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Intangible Cultural Heritage
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Intangible Cultural Heritage in Austria
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Intangible Cultural Heritage in Austria
Oral Traditions
Storytelling in Montafon
Dr. MMag. Edith Hessenberger, MMag. Michael Kasper, Bürgermeister Rudi Lerch
In Montafon, a mountain valley in the Austrian province of Vorarlberg, narrative communities have originated from the locals daily communication. The contents, moral concepts and patterns of their local legends and tales date back to the 19th and 20th century. Today, this tradition of storytelling is still an integral element of the local community, cherished both on a daily basis as well as on special occasions. Numerous cultural initiatives and tradition bearers in Montafon actively contribute to the collection and preservation of this local narrative tradition, which as well has been of interest to researchers since the 19th century.
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Classical horsemanship and the High School of the Spanish Riding School
Spanische Hofreitschule - Bundesgestüt Piber Ges.ö.R., Mag. Erwin Klissenbauer
To this day, the Spanish Riding School communicates the high art of classical horsemanship by passing it down orally from one generation of horsemen and horsewomen to the next as well as displaying it publicly in equestrian performances. Young aspiring horsemen learn valuable lessons both from their more advanced peers, as well as from the stallions themselves.
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Songs of the Lovara
Ruzsa Nikolić-Lakatos
Burgenland, Vienna
Songs are an important part of the Lovaras cultural tradition. The history behind the name of this Roma group leads us back to their former occupation as horse traders (Lovara). Their songs are mostly about the family and community, yet the role of the individual and the former ways of life of the Lovara are also mirrored in them. These songs are like a reservoir for their language, as they contain phrases and metaphors typical of the Lovara, which have now (almost) become extinct in everyday life.
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Telling fairy tales
Helmut Wittmann
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
Storytelling is the art of entertaining people in a playful and intellectual way by recounting fairy tales. For centuries, fairy tales, sagas and stories have been handed down orally. In the past, people recounted stories while working; today legends and tales are told through narrating societies, cultural initiatives, schools and kindergartens. These stories reflect the graphic power of local events, conditions and characteristics. Furthermore, their common theme centers on the art of informing people about fundamental experiences in a playful and intellectual way. Fairy tales and sagas transmit the essence of the individuals - as well as the communitys collective - cultural identity far better than any type of formal instruction.
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The Dialect of Montafon
MMag. Michael Kasper
Muntafunerisch represents a special case among Austrians German dialects. Embedded in Vorarlbergs landscape of Alemannic-Swabian dialects, it is distinguished by its retention of so-called relic words. The presence of such words can be explained by the Montafon Valleys settlement history: around 1300 CE, the Rhaeto-Romanic language was superseded here due to the immigration of the Walser people, but today there still remain at least 200 relic words, figures of speech, and grammatical peculiarities as well as an enormously broad inventory of phonemes that are almost entirely devoid of diphthongs. The Montafon dialect remains a central element of local identity and is used in everyday life. It is spoken in family settings, in school, at work, and at public functions, in the process being upheld and passed on from generation to generation.
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Austrian Sign Language
Helene Jarmer, Präsidentin des Österreichischen Gehörlosenbundes
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
The Austrian Sign Language forms the social and cultural foundation of the Austrian sign language community. It is the mother tongue of the deaf people in Austria and thus reflects an important part of their identity . Since 2005, the Austrian Sign Language has been recognised as a language in its own right, yet many of its users still consider themselves as a linguistic and cultural minority in Austria. The Austrian Sign Language is mostly used by deaf persons and occasionally learned by hearing persons as an additional language. It is used in all regions of Austria with variances in local dialects and correspondingly different vocabulary. The first Sign Language School was founded in V ienna already in 1779. Since then, the language has been cultivated and handed down in schools, associations and families of deaf persons. Additionally, it is passed on in the form of poetry, theatre and performing arts.
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The Ötztal dialect
Prof. Dr. Hans Haid, Ötztal-Archiv des Ötztaler Heimatvereins
The Ötztal dialect (Oetz Valley, Tyrol), with its 900 years of unchanged tradition, represents the strongest of all components that make up the Ötztaler populations local identity.
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"Roman" - The language of the Romani people of Burgenland
Barbara Schrammel i.V. Verein [spi:k] und Emmerich Gärtner-Horvath i.V. Verein Roma Service
Roman is a variety of the Romani language, specific to the Romani people living in Burgenland and exclusively spoken in Austria. The history of the language Roman reaches back over 500 years and is still used in the prevalent media of the Romani people of Burgenland. It is mainly spoken in the intimate circle of the family, but also amongst friends and other members of its ethnic group.
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Slovenian field and house names in Carinthia
Vertreter der Bürgerinitiativen, Vinko Wieser
Traditional Slovenian field and house names are key to understanding the economic, socio-historical and linguistic development of Carinthia and its surroundings. They form part of the cultural heritage of Carinthian Slovenes, as well as the German-speaking inhabitants of the region.
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Field names in Vorarlberg
Mag. Dieter Petras, Thomas Gamon und BM Mag. Harald Sonderegger
Due to the fact that large distances often separate the farmland from villages and farm yards, it used to be very important to specify the exact location when finalising contracts, constructing path descriptions and calculating the contributions. Over hundreds of years, these field names formed a natural part of the rural realities of life. Only during the profound agricultural restructuring which occurred after the Second World War (mainly in the 1960s) did many of these farmland names become obsolete and threatened by extinction.
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Performing arts
The Schleuniger dance in Abersee
Matthias Beinsteiner
Upper Austria, Salzburg
The Schleuniger old manuscripts also refer to it as the Schleiniger is a form of music and dance found exclusively in the Salzkammergut region. A special local variant of the Schleuniger can be found around the Wolfgangsee (also known by its older name of Abersee), which is to say: in the communities of Abersee, Strobl, St. Wolfgang and St. Gilgen. With a duration of ten to twelve minutes, this so-called Aberseer Schleuniger is a very long and complex dance, a fact that strongly influences the vocal and instrumental parts and the choreography. The marked rhythmic element of the Schleuniger consists in stamping steps and leaps by the dancers, and even more importantly in the groups hand-clapping in the middle section of the dance. In the area around the Wolfgangsee, the Schleuniger is played and danced mostly at weddings. Depending on the wedding guests and lead dancer, this dance can proceed in various manners but its basic structures (jumps, chain-form, singing and clapping) remain in place.
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The Educational and Choral Tradition of the Vienna Boys Choir
Musikwissenschaftliches Forschungszentrum Wiener Sängerknaben für den Verein; Prof. Gerald Wirth, Künstlerische Gesamtleitung, Präsident
The Vienna Boys Choir was established based on a decree issued by Emperor Maximilian in 1498. It was charged with performing musicabove all sacred musicfor the court. This original function is still fulfilled by the Vienna Boys Choir at Sunday morning mass at the Wiener Hofburgkapelle (the Vienna Court Chapel). The ca. 100 active Vienna Boys Choir members, aged between ten and fourteen, are divided into four choirs of approximately equal size, one of which consists of girls. Their artistic tradition is distinguished by a special kind of technical training and the passing on of their typical choir sound.
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Sword dance of Dürrnberg
Hermann Gfrerer i. V. Schwerttanz Verein der Dürrnberger Bergknappen
The sword dance of Dürrnberg has been performed for the past 500 years and is closely linked to the salt refinery and mining industry of Salzburg. This round and chain dance, originally rooted in the medieval tradition of artisans and guild dances, was primarily exercised by miners at guild festivals and other great days. Until today, the sword dance is only performed at special occasions.
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Christmas caroling in Heiligenblut
Obmann Hans Schacher i.V. Rotte Hof Heiligenbluter Sternsinger
The 16th century tradition of Christmas caroling in Heiligenblut (Carinthia) has been kept alive until today mostly in its original form. The star song (Sternlied) or the blessing of houses using the CMB saying (Christus Mansionem Benedicat May Christ bless this house) which is written in chalk over the front door, are still fundamental elements of this tradition.
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The Landler of the Innviertel
LEADER - Regionen Innviertel und Pramtal
Upper Austria
The history of the dance is inseparably linked with the Zechen of the Innviertel. Originally, Zechen were entirely peasant confraternities that cultivated not only a form of conviviality but created their own special combination of dance (Eicht), music, poetry and song in a great artistic achievement called the Landler of the Innviertel. Its unique melody, an attached special yodel (Almer), as well as its slightly warped three-four rhythm makes the Landler of the Innviertel special within the Austrian Ländler family. With its numerous regional and individual manifestations it represents a cultural heritage that looks back on a tradition of over 250 years and is still handed down from one generation to the next.
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Laßnitz Folk Plays
Raphael Bacher, Mag. Alfred Baltzer
Carinthia, Styria
The folk plays known as the Laßnitzer Volksschauspiele [Laßnitz Folk Plays] are performed at irregular, multi-year intervals in the Styrian community of Laßnitz. No one knows when these plays originated or who created them. Written versions have existed since the 19th century; before that, the plays had been handed down orally. All of these plays are themed on local customs and medieval beliefs pertaining to the Christian liturgies for Easter and Christmas. Out of an originally large number of plays, only five have been preserved. A special feature of the Laßnitzer Volksschauspiele is the importance of singing; the actors and actresses thus also need to have musical and vocal talent.
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Jew's harp playing in Austria
Obmann Dr. Franz Kumpl für den Österreichischen Maultrommelverein
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
The Jews harp is one of the oldest musical instruments in the world, particularly common among the Asian Turkic peoples and in Europe. Made from a variety of materials including metal and bamboo, it produces a drone effect. Over time centres of production and unique styles have emerged and, each of which has grown historically and became embedded in the regional folk culture. Since the medieval times Molln in Upper Austria is such a centre, where they even established a guild of jews harp makers. Historically, the instrument played a key role in courtship and in convivial musical entertainment. In Austria, a style of play predominates where the player uses two to four instruments, differently tuned, either as a solo instrument or in a duet or trio, and mostly in combination with other instruments.
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Metnitzer Kinisingen Epiphany caroling in Metnitz
Direktor SR Siegmund Kogler
The Metnitzer Kinisingen in the Metnitztal, a valley in Carinthia, would seem to date back to the 16th century; the first written mention of its lyrics, still sung today, is in a manuscript from 1724. Together with the three kings and the star-bearer, a group of singers (referred to as the Rotte) wanders through the entire Metnitztal, going from farmhouse to farmhouse, between New Years and 6 January (Epiphany or Three Kings Day), singing the 17 verses of the Kinilied (Song of the Three Kings). To go along with the singing, the kings and the star-bearer perform a special pantomime routine in which they move silently and according to precisely defined rules. In addition to the 17 verses, well-wishes for a good year are recited to the residents of each house. In lieu of money, the members of the Rotte are given food and drink following their performance, after which they sing one final song and move on.
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The Öblarner Krampusspiel Krampus Play in Öblarn
Ing. Gert Planitzer
The Öblarner Krampusspiel belongs to the genre of sacred folk theater, which above all during the 18th century, in the wake of Austrias re-Catholicization was part of the religious and moral instruction of the common people. The Öblarner Krampusspiel, as one of the last surviving Styrian folk theater traditions, is put on by amateur performers every year in early December, taking place both in farmhouses and as public performances on the market square. The scripts for the plays individual figures such as the Hunters, Lucifer and his retinue, the Smith, the Habergoas (a cheerful and naughty character with a billy goats head) and Death are learned via a tradition that is largely oral in nature, only having been put to paper during the 1980s. The first written mention of the Krampusspiel in Öblarn was by Archduke Johann of Austria, who saw this play while a guest at the nearby palace Schloss Gstatt in 1816.
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The Austrian folk dance movement
Dr. Helmut Jeglitsch, Vorsitzender der Bundesarbeitsgemeinschaft Österreichischer Volkstanz
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
The Austrian folk dance movement is rooted in the research and collecting activity of a few persons at the end of the 19th century. It has borrowed much from rural traditions, despite the fact that these elements have mostly become indistinguishable. Concurrently to the systematisation and chronicling of the various dances, a concentration and alignment towards Austrian peculiarities was begun. Yet, instead of simply collecting and safeguarding the dances for posterity, they are increasingly taught and thus saved from extinction.
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The Erl Passion Play
Passionspielverein Erl
For the past 400 years, the traditional passion play, originating from the Christian Easter Drama, has been taking place at Erl every six years. Despite its international reputation and its many visitors, this traditional Christian play owes its survival particularly to the inhabitants of Erl, as they rather than professional actors take on the parts on stage. The 600 actors are recruited one year before the performance. Committee members make the round of the houses asking all residents of Erl whether they wish to undertake an unspecified part in the passion play. People of all ages ar e involved in the pr oject. Due to the religious background as well as the participants wish for continuity, changes in text, music and costumes are only cautiously made as part of the continuous development and updating of the performance.
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The Tresterer dance of Pinzgau as practiced by the folklore association Salzburg Alpinia
GTEV ALPINIA Salzburg vertreten durch Erwin Laubichler
The Tresterer dance of Pinzgau is a special, regional manifestation of the Schönperchtenlaufen, a procession of masks. On the 5th of January the night before Epiphany this circular dance consisting of jumping and stomping is performed at dusk at farms surrounding the provincial capital of Salzburg. A visit by the Tresterer dancers and musicians comes unannounced and is understood as an honour and as a good omen for the upcoming year. It is reciprocated by a small donation. The leader of the group introduces the meaning of the tradition by dancing a typical move. The dancers are partly accompanied by musicians.
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The Reither Nikolausspiel St. Nicholas Play in Reith
Johann Hechenblaikner im Auftrag der Bundesmusikkapelle Reith im Alpbachtal und von Max Feichtner (Besitzer des Nikolausspiel-Manuskripts)
The Reither Nikolausspiel is held every seven years in the village of Reith, which is situated in a Tyrolean valley called the Alpbachtal. The oldest reference to this folk theater tradition is from 1868, and the basis for todays version was already put into writing by 1875. Until 1919, this fundamentally religious and pedagogical drama was performed in homes, with local lay-performers going from farm to farm in Reith playing individual scenes. The Reither Nikolausspiel consists of twelve scenes typical of this plays North Tyrolean variants (these are referred to as Bilder lit. pictures, an antiquated term for scenes), in which the poors defiance of the rich and powerful, and also the battle between good and evil, are portrayed.
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The Ruden dance in Sierning
Rudenkomitee Sierning
Upper Austria
Until the 20th century, the folk dance Ländler had been known as a dance for all throughout the Southern German-speaking areas and beyond. In Traunviertel, a region in the south-east of Upper Austria, a very particular manifestation of the Ländler has been handed down by the so-called Ruden. Ruden derives from roti, which is Old German for pack or herd. Aside from nursing traditions throughout the year, these Ruden mostly peasant fellowships for young men have cultivated polyphonic singing, an important prerequisite for performing the Traunviertler Landler which is at the core of the Ruden dance. For the past 200 years, a festivity named Ruden Fair of Sierning has been held on Shrove Tuesday, when the Ruden of the Traunviertel (dance groups of about four to eight couples) come together. Aside from the music, dance and song, particular attention is paid to the Gstanzl rhymes eight lines which are written anew year after year and serve as a moral corrective throughout the region due to their critical and mocking allusions to local, national and global socio-political events.
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Performance Practice at the Salzburg Marionette Theatre
Salzburger Marionettentheater
In many countries, marionette theatre is a tradition that goes back thousands of years and is considered the most highly developed form of puppetry. The Salzburg Marionette Theatre has been devoting itself to this art form since 1913. In order to achieve the most natural motions possible, theatre founder Anton Aicher invented a specific type of horizontal control bar, still in use today, that is occasionally compared to a harp. The puppeteers grasp the strings attached to this bar as they perform in order to make their puppets move, thus creating the specific notes that give rise to their figures individual characters. This technique has been taught to all puppeteers trained at this theatre over the past 100 years. In addition to passing on the necessary performing techniques, it is also essential to convey the manual skills that go into carving the puppets, costuming them, and moving them. The original stock character of Salzburgs marionette theatre tradition is the Salzburger Kasperl, who is modelled after a humorous rural figure from the remote Lungau region that was originally put onstage by an itinerant puppeteer around 1700. Todays Salzburg Marionette Theatre stands out for being the only such theatre in the world devoted to the performance of operas.
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Christmas caroling in Tyrol´s Villgraten Valley (Inner and Outer Villgraten)
MMag. Robert Schmidhofer, Hermann Lanser
Every year between Christmas and the Epiphany, the traditional Christmas caroling takes places in the Tyrolian Villgraten Valley. For two days, two groups wander from house to house to sing traditional New Years carols.
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Traunkirchner Mordsgschicht carnival singing in Traunkirchen
Traunkirchner Mordsgschicht
Upper Austria
The oldest written record of the Traunkirchner Mordsgschicht (Traunkirchens murderously funny story) is from 1912, although according to first-hand accounts by individuals living back then, this tradition actually goes back further. It is a narrative musical performance in the style of a Moritat, a form of cantastoria or bench song. Today, this tradition originally practiced throughout the Salzkammergut region can be found in this form only in Traunkirchen. On the final Sunday before Lent, the singers parade from inn to inn wearing top hats and tailcoats to present humorous moments from the villages past year. The performers only accept food and drink or a meal together with the hosts as payment.
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The Viennese Dudler
Mag. Agnes Palmisano
Viennese-style yodeling is an important element of the local musical culture. Tootling is an important element of the Viennese singing culture. Its origins go back to the beginning of the 19th century, when Tyrolean singers societies toured European cities to introduce the population to the tradition of yodeling. In Vienna, yodeling was primarily developed in Ottakring and Hernals (16th and 17th Districts).
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Viennese Tuning and Playing Technique for the Zither
Cornelia Mayer, Univ. Ass. Mag. Katharina Pecher-Havers
Upper Austria, Styria, Vienna
Both the stringing and the playing technique associated with the Viennese tuning of the zither arose in mid-19th-century Vienna and were first described in Carl Ignaz Umlaufs zither treatise of 1859. Viennese zither-tuning and playing technique quickly spread, and with the numerous zither treatises and associations that arose, the Viennese zither eventually became an instrument with a widespread presence among members of the working class. Playing together was conducive to social cohesion and cultural identity. And with the theme to the movie The Third Man, Viennese zither-tuning and playing technique became known the world over. Its tuning and technique are still used today in Vienna, Lower Austria, Upper Austria, and Styria.
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Social Practices
Anklöpfeln (knocking on doors) in the Tyrolean Unterland
Joch Weißbacher i. V. Oberauer Anklöpfler
Anklöpfeln (dialect for to knock) is a practice cultivated in the Tyrolean lower Inn valley. Here, a group of mostly male singers dress up as shepherds and visit the neighbouring houses on the three Thursdays before Christmas (knocking nights). The singers are invited into the homes and strike up several songs to herald the Christmas message of the birth of Jesus Christ.
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Aperschnalzen in the historic Rupertiwinkel area
Ing. Ernst Müller, Ehrenobmann Schnalzergruppe Wals
Aperschnalzen refers to a more than 200-year-old tradition practised in the Rupertiwinkel area which includes several villages on both sides of the border rivers Saalach and Salzach in Bavaria (Germany) and Salzburg (Austria). Between St. Stephens Day (26th of December) and Shrove Tuesday, the Passen (groups of nine members) crack their whips during their meetings in order to produce a certain beat. In addition to their performances at festive events, they participate in contests at community level and compete for the annual Rupertigau prize.
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Setup and visiting of traditional landscape nativity scenes in the Salzkammergut region
Heimat- und Musealverein Ebensee
Upper Austria
Traditional Landscape Cribs (German: Landschaftskrippen) are special Christmas Cribs which depict the nativity scene of the birth of Christ embedded in the regional landscape of the Salzkammergut. After emperor Joseph II. had issued a decree in 1782 prohibiting the exhibition of the formerly pompous Christmas Cribs, numerous inhabitants began to carve copies of the crib figures and array them in their private homes. Over time, the size of these Christmas cribs rose to room-filling Landscape Cribs including hundreds of carved figurines. Down to the present day, people from far and wide are invited to private homes during the Advent season to visit the broad range of individually arranged Landscape Cribs of the Salzkammergut.
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Carnival in the Ausseerland region
Bernhard Laimer, Maschkera-Gesellschaft
Fasching [Carnival] in the Ausseerland region takes place from Fasching Sunday to Fasching Tuesday. Three main figures play significant roles in these festivities: Trommelweiber [Drumwives], Flinserl [Glitterers], and Pless (representing winter). The Trommelweiber, a manifestation of the gender role swaps common in Fasching festivities, accompany the Fasching processionled by the Obertrommelweib and the rhythmic drumbeats of the Trommelweiber brass band. Flinserl and Pless appear on Fasching Tuesday. The sparkling Flinserl, with their magnificent costumes, join with the accompanying figures of the Zacherl to represent a specific regional Fasching formation, the historical origins of which have yet to be determinedalthough it is thought that they may be influenced by Venetian Carnival traditions. There are also masked figures (Maschkera) who proceed from tavern to tavern in small and large groups. Furthermore, all three days feature so-called Fasching protocols that are read aloud in various establishments that serve food and drinkwith blunders, local politics, and local events from the old year satirised in rhymed and sung form and hand-drawn pictures to support these performances. Such Fasching protocols are presented by singers from the various villages in the Ausseerland region.
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"Wampelerreiten" in Axams
Daniel Klotz
Wampelerreiten is a fixture of Fasching [Carnival] festivities in Axams and is held annually on the so-called Nonsense Thursday prior to Fasching Sunday. In focus here are the Wampeler from whom this tradition takes its nameyoung boys and men who wear voluminous white linen shirts stuffed full of hay. This gives the Wampeler their Wampe, a colloquial German term for a fat belly. Equipped with short red skirts worn over their pants, wide leather belts, and short wooden staffs, the Wampeler parade through the community in a bent-over posture. Their adversaries are the Reiter [Riders], who attempt to knock the Wampeler down and flip them onto their backs in order to dirty their white shirts. The sticks carried by the Wampeler help them to keep their balance and defend themselves from unfair frontal attacks. In the evening, after several rounds through the village, the best Wampeler (the one with the cleanest back) is determined at the village tavern. Axamss Wampelerreiten event itself is accompanied by so-called Banden [gangs], who spend their fourth of four consecutive Thursday evenings moving from tavern to tavern costumed as traditional carnival figures and making music, dancing, and satirising local circumstances during their visits.
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Mountain fires in Tyrol´s Ehrwald Basin
Karlheinz Somweber, Erich Steiner, Martin Senftlechner, Gebhard Schatz, Ehrwald e.V
Every year, the mountain fires at the Ehrwald Basin in Tyrol burn brightly around the summer solstice of June 21. Each participating group chooses a figure that is to be drawn, drafted according to the inclination of ground and built using different types of fuel. These figures, which are always topical and up-to-date, are not revealed before June 21.
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Mining culture in Bleiberg
Bergmännischer Kulturverein und Marktgemeinde Bad Bleiberg
For centuries, coal mining constituted the economic basis of life for the inhabitants of Bad Bleiberg. Even though the mine in Bad Bleiberg (Carinthia) has been closed since 1992, numerous initiatives try hard to safeguard and transfer the traditions passed down by the Knappenkultur: the miners language, sloping tunnels, Knappenspiel (a form of theatre play performed in mines), Ledersprung and the Saint Barbara mass (both in honour of the miners patron). Traces of this culture can be found in house and field names, the performing arts and throughout society.
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"Bloch-pulling" in Fiss
Verein "Blochziehen Fiss": Obmann Christian Kofler, Obmannstellv. Thomas Wachter
The bloch-pulling in Fiss (bloch is the long trunk of a stone pine) belongs to the largest carnival traditions in the Alpine region. It takes place every two years, the bloch-pulling of the adults taking turns with the childrens bloch-pulling (for six to fourteen-year-olds). At the end of autumn, the fetching of the Bloch tree occurs, where a magnificent stone pine is felled, guarded and placed on three sledges two days prior to the carnival procession. On the day of the procession, the participating figures assemble at the village centre and at the command of the wagoner the Bloch is put into motion by numerous masked persons. Witches and devils (Schwoaftuifl) attempt to hamper the moving of the Bloch. Playful elements are not only an essential detail, but also serve as entertainment for the spectators. Once the Bloch has arrived at the school house, it is then auctioned off.
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The Rag Procession in Ebensee
Johannes Scheck i. V. Verein Ebenseer Fasching
Upper Austria
The annual rag procession in Ebensee is a carnival procession on Shrove Monday in and around Ebensee, whose exact beginning has not yet been identified. The participants, the so-called rags, dress up in old womens clothes with rags sewed onto them. In addition, they wear a "rag hat" as well as an elaborately carved wooden mask.
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The "Glöcklerlauf" in Ebensee
Edi Promberger
Upper Austria
The tradition of the Glöcklerlauf on January 5 (a specific type of race where participants carry large decorated caps made of paper on their heads) originated in Ebensee (Upper Austria) and spread throughout the whole Salzkammergut region around the Wolfgangsee (Lake Wolfgang) to Styria. Recent decades have shown increased interest in this tradition in large parts of Salzkammergut because the regions potential as a tourist attraction has officially been acknowledged.
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"Schemenlaufen", the carnival of Imst
Die Gemeinschaft der Imster Fasnachtler, Obmann Uli Gstrein, Mag. Manfred Thurner
The carnival of Imst (Tyrolian Upperland) is a form of carnival procession with 26 different sorts of masks that takes place every four years.
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Nassereith Carnival - Schellerlaufen
Obmann Spielmann Gerhard im Namen vom Fasnachtskomitee Nassereith für die Gemeinschaft der Nassereither Fasnacht
The Nassereith Carnival, also known as Schellerlaufen since 1951, is a carnival tradition that has been taking place every three years in the village of Nassereith in Tyrol on a day between Epiphany (6 January) and Ash Wednesday. The procession forms the heart of the Nassereith Carnival, distinguishing itself through its colourfulness and the typical wooden masks. Part of it is the Schellerlaufen, performed according to precise rules that have been passed down from generation to generation together with the know-how involved in making the masks, costumes and other carnival accessories. Its organisation is handled by a carnival committee, first elected in 1923 and serving for s ix years.
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Festive practices of the civic guards and militias of the district of Murau
Obmann Rudolf Paschek für den Bezirksverband der Bürger- und Schützengarden des Bezirkes Murau
The district of Murau in the Austrian province of Styria assembles five civic guards and militias whose origins can be traced back to the 17 th century. Several times a year, they participate as ceremonial guards in festive events and religious processions, thereby contributing to the solemnity of each occasion. Due to their traditional connection to the church, the guards sally forth at Corpus Christi and the feast of the community patron saint. They also serve as honour guards for jubilees, weddings and high-ranking visitors. They are characterised by their traditional uniforms, arms and a typical marching order.
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Carrying out the Freiung at the annual "Maxlaun" market in Niederwölz
Mag. Alfred Baltzer und Ing. Rudolf Paschek für den Arbeitskreis Volkskultur Murau
The procession of the "Maxlaun" market revolves around the Freiung, symbol of the market privilege. The three-day market is held annually at Niederwölz in the district of Murau on the second weekend of October. Its name is derived from Maximilian, the church patron venerated on 12 October. In his honour citizens organise a parade to carry the Freiung, a festively decorated arm carved out of wood, painted black and holding a sword, to the market square along a traditional route. It symbolised the freedom of the market, unrestricted trading rights and public peace through a ban on carrying arms. Nowadays, the mayor chooses the bearer of the symbol who in turn appoints a person charged with ensuring passage through the crowd. The procession is accompanied by the local band and choir, the fire brigade and the men of the mountain rescue service.
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Bonfire Sunday
Mag. Hanno Platzgummer i.V. Funkenzunft Oberdorf
The celebration of Bonfire Sunday (Funkensonntag), a holiday on the first Sunday after Ash Wednesday, is commonplace throughout the whole of Vorarlberg. Each community organizes its own bonfire (Funken). Vorarlbergs largest city, Dornbirn, is famous for having several bonfires, which are arranged by a variety of bonfire guilds.
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"Perchten" in Gastein
Andreas Mühlberger i.V. Verein Gasteiner Perchten
The tradition of the Perchten in Gastein takes us back in time to the historic carnival runs during the Renaissance and the Rococo. The Perchten run takes place every four years between New Years Day and the Epiphany in the region of Bad Gastein and Bad Hofgastein. Amongst the circa 140 different figures that participate in the run, there are around 30 cap wearers (Kappenträger) with impressive headdresses, some of which are several meters high. These cap wearers bring blessings and good wishes to the audience by way of short dances and a bow at the command of the Perchten captain.
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The Gauderfest in Zell am Ziller
Tiroler Landestrachtenverband, Obmann Oswald Gredler
Tyrols largest spring celebration arose from a Kirchtag or country fair. This folk celebrations name refers to its traditional location, called Gauderlehen. The oldest known description of this celebration comes from 1862, although there also exist earlier notes in which reference is made to it. Once-important blood sports such as cow-baiting, cockfights and ram-baiting have by now been abandoned, with the action now centering instead on Ranggeln (a form of wrestling native to the Alps- see Hundstoaranggeln), with its contest for the winners title of "Hogmoar, and a parade in traditional costumes. This parade is among Tyrols largest and always takes place on the first Sunday in May. At the Gauderfest, special attention is also given to young people: above all, the Saturday directly preceding the Gauderfest gives them the opportunity to show off their dancing abilities.
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Confraternity of the Holy Sepulcher in Pfunds
Heiliggrab-Bruderschaft Pfunds, Prof. Robert Klien
Founded more than 500 years ago, the Fraternity of the Holy Sepulcher continues to uphold the tradition of setting up the Holy Sepulcher in the Liebfrauen Church at Pfunds on the Saturday before Palm Sunday as well as praying to the Eucharist continuously from Good Friday until Holy Saturday. It is a great honour to become a Brother of the Holy Sepulcher. This privilege is passed on from generation to generation without differentiating between hierarchy, education, social standing or wealth. The Fraternity of the Holy Sepulcher has always remained independent of the Catholic Church and the local government. It is made up of 12 groups, each consisting of 16 men, which also includes women and the young in their activities.
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Salzburger Rangglerverband, Landesobmann Hans Bernsteiner
Hundstoaranggeln (a type of physical competition or form of wrestling match) is probably the oldest sport found in the Alps. It has its roots in the 14th century and takes place at the Hoher Hundstein in Pinzgau (Salzburg).
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Wreath Riding in Weitensfeld
Max Strohmaier
The tradition of Kranzelreiten [Wreath Riding] in Weitensfeld, practiced annually at Pentecost, is divided into two parts. On Whit Sunday, the wreath riders (Kranzelreiter) ride from house to house accompanied by singers who sing Gstanzl (humorous four-line dialect songs) about the events of the past year, and they utter a personalized cheer for the residents of each house, who provide them with food and drink in return. This ritual is also the invitation to the actual Kranzelreiten event, which follows on Whit Monday. It is a competition that begins with the riders racing their decorated horses, galloping three times between the upper market square and the market fountain to symbolise the vanquishment of the plague outbreak associated with the traditions origin. Afterwards, the focus turns to three runners, who race each other. The winning runner then rides the winning horse to the market square fountain and kisses the statue of the steinerne Jungfrau [Stone Virgin] that stands at its centre. As a prize, he receives the Virgins wreath (the Kranzel) and a silk scarf. The second-placed competitor receives a myrtle bouquet and a woollen scarf, and the competitor in last place receives a bunch of hog bristles and a calico scarf. Each winning runner then passes on his prizes to his girl of choice. Finally, they all dance a waltz known as the Jungfrauenkuss or Gurktalerwalzer, which concludes the Kranzelreiten event itself and kicks off the celebration that follows.
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"Lichtbratl"-Monday in Bad Ischl
Hannes Heide, Bürgermeister der Stadtgemeinde Bad Ischl
Upper Austria
Every year on the Monday after Michaelmas (29 September), the Lichtbratlmontag (Monday of the lighting roast) is celebrated in Bad Ischl. It derives from an old custom, where the master used to treat his workers to a roast, as artificial lighting had to be used again from that day onwards. Today, this Lichtbratlmontag is a festive gathering for all jubilarians from the age of 50 upwards with milestone birthdays, who were either born or reside in Bad Ischl.
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Liebstatt Sunday in Gmunden
Trachtenverein Traunseer Gmunden, Obmann Franz Wolfsgruber
Upper Austria
The origin of this tradition is viewed to lie with the Corpus Christi Brotherhood, which was reestablished in Gmunden in 1641, existed into the 18th century, and had as its mission the enrichment of the towns religious life. Once each year, on the fourth Sunday in Lent, this brotherhood held a gathering at which a vow to be loyal to the faith and to brotherly love, called the Liabstáttn (confirmation of love), was renewed. Over the course of time, this transformed into a demonstration of love. Today, the Liebstattsonntag in Gmunden is still held every year on the fourth Sunday in Lent. Gmundens traditional costume associations meet at 9:00 a.m. and proceed as a group to the town parish church. After this, a parade forms with its own band and marches to the square in front of the town hall. Following a brief greeting and an explanation of the tradition, the associations members give gifts of decorated gingerbread hearts to the townspeople and guests.
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"Mullen" and "Matschgern" in the MARTHA villages
Martin Kapferer i.V. Gemeinschaft der Muller und Matschgerer der Stadtteile Mühlau und Arzl bzw. der Dörfer Rum, Thaur und Absam
Mullen and Matschgern (derives from mask/ to mask) is a century-old tradition, which is carried out on the night of Shrove Tuesday in the MARTHA villages north of Innsbruck. Each figure has a role allocated, the witches being precursors, other figures like the mirror-tuxer simply impressing with their imposing appearance, while others act as constables. The climax of the hustle and bustle is the so-called Mullen or Abmullen, a form of testimony of honour, where the bearer of the custom chooses a person from the audience to rub his shoulders and give him a little smack on the back.
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The Carnival Run of Murau
Mag. Alfred Baltzer und Ing. Rudolf Paschek, i.V. Arbeitskreis Volkskultur Murau
This exhausting and elaborate procession and Heische tradition (a custom of asking for alms) takes place in regular intervals of two to five years on a certain day of the year - typically on Carnival Monday - in several villages in the district of Murau. The equipment of the carnival runners commemorates the former clothing of threshers, while the appearance and the number of carnival runners as well as their accompanying figures show slight regional differences. The participating groups and figures move either by vehicle or by foot from yard to yard and have to overcome obstacles before being allowed to enter. These typically comprise either overcoming a tightened chain (Speng) or accepting a challenge for a duel.
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´The The Vineyard Guards´ Procession in Perchtoldsdorf
Christian Neumayer i.V. für die Weinhüter; Franz Distl i.V. für den Weinbauverein der Marktgemeinde Perchtoldsdorf
Lower Austria
The Vineyard Guards´ Procession has remained a constant element of the Perchtoldsdorfer wine growers annual traditions, even though the profession of guardian became obsolete and died out in the 1970s.
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Perlaggen in Tyrol
: Institut für "ALPENLÄNDISCHE TRADITIONSKARTENSPIELE -Watten, Bieten,Gilten und Perlaggen", Telfs - NOAFLHAUS, Hubert Auer (Vorstand), Telfs. Bernhard Moll, Imst und Peter Blaas, Mieming.
Perlåggen is a card game that is nowadays played above all Tyrol. Two teams, usually consisting of two individuals each, attempt to communicate via secret verbal and nonverbal signals and win as many points as possible in the process. The game is played with 33 German-suited cards (Acorns, leafs, bells, hearts), of which up to eightdepending on the region and the situationare designated Perlågg and thus given a special function. Fibbing and fooling ones opponents are important elements of this game, which also involves the lingo known as Perlågger-Latein or Kårter-Sprech. This contains a number of words for certain moves, for special cards, and of praise or rebuke for other players actions. Perlåggen is played by people of all ages, classes, and genders, and games take place particularly at inns and in private homes. Local tournaments are held every year, and the past few years have also seen an all-Tyrol Perlåggen championship held, the location of which alternates between South and North Tyrol.
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Ratschen during Holy Week
Franz Ederer
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
Ratschen (ratcheting) is a noisemaking tradition that is practiced in many parts of Austria in various forms during the day preceding Easter. A central element is the so-called Ratsche (ratchet), a mechanical percussion instrument made of wood, the sound of which is meant to replace the tooling of the silent church bells from Maundy Thursday to Easter Sunday. In the most common form of ratcheting, children go through the community at various times, making noise and chanting according to an established sequence. The chant can vary from region to region and are either passed on from older children to younger ones or taught by an adult supervisor. The most common chant is the so-called "Eng´lisher Gruß", or Angels´ Greeting: "We ratchet, we ratchet the Angels´ Greeting, that every Catholic Christian must pray. Get down, get down, get down on your knees, say three `Our Father´ and an ´Ave Marie´." Following this ratcheting, the children are rewarded with money, sweets, or Easter Eggs in the so-calles "Absammeln" (collection).
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Sacramental Guards in Tyrol
Karl Wurzer
The Sacramental Guards in Tyrol were founded about 500 years ago based on the Spanish model of the Corpus Christi Confraternities. Their original duty of guarding and honouring the Eucharist at processions still stands. Over the course of their history, the Sacramental Guards in Tyrol were dissolved several times, yet their tradition was successfully upheld in the villages in Thaur, Hall, Volders and Schwaz. Only at selected ecclesiastical and secular occasions the four Sacramental Guards appear together, dressed in their historical attire and arms. The guards also accompany private ceremonies, such as weddings or funerals, and take on social and cultural duties within their communities.
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Ceremonial marksmen´s guards in Salzburg
Herbert Handlechner i.V. Landesverband der Salzburger Schützen
Shooting clubs are an important component of Salzburg traditions. Even though the actual shooting equipment used differs from place to place (it ranges from traditional wooden weapons to different types of canons or fireworks (Prangerstutzen)), club activities are quite constant across different communities.
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"Samsontragen" in the Lungau region and in Murau
Gauverband der Lungauer Heimat- und Brauchtumsvereinigungen, Gauobmann Eduard Fuchsberger
Salzburg, Styria
In Austria, the tradition of Samsontragen can only be found in the Lungau region (Salzburg) and in two communities in the adjacent federal province of Styria. These regions, however, consider this tradition, which attracts innumerable guests every year, to be a firm part of their annual rites.
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Disc flinging
Thomas Gamon, MMag. Michael Kasper
Disc flinging (Scheibenschlagen) is practiced in several Vorarlberg communities on the first Sunday of Lent. Special discs made of alder or birch are mounted on 70-to-100 cm long hazel branches, made to glow in the so-called Vorfeuer (preliminary fire), and then shot off of the branches with the help of a small, tilted wooden bench. In a successful shot, the glowing disc traces a luminous arc through the dark night sky. Each shooter attempts to shoot his disc as far and/or as accurately as possible. As they shoot, statements are called out that mention specific people from the community by name- honoring them, making fun of them, or even exposing secret romantic liaisons. Disc flingers can often be young men, teens and schoolchildren, but are above all members of groups such as so-called fire guilds (Funkenzünfte).
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"Silent Night" - the Christmas carol
MMag. Michael Neureiter i.V. Stille-Nacht-Gesellschaft
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
The song Silent Night! Holy Night! was composed in 1818 and has since become a focal point in peoples Christmas celebrations, both in the trusted circle of family and friends as well as ecclesiastic festivities, particularly the Christmas Mass. For many, Silent Night is the mother of all Christmas carols.
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"Taubenschießen" in Altaussee
Gerhard Wimmer, Taubenschützenverein Altaussee-Schneiderwirt
Taubenschießen [lit. pigeon shooting] in Altaussee is a social sport involving at least three shooters. Members of the Taubenschützenverein [Pigeon Shooters Association] meet at the inn Schneiderwirt, the site of a shooting range constructed around a giant pendulum. The projectile to be shotor, more to the point, releasedis an approximately 2 kg wooden pigeon with an iron beak that hangs from an 8 m chain made of steel wire links. The tail of the pigeon attaches to a stringwhich the marksman, with as steady a hand as possible, has to bring into line with the chain and the middle of the target. When the marksman lets go of the string, the ensuing pendulum motion sends the pigeon swinging towards the target, in which it lodges itself thanks to its iron beak. The Zieler [target attendant] then records the shots result on the edge of the target and swings the pigeon back to the Aufigeber [server], who hands the pigeon to the next marksman.
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"Schleicherlaufen" in Telfs
Fasnachtkomitee Telfs, Obmann Dr. Stephan Opperer
Approximately 500 men participate actively in the Telfer Schleicherlaufen tradition (an event with costumes and dance that centers around Shrove Tuesday); a number of chronicles report that many families have participated in this tradition for generations. The participants (all male) come together every five years to form new groups. Many people in Telf (Tyrol) are in close contact with each other during the preparations for Shrove Tuesday due to creating costumes and piecing together jewelry.
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Nebenleitung-Association for Mutual Assistance in Fire Emergencies
Verein für gegenseitige Hilfeleistung bei Brandfällen ,Nebenleistung', Obmann Johann Wimmer
Lower Austria
This association is the self-help organization of the community of St. Oswald in the Yspertal (Lower Austria). This association supports the regions inhabitants either financially or by other means after fire emergencies. In short, the organization is an ancillary service.
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Vereindigte zu Tamsweg
Die Vereinigten zu Tamsweg, Kommissär Dr. Raimund Schiefer
The Vereinigte (Union) zu Tamsweg was founded in 1738 by craftsmen from Lungau and has been maintained by workers ever since, thereby making it the oldest existing union in the area around the market town of Tamsweg (Salzburg). Members attend funerals, accompany church processions and hold the Vereinigtenoktav, a week-long festival celebrated every year between January 1 and the first Saturday after Ash Wednesday. In addition to members of the Tamsweg Union, members of confraternities from other federal states attend these festivities.
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The Ram Procession to Obermauern
Bürgermeister Ing. Dietmar Ruggenthaler (Gemeinde Virgen), Bürgermeister Anton Steiner (Gemeinde Prägraten)
The Ram Procession originated during the Thirty Years War when the inhabitants of the two East Tyrolean villages Virgen and Prägraten first embarked upon a pilgrimage with a ram to give thanks for the end of a devastating plague epidemic. To this day, the pilgrimage still takes place every first Saturday after Easter, the so-called White Saturday. On a alternating basis, the pilgrims from either Virgen or Prägraten bring along with them a festively decorated white ram to the pilgrimage chapel Maria Schnee; following Holy Mass, this animal is raffled off in front of the chapel.
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Viennese coffee house culture
Klub der Wiener Kaffeehausbesitzer, Klubobmann KommR Maximilian K. Platzer
The tradition of the Viennese coffee house culture goes back to the end of the 17th century and is given distinction to by a very specific atmosphere. Typical for Viennese coffee houses are marble tables, on which the coffee is served, Thonet chairs, boxes (loges), newspaper tables and interior design details in the style of Historicism. Guests can choose from the selection of meals and drinks from early morning at 6am until midnight, while sometimes also enjoying readings and musical soirées. The coffee houses are a place where time and space are consumed, but only the coffee is found on the bill.
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The Niglo Procession in Windischgarsten
Jörg Strohmann i.V. Obmann des Heimat- und Museumsvereins Windischgarsten, beauftragtes Mitglied des Trachtenvereins dGarstnertaler
Upper Austria
The Niglo Procession on the eve of St. Nicholas Day (6 December) is a regular annual occurrence during Advent. About 30 persons participate, amongst them the night guard, the Niglo husband (a man in urban clothing) and the Niglo wife (a young woman in a white dress and a crown), several Nigeln (Krampuses with nymphs dressed up in fur, with clamps and rods hanging from their bodies), some angels, the devil, St. Nicholas and several supporting characters.
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The Firecracker Shooters of Wirling
Matthias Plamberger i.V. Verein Traditionsschützen Wirling
Upper Austria
The traditional shooting club of Wirling is probably the only one in Austria which is authorised to carry out the consuetudinary firecracker shooting. The main purpose of the shooters is to participate in religious and secular celebrations, such as weddings, ecclesiastic festivities, processions as well as the shooting on the Twelve Nights after Christmas. The specially-constructed firecracker cannon is placed on higher grounds and, depending on the occasion, fired at exactly the appointed time. Before shooting the next firecracker, it is important to wait until the end of the echo produced by the bang, as this may last up to twelve seconds.
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Zacchaeus singing in Zirl
Marktgemeinde Zirl
Zacchaeus singing in Zirl is an annual fair tradition that takes place on the third Sunday in October starting at 4:30 a.m. Apart from the time of day, a special feature is above all the connection of religious and secular practice. Every year, around 200 people gather on the square in front of the church and sing the Zachäuslied (Song of Zacchaeus) along with the church choir and a group of wind players; this song was written during the 18th century by a sacristant from Zirl and has to do with repentance and penitence. Starting at the church, they proceed together to the next square in the village. There, the Zachäuslied is heard once more before the secular part of the fair begins. Musicians play, and people dance in the streets. Scouting groups and members of church youth groups offer doughnut-like pastries, which they make together the evening before. Zacchaeus singing contributes to a sense of community, with many individuals and associations involved in preparing for it. The
tradition in and of itself thus functions as a unifying element in this steadily growing town near Innsbruck, bringing together new arrivals with the people who grew up there.
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Practices concerning nature
Three-step Alpine transhumance in the Bregenz Forest
Michael Moosbrugger i.V. Verein zur Förderung der Bregenzerwälder Käsekultur
Due to the fact that the amount of non-silo fodder from the in-house production of the farm yards in the Bregenz Forest does not suffice for the livestock all year-round, the local farmers apply a well-tried agricultural practice called the three-step-agriculture. As part of this seasonal cycle of the three-step-agriculture, (part of) the family drives the livestock from the farmyard, first to the Vorsäß (a low mountain pasture) in late spring and then to the alp at the beginning of July.
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Experiential Knowledge Concerning Avalanche Risk Management
Alpinarium und Gemeinde Galtür, Lawinenkommission Gargellen, Montafoner Museen, Österreichischer Alpenverein, Österreichischer Berg- und Schiführerverband
Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg
The natural environment of the Alps forces its inhabitants to pay a great deal of attention to the highly complex phenomenon of the avalanche. Since the very beginning of human beings presence in the Alpine region, it has been necessary to acquire knowledge about avalanches in order to survive there. To this day, avalanches cannot be perfectly predicted or fully assessed by scientific means. Therefore, having experiential knowledge of how to deal with the associated risks is all the more important. Some of this experiential knowledge is site-specific and gets passed on by alpine organisations, within families, and/or by schools. In earlier times, such knowledge was acquired through close observation of nature and the painful learning process that avalanche disasters entailed. And for many hundreds of years, this experiential knowledge was conveyed and handed down orally from generation to generation. Since the beginning of the 20th century, and especially since the 1950s, such knowledge has been supplemented by scientific research. This has made it possible to successively improve the protection of inhabited areas and transport routes over the course of time, and today, knowledge about dealing with avalanche risks is taught and/or applied in the contexts of general safety, education, technology, and rescue services by local and super-regional communities.
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HR Dr. Harald Barsch, Österreichischer Falknerbund und Zentralstelle Österreichischer Falknervereine (ZÖF)
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
Falconry is the art of hunting with birds. In a strict sense, the term falconry is understood as hunting with specially trained falcons. However, hawks, sparrow hawks and eagles have also been introduced to the discipline. Falconry also allows for the breeding of birds of prey.
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Local healing knowledge in the Pinzgau region
TEH Verein, Obfrau Theresia Harrer, GF Mag. Karin Buchart
The accumulated knowledge of cures and their practical application in Pinzgau (Salzburg) was first documented in writing in the course of a 2005 survey. A specific list holds details of the indications and effects of 106 different cures. Remedies such as pitch, arnica or amber are available locally and constitute an important element of the regions cultural context. The healing knowledge of Pinzgauer men and women has traditionally been handed down as oral know-how and comprises a variety of cures, indications, effects and active ingredients, which are passed on according to the master-pupil principle. For a recipe to be passed down, its effectiveness must have proven successful over centuries.
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Salzkammergut bird-catching
Salzkammergutverband der Vogelfreunde, Obmann Alfred Riezinger
Upper Austria
The tradition of catching birds in Salzkammergut involves the capture of individual local woodland birds in autumn, and the woodland bird exhibition on the last Sunday before Kathrein (a religious holiday on November 25). This show features birds that stand out because of their colour, physical integrity and their flawless condition. It also provides information on their keeping in aviaries after the bird catching season. The birds are fed with local food that is collected throughout the year. Apart from decoys, all birds are set free again in springtime.
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Transhumance the driving of sheep in the Oetztal Alps
Kulturverein Schnals; Verein Pro Vita Alpina Österreich
The transhumance in the Oetztal Alps is a special form of sheep driving hikes. These hikes go over the peaks of Timmelsjoch (2494m), the Hochjoch (2885m) and the Niederjoch (3017m) and are the only cross-border transhumance in the Alps that leads across glaciers. They not only cross climatic but also national borders. Every year in early summer, around 5,000 to 5,500 sheep from South Tyrol are led to the Oetztal pastures and back again in autumn.
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Knowledge of timber rafting on the Upper Drava
Oberdrautaler Flößer (Verein)
Up into the 20th century, the river Drava served Carinthia as an important west-east transport route. Specifically, it served sawmills and, from the 17th century onward, cellulose factories, for which reason it became known as the Carinthian Wood Road. The earliest documentation of freight transport on the Drava is from 1209. From Upper Carinthia, logs and sawn wood, iron products, and other goods were transported downriver using timber rafts. These rafts were tied together using Wieden (twisted hazel branches) as well as ring hooks made of iron. They were 21.5 m long, 4.5 m wide, they usually featured two rudders at the front and one in back, and were piloted by two men. The knowledge of this technique of raft lashing and piloting continues to be passed down to younger generations to this day, with six villages each building one such raft each; these rafts are then piloted down the last remaining free-flowing stretch of the Drava in Austria.
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The knowledge of hazel spruce as tone wood
Kassian Erhart, Verein Forum Haselfichte
Due to its genetically-encoded hazel growth, the hazel spruce (Haselfichte) can mostly be found in the forests of the Alps at an altitude of 1,200 meters above sea level. Only very few experts are able to identify this quality of wood on an upright tree. The hazel spruce is clearly identifiable by removing a small piece of bark from the part of the tree where small, longitudinal furrows run down its trunk. The hazel spruce has always been used for the construction of instruments, as its specific characteristics satisfy the high demands in wood quality.
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Knowledge concerning the breeding of Lipizzan horses
SHS/Bundesgestüt Piber
Across all of Europe, Lipizzans represent the only parade horse that has been raised in the traditional way since the Renaissance. The Lipizzans preservation is based on extensive knowledge about breeding, caring for, and training these horses, knowledge that has been passed on from generation to generation in a largely oral manner. The bearers of this knowledge in Austria are the employees of the federal stud farm in Piber, who have been breeding Lipizzans for the Spanish Riding School in Vienna since 1920. All of this studs employees come from the environs of Piber and feel a strong connection to the Lipizzan breed, an affinity that has sometimes even given rise to special vocabulary describing the horsesas in the common reference to their Roman noses. The Gstütler [stud farmers] receive years of training by experienced hands, years spent in direct contact with the horses. The basis for passing on the relevant knowledge consists in daily visits to all of the stalls and daily meetings of the employees, with the breeding herd inspected and discussed together on a continual basis. Alongside running the stud farm itself, international exchange with other Lipizzan studs is essential, since a clear breeders eye can only be maintained in constant contact with past and ongoing developments.
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Knowledge concerning the locations, harvesting, and processing the spotted gentian
Gemeinde Galtür, Bürgermeister LR Anton Mattle
The knowledge of where to find and how to harvest and process the spotted gentian (gentian punctata) has been passed on for centuries among the people of Galtür in Tyrol. Most of the time, the entire local population is involved in the process of digging up and harvesting the valuable root as well as its further processing into Gentian schnapps. Until today, lots are drawn at the annual parish fair to decide which families will take part in the extraction of the roots and the making of the schnapps. Since the 17th century, local regulations for root collection as well as general nature conservation rules have sustainably safeguarded the survival of this rare type of Gentian.
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Knowledge of traditional seed cultivation and production
Verein ARCHE NOAH
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
Every culture has developed specific species and varieties of edible plants, with the associated knowledge and techniques being adapted to its dietary habits and the growing conditions at hand. By means of targeted planting, care, selection, usage and multiplication, farmers and gardeners have given rise to an enormous degree of diversity. The knowledge of seed planting, seed harvesting, selection, cleaning and storage was and continues to be passed on from generation to generation both in families and in communities. Farm and local varieties, which are ideally adapted to regional conditions, not only constitute the basis of families, communities and regions nutrition, but also provide for common identities within such groups. It follows, then, that varieties of certain agricultural plants such as rye (e.g. Lungauer Tauernroggen), beets (e.g. Wildschönauer Krautingerrübe) and maize (e.g. Vorarlberger Riebelmais) are directly associated with local products and/or dishes.
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Traditional Craftsmanship
Specialities of individual pharmacies
Kurapotheke Bad Ischl, Mag. Manfred Heimo Hrovat
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
Specialities of individual pharmacies have been part of local traditions for a long time and include knowledge on nature, cures and healing that had formerly been passed down orally, and have since been documented in recipe books. The making of these products requires certain special instruments, pharmaceutical resources and skills. Austrian pharmacists consider this transferred knowledge as part of their cultural heritage.
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The Lake Constance Radhaube in lamé lace
Michael Selb, Trachtengruppe Feldkirch
The Lake Constance Radhaube, a wheel-shaped bonnet, is unique due to its ornaments, which are made of gold and silver thread of equal quality on either side. The bonnet is typically worn in combination with traditional (Austrian) dress (Tracht) on festive occasions such as dance performances or festivals.
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Blueprint in Burgenland
Joseph Koó
Blueprint in Burgenland involves the dyeing of fabric with the help of a special type of printing technique called Reservedrucktechnik (resist printing). Traditionally, wood patterns and paste are used to apply the requested design onto the fabric, which is subsequently dyed indigo. It is said that textile printing was probably discovered by chance and can now be traced back for centuries in countries such as Hungary, Turkey, the Czech Republic or Egypt.
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Production of the Molln Jews harp
Andreas Rußmann
Upper Austria
The Jews harp (German: Maultrommel) is a small musical instrument consisting of a metal frame and a steel tongue or reed. The player presses the instrument between his or her teeth and plucks the flexible steel reed, which vibrates and uses its players head as a resonance chamber. The Jews harp is thought to be of Asian origin, although finds in castle ruins and artistic depictions in frescos and paintings make it clear that it was also common in Medieval Europe. The existence of a Jews harp makers guild in Molln is documented as early as the 17th century. While 33 master makers were active around 1800, there are now only three family businesses still in existence today. Jews harps production consists of three main steps: the creation and bending of the frame, the stamping out and installation of the spring in the frame, and the fitting of the frame and shaping of the spring. Depending on the standard of quality that a Jews harp is intended to meet, production is done either completely by hand or with the help of machines.
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The gunsmith´s craft in Ferlach
Kulturring Ferlach, Dipl. Ing. Rainer Adamik
The gunsmith´s crafts in Ferlach (Carinthia) are based on specialist work. The shaper works on the wood of the gun shaft and the engraver on the surface of the metal parts, while the gunsmith himself assembles the different parts, depending on the use of the object. When orders from the general public decreased during the 19th century, the gunsmiths started to mainly focus on the production of hunting weapons.
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Making and Wearing of the "Linz Goldhaube"
Martina Pühringer, Oberösterreichische Goldhaubengemeinschaft
Lower Austria, Upper Austria, Salzburg
The version of the Goldhaube [Golden Cap] native to Linz is a gold-embroidered piece of headwear that represents the most materially valuable element of Upper Austrias traditional festive costume for women, and it has been worn since the beginning of the 19th century. The production of a Goldhaube requires between 250 and 300 hours of work as well as manual skills and essential knowledge of old handcrafting techniques, which are upheld and passed on by Goldhaube groups in collaboration with producers of traditional costumes. To make a Goldhaube, a ca. 16 x 116 cm ribbon of golden fabric is embroidered with numerous decorative, shiny ornaments. The pattern is up to the embroiderer herself, while the shape of the Goldhaube is determined by a wire frame that is the same throughout Upper Austria, as well as in neighbouring Lower Austria, Salzburg, and Bavaria. Goldhauben are passed on within families and worn together with traditional festive garb (consisting of a full-length silk dress, traditional accessories, prayer book, shoulder scarf, glovettes, and a pearl pouch) on secular and sacred occasions, for example on Sundays on which traditional costumes are typically worn, at harvest festivals, and at wedding anniversary celebrations.
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Production of Traditionally Hand-Crafted Terrazzo
Ing. Gabriele Pia Stuhlberger
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
Terrazzo is a long-lived, heavy-duty, and low-maintenance type of flooring that can be decorated in a broad diversity of patterns. To create a terrazzo floor, shovels are used for the portion-by-portion application of a cementitious binding material, onto whichdepending on the variety of terrazzo to be producedstones of ca. 1022 mm diameter are spread densely by hand. Next, the terrazzo chips are geprackt [beaten], rolled with an iron terrazzo roller, and smoothed out by hand several times in order to ensure their even distribution. Once the material has cured, several rounds of wet grinding alternate with the application of a grout formulated by the terrazzo makers themselves. This process renders every terrazzo floor a unique, handmade creation, and the craftspeople who make it favour regionally extracted raw materials and do without chemical additives.
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Reverse glass painting in Sandl
Norbert Pölz, Johann Pum, Elisabeth Traxl, Elsa Stelzmüller
Upper Austria
With the migration of Northern Bohemian glassmakers, the craft of reverse glass painting arrived in the district Mühlviertel ar ound 1760. It is a r egion that is along with the Southern part of Bohemia and the Waldviertel district in neighbouring Lower Austria, still renowned for its fine glass pr oducts. Reverse glass paintings wer e handcrafted at glass kilns and homes around Sandl in order to be sold at fairs and shrines, transported in back-baskets by carriers across the countries of the Habsburg Monarchy. The paintings typically use few but bright colours and carry the decorative Sandl Rose in the corners. With cheap art prints spreading and small-scale glassworks closing down, the art of reverse glass painting was almost forgotten after 1940. Yet today, one full-time and a number of part-time painters can be found upholding the tradition in Sandl.
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Bobbin lace-making in Salzburg
Christian Vötter - Verein TAURISKA & Monika Thonhauser
Lace-making dates back to the Renaissance. Lace was used not only to protect fabric edges from fraying, but also for decorative purposes. Brisk demand turned lace-making in Salzburg into an industry of trans-regional importance which developed a style entirely of its own. At the height of its popularity between 1600 and 1800, bobbin lace was an important source of income for many families. Following near-oblivion, the craft was rediscovered in the mid-20th century and has since been taught and handed down in special courses.
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Charcoal burning
Peter Wieser, Vorstandsmitglied im Europäischen Köhlerverein und Sprecher der österreichischen Köhler
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
Charcoal burning ("Köhlerei") is a traditional craftsmanship derived from rural life, which primarily serves the manufacturing of wood charcoal. Hermetically sealed wood is heated up by way of dry distillation and carbonised across a period of several weeks, turning it thereby into preferably pure carbon.
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Basket- making - weaving with willow, straw and split wood
Stainzer Korbflechter und Besenbinder aus dem Blaurackenverei LEiV, Kulturverein Gniebing/Weißenbach, Korbflechter aus Fruttendorf-Gießelsdorf
Basket-weaving from materials found in nature has been an important part of everyday life for thousands of years. The baskets, woven and sewn from willow, straw and split wood, were used for carrying and holding. In many parts of Austria, basket weaving used to be an important home industry. An extensive knowledge and large range of weaving techniques have been preserved in the region of South-Eastern Styria. After collecting and drying their materials throughout the year, weavers and interested novices meet there in order to exchange their know-how and pass on traditional craft techniques as well as their knowledge of the materials.
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Bread- making in the Lesach Valley
Lesachtaler Mühlenverein und Kulturvereine Liesing, Mario Lugger und Hans Guggenberger
The tradition of bread making in the Lesach Valley (Carinthia), especially in the communities of Maria Luggau and Liesing, includes grain cultivation and extraction (in a specific mountain farming region), the most important facts on mill construction, particular idioms and sayings, rituals (e.g. to draw three crosses before cutting bread, to place a palm cross in the field), the annual mill festival in Maria Luggau and the local village and bread festival.
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Blueprint in the Mühlviertel region
Maria und Karl Wagner Mühlviertler Blaudruck auf Leinen
Upper Austria
The highly complex and time-consuming process of indigo printing technique became established during the 19th century in the northern region of Upper Austrian known as the Mühlviertel. Regional craftsmen and craftswomen went abroad to learn the new technique on the road. Karl Wagner, founder of the blueprint firm Blaudruckerei Wagner in Upper Austria, was one of them. This family-owned business is currently being run by its fourth generation of family members. Wagners great collection of handmade wooden patterns exhibits a broad variety of designs inspired by regional flora, and to this day, Blaudruckerei Wagner applies these designs to regionally produced linen.
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Oven and stove masonry in Burgenland
Dr. Susanna Steiger-Moser i.V. Museum für Baukultur Neutal
The villages Neutal, Ritzing and Sigless (Burgenland) have a strong tradition of oven and stove craftwork. Even in families without direct links to this sector, the identification with these handicrafts is very strong.
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Austrian scythe-forging
Sensenverein Österreich - Hansjörg Rinner
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
Prior to the mechanization of agriculture, the scythe was one of the most important harvesting implements worldwide. And even after the introduction of combine harvester and similar machinery, it remained important for small farms and thus for regional food production until well into the 20th century. Favorable economic and geographic conditions (iron ore deposits, wood and water) meant that as early as pre-industrial times, Austria came to produce a surplus of scythes, and the specialized knowledge accumulated over centuries of scythe production made the type known as the blue scythe a successful Austrian export. With the advent of mechanized harvesting techniques, however, scythe production in Austria began to stagnate. Of the 215 scythe forging manufactories that existed in Austria around 1900, only two producers have survived to the present day.
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Pitch extraction in Lower Austria
Ernst Schagl i.V. Arbeitsgemeinschaft niederösterreichische Pecherstraße
Lower Austria
The craftsmanship of Pecherei has been practised for many centuries as a way of extracting resins (pitch) from pine trees. Here, the bole is injured on a superficial level as a way of activating the resinosis. The obtained resin, the so-called tar (pech), is processed in refineries and boiling-houses where it is turned into turpentine oil and colophony. These intermediate products used to form the basis of the industrial fabrication of paper, lacquer, paint, soap and many other products.
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Distillation of pitch oil in the eastern Mühlviertel region
Dorfgemeinschaft Elz, Obmann Hermann Sandner
Upper Austria
In the eastern part of the Mühlviertel, pitch oil (resinous oil) is still produced using so-called pitch oil stones and used as a traditional remedy. Cut to size ages ago, they are typically granite stones with furrows similar to leaf veins chiseled across their slightly slanted surface. Resinous pinewood is then piled onto the stone, covered with earth and lit. After about two hours pitch oil starts to flow in the furrows. This method of making pitch oil continues to be used by a few families, mostly in order to preserve the traditional knowledge of pitch oil and its uses. Widely used in early folk medicine, pitch oil today is today confined to hou sehold applications.
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Forging in Ybbsitz
Bgm. Josef Hofmarcher i.V. Marktgemeinde Ybbsitz
Lower Austria
Metal forging has a very long history in Ybbsitz (Lower Austria). Certain forging dynasties, known as the black dukes (Schwarze Grafen) due to their skills and their outstanding wealth, have 200 year-old family traditions. The blacksmith shop of the Welser family has been within the family for 15 generations, for example.
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Pocket knife-making in Trattenbach
Kulturverein Heimatpflege Ternberg - Trattenbach
Upper Austria
The Trattenbach pocket knife, a foldable knife that consists of a blade and a lathed wooden handle, has been hand-produced in Trattenbach for nearly 600 years. Many people carry this knife on their persons as a constant companion that gets used for all sorts of things. Frequent functions include as a knife for snacks or for carving, for harvesting mushrooms, as a souvenir, as a promotional item, as a keychain, or for Messerln, a game of skill in which two players compete against each other by allowing a half-opened knife to fall onto a wooden surface from a height of 50 cm (the object being to have the knifes blade penetrate and remain standing in the wood). Since 1682, Trattenbachs cutlers have been recognized as an independent guild. Making this knife requires detailed knowledge of the materials involved as well as experience in working with steel, wood, and water power. Today, there are two businesses left that produce the Trattenbach pocket knives by hand. Knowledge about their production is passed on via in-house written instructions and orally, and at least one of these producers continuation into the next generation is assured.
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Gilding and Faux Painting
Waltraud Luegger
Burgenland, Carinthia, Lower Austria, Upper Austria, Salzburg, Styria, Tyrol, Vorarlberg, Vienna
Gilding and faux painting have been practiced since ancient times in order to make objects appear as if made from solid gold or other materials. There are various techniques for doing so, such as poliment gilding and oil gilding. The faux-painting of non-gilded surfaces is referred to as Staffieren or Fassmalerei, terms which also encompass the addition of colour to sculptures and relief art as well as to picture and mirror frames, church altars, furniture, and interiors in general. This includes marbelizing, wood imitation, and porcelain imitation. Knowledge of the complex techniques involved is for the most part passed on orally, and mastering such work takes several years. The heyday of gilding and faux painting was during the baroque and rococo eras, and in the art nouveau and art deco periods, as well, these techniques were in high demand. From the second half of the 20th century, interest in such work greatly declined; gilding has all but disappeared in contemporary architecture, for which less and less craftspeople still practice and pass on these techniques.
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Copyright © 2007-2011 Austrian Commission for UNESCO


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Despite being quoted speaking in favour of the Bill in the Monitor, a Ugandan Newspaper, he denied what he said and embarked on a campaign of lies and deceit to cover his actions. He made false statements to the local press in the UK and sent two of his colleagues Phil Groom and Chris Jefferies to be his mouth piece on Facebook and Blog posts on the subject. They were rude, belligerent and facetiously trying to cause arguments and discredit the reports and anyone trying to bring these disgraceful activities to the public's attention. Shinners played the victim and made empty threats of taking legal action against anyone who spoke against him. He lied to and manipulated the local papers to make himself seem the innocent victim.
He made many efforts to eradicate all evidence of what he said in Uganda. All of David Kiganda's events are recorded and available to be purchased with the exception of the event Paul Shinners spoke at. He had successfully had the recording removed from most data sources in Uganda for "security reasons".
That is why it took so long to come to light, but I have finally managed to acquire a recording.
Here is what was said by this evil, deceitful man in support of the "Kill the Gays" Bill...
Here is a 2 minute clip. For extended clip showing more homophobic remarks and the full 51 minute video please go to the latest post by clicking here.
Shinners criticises Barack Obama for his opposition to the Bill and persecution of Homosexuals, praises Uganda for what they are doing, says people in the UK support them and says that they are making "a stand for God" and that God is happy that they are trying to pass legislation that would give homosexuals the death penalty.
Calls to pass the anti-gays Bill dominate New Year messages
Paul Shinners is the Managing Director of the UK Registered Charity, Passion for Souls Ministries. He also runs the Christian Cafe/Bookshop, the Cornerstone Cafe in St. Neots.
Address: 2-6 Cambridge St, St Neots PE19 1JL
Phone: 01480 471505
Paul Shinners is guilty of Hate Crimes and has gone against International Human Rights Laws. He is a religious extremist and has a Messiah Complex. He claims he is like Jesus and has cured Cancer, the blind and homosexuals among other things...
These claims made on his website are illegal under the Cancer Act of 1939.
Shinners has not only lied to his customers, the local community, the local papers and anyone who has asked for clarification on his views, but he has also lied to the Charity Commission. Despite what he said in Uganda, he still enjoys tax free Registered Charity status and relies on volunteers to staff his cafe and maximize his profit. He is a stain on the reputation of Christians everywhere and is as evil, misguided and delusional as the Muslim extremists who spread hatred and convince others to commit horrible acts of terror.
As a result of Shinners actions and the other Ugandan Christian Pastors, the Bill was passed by Parliament and signed into law by the Ugandan President, Museveni. Although the DEATH PENALTY was removed at the last minute, the passage has been seen as a green light for mob violence and police brutality towards members of the LGBT community in Uganda. Shinners is aware of the beatings and murders that have increased ten-fold since the Bill was signed in February. Lesbian women are subjected to "Corrective Rape" to cure them of there homosexuality and the situation is so bad right now that many have committed or attempted suicide because the situation seems so desperate. When I spoke to Shinners he showed no remorse, empathy or concern for the plight of the LGBT community in Uganda and only spread more lies and played the victim.
He has said that homosexuality is a sin and a lifestyle choice and has acted out fisting and claimed that homosexuals lick their hands afterwards. This is very reminiscent of Pastor Martin "eat da poo poo" Ssempa who has shown graphic gay porn in Bishop David Kiganda's Church. Kiganda was also Shinners host in Uganda on many of his visits over the last decade, including on the 31st December 2012. The following video shows Ssempa and Kiganda as leaders of the National Task Force Against Homosexuality and showing pornography in Kiganda's Church...
Here you can see Shinners' host, Kiganda discussing Sodom and Gomorrah and Kiganda and Ssempa praying over David Bhati, the MP who presented the bill to parliament back in 2009...
Shinners needs to be stripped of his Registered Charity Status and face what he has done and suffer the legal, personal and financial ramifications of his despicable actions.
Shinners has had the unwavering support of his fellow trustees which include his wife and the former police officer Paul Imrie (who were with him in Uganda when he preached against homosexuality) and the members of his former church, River Church. The head of the Church (Rob McFarlane) and one of the leaders (Jim Fitzgerald) of River church used to be trustees of Shinners' charity. Shinners claimed to have nothing to do with River Church, but this was just another lie. Shinners' Passion for Souls website used to claim "We are proud members of River Church," but since he was caught in Uganda speaking in favour of the "Kill the Gays" Bill he left the church and become the leader of his own Church based in his Cafe.
Below is a photo of Shinners standing next to Rob McFarlane, the head of River Church, who also ran a Evangelical Church in Africa for 18 years in Zimbabwe where like Uganda, homosexuality is also illegal...
In a sermon by Rob McFarlane at River Church St Neots, he said (at the 21 minute mark):-
"The LORD will grant that the enemies who rise up against you, will be defeated before you. And they will come at you from one direction, but flee from you from you in seven. How awesome. I can see them coming against that Cornerstone shop and there's seven directions and four will go down North, South, East, West, the four corners. I don't know where the others are going to go, but they're going."
-from "Paid in Full" on Sunday 24th April 2011
The links followed on River Church's website show that they take a deeply homophobic view on the LGBT community, for example supporting Conversion Therapy (which is dangerous and has a zero success rate and only leads to depression and suicide).
Rather than denounce Paul Shinners' anti-gay rhetoric in Uganda where he spoke in favour of the DEATH PENALTY for homosexual acts, McFarlane openly supports this vile man. McFarlane is also a religious extremist and fundamentalist. If he want's to spread his hate and intolerance he should go back to his home country where it is legal to do so. If Muslim hate clerics like Abu Qatada get deported, why not do the same to the Christian ones?
McFarlane even wrote a book on how to recruit children, which is the very thing that Shinners and his evangelical colleagues are falsely accusing homosexuals of doing in Uganda. The irony and hypocrisy would be amusing if they weren't destroying people's lives in the process.
Please take a second to sign and share the change .org petition...
For more please read...
Please read older blog posts for more background information...

subset: commoncrawl


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Real Wedding: Becky + BrandonOur Lovelies
Tell us about the dress and what inspired your look.
I wore a custom Lea-Ann Belter dress. While getting married in the islands, I didn't want the typical island wedding that a lot of people from St. Thomas have. From the second we started planning, we knew we didn't want to get married on St. Thomas. We wanted to do something different and started working with Caneel Bay. They have such a classic and elegant resort – we knew it was the perfect place for us. We also knew that we didn't want a beach wedding. While it's so easy to pick a beautiful beach at Caneel, we wanted to use Turtle Point so I could wear a more elegant formal gown.
I was inspired by A Midsummer's Night Dream and rose gold. I knew I wanted everything to be soft and come from the rose gold palette. We chose the dress almost 13 months before our wedding as I wanted my family from Canada to be involved, as well as his family from the islands. With both moms by my side, we tore through Lovely Bride DC and I tried on almost 30 gowns. I knew I wanted a low back, but I was never a bride that dreamt about that special dress. All I knew was that I wanted it to be different, romantic and me. As I was going through the racks – I picked up this blush gown with flower straps. The moms weren't so sure, but I was adamant that I was trying it on. It fit me perfectly. I just knew this was the dress. Everyone kept telling me it might be too much for an island wedding, but I was determined to wear an elegant piece of art and that's what this dress was. As we began to purchase the gown, Lovely Bride DC mentioned that it was a gown on loan and that I had just lucked out on walking in when this dress was on display. After a few more minutes, we realized the dress was from a Canadian designer and even better – it was from my hometown of Toronto. I couldn't have been more ecstatic. It was my little piece of home away from home.
What were the most important details to pulling off your dream wedding?
For me, it was all about the atmosphere. I wanted beautiful candles and long wreaths of flowers strung together across the tables. It needed to feel like a magical forest on this beachfront property. Once I started searching for rose gold decorations, I landed on these long chevron table runners that fit perfectly. They were my starting point and every other decoration was made by me by hand. I knew I wouldn't be able to purchase everything I was looking for so I spent my weekends at Michael's flying through the aisles and spray painting everything I needed. From rose gold mason jars, to wooden B&B decorations – everything was pulled together by me. When it came to the flowers, the Caneel Bay florist Felipe is one of a kind. He is a dear family friend and went above and beyond for us. He understood my soft palette and my desire for succulents and green vines with touches of soft pinks and whites. I also located a designer on Etsy (theFindSac) who was able to design all of our artwork that I put into frames I found myself. Everyone kept telling me to stop working so hard on the decorations – that the beach was enough, but I knew in order for this to be special, it had to be something I created by hand.
The final touch was candles – I located almost 100 metallic rose gold and soft gold votive holders. Inside, I placed soft pink votive's that erected a smell of spring throughout the terrace where we had our reception. It was absolutely perfect. I also wasn't one for having everything match – the groomsmen wore navy suits from Brooks Brothers and the bridesmaids each picked out their own gowns. I gave them a large color palette and let them run wild. They all came back with these beautiful vintage designs that worked out perfectly. Every girl is made differently and only they knew what they would feel most beautiful in – I had to let them go find that on their own. I knew they would do a great job!
What was the most memorable moment?
At sunset, we walked back to the beach with our photographer for a few final shots. They are some of my favorites. We were both giddy and excited that we were married, that all our family and friends were in one room, and that we were finally married! It was a bit of a farewell party for us as well as several days after the wedding, we were packing our bags and leaving DC for a new adventure in California for a new job I had. Standing on that beach looking out at the water, we knew it had turned out beautifully and we couldn't be more proud of what we created! My husband is a wonderfully planner and helped equally with everything that took place that day. From the schedule to the music, he played a large part in every detail and it truly was our first big adventure as a team. We were finally embracing the beauty of the island and soaking it all in – it was perfect.
If you could give future brides any advice, what would it be?
Go with your gut. I was told a million times that this formal, elegant dress wouldn't fit in the islands. That it would be too hot, too cumbersome. I ignored. I wanted to get married in the islands because of the beauty that is Caneel, but I didn't want to give up the things I would have enjoyed if we were to have married in Canada – rustic elegance, as I call it. I wanted a formal dress with a church veil to represent my Canadian heritage. I wanted the groomsmen in more formal navy outfits and the bridesmaids to wear long dresses. And most importantly, I didn't want to fall into the trap of the typical island wedding. I learned that you can make anything happen anywhere as long as you're committed to it. From my Louboutins to my dress – I didn't give into anything just because I wasn't getting married at home. Yes, it was a little more stressful sending hundreds of packages to the islands with our supplies, it was worth it in the end because the design and elegance of the event really represented us to a tee. Wear any dress you want! It's your big day and you only get it once. I was so honored to wear a little piece of home on my special day and my now husband absolutely adored it!
Photographer: Elisha Orin Photography // Dress: Lovely Bride, Lea-Ann Belter // Lovely Bride Location: Washington DC // Wedding Planner: Weddings the Island Way + Allison Sells from Caneel Bay // Venue: Caneel Bay


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|15-10-17, 05:40
Join Date: Jun 2011
Location: Kansas
Posts: 2,672
The lion refers to the Nephlim prophecy of their return to glory. Eckhardt fancies himself as the lion referred to by the Nephilim and so do the Lux Veritatis apparently as they made damn sure the Periapt Shards could kill Eckhardt before he brings back the Nephilim or worse.
According the Murti, one of the original ideas was for Karel to ultimately be this lion figure after transcending some plane of existence a.la Stargate SG-1.
The lion also appears in The Lost Domain level right before entering Eckhardt's Lab as the symbol used for Eckhardt's sigil or whatever. Though that level had been moved and merged from planned Germany/Turkey levels and thrown together at the end of Prague.
Ironic, considering Aslan is a Lion depicted as a form of God in the Narnia saga and Mufasa was essentially God in Lion King.
Continuing college for filmmaking. TR fan.
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Who else is glad that it's almost the weekend???
My work laptop decided to roll over and DIE ON ME last weekend. Since I'm a remote employee, I had to wait for our guys to ship me a replacement. Well, I also have shit to get done so… I took a deep breath, opened my office closet door, and pulled out this baby.
Needless to say, my productivity this week has been in the shitter. That's what happens when you go from modern technology to a 2002 caveman OS, not even 1GB of memory and a turtle-speed processor. Luckily the replacement arrived in record time and I'm now back up and zipping along! It's not a Mac, but it'll do, pig. Wait… I just discovered that MS office isn't installed. What the f***.
Come on, weekend.
Today's Clean Eats post is all about my love for Greek Yogurt. First up is my Creamy Curry Dipping Sauce.
- 2TBSP Plain 0% fat Greek Yogurt
- 4-5 shakes of curry powder
- 1TBSP Dijon Mustard
This made an excellent topper and healthier alternative to tartar sauce for my Salmon Cakes. The Salmon Cakes can be found here and they are gluten-free and dairy-free!
Next up, I love to snack on red bell pepper, so I decided to whip up something southwestern as a dip for them.
Southwestern Dipping Sauce
- 2TBSP Plain 0% fat Greek Yogurt
- 4-5 good shakes of Mrs Dash No-Salt Chipotle Seasoning
- let these sit and get to know each other for a bit to open up the flavors
- It's super cute if you serve them in mini-Mason jars.
People, I understand this snack is not quite the Guacamole and Scoops mind asploshun I caused my friend Eric…. …but it's still tasty and much less guilt-inducing.
Next up are two of my favorites when the sugarmonster is getting the best of me. Rather than killing an entire bag of Oreos, I'll grumble but eat this instead.
Coconut Cinnamon Apples with Fruit Dip
- One small to medium apple of your choice, cut into slices or chunks.
- 1TBSP of coconut oilz
Saute the apples in the oil until they're softened but not mushy. Mushy is no bueno. Unless you want chunky applesauce. Then go for it. When they're done, sprinkle them with cinnamon.
Now for the dip!
- 1/2 cup 0% fat Greek yogurt
- Splash of unsweetened vanilla almond milk
- 1 TBSP plain or chocolate PB2
- shake of cinnamon
Mix all this up together in a large bowl, then dump those cinnamon apples over it. Proceed to die and go to heaven. PS – thanks to CarrotsNCake for the apple genius! I originally posted the next recipe back in September, and it's worth mentioning again.
- 1/2 ripe banana, mashed till it's nice and mooshy. Isn't that a fancy description?
- 1/4 to 1/3Cup Fage 0% Greek Yogurt, Plain
- dash cinnamon
- dash nutmeg
- splash Coconut/Almond Milk, unsweetened
- Organic unsweetened shredded coconut (optional)
Mix it all up and eat as-is. Or serve it over waffles. Or as a fruit dip. Or use it as a hair mask. Not really. That would be weird. But you'd smell delish.
If you're bored of your usuals right now, you can also find these recipes/links in my previous Clean Eats post:
- French Toast Scramble
- Mini Crustless Quiches
- Peach's Veggie Saute
- Peach's Spaghetti Squash Bake
- Salmon Cakes
- Italian Meatloaf
- Peach's CrockPot Curry Chicken
Have a great weekend, y'all!


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Friday, May 20, 2016
Love Goes Wrong Skirt Suit - Marilyn Monroe
The "When Love Goes Wrong'' Skirt Suit! I was pretty excited to get to make this suit again, I worked out some of the earlier kinks and added some more support to the collar to give it that wonderful curve. I used a stretch suiting in a lovely charcoal grey and its fully lined in stretch satin with some serious shoulder and bust structure that I hadn't done before but i think was worth it. I also changed the hidden closure making it more secure. Below the actual suit worn by Marilyn Monroe in ''Gentlemen Prefer Blondes''
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Following up on my previous post about the Swiss architects Herzog & de Meuron, ellauniverse.herzog-de-meuron, enjoy their VitraHaus at the Vitra Campus in Weil am Rhein, Germany. The actual building is designed as randomly piled houses with pitched roofs covered in charcoal stucco and stark white interiors. The object of the house is to display Vitra's Home Collection targeted to individual customers with an interest in design. Visit their website at vitra.com and vitra.com/vitrahaus/
Actually the VitraHaus connects two existing buildings, the Vitra Design Museum by Frank Gehry (1989) and the Conference Pavilion by Tadao Ando (1993). The entire concept and the primary purpose behind the design of this five-storey building is the showcase of furniture and objects as if they are in your home, in a welcoming domestic scale. Just wait until the dark sets in and watch the house light up the campus.
Don't miss the walkthrough of the VitraHaus in the video vimeo.com/12645187 and learn more about the project at yatzer.com, dezeen.com and the video bellow.