The art of Jamdani weaving is a time-consuming and labour-intensive form of fabric production by hand on a traditional loom built with wood and bamboo and with little use of metal. Jamdani weaving is based on the traditional knowledge and skills dating back to the fourth century BCE. The distinguishing hallmark of Jamdani weaving is that its designs are neither embroidered nor printed but created directly on the loom in the process of weaving. The product from this style of weaving is called Jamdani, a highly designed cotton fabric which owes its origin to Muslin, the finest and most transparent cotton cloth ever woven by human hand. Of classic beauty, Jamdani effectively combines intricacy of design with muted or vibrant colours. Jamdani is also a highly breathable cotton cloth which brings relief to its users in the hot and humid climatic condition of Bangladesh. The Jamdani weavers have remained in the weaving profession from generations to generations as a means of family livelihood. The element represents Bangladesh’s rich textile heritage, contains significant historic value and has been designated as a unique element of the intangible cultural heritage of the country. Jamdani weaving has survived and thrived due to growing popularity of Jamdani fabrics among Bengali women both at home and abroad. Almost the entire production of Jamdani is carried on in the form of sari, the principal dress of Bengali women. Sari is a long flowing piece of cloth, part of it wrapped around the waist, and the remaining climbs and flows over the shoulder. Women wear more charming or elaborately designed Jamdani saris during festivities and on formal occasions.

Bangladesh 2013

Noken is a knotted net bag or woven bag made from wood fibre or leaves, sometimes coloured and decorated. Noken is a traditional handcraft of all communities of Papua and West Papua Provinces, Indonesia. The day-to-day function of large size noken is for carrying plantation produce, catch from the sea or lake, wood, babies, small animals, shopping, etc., and for hanging at home to store things. Small size noken is for carrying personal effects such as betel nut, food, books, etc. Noken may be used to cover the head or body. For nearly all (275/311) respondents, noken is an accessory to their traditional dress, and according to most (290/311) is used in traditional ceremonies or celebrations, such as marriage proposals, marriage ceremonies, initiation of children, appointment of community leaders, welcoming guests and for keeping sacred heirlooms.. Among mountain communities, noken had been given along with other presentations to make peace between disputing parties. Drs. H. Rahimin Katjong, Deputy Governor of West Papua, recalled wearing a small noken containing betel nut etc at the time of his appointment as a traditional community leader at Fak Fak, West Papua. Nearly all (276/311) respondents explained that noken is used by all age groups, and most (282/311) observed that noken is used by both sexes. As soon as babies learn to walk, their mothers give them a small noken containing food such as sweet potatoes, thus instilling the habit of carrying one’s own needs, which may also be used to help others, inside a noken which is always close at hand. Three quarters of respondents (235/311) said that noken is generally made by women-- ”the Mamas of Papua”--usually adults according to most respondents (250/311). Women thus play a special role in safeguarding noken culture. At Epouto village in Paniai District, we found male orchid-noken craftsmen. Asmat community men also make noken. Most craftspersons make noken in their spare time from agriculture, fishing, and household duties, though some make noken full time. Noken making goes on yearround, but will increase in times leading up to traditional festivals. The method of making noken varies between communities. A basic outline is as follows. Branches or stems or bark of certain small trees or shrubs are cut, sometimes heated over a fire, and soaked in water for some days. After soaking, only wood fibre remains. The Dani/Hugula in Wamena peel bark from sticks of certain trees and then beat the sticks till only fibres remain. The wood fibre is dried, and then spun with the palm of the hand on the thigh of the craftsperson to make a strong thread or string, which is sometimes coloured using natural dyes. This string is knotted by hand to make net bags with various patterns and sizes. The same technique is used to make vests, hats, belts, etc.. In Paniai District we find noken interwoven with special decoration made from fibres from yellow, brown and black. orchid stems. Besides knotting, there are communities which make noken by weaving tree bark, wood fibre, pandan leaf, young sago leaf, or grass from swamps. Some select grasses with contrasting colours (Inanwatan, Metemani, Kais and Kokoda (Imeko) communities). Maybrat community craftspersons colour the fibres with natural colours. The fibres, leaves or grass are woven in various attractive patterns with symbolic meanings. To make noken requires great manual skill, care, artistic sense and inner satisfaction. Craftspersons often make noken while singing traditional songs of Papua. To become proficient in making noken takes up to several months of informal training. A skilled noken craftsperson will be much appreciated within her (or his) community. The diversity of making, wearing and use of noken continues to develop and be recreated as the response of the people of Papua to nature and their environment.

Indonesia 2012

The Mongolian Naadam is inseparably connected to the nomadic civilization of the Mongols who have practiced pastoralism on Central Asia’s vast steppe for centuries. Mongols’ traditional Naadam festival consisting of three manly games is considered as one of major cultural heritage elements which Mongols contributed to the nomadic civilizations. The three types of sports games – archery, horserace and wrestling – are directly linked with lifestyles and living conditions of Mongols and thus become the authentic cultural traditions among nomads. National Naadam is celebrated from July 11 to 13 throughout the country, in soums (counties), aimags (provinces), and the capital, Ulaanbaatar. Naadam represents distinct features of Mongolians’ nomadic culture and traditions, with expression of their unique cultural characteristics and images to become an identity of Mongolian people to the outside world. Thus, Mongolian Naadam has served a key factor to unite the Mongolian people and an important symbol of national solidarity. Mongolian people develop their physical strength, strong will power, patience, space and time related sensitivity and friendly hospitality from the three manly games which provides the cognitive and moral education basis. Main bearers of this cultural heritage are practitioners of the three games. i.e. those who significant part of the Mongolia population. Currently, over 100,000 people practice the traditional wrestling in various clubs and training courses, in addition to 3,000 students studying in several wrestling universities and colleges. Besides, the home schooling is considered one of most effecient forms, as it is the main traditional method to teach and learn the wrestling. Youths who practice wrestling would develop postive personalities such as being friendly, caring to the elderly and modest, besides strong will power, physical strength and courage. The main bearers of horserace appear racehorse trainers and jokey-children. Nowadays, about 400-500 horserace tournaments take place annually and altogether 200,000 horses (some recounted across tournaments) participate in them. About 100,000 racehorse trainers normally train these horses, while over 70,000 children ride and race. Besides, the audience of those tournaments would reach over 300,000 people. The Mongolian traditional home schooling provides extensive knowledge and skills, traditions and customs, culture and art elements of horserace. Compared to other two forms, relatively fewer people (about 10,000) practice and are interested in archery. Similarly, home schooling methods tend to dominate in learning and transmitting archery that family members and relatives become archers a lot. There are hundreds of thousand artisans and craftmen who make various tools and items used in the three manly games through employing meticulous skills and design to make them as collections of various art pieces. For instance, wrestling outfits – hat, boots and shorts, racehorse saddles and jokey’s outfits, and bows and arrows used in archery competitions have specific traditional technology and techniques each. These three sports games make a core blend of traditional arts and sports. Title-singing of horses and wrestlers indicate musical elements embracing songs and melodies. • Wrestling. After the wrestling site has been chosen based on the quality of the grass and the flatness of the site, the wrestling matches begin. Judges in groups of 8, 16, or 32 are divided into two groups which line up at the right and left side of the wrestling site and the wrestlers are divided into two groups at the left and right wings. To present the wrestler to the audience, judges will hold the participant's hat and sing praise songs while the wrestler performs an eagle dance before assuming the position to begin. Wrestling is not only a display of strength and bravery; it is also a competition of skill and technique. The object of the match is to make one’s competitor to fall on the ground with his elbows, knees or any other part of the body touching the ground, at which point he loses. Wrestlers who lose in each round will get eliminated from the tournament. The number of rounds differs from tournament to tournament. There are often 9 rounds at the national festival which takes place on July 11-12 annually and altogether 512 wrestlers wrestle. A half leaves after each round. From the fifth round, winning wrestlers can earn titles starting from hawk, falcon, elephant, garuda /mythical bird/, and lion, to the coveted champion. Wrestlers are divided into two groups or so-called ‘wings’ that the highest ranking wrestlers are listed at the top depending on their titles, such as first grand champions, then champions, lions, garudas, elephants, hawks, falcons etc. • Horserace. Horse-trainers choose potential race horses among horse flocks and train them meticulously, carefully adjusting their daily training and diet. Horse races are grouped in age-specific categories such as stallions, adults, 4-years old, 3-years old, 2-years old and 1-year old which race in different distance categories from 10 km to 30 km. Race horses have their mane and tails trimmed to improve their appearance while their trainers use specially crafted wooden sticks or a brush to remove the sweat from the horse after the race. These sweat-removing tools are often carved and decorated with traditional patterns and images of horses to symbolize their strength. Young riders wear special clothing including the deel and hat. Typically, children aged 6-10 years old jockey racehorses. When registration of the applicant horses is completed, the race administrator rides around the Naadam site three times, while children riding race horses sing ‘Giingoo’ to raise spirits of horses before racing. The winning horse is given the title of ‘Tumnii ekh’ (the mightiest of all), whereas the last horse in the race is given a nickname ‘Buren jargal’ “complete happiness”. The praise song is performed to congratulate winning horses and is called ‘singing titles’. • Archery. This competition is divided into two categories; Khana sur (big bow) and Khasaa sur (small bow). Men shoot from a distance of 75 meters to the target, and women from 65 meters. The target is called ‘zurkhai’, and is made of leather balls neatly lined along the flat ground in two rows. Each archer shoots 40 arrows and the one who shoots the most targets wins.

Mongolia 2010

Airag is the fermented beverage from mare’s milk. This element includes a traditional method of making airag, its related equipment and objects such as khokhuur (cowhide vessel), buluur (paddle) and khovoo (kibble), and associated therewith social customs and rituals. The milking season for horses runs from mid June to early October. Daily milk yield of mares varies from 3 to 6 liters. The basic technique of making airag consists of milking mares and cooling fresh milked milk, and repeatedly churning milk in a khokhuur with starter left inside to assist its fermentation. The liquid must be churned 5000 and more times to make good fermented blend of airag. Mare’s milk undergoes fermentation by lactobacilli and lactic acid streptococci, producing ethanol, lactic acids and carbon dioxide. The airag - mildly alcoholic white beverage emits a delicious smell and its pleasant taste can make your mouth watery. For making the khokhuur, first, the cowhide is soaked and hide’s filament is removed, then it is dehydrated in the wind and fumigated. In such process, the cowhide turns to a white flexible leather. The khokhuur is made from this white leather and consists of mouth neck, corner, body and cords. The buluur is long-handled wooden paddle which is used for churning airag in khokhuur and furnished with bored blade of board at the end. Khokhuur can hold 40 to 100 liters of airag. Airag is used and served as a main and holy drink during various fests and in making offerings and ritual blessings.

Mongolia 2019

Inscribed in 2010 (5.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Mokjang or moksu is a traditional Korean term for artisans who deal with wood. Among the jobs of mokjang, daemok refers specifically to the building of wooden architecture, such as palaces, temples and houses. Woodworkers who engage in daemok are called daemokjang. The term daemokjang also refers to traditional wooden architecture. Daemokjang apply traditional skills and knowledge to construction. Thus, daemokjang complies with the definition of the intangible heritage as ‘knowledge, skills’. In addition, they use traditional materials and techniques. Thus, daemokjang constitutes ‘e) traditional craftsmanship’. Mokjang are divided into somokjang and daemokjang. Somokjang refers to those who make small-scale wooden objects, such as chests, cabinets, desks, dining tray-tables, and wardrobes. Daemokjang are those who build large-scale buildings, such as wooden palaces, temples and houses. Daemokjang are in charge of the entire construction process: planning, design and construction of buildings, and supervision of subordinate carpenters. Thus, the skill of daemokjang cannot be acquired in a short period of time. It takes decades of education and field experience. Wooden architecture has a long history in Korea. Among the best examples are Changdeokgung Palace and Bulguksa Temple, which are inscribed on the UNESCO World Heritage List. These architectural treasures were constructed under the command of daemokjang. In this sense, traditional Korean wooden architecture, built and restored with the skills and knowledge of daemokjang, are appreciated not as mere buildings, but as works of art. The knowledge and skills of daemokjang practitioners are recorded in historical documents, and verified in actual buildings. These practitioners are recognized as successors of the cultural heritage of traditional architecture. Daemokjang skill holders make efforts beyond preserving and transmitting the skills of traditional architecture. Their activities extend to the maintenance, reparation, and reconstruction of historic buildings, ranging from traditional Korean houses to national treasures. Thus, they are recognized as the guardians of traditional Korean architecture. All in all, daemokjang are recognized as successors, symbols, and preservers of the traditional architecture of Korea. This recognition plays a significant role in forming the identity of daemokjang.

South Korea 2010

Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.

South Korea 2012

Fujian Puppetry is an outstanding representative of Chinese performing arts. It consists mainly of string-pulled puppetry and hand puppetry. This performing art started to spread in Quanzhou, Zhangzhou and the surrounding areas in the 10th Century. In the course of its history, it has not only accumulated a considerable amount of traditional plays and changqiang (i.e. arias, vocal music in Chinese opera), but also developed rich and exquisite performing techniques, a unique performing system, as well as marvellous craftsmanship in the modelling of puppets. As a result, Fujian Puppetry has become an art cherished by the people of local communities where it is an integral part of cultural life. Since 1980s, changes in economic production and life style; economic globalisation and a diversified cultural dissemination and, on the other hand, the highly sophisticated performing techniques that require long and painstaking practice are the reasons behind young people’s reluctance to learn and inherit Fujian Puppetry. Given the above-mentioned situation, from 2006 communities, groups and representative bearers concerned formulated the 2008-2020 Strategy for the Training of Coming Generations of Fujian Puppetry Practitioners in order to promote the safeguarding of Fujian Puppetry transmission by focusing on the training of younger practitioners. The key objective of this strategy is to safeguard the transmission of Fujian Puppetry: -\tthrough systematic professional training, bringing up a new generation of puppetry practitioners and raising the self-sustainability of Fujian puppetry; -\tthrough overall safeguarding, educating coming generations of puppetry practitioners and appreciators, and improving the habitat of Fujian Puppetry.

China 2012

The Canggung dance is an identity of the state of Perlis, originated from the Makyung Laut dance, first introduced during the Japanese occupation around 1941. This dance was first performed by two siblings of dancers in an entertainment festival for the Japanese soldiers and public in the city of Kangar. Since then Canggung expanded to all over Perlis and becomes a famous folk dance, performed during the harvest seasons and at wedding ceremonies and festivities. The dance movements have similarities with the Ronggeng dance, but with its own values. Its traditionality lies on the songs sung in exchanges of quatrains and in this way the audiences get the entertainment. The quatrains are synicals, attracting, teasing, as well as jestering and the like, in nature. The dancers dance in couples. A female dancer holds a handkerchief, dances and sings in rotation while spontaneously exchanging quatrains with a male dancer. The female wears batik sarong, long kebaya dress and plucked flowers on the hairbun. The male wears Malay attire and songkok as headgear.

Silat is a combative art of self-defense and survival rooted from Malay archipelago. It was traced at the early of Langkasuka Kingdom (2nd century CE) till the reign of Melaka (Malaysia) Sultanate era (13th century). Silat has now evolved to become part of social culture and tradition with the appearance of a fine physical and spiritual training. There are many styles of Silat which inspired by the movements of human anatomy, nature and animal in which the name of the Silat would be known, for instance, Silat Harimau (Tiger) inspired by the movement of tiger been creatively forms the art of self-defence and attack by initiating a tiger in positioning one's hands, legs and body texture movement. The imitation in an aesthetic rhythmic motion which actually portray the art of the particular Silat. There a variety of Silat styles. In Malaysia alone, there are more than 150 known Silat styles such as "Seni Silat Gayang Lima" "Seni Silat Pukul Buah" "Silat Gayong", "Silat Bunga", "Silat Melayu", "Silat Cekak", "Silat Pulut' and so on. Silat is a martial arts that consists of bodily, spiritual, intellectual and aesthetic emotional movements. The learning of Silat fosters agility, skill, thoughtful, strategic, bold, confident, diligent, creative and courteous. The names of different types of Silat which identify each of its community is derived from the names of natural elements such as animal, plants or any existent found in the environment of Malay nature itself.

Malaysia 2018

Traditional handcrafted textile rich in intangible cultural values, passed down for generations in Java and elsewhere since early 19th Century (Ref. Siksakanda, 1517AD), more widely since mid-1980s. all the steps in the making of batik are carried out by hand. The tools used to make batik are also made by hand. Firstly, the cloth must be washed, soaked and beaten with a large mallet. A pattern is drawn and dots and lines of hot wax are then applied to one or both sides of the cloth using a pen-like instrument called canthing tulis (direngsi/ngrengrengi). Alternatively there is the process of applying the hot wax to the cloth using stamps called canthing cap made of copper. The wax functions as a dye-resist. After this, the cloth is dipped in a dye bath containing the first colour. After the cloth is dry, the wax is removed by scraping or boiling the cloth (dilorod). This process is repeated as many times as the number of colours desired. For larger cloth, the wax is applied using a tool called tonyok (nemboki/mopoki). The details of the process vary between different areas. Batik patterns and motifs possess deep symbolism related to social status, local community, nature, history and cultural heritage. Expectant mothers wear batik; babies are carried in batik slings and touch batik with their feet when they first touch the ground; brides, marriage couples and family members wear batik; even corpses are covered with batik: all with appropriate patterns and motifs. Traditional dress includes batik, Batiks are collected and passed down as family heirlooms, each being a work of art with its own story. Batik craftspersons would fast and pray before making batik while meditating accompanied by traditional songs. It takes several days to make a hand-stamped batik, and at least 1 month to 1 year to complete a hand-drawn batik.

Indonesia 2009

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Korea and the rest of East Asia, engaged in rice farming for several millennia, have formed a rice culture that can be compared to the wheat culture of Europe. Ganggangsullae is one of the most representative seasonal rituals of Korea’s rice farming culture, which permeates nearly every aspect of life among Koreans. Ganggangsullae gives hints about the origins of recreational music and dance emblematic of the Korean peninsula, as it used to be widely performed in the southwestern coastal region of the peninsula and is closely linked to inland circle dances accompanying music, including Notdari Bapgi (Walking Over a Human Bridge) and Wolwoli Cheongcheong (Moon, Moon, Radiant Moon). A combination of various recreational elements based on the basic form of holding hands to form a circle while singing and dancing, Ganggangsullae has been named as such since the refrain “ganggangsullae,” whose exact meaning is unknown, is repeated with every bar. It was originally performed by unmarried youngsters aged between 15 and 20, and sometimes allowing the participation of recently married youngsters. But, when it was designated as a state cultural heritage the community members, largely women in their 40s or 50s, rendered the performance. Since then, Ganggangsullae has been handed down by middle-aged female members of the community, displaying proficient skills, rather than the creative vividness and dynamics of youngsters when they perform it. Traditionally, Ganggangsullae was performed on Korea’s representative seasonal occasions, including Seol (the lunar New Year), Daeboreum (the first full moon day of the year), Dano (the fifth day of the fifth lunar month), Baekjung (the fifteenth day of the seventh lunar month), Chuseok (the fifteenth day of the eighth lunar month), and Junggu (the ninth day of the ninth lunar month), with the one on Chuseok being the largest. As such, Ganggangsullae has been developed into a performance most commonly conducted on Chuseok (Korea’s Thanksgiving). Under the bright full moon, dozens of young village women hold hands to form a circle and sing and dance. While the sun symbolizes men, and the moon, women, and women’s physical features are represented by a round shape, Ganggangsullae assumes the characteristics of the law of imitation, one of the laws of magic, reflecting primitive aesthetics. Because the dancing is strenuous, only young women are allowed to perform, but it is also their privilege as women of child-bearing age. Ganggangsullae is a ballad dance unique to Korea. The songs are poems written by ordinary people and a lead singer set the pace. Fellow performers follow the lead with the next lines in a song. Besides folklore and folk dance, folk music is also incorporated in the performance as traditional Korean music instruments such as a drum and an hour-glass shaped drum accompany the dance, adding to the entertainment. Ganggangsullae is so exciting and dynamic that participants often lose themselves and end up performing from the early evening when the moon rises until the moon sets. Depending on the tempo set by the lead singer, the music is categorized into gin (slow) Ganggangsullae, jung (middle) Ganggangsullae, and jajeun (quick) Ganggangsullae. The tempo of the dancers’ movement also varies according to the music. During interludes, games reflecting life in farm or fishing village are played. They include imitating the Korean terrapin (one person goes into the circle to dance and the next comes in and imitates her), gathering brackens, tying herrings, treading on roof tiles, rolling and unrolling straw mats, catching a mouse (picking the tail), playing gatekeepers, riding palanquins, and looking for a handkerchief. The archetype of Ganggangsullae is found from agricultural folk customs of Mahan, a Korean state that existed 2,000 years ago, according to ancient Chinese historical texts. In the history of man, it is not common to see an intangible cultural heritage handed down for such a long time. This long transmission of Ganggangsullae implies that expectations for the role of women both in the society and in the family have continued for such a long time as well. Traditional Korean society was male centered, and young women were not allowed to sing aloud or go out at night. On Chuseok, however, women could freely sing and enjoy outdoor amusements under the full moon, venting their long-suppressed emotions through Ganggangsullae. The festival guaranteed women a chance to break away from usual restrictions and enjoy the festive mood. Throughout its history, Ganggangsullae also had other functions. It is said that in 1592, Admiral Lee Sun-sin had women perform Ganggangsullae at night around a fire. The flickering shadows fooled the invading Japanese into overestimating the size of Lee’s forces, who ultimately prevailed. Also, listening carefully to the song verses, one can notice that there are many lines criticizing the society. In particular, the words written under the Japanese colonial rule reflect the Koreans’ resistance to the occupation forces. Ganggangsullae is rarely performed in today’s rural villages since most young women have left for cities. But thanks to its national designation as an Important Intangible Cultural Heritage and state-level cultural and educational policies, Ganggangsullae has spread outside its traditional base in the southwestern region of the Korean peninsula. Today, Ganggangsullae is part of the music curriculum of elementary schools and is performed at many secondary schools and universities as well as public festivals across the country. In recent years, research has been conducted regarding the application of Ganggangsullae in the field of art therapy. Ganggangsullae is expected to help those suffering from psychological problems such as depression. Also, new possibilities are being explored as an alternative therapy to help obese women lose their weight and as a means to enhance the well-being of lonely senior citizens.

South Korea 2009

The materials and techniques used to produce high-quality, lightweight ramie textiles known as Ojiya-chijimi and Echigo-jofu, has been developed under its distinctive climatic conditions and transmitted from generations to generations in the long history of the community. After World War II, under the influence of a rapidly-changing society, it fell into a decline. With a strong determination to protect their own cultural heritage, however, the people concerned with textiles and weavings joined forces and reconstructed its base for the conservation and transmission of this intangible cultural heritage themselves. It has been rooted in the community as its cultural identity. In 1955 “Ojiya-chijimi, Echigo-jofu” was designated as an Important Intangible Cultural Property, and “Association for the conservation of techniques for Echigo-jofu, Ojiya-chijimi-fu,” founded by the community, was recognized as the Holding Group of this technique. This Association strongly recognizes “Ojiya-chijimi, Echigo-jofu” as its own cultural heritage and makes every effort to preserve and transmit them. Ojiya-chijimi and Echigo-jofu has a long history. Ramie weaving began in ancient times around Uonuma region in Niigata Prefecture, and we have a remains presumably dated back to the eighth century. In the seventeenth century it was dedicated to Tokugawa Shogunate. As suitable to the hot and humid summer of Japan, clothes made of ramie weaving have been a favourite of many people in various classes for centuries. Thus, those textiles have been constantly produced as a cultural pride for the people of the community, and its producing technique has been transmitted from generations to generations until today. The production area is such a heavy snowfall area as closed by snow during a half of a year, and hence its production technique makes a good use of its distinctive nature and climate. The yukizarashi method is well-known as a unique part of the production process, in which the woven textile is spread on the snow, and bleached by the ozone released as the snow evaporates. The traditional ikat (kasuri) designs are made from threads that were tied before dyeing. They feature various colours in geometric patterns or abstract patterns of plants, or combinations of these. These traditional patterns are still being used by people today, who bring a contemporary sense to the traditional designs. Thus, the community has inherited the traditional producing technique of “Ojiya-chijimi, Echigo-jofu” and constantly recreated this intangible cultural heritage by production with the specific technique. Sophisticated manufacturing of those textiles, process with traditional tools and distinctive utilization of snow are required for the designation as important intangible cultural heritage in this case. It is needless to say that the people of this Association shall fully understand the meaning of their own intangible cultural heritage, cooperate each other and respect mutual skills. Because they are determined to transmit to the next generation what they have inherited from the ancestors, they make every effort to widely disseminate it and hold a workshop for it. The community has constantly recreated a sense of identity and continuity through the conservation and transmission of this important intangible cultural property. The making of “Ojiya-chijimi, Echigo-jofu” is a complex, detailed process. The process must meet specific conditions in order to qualify for Important Intangible Cultural Property status. These conditions have been carried on and transmitted by the Association and the people involved up to the present. ▶Conditions of Designation -TEUMI (Hand-twisted ramie thread) Ramie fibers are split by fingernail and shredded into very fine threads. Further manipulated and moistened by the hands and mouths of threadmakers, the ends of each strand are twisted together to form a continuous thread. An additional tight twisting of the weft threads gives Ojiya-chijimi its characteristic crepe texture. This work takes place during cold winter months when the humidity from snow keeps the ramie threads pliable. -TEKUBIRI (Hand-tied ikat (kasuri) threads) Skeins of ramie thread are bound with cotton thread in a predetermined pattern before being immersed in a dye vat. This method of hand-tying is known as tekubiri. The bound areas resist the dye. When untied, placed on a loom, and woven into a fabric, the kasuri pattern emerges. -IZARIBATA (Use of a body-tension loom) Utilizing a simple body-tension loom (izaribata), the weaver sits on a wooden plank raised slightly off the floor with her legs outstretched underneath the loom. Her foot is slipped into a sling that manipulates a bent, wood lever attached to string heddles. A cloth beam (chimaki) is then placed against the weaver’s abdomen and secured by a strap that is brought around the small of the back. In this position the loom becomes an integrated extension of the weaver’s body. She can achieve subtle adjustments to warp tension by simply shifting her weight. An extremely high degree of skill is required to weave ramie thread as fine as human hair without the thread breaking. -YUMOMI, ASHIBUMI (The SHIBOTORI finishing method) The woven cloth is soaked in hot water and rubbed to remove any starch (yumomi). Afterwards, the cloth is soaked again in hot water and washed by trampling or massaging it with one’s feet (ashibumi). This process softens out the creases in jofu cloth and gives chijimi cloth its beautiful crepe-like texture. -YUKIZARASHI (Snow bleached) Wet lengths of ramie cloth are placed on top of snow-covered fields. For ten to twenty days the textiles are exposed to the bleaching properties of sunlight, which is intensified by the white snow. The cloth is further lightened by the penetration of ozone ions from the melting snow.

Japan 2009