Plurinational State of Bolivia — Grand Festival of Tarija
Bolivia’s Grand Festival of Tarija takes place every year in August and September, with devotional processions, festivals, competitions and fireworks. Transmitted through families and the church, the festival has its origins in the colonial period, when the inhabitants of Tarija entreated Saint Roch to cure diseases and protect their loved ones. It is characterized by lively music and dancing, regional crafts, traditional dishes and pilgrims dressed in colourful costumes and masks. In addition to its religious significance, the festival marks the beginning of the growing season.
塔里哈盛典
玻利維亞
玻利維亞的塔里哈（Tarija）盛典于每年8月和9月舉行，包括宗教儀式、傳統(tǒng)節(jié)慶、賽事和焰火表演。該慶典起源于殖民時(shí)期，主要依靠家族和教會(huì)傳承。在殖民時(shí)期，塔里哈的居民祈求圣洛克（Saint Roch）治愈疾病并庇佑所愛(ài)之人。歡快的歌舞、地方特色手工藝品、傳統(tǒng)菜肴和身著彩色服裝和面具的朝圣者是塔里哈盛典的主要特點(diǎn)。除宗教意涵外，這一慶典還標(biāo)志著農(nóng)作季節(jié)的來(lái)臨。
Ecuador – Pasillo, song and poetry
The pasillo is a type of music and dance that emerged in Ecuador in the nineteenth century. It is a fusion of elements of indigenous music, such as the yaraví, with a variety of genres including the waltz, the minuet and the bolero. The music is usually accompanied by guitars and performed in ballroom dances, public events and outdoor concerts. In terms of lyrics, it is essentially a musicalized poem, with lyrics relating to love, the homeland and daily life. To Ecuadorians, the pasillo is an identity marker and a form of collective expression. It is transmitted within families, in formal training centres, and through musical groups.
帕西約，歌曲與詩(shī)歌
厄瓜多爾
帕西約（Pasillo）是19世紀(jì)誕生于厄瓜多爾的一種音樂(lè)和舞蹈。它吸收了亞拉維（yaraví）等本土音樂(lè)的特征，同時(shí)融合了包括華爾茲、小步舞、波列羅舞在內(nèi)的多種流派。帕西約通常由吉他伴奏，在交際舞廳、公共活動(dòng)和戶外音樂(lè)會(huì)等場(chǎng)所表演。在歌詞方面，它本質(zhì)上是音樂(lè)化的詩(shī)歌，涉及愛(ài)情、鄉(xiāng)愁和日常生活。對(duì)厄瓜多爾人來(lái)說(shuō)，帕西約是一種身份標(biāo)識(shí)和集體表達(dá)。帕西約通過(guò)家族、正式培訓(xùn)中心和音樂(lè)團(tuán)體傳承。
Panama —?Dances and expressions associated with the Corpus Christi Festivity
The Corpus Christi festival is a religious festival in Panama that celebrates the body and blood of Christ. It combines Catholic tradition with popular practices and is characterized by theatrical performances, burlesque dances and colourful costumes and masks. The festival starts with a theatrical performance depicting the battle between good and evil, followed by a procession and gatherings in the streets and in family homes. The related knowledge and skills are passed on through participation in the festival and the involvement of youth in dance groups and mask-making teams, among others.
與基督圣體節(jié)有關(guān)的舞蹈和表現(xiàn)形式
巴拿馬
基督圣體節(jié)（Corpus Christi）是慶祝基督圣體和圣血的巴拿馬宗教節(jié)日。它將天主教傳統(tǒng)與民間習(xí)俗相結(jié)合，特點(diǎn)是戲劇表演、滑稽舞蹈和明艷服飾與面具。節(jié)日以一場(chǎng)描述善惡之爭(zhēng)的戲劇表演開(kāi)始，隨后是巡游以及街頭和家庭聚會(huì)。相關(guān)的知識(shí)和技藝通過(guò)參于節(jié)日活動(dòng)、讓青年加入舞蹈團(tuán)體和面具制作小組等方式得到傳承。
Peru – Pottery-related values, knowledge, lore and practices of the Awajún people
The Awajún people view pottery as an example of their harmonious relationship with nature. The preparation process comprises five stages: the collection of materials, modelling, firing, decorating and finishing. Each stage has specific meanings and values. The pots are used for cooking, drinking, eating and serving food, as well as for rituals and ceremonies. The thousand-year-old practice has permitted the empowerment of Awajún women, who use it as a means of expressing their personality. The practice is transmitted by the Dukúg wisewomen, female elders who pass on their expertise to other women in their families.
阿瓦琿人與陶器有關(guān)的價(jià)值觀、知識(shí)、傳說(shuō)和實(shí)踐
秘魯
阿瓦琿人（Awajún）將陶器視作他們與自然的和諧關(guān)系的例證。制作過(guò)程包括五個(gè)階段：選料、造型、燒制、裝飾和收尾。每個(gè)階段都有特定的意義和價(jià)值。陶器被用作烹飪器皿和飲食餐具，也用于儀式和典禮。這種歷經(jīng)千年的做法賦予阿瓦琿婦女一種表達(dá)自身個(gè)性的方式。這種技藝由女性長(zhǎng)者——杜庫(kù)格（Dukúg）女智者——作為自身專業(yè)知識(shí)的一部分傳授給家庭中的女性。
