, there are five domains to classify the intangible cultural heritage which are oral traditions, performing arts, social practices, traditional craftsmanship and knowledge and practices concerning nature and the universe. Al A’rada is using the songs according to the events and the shows types and it contains many musical instruments and performing shows like the sword and shield. In addition, Al A'rada associated with many community celebrations and become a main component in the wedding days. The uniform that the members wear is a handmade one and reflect the traditional unique techniques. For those reasons, Al A'rada comes under the four domains; oral tradition, performing arts, social practices and tradition craftsmanship. That what makes it so important to Syrian intangible cultural heritage. In another aspect, Syrian community considers Al A'rada as a link to their past and to their traditional performances and songs that they were raised on. It is also a symbol for the manhood and steadfastness in battlefields. That is why they kept practicing this tradition to save Syrian ICH practices authenticity.

3-3 Al A’rada Presence in Egypt This below report represents the results of the survey for one of the Syrian intangible cultural heritage components, which is Al A’rada. The main idea for the survey is to know the origins of this practice, its development, the problems they are undergoing, the requirements for its survival Page | 41

for future generations and to measure the knowledge of people with Al A'rada whether Egyptians, Syrian or other nationalities. The survey is based on interviews with two famous bands, through almost 50 questions about the past, present and the future situation of Al A’rada. Another method that the report used, was the interviews with attendees for the Al A’rada shows t represented whether Egyptians or Syrians. As for the event, which the researchers attended was for an Egyptian wedding and this was useful to know more about the impression of the host community people. The third method for the host local and Syrian community through an online survey of almost 200 people, which was divided into two sub–surveys, after choosing the nationality to be the results 98 Egyptian, 60 Syrian and 3 other nationalities, almost 10 questions about the knowledge, community role and methods of safeguarding. The results of the questionnaire were very successful as we found a moderate knowledge of Al A’rada and to clear and highlight the problems facing the ICH for other nationalities in Egypt.

Figure 3. 10: the methods that the research was based on to collect data (by author )

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3-3 Al A’rada Presence in Egypt The beginning of Al A'rada appearance was in the center of Syrian areas concentration in Egypt. For example, 6th of October city (we took this region as an example for the case study, according to the location of the craft owner which we held with them the interviews). It is considered the most concentrated place for Syrians by a big proportion. Most of the Syrians who came to Egypt after the Syrian crisis from 6 years ago with their families. Some of the carriers used their knowledge to work with it in Egypt. Nevertheless, they did not work with it as their core work. They have an additional work besides their work with the band. For example, working in restaurants or as salespersons, so they deal with Al A’rada as a hobby and a way to enjoy when practicing it, even if some bands used it as a source of income. One of the main reasons for practicing Al A'rada in Egypt is to secure their legacy and ensure it will continue for future generations, and not to feel that they lost their heritage the way they lost their home. At the beginning, Al A'rada appeared in Egypt within the Syrian community. The demand for it was found in many Syrian occasions or at least when one of the partners is Syrian like a wedding ceremony. But over the time the situation has changed and you can find Egyptians are asking for Al A'rada (the researchers attended one of the Egyptian weddings requested Al A'rada show) and also other nationalities lived in Egypt requested it. The welcoming of Al A'rada shows in Egypt was not less than the welcoming of Syrians themselves when they came to Egypt. The bands owners said that they didn’t find any problems or difficulties in the Egyptians acceptance of their craft. The Egyptian known with their artistic taste for any new art. The Egyptian people are a connoisseur of the arts in general, also the costumes and tools of the bands are new for Egyptians; the shrwals, the chests, the sword and the drum were very impressive. Even if the Syrian dialect considers as a barrier, but over time Egyptians have begun to understand the language and interact with the music.1

Ali), H. E. (2018, 7 29). Appendix one: Interviews with AlA'rada Bands Members - Abu Ali Band.

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Figure 3. 11: represent Al A’rada band member in Egypt, Abu Ali’s band

‫جريدة سوريتنا‬. (2018). ‫عراضة سورية في وسط القاهرة | جريدة سوريتنا‬. [online] Available at: http://www.souriatnapress.net/

Al A'rada shows were held all over Egypt most of the bands traveled all the governorates, from Alexandria to Aswan, especially in the countryside. They have an artistic taste and they loved it and consider it as a new art beside the Egyptian one.

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3-3-1 The Current Status of Al A’rada in Egypt The demand for it has grown up and that is because of the proliferation that has occurred in the last 6 years. The band owners see that their current situation in Egypt is good in terms of presence and demand despite some problems that they face. The competition between the eight teams in 6th of October is a double-edged sword. Firstly, it has caused the widespread, which the Syrian carriers need to protect and secure their legacy, but also the inexperienced people who work with this practice are making a bad impact on its origin rules and day by day, it will lose its authenticity. The demand on Al A'rada in Egypt increased from the time that the Syrians came to Egypt and started practicing this tradition; the percentage now reached 30% of Egyptians and 70% of Syrians.1

Figure 3. 12: one of the Al A’rada band in one of wedding cermonie

‫اليوم السابع‬. (2018). ‫ اليوم السابع‬- ‫ نقلوا تراث "العراضة الشامية" إلى حفالت مصر‬..‫حكايات السوريين‬. [online] Available at: https://www.youm7.com

Ali), H. E. (2018, 7 29). Appendix one: Interviews with Al A'rada Bands Members - Abu Ali Band. Alnen), M. A. (2018, 7 29). Appendix Two : Interviews with Al A’rada Bands Members -Abu Hashim Band

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In Egypt, there are different occasions that Al A'rada is represented in. The most famous and official two are the wedding ceremony and opening shops party. There are occasions popular in Egypt, but not that much for Syrians like birthdays and Hajj. In the wedding ceremony, there are more than one description for the situation. For example, when they preparing the groom and when he meets the bride, each part has its own description and expressions. Ensuring the continuity of Al A'rada in Egypt also came from the advertising methods used by the bands owners. They are using social media networking sites like Facebook and they have for every band its own page that contains all the information and videos of the band. For example, “Abu Ali al-Syrian” and “STAR Group (Mohamed El Nni)”. Sometimes they use YouTube channels. Also they use the social media in connecting the teams in Egypt and all over the world. Like ” Damascene Heritage” page, that kind of pages where the bands could know if other bands presenting Al A'rada like its origins or not and this is one of the safeguarding ways which the bands use to secure the origin of that practice.1

3-3-2 The Difficulties, that are facing Al A’rada in Egypt The difficult living conditions in Egypt now have reflected on Syrians after coming to Egypt. They are facing in general some difficulties and problems in staying in Egypt and of course, this affected directly on Al A'rada bands. Here we will present some of the problems that the owners and members of the teams interviewed have talked about. 

Practicing by the Unexercised People.

Not all the bands that are working in Al A'rada now in Egypt were working in it back in Syria. However, they start to work with it here in Egypt, because Egypt is considered as an open labor market, which can absorb many workers in one profession. Therefore, if someone has sufficient money to set up a band, he just buys the tools and clothes and starts to say a few simple words and that is all without caring to the practice origin.1 1

Ali), H. E. (2018, 7 29). Appendix one: Interviews with Al A'rada Bands Members - Abu Ali Band. Alnen), M. A. (2018, 7 29). Appendix Two : Interviews with Al A’rada Bands Members -Abu Hashim Band

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Before the current crisis in Syria, there was a special association for Syrian heritage with the leaders of singing, costumes and rhythmic movements and even leaders of the profession ethics. It is very important to organize the interaction between the teams and measure the quality of each band, initially they were only 20 bands until they reached 760 bands. In Syria until 2010, each group was subject to special assessment either in singing or in uniforms and if there was something wrong with the description, expressions, or rhythmic movements, it will be recorded by the leaders, subjected to evaluation, and monitoring. In addition, if the instructions are not executed, the band will stop working and the tools and uniforms will be delivered back to the association, these were the ways to preserve the heritage. In Syria, the audience was able to distinguish between the quality and whether if this band show is original or not. But in Egypt, the distinction becomes difficult and that’s because of the hard understanding of the Syrian dialect. 

The Difficulty in Extracting Permissions for the Band Members.

This problem is not facing the band members only, but it is facing all the Syrian people came to Egypt in the past years and that is because of the difficult living conditions in Egypt. That issue discussed at length in chapter two, how the papers are taking too much time between government agencies. Therefore, Syrians are facing some hardship times during their work and if the syndicate subjected them to sudden inspection, this is making them feel insecure.1 

The Difficulty in Understanding the Syrian Dialect.

In the beginning, there was a difficulty in understanding the Syrian accent. It was considered as a barrier between the team and the audience, as Abu Ali said, especially when they talk quickly. Sometimes, I start speaking, but I notice some of the audience expressions as a proof of not understanding, so I continue only with the drums and flutes and of course that’s won’t be the original practice.

Alnen), M. A. (2018, 7 29). Appendix Two : Interviews with Al A’rada Bands Members -Abu Hashim Band

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The difficulties in accent are also in the band itself, as Abu Hashem said some of the guys are from Homs and Ghouta and each area has its own accent. This is the difficulty of responding to the original accent of Al A'rada and that is effecting the impression of the audience who is able to distinguish between the quality and whether if this band show is the original or not. â&#x20AC;˘

Some Syrian Youth has become Incurious to Preserve Syrian Heritage.

This problem faced the brand's owner, because Al A'rada as we said most of them deal with it as a hobby not only as an income source and this is because they have been grown up on such tradition in their country and learned from the ancestors of their ancestors. This spirit is belonging to the homeland the one that urges the preservation of the intangible heritage, but what is happening now is only an individual action, not from the rest.1

Figure 3. 13:during the interview with Abu Hashem band (by author )

Alnen), M. A. (2018, 7 29). Appendix Two : Interviews with AlA'rada Bands Members -Abu Hashim Band

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3-3-3 The Changing and Adaptation of Al A’rada in Egypt As mentioned before about the different accents inside the team is considered a difficulty to understand, also hiring some of the team members from outside Damascus led to change the original accent, because Al A'rada is a Damascene practice. Some of the rhythmic movements of the sword and shield have changed due to the lack of experience of the members, as Abu Hashem said. Beating with the sword, it is only practiced in Damascus because it considers as a learning game and young people must have a background on the rules so that they do not get hurt.1 The acceptance of the Egyptians to Al A'rada show let the adaptation easy in the community, and they added just simple things like a mix between best-known Egyptian songs like "El-Beint Bida" and "Tala Mn Beit Abuha" to the Syrian music or play (Tanoura). The adaptation also appeared in the use of the tools, they used a mix of tools to be familiar with the Egyptians such as Al-Darbika, flutes and drums. In general, there are no big changes in Al A'rada because the heritage carriers are trying not to change in its rules to preserve it to the next generation, as Abu Hashem said.2

Figure 3. 14: A part of article with title Syrian show in middle of Egypt via Abu heshim band

Alnen), M. A. (2018, 7 29). Appendix Two : Interviews with Al A’rada Bands Members -Abu Hashim Band Ali), H. E. (2018, 7 29). Appendix one: Interviews with Al A’rada Bands Members - Abu Ali Band.

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3-3-4 The Local Host Communities and Their Role in Keeping Al A’rada Alive As for the host country (Egypt), most of the Egyptians like Al A’rada because they considered it as a new art, especially as Abu Ali said, the countryside, they have a great deal of generosity ethics and artistic taste. Egyptians love art and they have a special taste. They don’t’ understand well the speech content, but they interact with the new music. (Placeholder1) Some Egyptians have now started to recommend it in their occasions as it mentioned before the increase in the demand that reaches 30%1. In addition, there is another opinion and that is normal, Some Egyptian see that it's not organized like the Damietta show. Therefore, they are not likable to them especially in their important occasions such as weddings For the Host Role to Keep Al A’rada Alive The most important role is to allow the Syrian people to practice it on the land of Egypt; this thing is one of the biggest contributions to help them preserve it. For example the participatation in drums festival, The best proof of the preservation of the host country to every ICH found on its land.

Figure 3. 15: Abu Hashem band in drums festival via Abu heshim band

Ali), H. E. (2018, 7 29). Appendix one: Interviews with AlA'rada Bands Members - Abu Ali Band.

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The increase in the demand of Al A'rada from the Egyptians also a good indicator. Egyptian people are known for their interacting with any new culture or art as Abu Ali said. In the countryside when they saw the costumes, the shawls and chests and our tools, the sword and the drum were very impressed with them.

Figure 3. 16 : Abu Hashem band in Egyptian wedding party (By Auther)

In the online survey, the response from Egyptians was almost 62 % and higher than Syrian response (chart No.1), and this is a random sample. As for the knowledge of the Egyptians about Al Aâ&#x20AC;&#x2122;rada appeared around 23% who attended one before (chart No3.2) and 3% requested it in their events and this is a good percentage in a random sample (chart No3.3).

â&#x20AC;˘ Nationality?

Table 3. 1: The Table shows the percentage and amount of response according to their nationality (by author )

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Chart 3. 1: The chart compares the response according the nationality(by author)

• Have you attended any events in which you have seen such a band – Al A’rada?

Table 3. 2: The Table the shows the numbers and the percentage for Egyptian response whether they attend any event and saw Al Arada through it (by author)

Chart 3. 2: The chart compares Egyptian response whether they attend any event and saw Al Arada through it (by author)

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• Have you requested this band for your special event?

Table 3. 3:The Table represent the percentage and amount of Egyptian responses who requested Al A’rada for

their event (bu author )

Yes

Chart 3. 3: The chart represent the percentage of Egyptian responses who requested Al A’rada for their event (by author)

There was a good opinion from Egyptians, on how to safeguard Al A'rada, 38% said that they should be invited to Egyptian festivals and others give some ideas like acceptance, practice, documentation by museums, and advertising them by social media and TV shows. Most of these methods are already applied on the ground as already mentioned before. There was a reverse point of view to the role of the host country in preservation the Syrian ICH, As they said, that’s not the Egyptian community’s role because it's not our identity to participate in saving. It is natural that there are different opinions about how to preserve Al A’rada.

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3-3-5 The Syrian Community and its Role in Keeping Al A’rada Alive The Syrians came to Egypt carrying their customs and traditions, as well as their heritage. Therefore, they had to apply it in their host community in Egypt. The Syrian community in Egypt is not all aware of Al A'rada or see it before, according to the online survey more than 23% did not attend is here in Egypt before1 (Chart No.4)

Table 3. 4: The Table represent the percentage and number for Syrain responses who saw Al A’rada show in Egypt

Chart 3. 4: The chart represent the percentage for Syrain responses who saw Al A’rada show in Egypt

The Syrian responses mentioned in the online survey about the degree of importance of the Al’Arada in the Syrian society who resided in Egypt were as below: •

Important to spread the Syrian cultural heritage,

•

Key for Syrian community to feel happy and to feel like home again.

•

Remind the Syrians people with their traditions and identity,

•

It's a link with the homeland and they have to save it for the next generations,

•

It is an old celebration tradition that Syrian people should preserve.

1 Online Survey (2018,8). Appendix three: Questionnaire Syrian and Egyptian communities.

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For the Egyptian role in safeguarding, almost 49% said that they have a limited role, they respect the acceptance of the Egyptian, and they will help to spread this practice more, encourage, and give opportunities and exchange of cultures. There was a reverse point of view, that there is no care about the Egyptian cultural heritage so they will not care about other cultural heritage. In addition, the Syrians have the same opinion of how to safeguard Al A'rada 50 % said that they should be invited to the Egyptian festivals. Hereunder are some of the Suggestions that could help to safeguard Al A'rada as part of the Syrian heritage: -

Use the social media for advertisement and communications,

More financial support, invitations to participate in international \ national (folkloric) festivals that are for public

Teaching Al A'rada for young Syrian people1

Shows and stories about Al A'rada for Syrian and Egyptian students at their schools

Establish an office for Al A’rada bands

Open Nonprofit institutions to educate Al A’rada

Public parties in opera house and other cultural centers

Multinational cultural heritage bands of Syria and Egypt

Galleries for Al A’rada costumes and instruments

Documentation 1

1 Online Survey (2018,8). Appendix three: Questionnaire Syrian and Egyptian communities.

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3-3-6 SWOT Analysis for Al A’rada in Egypt: STRENGHES

WEAKNESSES

Being part of the Syrian intangible cultural legacy.

Inexperienced members.

The Syrian community considers it as a link with their past and home country.

Lack of the understanding of the accent from the other nationalities

The interaction with audience.

Unavailability of tools and costumes in Egypt.

Inheritance idea of the practice to ensure its continuation

Some of Al A’rada bands become as commercial ones

A way to adapt with the host community. The increase in requests for Al A’rada from Egyptians. Participation in many cultural festivals.

OPPORTUNITIES

Being on the recommended list for UNISCO. Establish an association for ICH to be controllable, as it was in Syria. The efforts that the members do to raise awareness and keep it alive. Continuously spreading through cultural events.

THREATS

Residence permits. Lack of quality and content control association. Lack of awareness for the Syrian youth toward their heritage Lack of financial capacity to establish teams ' offices to organize work

Databank to all the carriers to reach them easily. The easy communication with other bands around the world through social media. Table 3. 5: SOWT analysis (by author)

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Chapter 4 Safeguarding Methods (Background â&#x20AC;&#x201C; principles- Similar Case Studies) Sustainability Plan

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4-1 General Methods and Background on the Heritage Safeguarding: The recommendations on the safeguarding of traditional culture and folklore made at the general conference of the United Nations Educational, Scientific and Cultural Organization UNESCO meeting in Paris, from 17 October to 16 November 1989 at its twenty-fifth session. The UNESCO convention for safeguarding ICH, 2003 considered the first nucleus of its kind aimed to directly safeguarding and protecting intangible cultural heritage. 1 Both the recommendations and the convention define the nature and forms of ICH, which include everything related to knowledge made and transmitted within cultural communities concerning the universe and nature from stories, tales and oral expressions to social celebrations, rituals, social practices, music, traditional crafts and folk medicine and their objects, artefacts, instruments and cultural spaces associated. In addition, suggesting methods of safeguarding them. Their target is ensuring the survival of the communities' living cultural heritage in the face of societyâ&#x20AC;&#x2122;s transformation and the fast growing of globalization threats and negative impacts on cultural heritage by raising the awareness of communities nationally and internationally and providing an international assistance. 2

Figure 4. 1:UNESCO-Intangible Cultural Heritage Logo, via website https://ich.unesco.org/

State parties nationally and internationally should apply the following terms concerning the protecting and preserving of ICH, by carrying out the necessary and appropriate measures to assure the safeguarding of ICH existed in its boundaries. To this end each state party should define and determine the different elements of ICH existed in its territory, supported by the widest possible

Sherkin, Samantha. "A Historical Study on the Preparation of the 1989 Recommendation on the Safeguarding of Traditional Culture and Folklore." Safeguarding Traditional Cultures: A Global Assessment (2001)P. 1 2 Kurin, Richard. "Safeguarding Intangible Cultural Heritage in the 2003 UNESCO Convention: a critical appraisal." Museum international 56.1â&#x20AC;?2 (2004):P.68

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cooperation and participation of their communities, individuals, groups and relevant NGO's that create, maintain and transmit such heritage, and to involve them actively in its management. The recommendations and convention adopted six main principles and measures for safeguarding ICH as following:

4-1-1 Identification of ICH Identifying ICH, as a form of oral and cultural expression and traditions that must been safeguarded for and by the communities and individuals. Regarding this principle, each state party shall designate in an oriented manner appropriate to its situation, one or more regularly updated inventories of ICH presented in its boundaries. In addition, it should provide relevant data on such inventories within its periodical report to the committee for the safeguarding of the ICH, which targeted to ; Provide a national inventory of organizations concerning about ICH to ensure its inclusion in national and international registers of folklore institutions.1 Create and develop identification and collection management systems include (cataloguing, transcription) by way of catalogues, registers, handbooks, collecting guides, etc. In addition, motivate the setting of a standard categorize of folklore by way of general frame of folklore for international use with a comprehensive register.

4-1-2 Conservation of ICH Owing to its changing character, Folklore always is hard to directly safeguarded, this is why conservation is concerning the documentation of cultural traditions and its objects, in the event of the non-practice and developing of such traditions, to provide tradition-bearers and researchers access to all data enabling them to understand process through which tradition change. ICH that was been mixed in a tangible form should be effectively safeguarded. According to this principle, member states should:

Text of the Convention for the Safeguarding of the Intangible Cultural Heritage - intangible heritage - Culture

Sector â&#x20AC;&#x201C; UNESCO https://ich.unesco.org/en/convention

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Establish an international and national archive where documented folklore can be properly preserved, available and easy to access for service purposes (publishing of data about ICH materials, central cataloguing and standards of ICH pilot projects including the aspect of safeguarding) with a harmonize archive.

Document and collect methods, also offer methods for making working copies of all ICH materials, and copies for national institutions, which are securing the cultural community access to the materials. Moreover, training all kind of heritage specialists in the conservation of ICH, from tangible conservation to analytic work.

Establish museums or creating ICH exhibitions at existing museums where ICH can displayed. Give priority for the methods of presenting popular cultures and traditional that are representing the live or past aspects of those cultures, which show their ways of life, surroundings, skills and techniques they have created.

4-1-3 Preservation of ICH Preservation is concerned with protection of ICH and its transmitters, having regard the fact that each community has the right of owning its ICH. Actions must be taken to ensure that people's traditions are developed and supported economically in the communities that produce them. To this end, member states should: Introduce and design the studying and teaching of ICH in both formal and non-school curriculums in an appropriate way, with a special emphasis of respect for ICH in the broadest sense of the term. Take into account not only the village and other rural areas of culture but also those that arise in the urban by various social groups, professions, institutions, etc.. The following promote a better understanding of diverse cultural diversity and global views, particularly those that are reflected in dominant cultures. Further, ensure the right for different cultural communities to have access to their ICH by supporting their work in the areas of documentation, archiving, researching, etc., as well as in the practice of tradition. In addition, provide economic support for institutions and individuals making scientific research or cultivating or holding objects relevant to the safeguarding of ICH.

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Carry out educational training programs and capacity-building activities within the communities and groups for the scientific research, safeguarding and management of the ICH and strengthen education for the safeguarding of natural places of memory in which their existence is necessary for presenting expressing the ICH.

4-1-4 Dissemination of ICH The importance of folklore as a component of cultural identity should be brought to the attention of the public, to keep the community updated and informed of the risks threatening their heritage, and of the procedures implement both the recommendations and convention. It is necessary to disseminate widely the items constituting this cultural heritage so that the value of recognizing ICH and the need to preserve it. However, avoid distortion during publication so that the integrity of tradition could be preserved. To promote equitable dissemination, member states should: Organize international and national events such as festivals, symposiums, exhibitions, seminars, training courses, workshops and films, etc. Encourage the publication and dissemination of their outcomes, materials and papers. Moreover, facilitate the exchanges between individuals, groups and organizations concerned with folklore, both national and international, and encourage the setup of cultural agreements. Encourage existed organizations and establish new organizations for the production of educational folklore materials, for example; video films based on recent folklore projects, researches and fieldwork, and support their use in schools, folklore museums, international and national folklore activities and festivals. Encourage the international scientific community to adopt a code of ethics that ensures a sound approach to and respect for traditional cultures. Ensure that adequate information about ICH is available through folklore bulletins and special periodicals, as well as through libraries, documentation centers, archives and museums.

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4-1-5 Protection of ICH With regard to ICH, which is an individual or collective manifestation of intellectual creativity, it deserves protection in a way which inspired by the protection of intellectual production. This protection of cultural traditions has become an irreplaceable as methods of further preserving, developing and disseminating these traditions, both outside and inside the country, without affecting to the licit interests involved. Away from "intellectual property aspects" protecting traditions of folklore, they protected different types of rights and that should continue to ensure future protection by the archives of ICH documentation. Regarding this protection aspect and regarding the `intellectual property' concepts which call care and attention of concerning authorities to the important work of UNESCO and WIPO (World Intellectual Property Organization) concern with the intellectual property, with account that this work relevant to only one aspect of folklore protection. Member states should consider the urgent need for taking separate actions in a scale of areas to protect ICH. Regarding the other rights and aspects involved in protection of folklore member states have to protect the privacy and confidentiality of the transmitter or collector by ensuring preserving the materials collected in good condition archives and in a methodical approach. Moreover, take the necessary actions to safeguard the materials collected against misuse, whether intentional or otherwise; and recognize the responsibility of archives to monitor the use made of the materials collected.1

4-1-6 International Co-operation With the urgent need to intensify the cultural exchanges and co-operation, and in particular through the supporting of financial and human resources, aim to implement ICH revitalization activities and development programs. As well as, the scientific researches that made by specialists, this thing mean that state parties should co-operate closely with national, regional and international organizations, associations and institutions. Who are concerned with folklore to ensure internationally that the various interested parties (communities or natural or legal persons)

Recommendation on the Safeguarding of Traditional Culture and Folklore: UNESCO http://portal.unesco.org/en/ev.php-URL_ID=13141&URL_DO=DO_TOPIC&URL_SECTION=201.html

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enjoy the economic, moral and so-called neighboring rights resulting from the creation, investigation, recording, composition, performance and dissemination of folklore. Also taking necessary actions and measures to protect ICH against all natural and human dangers to which it is exposed, including the risks resulted from public disorders, conflicts, disasters, occupation of lands. To this end, the UNESCO committee should receive and approve requests for international assistance from states parties for the preparation of its proposals for safeguarding their ICH. The committee should supervise the implementation of such activities and projects by publishing the best practices using methods that will be determined by the committee. Regarding and considering the purposes of both the recommendations and convention, international assistance and cooperation include the exchange of experience and information, joint campaigns, and the designate of a plan for assistance to states parties in their efforts to protect their ICH. With no effect to the provisions of their national laws and practices, the states parties admit that the safeguarding of ICH is generally affecting humanity, so state parties undertake to cooperate at the international and national levels.

4-1-7 Types of International Assistance The international assistance to the state parties may take many forms. The provision of financial and technical support in the form of donations, loans and grants of low-interest, supporting the state parties with experts and professionals, and training their staff on how to apply the appropriate safeguarding methods in a professional manner. Provision of researches and studies regarding the different principles of safeguarding. In addition, the creation of standard setting and operation of infrastructures. The convention for the safeguarding of the intangible cultural heritage built upon about 60 years of interest by UNESCO with safeguarding of cultural heritage in general. It based from three decades of reflection on the living cultural heritage in particular. The convention entered into force in April 2004. At the end of May 2007 about seventy-eight state parties ratified it, among them Page | 63

Egypt and Syria. By the end of 2017 about 161 state parties, from every corner from the globe ratified and applied the convention measures and aspects of safeguarding their ICH. This rate of ratification was the faster than the other UNESCO cultural conventions.1 Preserving and safeguarding the heritage to ensure its sustainability, accessibility and inheriting over a long-lasting period can be an easy mission when you deal with tangible heritage resources like objects, sculptures and handicrafts. Tangible heritage can be preserved through various methods and manners such as digitization techniques. Preservation and safeguarding of intangible resources like art performances, language and music and dance are more complicated and require an intensive work and knowledge approach.

4-2 The Best Practices of Similar Case Studies, (Comparison of Status, Application and Protection Measures): This living heritage lives inside a set of people, who naturally become the guardians of their heritage, by practicing it. Thus, ICH is very fragile, its safeguarding needs a deep knowledge of its background that lies with the supporters, such as musicians, dancers, writers, historians, and also the community members. In this section, we would like to offer the best practices of safeguarding inspired by presenting a special case of safeguarding cultural traditions and practices by viewing some major directions and experiences from Vietnam.2

4-2-1 Why Vietnam Experience? We chose this special experience, as we believe it covers well the ICH safeguarding attempts in a hosting country. Why Vietnam? This country has one of the most successful safeguarding experiences in Asia; the majority of the Vietnamâ&#x20AC;&#x2122;s ICH is art and music practices and performances, which could be similar with the nature of Al Aâ&#x20AC;&#x2122;rada. What was applied in this 1

Kurin, Richard. "Safeguarding intangible cultural heritage: Key factors in implementing the 2003 Convention." International Journal of Intangible Heritage 2.8 (2007):p.18. 2 Sector, Culture. "Expert Meeting on Community Involvement in Safeguarding Intangible Cultural Heritage: Towards the Implementation of the 2003 Convention." (2006).P.26-28.

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experience might be a clear model for our chosen practice. Although the two countries political conditions were different and no displacement situation, but after reviewing in depth the applied mechanism, we could agree on it as a reliable experience to follow.

4-2-2 Vietnam Governmental Mechanism for Safeguarding its ICH: The government of Vietnam confirmed that ICH has played an important role in the national development and preservation of the Vietnamese communities. In addition to the positive effects of the globalization, the rapid socio-economic development changes lead to the negative changing of cultures and they are threatening to destroy various elements of ICH, which can be lead to the destruction of the cultural diversity of Vietnam. To this end, the government of Vietnam created a governmental mechanism for safeguarding its ICH with various major directions.

Figure 4. 2:Nha-Nhac-Vietnam court music, via website https://tourguide.edu.vn/vietnam-information/worldheritage-in-vietnam-p4.html .

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On 29 June 2001, the National Assembly of the Socialist Republic of Vietnam created the Law on Cultural Heritage, in which, they dedicated the complete third chapter to ICH. Which resulted that they adopt the safeguarding procedures in a legal framework to promote and protect the values of their ICH using various methods as following: -

Creating a periodical inventory, classification and collection of ICH, and conducting projects on nationwide scientific researches.

Increasing the awareness of the local communities of the values of their cultural traditions, by widen the socializing in the promotion and protecting of ICH and supporting the activities of transmission knowledge, skills and practices to the younger generations. Moreover, ensure the publication, dissemination, practice and revitalization of different types of ICH, especially those traditions that are in need for an urgent safeguarding.

Provision of financial support to the activities and projects of promoting and safeguarding of ICH, to prevent the loss and deterioration of it. In addition, provision free-of-charge operational guidelines, evaluation and support for preserving and archiving ICH upon the request of individuals and organizations.

The Assembly paid a great attention to the ICH bearers and custodians, as they are representing the core and the most important feature that composes the ICH. To this end, one of the most important and effective methods to achieve the successful and sustainable safeguarding of the ICH could be to ensure that the bearers of the ICH are well recognized for their individuation and to guarantee that they can practice their skills and knowledge to transmit them to young generations of bearers.

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Figure 4. 3:Giong festival in Phu-Dong and Soc temples, via website https://tourguide.edu.vn/vietnaminformation/world-heritage-in-vietnam-p2.html.

Therefore, the State adopted special treatment policies for artists and artisans as the following: -

Giving medals and state titles of honor for artisans and artists, who carry, preserve and practice traditional arts and professional mechanism with the provisions of law.

Financial coverage for part of the costs of activities of performance and presentation of traditional arts to the artists and artisans who carry and preserve ICH.

Providing monthly allowance to the artisans and artists who were honored with state title and suffering from low income and difficult living circumstances.

4-2-3 The Involved Institutions and Organizations The government of Vietnam has involved many organizations and institutions in the safeguarding process for implementing the state management of ICH. On top of them, the Ministry of Culture and Information, which has the primary responsibility cooperating with the government for the implementation of the state management of cultural heritage by using the following measures: Page | 67

Preservation of cultural heritage using appropriate measures to prevent damage by the implementation of plans, strategies and policies to support the protection and promoting activities of legal education concerning cultural heritage.

The organization of research work, training and preparation of specialized staff on heritage.

Management of international cooperation for the safeguarding and dissemination of cultural heritage.

4-2-4 The Cooperation between the Institutions and the Ministry of Culture and Information: Many institutions, museums and organizations from different branches have involved directly in the management and safeguarding procedures such as: Institute of Culture and Information, the Vietnam Institute of Folklore Studies, Institute of Culture and Information, the Han â&#x20AC;&#x201C; Nom Research Institute and the Association of Vietnamese Folklorists. In April 23, 2004, the Vietnam Cultural Heritage Association has been established under the control of the Vietnam government and was supervised by the Ministry of Culture and Information, which reflects the elaborate of the public sectors involvement to the safeguarding and promoting of ICH.

4-2-5 Effective Examples of the Applied Projects and Experiences: In 2001, the government of Vietnam conducted a national targets program for cultural heritage management. Many public and private organizations and institutions have successfully implemented a huge number of activities and projects. Remarkable outcomes have been gained. The majority of thus these projects are for researches, documentation and collections of ICH, one of the most important projects was setting up of an ICH databank at the Institute of Culture and Information. About 23 projects have been conducted for the extensive ICH survey. In addition, in 2003, the Prime Minister of Vietnam signed an agreement to set up a project mostly focused on data collection and research work presented by the "Museum of the Cultures of Ethnic Groups of Page | 68

Vietnam" for the safeguarding and promoting of the cultures of the Vietnamese ethnic and minorities. Regarding the lack of awareness and economic conditions, the majority of the ethnic minorities groups had not the ability to conduct their own strategies to safeguard their ICH. As a result, they depended on the support from the state. While some villages were endeavored to revive some of their cultural traditions which are at risk of loss or disappearing. Non-official inventory work has not been done in an overall view. The last years, about 60 projects for extensive ICH survey in various places were approved, with very limited and different approaches and outcomes from place to place.

4-2-6 The Goals of these Projects: -

Identifying the importance and understand of the number and status of ICH items, which are in need to revive and protect because of the risk of disappearing and lose.

Having a base to create a list of endangered heritage, a list on those with academic research results, and list of all the ICH known in a certain location.

Creating a base for the assessment and an overview on the real condition of ICH of the whole country or a certain region. Depending on that, adopting relevant policies and action plans for the promotion and safeguarding of ICH of Vietnam.

Archiving the items of ICH from various places in all over the Vietnam, and selecting the most outstanding ICH items to publish nationally and internationally (in the forms of digital publications, CD, VCD and documentary films)

Supporting the Establishment of a database of Vietnam’s ICH to be the reference of researchers and next generations.

During 2003 and 2004, the department of Cultural Heritage has carried out many pilot projects. Among these was the pilot project: “Comprehensive Survey and Inventory on ICH of Yen Hung District, Quang Ninh Province” this project’s aim was:

Understand the status of the ICH of Yen Hung District, and establish its ICH inventories. Page | 69

Raise the awareness of the community and the local authorities of the importance of safeguarding ICH using different methodologies (inventories, documentation, recording)

Promote management and knowledge ability of the department’s staff and the local culture workers as well.

- Draw experiences and lessons to be able to provide guidance in ICH safeguarding and inventorying, which can be used in other provinces nationally, to own a practical experiences to assist the Ministry of Culture and Information in adopting appropriate strategies for the promoting and safeguarding of ICH. Involved Partners: •

Department of Cultural Heritage, Ministry of Culture and Information (MoCI).

•

Department of Culture and Information, Provincial People’s Committee of Quang Ninh.

Implementers: All of them are from local community •

Staff from the Relics and Scenic Sites Management Board, Department of Culture and Information.

•

Staff from the Division for culture and sports of Yen Hung District.

•

Staff from the Sections for culture, members of the age - old person Association, of the War Veteran Society and of the Fatherland’ s Front of 20 Communes in Yen Hung District.

Directory Bodies: •

(MoCI)

•

Quang Ninh Provincial People’s Committee.

Consultant Organizations: •

Committee for ICH, (MoCI).

•

Vietnamese Folklorist Association.

•

Research Institutes concerning ICH.

Funding Sources: •

Department of National Cultural Heritage.

•

Department of Culture and Information under Quang Ninh Provincial People’s Committee. Page | 70

•

The People’s Committee of Yen Hung District.

Methodology: •

Community – Based Implementation;

•

Interdisciplinary

•

Experts Consultancy

4-2-7 The Essential Activities: Preparation Phase: •

(MoCI) The Department of Cultural Heritage organized various meetings with the Quang Ninh department of Culture and Information to discuss an agreement on the purpose and contents of the project to be carried out.

•

Created a proposal with essential budgets and plans to be submitted to the MoCI; identified the venues to carry out ICH surveys and created survey sheets.

Implementation Phase: •

Organized an experts meeting to discuss with the members of the committee for the ICH on the methodologies of the project and survey forms.

•

Conducted professional training and workshops on the importance of the safeguarding of ICH for local authorities and individuals; gave guidance to fill in the survey sheets.

•

Conducted quantity survey sheets.

•

Wrote reports about the situation of ICH of Yen Hung.

Final Phase: Conducted a final meeting to carry out the assessment on outputs of the project.

4-2-8 The Pilot Project Gained Achievements and Lessons: Comprehensively surveys carried out for ICH of 20 communes of Yen Hung District. About 5900 ICH items had been filled out in 1569 files (considering the five categories recommended by UNESCO convention) the result was improving of awareness and knowledge of the importance of safeguarding ICH among the community and local authorities. The local cultural workers ability to work in the ICH aspect had been strengthened.

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As mentioned above, the government of Vietnam, and various cultural institutions have been carrying out hundreds of projects to safeguard and promote ICH. The important which consisted of the adopting of the Law on Cultural Heritage, the Decree of Vietnam and the UNESCO’s Guidelines and 2003 Convention created favorable status for the ICH safeguard. Recently, the government of Vietnam preparing a database project and preparing to organize a national workshop to identify and discuss recently best practices and experiences on the safeguarding and promoting of ICH in Vietnam .The preparation is under the assistance and instructions of UNESCO Office in Hanoi and a specialist from Smithsonian Institution, Dr. Frank Proschan. The Department of Cultural Heritage and is preparing a national workshop in order to create assessment of the good and bad lessons of the condition of ICH project implementation.1

4-3 The Current Applied Methods for Protecting and Practicing Al A’rada in Egypt: As the surveys showed that, the practitioners of Al A’rada believe that they are very honored with their valued cultural heritage. That is why Al A’rada practitioners are keen to preserve and safeguard it in a natural way and with their self-effort without any outside interference. They will continue to practice it, to ensure that it is transferred to their next generations (Sons, brothers or any family members). Also by refusing to change the words used in the performance or the speed of their delivery of lyrics or the Damascene accent. Their constant attempt to spread and to be present at artistic and heritage festivals such as the Drums festival ‫مهرجان الطبول‬, their presence and Figure 4. 4:The International Drums Festival, Al performance at the 100 Syrian wedding ceremonies or Moa’ez street, Egypt. Via website https://www.youm7.com

any suitable occasion. 1

Sub-Regional Experts Meeting in Asia on Intangible Cultural Heritage: Government Mechanism for Safeguarding Intangible Cultural heritage Some major Directions and Experiences from Viet Nam (2005) P.5-8.

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4-4 Developing a Sustainability Plan including all the Possible Methods for Keeping the Al A’rada alive: Through and based on the research references, field interviews and surveys results. We have developed a sustainability plan to safeguard Al A’rada in accordance with its nature and presence in Egypt. The action procedures that were suggested as following: -

Prepare a proper transcript to document Al A’rada practitioners costumes (Photos and simulations), songs (Written and audio), instruments (photos and videos) and the artistic performance (Videos and simulations).

Establish a committee to control the band’s performance, clothing and instruments.

Establish a documented archive about Al A’rada data, and ensure that it is easy to access for the community and practitioners.

Co-operation with ICH Syrian committee, Syrian culture organizations in Egypt such as the Syrian Embassy.

Find a suitable way to provide the Band’s need from clothing and instruments in Egypt – local Syrian handmade production.

Prepare a proper proposal to apply for fund and communicate with non-profit organizations such as the Ambassador fund, which is presented by the American Embassy, Agha Khan because both of them pay a special care and attention to support heritage-safeguarding projects.

Arrange training workshops for new and old practitioners to increase the authenticity of the performance.

Non-profit courses to educate Al A’rada for young Syrian generations in Egypt.

Designing printed materials to market and advertise Al A’rada.

Participate in international / national folkloric festivals, the festival provides a strong platform of people to demonstrate the skills, art and knowledge of their heritage, and involve cultural preservation and education with their audiences. The festival can legitimize Al A’rada practitioners to a large base of audiences through their association with the Egyptian and Syrian community, Festivals can help to convey the respect accorded

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to Al A’rada performances and their practitioners. The festival experience can play a role” Back home” in their attempts to safeguard their traditions. -

Regular monitoring from the culture committee to make sure of the performance of all the bands.

Financial and moral support to Al A’rada members, and provision of medal and titles of honor, to present by the Syrian Embassy in Egypt and the Egyptian ministry of Culture.

Co-operation with interested Egyptian ministries to organize culture events and customize parts of the museums for Al A’rada, through conducting temporary exhibition Egyptian museums such as The Egyptian Textile museum which is the main sponsor for the Egyptian Heritage festival, The Islamic museum and Egyptian museum in Cairo as we can benefit from its buffer zones as places for heritage festivals.

Co-operation with interested international organizations to support and spread Al A’rada around the world.

Digital Preservation Methods:

Figure 4. 5: Proposal design for Al A’rada Application (by Author).

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

Setting up online platforms (Website, Social Media pages) to raise the awareness and disseminate of Al A’rada between the Egyptian and Syrian communities in Egypt.



Producing documentary movies and records about Al A’rada in Egypt.



Setting up an online application, which can be the gate for more learning, engaging and connecting with Al A’rada. It can provide a strong base to learn about Al A’rada history and components. Because of the Egyptian law, it is difficult for foreigners to rent or own places for work, Al A’rada App can facilitate the requests and queries about Al A’rada performance. This application can be the connection platform for Al A’rada practitioners over the globe.

Figure 4. 6 : Proposal design for Al A’rada Application’s options and services, (the Author).

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Conclusion The International Convention for the Safeguarding of the Intangible Cultural Heritage has drawn the road to new aspects in dealing with all intangible heritage, as it is highlighting its importance for all nations around the world, and what are the methods and tools that should be taken into consideration to safeguarding it. The intangible cultural heritage according to UNESCO contains and defines five domains, oral traditions, performing arts, social practices, rituals and festive events, knowledge and practices concerning nature and the universe, and traditional craftsmanship knowledge and techniques. The research is focusing on how to safeguard intangible cultural heritage in times of crisis, as a case study Al A’rada in Egypt, this practice in particular was important to spot the light on it as it comes under four domains out of the five domains according to UNESCO. In addition, Syrians who moved to Egypt started spreading it as a way to keep it alive, and they tried to manage the performance

with

all

the

details

just

the

original.

UNESCO has recognized six main principles and measures to safeguard intangible cultural heritage, and they are, identification, conservation, preservation, dissemination, protection, and international cooperation. These noteworthy tools can be used internationally and locally, with the efforts of all of member states. For Al A’rada practice, the conservation will be through a detailed documentation process which is the most effective principle to preserve all Al A’rada features (Costumes, Expressions, Tools,, History…). In addition, physical and digital inventories should be prepared; History and references should be collected and confirm its accuracy. Carriers should be connected through online platforms, conferences, and regular meetings to always discuss the development needs and how modern tools and expressions could be enrolled in a way that will never affect the original practice. Unfortunately, in the crisis times, the carriers’ country might have serious problems and will not focus in preserving its own ICH. Therefore, a way should be found to keep this connection alive between the carriers and their country government or responsible committees.

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As for the host community and in our case “Egypt”, opportunities for different ICH carriers should be offered like invitations for fairs, support the documentation process, facilitate legal permissions and connect carriers with others to exchange knowledge and experience. Cultural Entities should also be involved in the process of finding the carriers and engage them with the new community that they live in now. What also can be resulted from this research that ICH component when it is campaigned with a financial benefit, its chances to survive are bigger. People needs a source of income to live especially after their lost. Here also what was done in this case study; interviews and questionnaires were used to reach information and more knowledge about Al A’rada in Egypt and how it’s practiced in Egypt by Syrian as it’s connecting them with their identity, it was noticed that Al A’rada is known somehow for Egyptian, and they enjoy it when watching it, also how Al A’rada bands are trying their best to be present in any festival so more will know about Syrian intangible heritage represented by Al A’rada. With all the difficulties that are facing the Syrian intangible cultural heritage due to the current circumstances, but still there are many efforts to safeguarding it so next generations can be proud and linked to their ancestors.

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Bibliography Chapter 1: -

Boylan, Patrick J. "Intangible Cultural Heritage, Education and Museums."

Kurin, Richard. "Safeguarding Intangible Cultural Heritage in the 2003 UNESCO Convention: a critical appraisal." Museum international 56.1‐2 (2004): 66-77.

UNESCO, NATIONAL ASSESSMENT OF THE STATE OF SAFEGUARDING INTANGIBLE CULTURAL HERITAGE IN SYRIAN ARAB REPUBLIC, https://ich.unesco.org/doc/src/07951-EN.pdf

Al-Saleh, Asaad, and Loren White. Dissecting an evolving conflict: the Syrian uprising and the future of the country. Institute for Social Policy and Understanding, 2013.

Savrum, Melike Yağmur. "RESOLVING THE SYRIAN REFUGEES CRISIS: THE FAILURE OF INTERNATIONAL RESPONSE AND ITS IMPACT ON HOST-SOCIETIES."

UNHCR, 2018, https://data2.unhcr.org/en/situations/syria/location/113

UNESCO, Survey report Intangible Cultural Heritage of Displaced Syrians, 2017,

https://ich.unesco.org/doc/src/38275-EN.pdf Chapter 2: -

Abdelwahab, Reham. www.dotmsr.com/news/204/319010. 22 July 2015.

Ajam, Mohammed. https://aawsat.com/home/article/1016511. 05 September 2017.

Awad, Ola. weladelbalad.com/wp/242696-2. 9 January 2017.

Egypt, UNHCR, VSYR. Socioeconomic Assessment Report. Cairo, 2016.

Federation, Syrian Exporters. sef-sy.org/?p=1705. n.d.

Known. www.radiosawa.com/a/syria-damascus-/373052.html. 2017.

Mahdy, Osama. www.almasryalyoum.com/news/details/1147134. June 2017.

Ramadan, Mohammed Khaled. AL Seran Al Demashqi. Damascus: Ministry of Culture , n.d.

Saqer, Atef. Al Ahram. 2018. <http://www.ahram.org.eg/NewsPrint/638727.aspx>.

UNHCR. Monthly Statistics Report. Cairo , 2018.

—. Operational Update . Cairo , 2018 .

—. "The Regional Refugee and Resilience Plan (3RP) ." Key Publications . 2018-2019. Page | 78

Unknown. www.lovedamascus.com/en/syrian-handicrafts/aghabani-textile. 2018.

Chapter 3: -

Ali), H. E. (2018, 7 29). Appendix one: Interviews with Al'Arada Bands Nembers - Abu Ali Band.

Alnen), M. A. (2018, 7 29). Appendix Two : Interviews with Al'Arada Bands Nembers -Abu Hashim Band.

Horani, F. (2008). Between yesterday and today .. Al-Arada Al samyah as tradition is still alive. Retrieved from Syrian Culture ministry: http://moc.gov.sy/15/?id=9555%20--

Ismail, S. (2011). The Syrian Uprising: Imagining and Performing the Nation. Studies in Ethnicity and Nationalism, 11(3), 538-549.

Kayan, M. (2011, 8 14). Folkloric Al Arada's And thier songs. Retrieved from Friends of Damascus Magazine: http://damascus-friends.com/modules/printArticle.php?nb=118

n.d. (2015, 12 3). AlA'rada Alsamyah one of the important tradition parts in Damascus weddings . Retrieved from souriat: http://www.souriat.com/2015/12/14272.html

Online Survey (2018,8). Appendix three: Questionnaire Syrian and Egyptian communities. Survey (2018, 8). Appendix four: Interviews with attendees for Al A’rada show.

Chapter 4: -

Kurin, Richard. "Safeguarding Intangible Cultural Heritage in the 2003 UNESCO Convention: a critical appraisal." Museum international 56.1‐2 (2004)

Kurin, Richard. "Safeguarding intangible cultural heritage: Key factors in implementing the 2003 Convention." International Journal of Intangible Heritage 2.8 (2007)

Recommendation on the Safeguarding of Traditional Culture and Folklore: UNESCO Sector, Culture. "Expert Meeting on Community Involvement in Safeguarding Intangible Cultural Heritage: Towards the Implementation of the 2003 Convention." (2006)

Sub-Regional Experts Meeting in Asia on Intangible Cultural Heritage: Government Mechanism for Safeguarding Intangible Cultural heritage Some major Directions and Experiences from Viet Nam (2005)

Text of the Convention for the Safeguarding of the Intangible Cultural Heritage - intangible heritage - Culture Sector – UNESCO https://ich.unesco.org/en/convention

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Appendix One: The First Interview Abu Ali’s Band

Date: 29-07-2018 Location: Costa Café –Al Hosiery – 6th of October - Cairo Name: Hisham Ezzat Baghdadi (Abu Ali) Age: 40 years Duration of stay in Egypt: 6 years Current Address in Egypt: 6th of October, 11th District He left Syria and moved to Egypt after the Syrian crisis started, his house was demolished and he had no place to go. --------------------------------------------------------------------------------------------------------------------Q1-Did you come to Egypt with all your family members? No, I am here with my wife and children. My mother is in the UAE with my sister. Q2-What is your current work? Director and founder of Al A’rada band.

Q3-Do you do other craftwork? Do you have another job? No, I only worked in AL A’rada, it has been for me not just a craft/tradition, and it is my hobby. Q4-Are there any band shows during next period? No....., The answer is justified by the increase in the number of teams in the 6th of October city, so that it now has eight teams, which increases the intensity of the competition, adding that some of these teams are lowering their prices to reach more concerts. However, I am committed to a specific price to cover my commitment to all members of the band. Q5-How many years have you practiced band and how did you learn it? I have been working in Al A’rada for 25 years since I was in Syria, and I have not learned it, just started as a hobby.

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I live in Bab al-Jabiya, close to al-Shaghour neighborhood (from the old neighborhoods of Damascus) when I was young; I used to watch the band teams in the old neighborhoods of Damascus. That is why I loved it and it became my only hobby. Q6-What are changes that occurred to the bands in Egypt? Are there any difficulties facing Al A’rada in Egypt? First, unfortunately, now Al A’rada show can be done by any person even the inexperienced ones. Who has sufficient money can set up a band without any knowledge of the origins of the craft, just he buys the tools and clothes and starts to say a few simple words and that’s all. This is a sad thing and those teams are far from the original. Second: The difficulty here in Egypt is the problem of understanding the Syrian dialect, especially when we talk quickly. Sometimes I start speaking, but I noticed some people do not understand what I am saying, so I continue only knocking on the drum and flutes and of course, that is not the original show. In Syria, the audience was able to distinguish between the quality and whether if this band show is the original or not, but in Egypt, the distinction became difficult and that is because of the hard understanding of the Syrian dialect. Q7-Have you noticed any difficulty in accepting Al A’rada” by the Egyptian society? I did not find it difficult, but on the contrary, the Egyptian people loved it very much. The Egyptians considered it as a new art, because they only had the Damietta flap, but when they saw the costumes, the shawls and chests and our tools, the sword and the drum, they were very impressed with them. Besides the Syrian families, they know it and of course, they love it. Q8- How many Egyptian and Syrian customers asked for your services? Thirty percent are Egyptians and the seventy percent are Syrians, there is an increase in the Egyptian proportion. Usually the request of Al A’rada in the wedding ceremony is in which either if the groom or the bride or both parties’ are Syrians. In case both parties are Egyptians, the request here is limited and we noticed that the interaction in this case is little because of the difficulty of fully understanding the Syrian dialect. We also presented Al A’rada in more than one occasion, to other nationalities other than the Egyptians and Syrians, to Lebanese and Jordanians. Q9-Have you tried to combine Egyptian songs with Syrian music? Some of the tools used in my team are also used by some Egyptian teams such as turbot, flutes and Drum. I also used some of the best-known Egyptian songs in Syria, including "El-Beint beda" and "Tala M Beit Abuha" Page | 81

However, if requested from me an Egyptian part, for example “Tanoura”, I coordinate with a special band to perform with us in the show. Q10-What are the other occasions other than the wedding in which Al A’rada is required? In addition to weddings, Al A’rada is required in the opening of shops, birthdays, also required for non-Egyptian nationalities like Lebanese and Jordanians. Q11-Through your experience in this field, tell us a bit more about Al A’rada: What is the history of it? What is the origin of the costumes? The origin of the clothes is Turkish and it is (Alsherwal) As for the history of it, it is one of the ancestors of our ancestors’ traditions. Q12-Is there an office for the band in Egypt? And how do you advertise the band and its shows? In Syria there was an office, but in Egypt we don’t have. The band is advertised via the band's Facebook page, with all the information and videos of the band, the name of the page is “Abu Ali al-Syrian”, and there is a channel on YouTube on which all the videos of the band are uploaded there and known as "Anwar al Sham". Q13-What is the reason for not opening an office in Egypt? Firstly, we need a big capital. Secondly, the distances here in Egypt are greater than Syria. For example if someone asked me from Nasr City on the phone and asked him to come to the office to complete the agreement it would be difficult for him, so I am currently satisfied with the mobile phone agreement. Q14-Do you have any shows or activities in cultural places or forums like the Sawy or the opera? Yes from a while, the band took part in the Syrian mass wedding. We offered the show voluntarily as a contribution to the wedding, but we cannot always be present in such activities because they are voluntary activities without any money. I should give the band members money. All the members in the band are committed to another job besides “Al A’rada” as a source of basic and stable income. It is difficult to ask them to leave their jobs to participate in many voluntarily work, especially if their dates are at the same time of the basic work. Q15-Do you have an Egyptian member in your team? No, it is hard to hire Egyptian people; the language is a strong barrier, but it is only possible to use Egyptian members as musicians. Q16-What are the cities where the band held their shows? I traveled to all the cities of Egypt. Almost all Syrians all over Egypt from Alexandria and Hurghada to Upper Egypt requested “Al A’rada”. Page | 82

Q17-From where do you get the band uniforms? Does Egypt have outlets or tailors for your uniforms? All the uniforms and tools are brought from Syria, especially the sword and gear and you can find some of the tools here in Egypt like the drum but the base is in Syria. Q18-Has the demand for Al A’rada increased from the time you came to Egypt and so far? Yes, dramatically increased, the increase might reach 80% Q19-What are the requirements to make it easier for you to work in Egypt and to increase the demand for Al A’rada? There are no problems other than the problem of financial liquidity. If there is money, I can have a private office to facilitate the work. There are no other disabilities, as it does not require permits for the practice or the work itself. Q20-How is the Egyptian acceptance for such applied Syrian practice? When I came to Egypt, I was surprised by the acceptance of the Egyptians for this kind of art, especially in the Egyptian countryside. They have a great taste and ethics, Egyptians love art and know how to taste it. Q21-After what happened and still happening in Syria, do you think you will go back to Syria or you will stay in Egypt? I originally used to live in the countryside, not in Damascus itself. If I had a chance to have a house, again in Syria I will back right away. It is my country, although I am here blessed with some comfort and happiness, but at the end, Syria is my country. Q22-How did you learn Al A’rada and what are the methods you follow to teach it to the new members of your team? As I said earlier, it's a hobby originally, but of course I trained a lot with my old team in Syria. As for the new members, they attend the shows and rehearsals and learn from them by watching and then practicing. Q23-Does Al A’rada belong to the groom's ceremony only? No, of course. It is also for the groom and the bride; the client decides this. As I said, our shows are not only for weddings but also for the shops openings, birthdays and new babies parties. However, the last two types of events were not popular in Syria but they are wanted here in Egypt. Q24-What are the most famous expressions or songs you use in Al A’rada? There is nothing in specific. We always end our show by the prayer on the Prophet (peace be upon him). When our Christians brothers in Syria request us to be in their ceremonies, we change the prayers with some songs or expressions about the groom and his brothers. As there is no relation between Al A’rada and Islam.

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Q25-What are the important tools or the basic ones used in Al A’rada? The basis tools are the drum, the lute and the flute. We are trying to use new instruments to make the rhythm modern and to keep up with the demand. Q26-What is the damage caused by other teams that do not practice it like its origins? Syrian youth is not committed to the practice or the band, they only come for two hours to gain money and they are not aware of importance of the music, the expressions or even the whole practice. This, of course, gives bad impressions to the guests, especially the Syrians because they know it well. Q27-What is the duration of the Al Arada show? It can be up to two hours in which we perform three parts. The first one is the torches, the drums and the fire sprays, then the second is for the sword and the gear with the Dabkeh music and the final part we perform some songs with the drums and flutes. Q28-Who is practicing Al A’rada in your family? My brother learned from me and began to practice it. It is a legacy that must be sustained for next generations. Q29-What are the requirements to become a band member? One of the most important things from my point of view is respect. We deal with people directly and we need to look good and leave a good impression. Q30- Do you know other bands that fled away from Syria? Yes, I know bands from all over the world. We are communicating through Facebook with the group of Syrian Al A’rada bands called (Damascene Heritage), but most of them are unknown teams and many of them have changed and played with the original practice. It is good that they are spreading the Syrian practice around the world but of course not the original one. Q31-From your point of view, how do we overcome such attitude from the newly bands? I am posting my band videos on my Facebook page to teach and spread the original practice and that is all what I can do.

Q32-What is your plan for the future? In the meantime, thank God for what I am. My band is considered the first band in 6 October, but if I have the opportunity to open the office, this thing will be very useful. Egypt is a country full of goods and work. Q33-Is there anything in the Egyptian heritage that is similar to Al A’rada? The Dumyat band and the skirt art (Tanoura). Page | 84

Q34-Is there any band that is belonged to another nationality like Palestinian band for example? No, I think there are only Syrian bands. Q35-Have any foreigner requested your show ever? Foreigners no. Q36-What is the classification of uniform? Sherwal –Pants ‫ الشروال‬with Kandrah–shoes –‫– كندرة او كسرية‬ Sedryeh–vest – ‫صدرية‬ Shal–scarf- ‫ شال او حطة‬with Taeyah–cap- ‫طاقية‬

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Appendix Two: The Second Interview Abu Hashem’ Band

Date: 29-07-2018 Location: Costa Café –Al Hosiery – 6th of October - Cairo Five members from the band attended the interview. Name first member: Mohamed Ali Alnen (Abou Hashim Alnen) (head of the band) Age: 47 years old Second member: Ziad al-Abed Third member: Yahya al-Sabbagh (Abu Sahib) Fourth member: Mohamed Marei Fifth member: Hossam al-Shnawani Duration of stay in Egypt: 5 years Current Address in Egypt: 6th of October --------------------------------------------------------------------------------------------------------------------Q1-What is your current work? We all have other work besides Al A’rada. For example, I own a restaurant. We consider Al A’rada as a gift that God has given us. Therefore, we do not depend on it for income. The competition between the teams here in 6 October is strong, and some of these teams are lowering their prices to reach a greater number of concerts although they are not performing the original practice. Q2-What are the basics of Al A’rada, what is the origin of its name? The beginning of Al Arada was only using prayers and it was directed to the groom in his wedding and some of the simple expressions. Until the Turkish occupation came to Syria and they started to used this practice which was called (El-Moarada) against the Turkish occupation and after that the French occupation. The original name was the opposition (El Moarada) and not Al A’rada and then it changed to be as today’s practice. Q3-What are the types of occasions that Al A’rada is asked for by Syrians? Beside the weddings, there is the Hajj, the opening of shops and birthday Parties. In the weddings, there are more than one expression or part, for example, when they are preparing the groom or

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when they are wearing him his clothes or when he meets his bride, each situation has its own recipe. Q4-When you came to Egypt, was Al A’rada known for Egyptians? Moreover, how is their acceptance of such art? No, it wasn't known. My band was the first band to come to Egypt. In the beginning, there was a difficulty in understanding the Syrian accent; it was a barrier between us until the Egyptians started to understand the Syrian accent. Q5- From where do you get the band uniforms? Are there any special outlets or tailors in Egypt for your uniforms? No, the uniforms cannot be found in Egypt. Because they are handmade, I bring them from Syria with the tools especially the sword and gear. I can find some tools here in Egypt like the drum but the basic tools and costumes are from Syria. Q6- What are changes that occurred to the bands in Egypt? Firstly, the Syrian youth do not know the origins of the practice and this is because the practice is not properly established. As the most important thing is to be a citizen of one of the Damascene old neighborhoods so you were raised on the original Al A’rada shows. But there are now in the band some guys from Hums and Ghout and every area has its own accent. Secondly, for example, using the sword, it was practiced only in Damascus and it was considered as a learning game, and young people must have a background on its rules so that they do not get hurt. Q7-How did you learn Al A’rada? Practicing is the main base of learning. Al A’rada is a Syrian heritage still alive and transferred from our ancestors from their ancestors. We were raised on it, initially it has been just youth gatherings and not unified groups until a special entity was created to unite the outfit and the practice. Before the current crisis in Syria, there was a special association for the Syrian heritage with the leaders of singing, costumes/uniforms and rhythmic movements and even leaders for the professional ethics. It is very important to organize the interaction between the teams and measure the quality of each band; initially it was 20 bands until it reached 760 bands. Q8-If one of the teams did not follow the rules of practicing Al A’rada, what are the methods used to address them? In Syria till now, the association assess each group either in singing or uniforms and if there was anything wrong, it was recorded by the leaders and subjected to monitoring, after that the band might stop working and the tools and uniforms will delivered to the association, it is ultimately a way to preserve the heritage. Q9-What are Al A’rada special tools?

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The drum and flute are the basics. The Darbakkeh and the lute are developed from about only fourteen years. Q10-Have you ever tried to merge Egyptian songs with the Syrian music? In the general, we sing Egyptian songs in one of our parts, but Al A’rada itself we cannot change something in it. Q11-What are the difficulties facing Al A’rada in Egypt? Now it is the problem of not having residency permits. Any association requires permits and papers. Q12- How many Egyptian and Syrian customers asked for your services? Thirty percent are Egyptians and seventy percent are Syrians but there is a constant increase in the proportion of Al A’rada demand. Q13-Do you have any Egyptians in your team? No, unfortunately I don’t. Q14-How many members do your band has? The basic number of the team is ten and it could reach twenty people, we have a singer, a drummer and the player of the lute and the other members of the band are the responders. Q15-What is the duration of the show? It can be up to two hours in which we perform three parts. The first one is the torches, the drums and the fire sprays, then the second is for the sword and the gear with the Dabkeh music and the final part we perform some songs with the drums and flutes. Q16-Do you have an office here in Egypt? It is difficult to establish an office in Egypt as previously mentioned, that permits are one of the main problems that we are facing in Egypt, and this generation cannot depend on it for their income. This generation has no awareness to the importance of the heritage of the Syrian identity. Q17-Have your band been requested by other nationalities? Yes, the team traveled almost to all the cities of Egypt like Hurghada and Sharm el Sheikh. We have made shows for many foreign nationalities such as Russians, Germans, Italians and others, we also participated in the Drum festival on behalf of Syria from among 120 participating countries. Q18-What is your plan? There is currently no future plan. We are currently waiting to return to Syria as soon as possible, and we are suffering here from dealing with the Syrian people themselves, as well as the difficulties

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that facing us by the Egyptian laws and not by the Egyptian people. We are in harmony with the Egyptian people. Q19- Who is practicing Al A’rada in your family? My son works with me and he is fourteen years old now. Al A’rada is a legacy that must remain and continue for next generations. Q20- Do you know other bands that fled away from Syria? Yes, I know bands from all over the world and we communicate through Facebook pages with groups of old Al A’rada teams, and they are trying their best to keep the original one without any changes. Q21-What are the ways to advertise the band and its shows? The band is advertised through the band's Facebook page, with all the information and videos of the band and the page name is "STAR Group (Mohamed El Nni) ". Q22-Tell me more about the costumes/uniforms. I have five special costumes for the band such as Cavalry and Roman costume. Q23- Is there anything in the Egyptian heritage that is similar to Al A’rada? There is only (Tanura) but in Syria, it is known as Drwashe

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Appendix three: Online survey for Syrian and Egyptian communities 

Laguage : Arabic



Date : from 6/8 to 12/8 /2018

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Total Responses: 211

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Uncompleted Responses: 51

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Complete Responses: 160

The survey is divided in two sub –surveyes after choosing the nationality , one for Syrians and another for Egyptians and other nationalities. -------------------------------------------------------------------------------------------------------------------------------

Page one (general )

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Page two (Egyptians and other nationalities )

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Page three (Syrains )

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___________________________________________________________________________

The results Page one (general ) Q1: Current residence ______________________________________ 

Egypt: 143 Responses

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Damascus: 5 Responses

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UAE: 4 Responses

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USA: 2 Responses

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Germany: 2 Responses

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Jordan: 1 Response

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Iraq: 1 Response

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Turkey: 1 Response

Egypt

UAE

USA

Germany

Jordan

Iraq

Turkey

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Q2: Age ______________________________________

Q3: Nationality ______________________________________

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Page two (Egyptians and other nationalities ) Q4: How could you describe the previous photo? ______________________________________

The photo is for folkloric performance for Syrian intangible cultural heritage which known as Alarada Al Shamyah , its consists of singing and playing on drums beside to perform shows with sword and shield Q5: Do you find any similarity performance between this and another performance in your country? Name it if it's available? ______________________________________

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Please name the similarity performance in your country Common Responses: Al zafah (Saidi â&#x20AC;&#x201C; Iskandrani - Nobia- Demiati( â&#x20AC;&#x201C; Al-Semsemiah - Tahtib - Sofiah Q6: Have you attended any events in which you have seen such a band -Al- Arada Al Shamyah? ______________________________________

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Q7: Have you requested this band for your special event? ______________________________________

Notice: ď&#x201A;§ 2 responses from Egypt ď&#x201A;§ 1 response from Jordan

Q8: By your opinion, how does the Egyptian society contribute to safeguard Al Arada Al Shamyah? ______________________________________

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Other - Please explain your answer in a simple sentence Common Responses: Acceptance and practice - Documentation by museum-Advertising by social media and TV shows. It's not the Egyptian society role to save the Syrian ICH- too hard because it's not our identity to participate in saving. Q9: Suggest a method from your point of view that could help to safeguard Al Arada as part of the Syrian heritage Common Responses: Acceptance and practice - Chance to participate in international \ national (folkloric) festival for public -underground party - Documentation by museum-Advertising by social media and TV shows- Maximize the embassies role in saving by making galleries and parties â&#x20AC;&#x201C;Shows in public areas like malls and gardens â&#x20AC;&#x201C; chance to participate special events for Egyptian people -Teaching Alarada in folk arts colleges - an annual festival of Al- Alarada teams. . Page three (Syrains ) Q10: How many times have you attended an event where you saw Al-Arada in Egypt?

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Q11: How do you evaluate your knowledge on Al -Arada? (The history - The components....)

Q12: By your opinion, What is the degree of importance of the Al Arada for the Syrian society who resident in Egypt?

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Please explain your answer in a simple sentence Common Responses: Important to spread the Syrian cultural heritage as a part of it - key for happy for Syrian community its make them back to home's days -remember the Syrians people about their traditions and identity- it's a link with home - save it for next generations- it's an old celebration way for Syrian people - save the roots. Just a way for get a money - a little important, providing life main elements like food and health care are more important. Q13: By your opinion, is there a role for the Egyptian society to help continuity Al Arada in Egypt? ______________________________________

Please explain your answer in a simple sentence Common Responses: Respect the acceptance - help to spread for practice more - Encourage and give opportunities Egyptians and Syrians are one people with a great history -Exchange of cultures There is no care about Egyptian cultural heritage so they will not care about other cultural heritage - The Syrian accent is difficult for Egyptian society.

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Q14: By your opinion, how does the Egyptian society contribute to safeguard Al Arada Al Shamyah? ______________________________________

Please explain your answer in a simple sentence Common Responses: Financial and moral supports -Chance to participate in international \ national (folkloric) festival for public -chance to participate special events for Egyptian people.

Q15: Suggest a method from your point of view, that could help to safeguard Al Arada as part of the Syrian heritage ______________________________________ Common Responses: Social media for advertising and communicate -Financial and moral supports -Chance to participate in international \ national (folkloric) festival for public -chance to participate special events for Egyptian people - Teaching Al Arada for young Syrian people-shows and stories about Alarada for Syrian and Egyptian students at their schools - establish an offices for Al Arada bands -Open Nonprofit institutions to educate Alarada - public parties in opera house and other cultural centers â&#x20AC;&#x201C; multi-national cultural heritage bands from Syria and Egypt - Galleries for Alarada Clothes and instruments - Documentation An annual festival. Page | 102

Appendix Four: Interviews with attendees for Al A’rada show (Egyptian Wedding Ceremony)

Date: 5 August 2018 Numbers of people Interviewed: 10 persons Questions: 1. 2. 3. 4. 5.

Are you a relative to the groom or to the bride? Where do you live? Did you see before Al A’rada show? What do you think of Al A’rada show? Do recommend it for other occasions?

Answers: Q1: We interviewed with the relatives of both the groom and the bride, some of their friends and the wedding organizer. Q2: Most of them were from the 6 October City. Q3: The groom and the bride said that they saw it before in their city in another wedding party and in some shops openings, so they decided to request it for a change. But the rest of the interviewees said that it is the first time for them to see AL A’rada.

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Q4: Most of them liked it, as it is a new art and they liked their customs even when they did not understand well the accent, but they liked the Syrian music. On the other hand, there was another opinion; it is not well organized and it is not belonged to our identity. Q5: Most of the people who were interviewed said that, they could request it in their coming occasions.

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