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PANEL Music and dance as intangible and tangible cultural heritage: Croatian experiences. Introduction ; Ćaleta: Traditional performance and the question of ownership - Ojkanje and Silent Dance on the UNESCO lists ; Katarinčić: Tango dance practices in dance schools in Croatia - The Tango's multiple identities ; Niemčić: The Internet presentation of the ICH based on the example of sword dances in Croatia ; Zebec: Reinterpreting (national) intangible heritage - How do we present ourselves?

We can freely say that UNESCO's Convention for the Safeguarding of the Intangible Cultural Heritage in 2003 powerfully prompted and supported public interest about activities in promotion of intangible culture in Croatia. However, a great deal of preliminary work had been done long ago in introducing intangible culture into a legal framework. Ethnologists and folklorists working at conservation departments on ethnographic material, architecture, but also movable and even intangible culture, were very much engaged in these processes in the former Yugoslavia, from the middle of the 1960s. Their intention and interests were to include intangible culture in the law and to ensure it the same conditions and status enjoyed by tangible monuments and movable culture. After the war during the 1990s and Croatian independence, intangible culture was finally included in the Act on Protection of Cultural Assets in 1999 – four years before the UNESCO's Convention. Croatia was the 17th state to ratify the Convention. Under the auspices of the Ministry of Culture, the National Commission for Intangible Culture was organised. After some initial theoretical discussions about criteria for registration, it had been concluded that all criteria should be critically discussed again and corrected or supplemented, if necessary, with each individual process of registration. In that sense, all activities in implementation of the Convention were worked out similarly at the international, UNESCO level and at the national level in Croatia. From 2009 and the inscription of seven nominations on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity, intangible traditional culture became a more frequent topic in the Croatian media. Until today, Croatia has fourteen inscribed elements (following China, Japan, and Korea together with Spain). International recognition by UNESCO initiated changes in attitudes within the national framework, particularly towards scholars and professionals engaged largely in the fields of ethnology, cultural anthropology, and folklore research. Before that, as scholars, we were almost invisible publicly, recognised mostly by the population of folklore amateurs as an outcome of our activities at folklore festivals and on juries. At the same time, acceptance of the Croatian Intangible Cultural Heritage, Social Identities and Values research project by the international evaluators through the Croatian Science Foundation ensured financial backing for further fieldwork, and infrastructural support with new information and communications technology. A Digital Repository and Referral Centre for Intangible Culture are currently in the process of implementation at the Institute of Ethnology and Folklore Research in Zagreb. And this panel is one of the results of research on the project. (See more about the project: <www.ief.hr/Research/Projects/Croatian IntangibleCulturalHeritage HRZZ/tabid/416/language/en>.) Besides fieldwork and other scholarly activities, the ethnomusicologists and ethnochoreologists are frequently engaged as advisors and consultants by local communities or governing bodies. Through round-tables, public discussions or organising or directing concerts within the national and international framework, we are promoters of our disciplines as well. Known as "connoisseurs of the field, " we are engaged as agents and mediators between local communities and public administration or governing bodies. It happens very often that expectations on the part of local communities are not the same as those of the administrative bodies. With the influence of the media, the general public perception can make these relations more complex. The questions of professional responsibility revolve about the role of experts involved in creation of cultural policy. A re-thinking of the ambivalence of the researcher's position – as participant, evaluator, and/or critic – and the ethical principles of the relationship between the researcher and the researched are presented here on the basis of several case studies. Some of them are about ethnographic observation with participation in the communities whose music and dances are included in Croatia's or UNESCO's lists of intangible heritage ; some of the cases that are still in the process of being categorized as parts of a national or possibly global intangible heritage list. The intertwining and inseparability between the tangible and intangible significance of music and dance will be shown, as well as the relations between global and local, national and multinational, virtual or digital and real, and clear and hybrid forms. We also discuss the tango situation in Croatia in relation to UNESCO's inscriptions. And how we represent ourselves to others on the example of the ceremonial celebration of the accession of Croatia to the European Union, one year ago (July 2013). TRADITIONAL PERFORMANCE AND THE QUESTION OF OWNERSHIP: OJKANJE AND SILENT DANCE ON THE UNESCO LISTS Joško Ćaleta Ojkanje singing and nijemo kolo - silent circle dancing of the Dalmatian hinterland, engaged unexpected media attention in recent years. The inducement was inclusion of both cultural phenomena on the UNESCO intangible cultural heritage lists. The uncommon situation triggered a "new life" of the tradition now recognized as an ownership of the whole nation that, in fact, actualized problems of a re/definition of the musical/dance phenomena. This applies especially to the tradition bearers. Their attitude does not coincide with the common opinion of their global "protectors." The presentation evaluates the current state from the standpoint of the researcher actively involved in the process of recognizing and acknowledging the traditional phenomenon. TANGO DANCE PRACTICES IN DANCE SCHOOLS IN CROATIA: THE TANGO'S MULTIPLE IDENTITIES Ivana Katarinčić At the beginning of the twentieth century in England some social dances derived from local, national or traditional folk dances, largely from the South American region, were converted into standardized sports dances. The tango as one of those dances went through a process of standardization to become different (tango). Nomination for “The Tango Rioplatense” (of the Argentinian and Uruguayan Rio de la Plata area) was jointly put forward by Uruguay and Argentina. In 2009 “The Tango” was added to the Representative List of World Intangible Heritage of Humanity by UNESCO. Doing research about social dances in dance schools in Zagreb, I noticed very diverse performances of tango. How is tango danced in communities far from Rio de la Plata? THE INTERNET PRESENTATION OF THE INTANGIBLE CULTURAL HERITAGE BASED ON THE EXAMPLE OF SWORD DANCES IN CROATIA Iva Niemčić Sword dances are a significant part of Croatian cultural heritage. All three types are listed in the Croatian Register of Cultural Heritage. These dances are an integral part of traditional events celebrating patron saints days. They are also performed as part of winter carnival events or spring Pentecost. Since modern approaches to safeguarding and valorization of cultural heritage include consistent usage of information technology, the aim of the web presentation project is to enable easy access to information related to Croatian sword dances and availability based on the annual cultural events calendar. This presentation is about the reaction and visitation dance web page, their expectations and also disappointments related to being listed in the of the local communities to the sword Croatian Register of Cultural Heritage. REINTERPRETING (NATIONAL) INTANGIBLE HERITAGE: HOW DO WE PRESENT OURSELVES? Tvrtko Zebec When Croatia became a member state of the European Union in 2013, a huge public ceremony was organized on the main square in Zagreb. The artistic director compiled a program primarily "for a domestic audience and then for the Others." Intangible heritage was the salutary backbone for the program. A year earlier, a co-author for the celebration of the Statehood Day in Slovenia advocated for public emancipation of "folklore activities." How do we present ourselves nowadays? Are we now in the new age of reinterpreting our national identities in the European Union? How is cultural heritage used in construction of local and national identities and, at the same time, serve as the best way for promotion of cultural diversity and intercultural dialogue?

music; dance; intangible heritage; Croatia

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