Materials
flower
ICH Materials 175
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Small handbag, hats, fruit bowls, platters, coasters, table mats, and flower ornaments
Mataginifale Women's Group
Niue -
Small handbag, hats, fruit bowls, platters, coasters, table mats, and flower ornaments
Mataginifale Women's Group
Niue -
Small handbag, hats, fruit bowls, platters, coasters, table mats, and flower ornaments
Mataginifale Women's Group
Niue -
Small handbag, hats, fruit bowls, platters, coasters, table mats, and flower ornaments
Mataginifale Women's Group
Niue
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Jaggery production in Myanmar
Jaggery (Htan Nyat) is very important sweet food stuff in Myanmar which is boiled the toddy palm sap(Htan Yee) so that can be made solid jaggery.It's colour ranges from yellow to brown.Toddy palm tree(Htan Pin) are growing especially in Rural Area of Central Dry Zone of Myanmar such as Mandalay Region, Magway Region and Sagaing Region.The jaggery production can be found as the traditional production in most villages from Kyauk Pa Daung, Myin Gyan, Taung Thar, We Laung, Ye Sa Gyo, Pa Kok Ku, Meik Ti La, Poppa, Bagan and Nyaung Oo township. Other growing areas of Toddy palm tree(Htan Pin) are Lower Myanmar such as Tha Nin Thar Yi Region, Ayeyarwady Region, Dawei, Yebyu, Thaton Districts.\nHere, I would like to express about a traditional jaggery production from Zee O village. Zee O village located in Myay Thin Twin Group,Nyaung Oo Township in Mandalay Region. It locates on the south of Old Bagan and about 25km from Nyaung Oo city. For their seasonal livelihood, they pratice traditional way of jaggery making process through their ancestors for long time ago. Among 200 households of Zee O village, 100 are doing jaggery production. We can see the jaggery production as traditional food for their economic life.\nAccording to the different region, collection time of the toddy palm sap(Htan Yee) is not same. In Zee O village, the sap from male toddy palm (Htan Pho) can only be collected from February to June and the sap from female toddy palm (Htan Ma) can only be collected from April to September. nTo collect sap from the toddy tree,the toddy palm climber uses special tools such as small ladder (Yin Swee) fixed to the upper part of a toddy tree and portable ladder (Yin Htaung) used in connection with the fixed ladder and etc. The work of collecting to sap starts early in the morning. The toddy climber climbs the toddy tree via special ladder attached to its trunk and brings down the pots that have filled with the toddy palm sap overnight, replacing them with empty pots at noon.\nFirst of all,heat the pots(Myu Oe) with dry the toddy palm leaves. Afer heating,the pot are roped.And then,poured the slaked lime into the pot. The one of the important things of the toddy climber is the knife(Dar Hnee) which is needed to sharp.\nSo,the toddy climber grinds the knife before his functions. The toddy climbers of Zee O village are distinct from other places of the toddy climbers. For testing knife is sharp, he cut his hairs himself. And then,he carries about ten pots(Myu Oe) with shoulder-yoke and the sharp knife attached to his waist and goes to the toddy palm trees.\nThere are two ways of collecting toddy juice(Htan Yee) depends on male and female toddy tree. A bit of wood(Ka Laing) is wedged into the top of the toddy palm tree to provide seating while he cuts the flower clusters. When the toddy-udders(Htan Nosh) of male tree become blossom, the climber has to clip the toddy-udders toddy-udders with wooden stick or pounding soften that can get much toddy sap. After that,the toddy climber tied nine or twelve toddy-udders cutting for sap into the pots.\nToddy farmer cut female toddy palm's stalks that have fruits for sap collection. He pounds the base of toddy palm's stalk with a small iron hammer (Zauk Khauk). Toddy farmer slice a little to each fruit to collect toddy sap.\nThe sap has to be filtered leaving behind the sediment of lime(Hton Yee Kyi) is put into a stainless steel boiling pan and boiled for about 45 minutes. According to the different region,the kilns for boiling toddy palm sap are different types.In Zee O village, the kilns are made by digging into the ground so that can work for five boiling pans at the same time. While the sap are boiling, the worker has to stir with flat wooden laddle continuously and also has to be added the seeds or powder of castor oil plant so that it cannot be split into the ground. The boiling and stirring has to be continued to get the suitable condition for moulding of toddy palm syrup was obtained. After that, toddy palm syrup was cooled to make granules by hands. Then,it is also dried for about 15 minutes and jaggery is obtained. nAfter that, export jaggery to the buying centre. The buying centre has to put out to dry with the sun. And then,prepare to trade other regions. Especially, Zee O village trade with Nyaung Oo township and Yangon region.\nThere are some animals to disturb the jaggery production such as mouses,squirrels,butterflies, bats,ants,crows and so on. They suck toddy sap,bite the pot's rope and fruit clusters,throw away faeces into the pot.\nJaggery is completely organic without any chemicals.It is used for Myanmar traditional food such as Mont-lone-yay-paw, Mont-lat-saung,Mont-kywe-thae,Thar-ku-yoo,Mont-lat-kout; etc.\nThere has many nutritional values of jaggery. They are protein, fat, carbonhydrate, energy, calcium, phosphorus, iron, mineral, carotine,vitamin and so on.In medical benefits, jaggery treats cold and cough,purified blood,relieves bone and joint pain,strengthens immunity etc.So,jaggery(Htan Nyat) is very useful for snack and traditional medicine.
Myanmar 2019 -
Color of Joy
At the end of the year, the color of the festival takes place on the hillside. Zoom crops are grown around the house to indigenous peoples' and they take part in many ritualistic conduct. From the depths of the mountains, there is a tune of joy. Chakma, Marma, Tripura remember God as their yearbook festival. nThe festive begin the day before the Chaitra songkranti, goes on to1st Baisakh. Chakma girls go out to collect flowers at night for Ful Biju. Silently steal flowers for puja offerings.\nThe next morning, get started flower immersion and worship of the god Ista. At dawn, at Khomong Koria, everyone comes to the group in the morning to worship.For the contentment of the god, they float the flowers that collected last night.\nOn the day of Vaisu Sankri, the Tripuras worship God Shiva.They believe He come down to earth on this day. In his contentment, goodness and wrath came down, in His anger, shortages and pestilences. The bamboo scissors are cut and made to symbolize the god Goria,hang yarn, pant, zoom crop, cotton wrap. The culture of Tripura is evolving on the life of the zoom crop. Therefore, the life of the hill region can be seen in Garia dance.\nThe Sangrai goddess brings good luck and welfare to the people from heaven to the earth. The Sangrai festival started at the moment of her come down. The main attraction of Sangrai is Jolkheli. Marma's belief that the water thrown in the Jolkheli washed away the past year's misery, sin. The New Year is accepted in a holy way. If a young woman likes each other, then the couple express their love throwing water on each other. Through this, their social bond is strengthened.\nBuddha bath is done in water mixed with coconut water and sandalwood. Then starts puja. The yearbook festival of the inhabitants ends with a wish for the good and peace of the world.
Bangladesh 2019 -
Karean Harp (Nar Dane or the kind of string instrument)
The body of the harp is made of good quality Padauk wood. It is not as same as the Myanmar Harp because it is curved in the shape of the hull of a boat. The arm of the harp is made of PJn:ma (kind of large timber tree/ larger stroemiaspecion). The floral scroll-work is curved at the top of the arm and the square shape of the peg is used to tune the strings of harp. The reed of the harp is made of cutch wood. The body of young cow’s skin is covered the body of sound body. There are nine harp strings that are put on it. The creeper strings and the cane strings were yarned together as the harp strings which were used in the past time. Nowadays, steel strings are put on as the harp strings. When making the Karean harp ,first, go to the deep forest and make offering consisting of hands of bananas, coconut etc. The harp is made to be finished in the forest. Before putting the strings on it, it has to be made to gain magical power using star-flower, jasmine, the rock dammar flower, the frangipani flower, the vachellia flower (kind of fragrant flower) and the tiger-lady (species of orchid ). After making the harp, women don’t touch and hold it to make it more magical power according to Karean’s Tradition or custom.\nThe playing method of the Karean Harp is easy and simple. It can be easily learned to play by hearing musical scale up and down when the skillful player is playing it. After tuning the harp strings, it is held tenderly to the bosom. Left hand is placed with five or six strings for opening and closing tunes. The rest of one to four strings have to be played with the right thumb and forefinger.
Myanmar 2014-07-09 -
China - When a pigeon’s flower blooms
This is an original dance based on the ‘Shoulder Bell Dance’, a representative folk dance of the Qiang people. While the Shoulder Bell Dance originated from the shamanic rituals of the Qiang, it has since evolved into a popular dance performed by women during traditional holidays and ethnic festivals.\n\nThe Qiang is a minority ethnic group that lives in Sichuan Province, China. The history of the Qiang people dates back 4,000 years, being almost as long as the history of the Chinese civilization. Due to geographical conditions limiting their interactions with other ethnic groups, the Qiangs have managed to preserve a their culture in its original form relatively well. Music and dance have been a part of daily life and a respite from its hardships for the Qiang since ancient times. The Qiangs are particularly talented in dance, and continue to uphold a remarkable culture of dance.\n\nCharacteristics:\n∙Originates from shamanic rituals in primitive religion\n\nPerformed by College of Art, Chengdu Sport University\nDirected by 로봉
China Oct 3, 2013
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3rd APHEN-ICH International Seminar Diversity and Distinctiveness: Looking into Shared ICH in the Asia-Pacific
Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.
South Korea 2021 -
2020 ICH NGO Conference : ICH and Resilience in Crisis
On 12 and 13 November 2020, ICHCAP and the ICH NGO Forum virtually held the 2020 ICH NGO Conference entitled “ICH and Resilience in Crisis.” The fifteen participants, including eleven selected presenters from ten countries around the world, discussed various cases and activities of each country applied under the Corona-era, and proposed solidarity for the resilience of ICH for a ‘New Normal.’\n\nSession 1: In the Vortex: COVID-19 Era, Roles of NGOs to Safeguard ICH\n\nSpecial Lecture 1: 'Resilience System Analysis' by Roberto Martinez Yllescas, Organization for Economic Co-operation and Development (OECD) in Mexico\n1. 'Uncovering the veil of immaterial cultural heritage towards and autonomous management of well-being as well as cultural and territorial preservation' by Carolina Bermúdez, Fundación Etnollano\n2. 'Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China' by Kai-kwong Choi, Life Encouraging Fund \n3. 'Indigenous Knowledge System as a vector in combating COVID-19' by Allington Ndlovu, Amagugu International Heritage Centre\n4. 'Enlivening Dyeing Tradition and ICH: The initiative of ARHI in North East of India' by Dibya Jyoti Borah, President, ARHI\n\nSession 2: Homo Ludens vs. Home Ludens: Changed Features COVID-19 Brought\n\n1. 'The Popular Reaction to COVID-19 from the Intangible Cultural Heritage among Member Cities of the ICCN' by Julio Nacher, ICCN Secretariat, Algemesi, Spain\n2. 'Innovation for Arts and Cultural Education Amid a Pandemic' by Jeff M. Poulin, Creative Generation\n3. 'Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan' by Ghiasuddin Pir & Meeza Ubaid, THAAP\n4. 'Shifting to Online Activities: Digital Divide among the NGOs and ICH Communities in Korea' by Hanhee Hahm CICS\n\nSession 3: Consilience: Prototype vs. Archetype for Educational Source\n\nSpecial Lecture 2: 'Geographical imbalance: the challenge of getting a more balanced representation of accredited non-governmental organizations under the 2003 Convention' by Matti Hakamäki, Finnish Folk Music Institute\n1. 'Crafting a Post Covid-19 World: Building Greater Resilience in the Crafts Sector through Strengthening Ties with its Community’s Cultural System' by Joseph Lo, World Crafts Council International\n2. 'Arts and Influence: Untangling Corporate Engagement in the Cultural Sector' by Nicholas Pozek, Asian Legal Programs, Columbia University\n3. 'ICH in the South-Western Alps: Empowering Communities through Youth Education on Nature and Cultural Practices' by Alessio Re & Giulia Avanza, Santagata Foundation for the Economy of Culture\n\n
South Korea 2020 -
The Traditional Musical Instruments on Myanmar
The traditional musical instruments of Myanmar were prominent throughout the nation’s history. The instruments were developed as early as the Pyu Era, Bagan Era and many were dominant features of music during the Innwa Era and Konbaung Era.\n\nWhile some of these instruments have been preserved and are used today, others have been lost to history.\nIn an attempt to preserve the traditional musical instruments of Myanmar, the Ministry of Culture displayed traditional instruments and distributed the books about the instruments during an exhibition in 1955. This research shows thirty-three kinds of instruments. Moreover, in a 2003 celebration of traditional instruments, the Ministry of Culture exhibited over two hundred traditional instruments at the national museum.\nWhile the instruments on display were representative of many regions and states, many instruments were not included.\nBecause of this lack of full representativeness, additional research through field studies is required. This project proposal addresses this need.\n\nTo create a preliminary basis towards developing a national ICH inventory of craftsmanship and performing arts of traditional musical instruments in Myanmar. To safeguard ICH related to the craftsmanship and performing arts of traditional musical instruments and to promote cultural diversity among multi- ethnic groups in Myanmar. To raise awareness of the Myanmar public on the importance of ICH. To expand networking and information sharing between Myanmar and Korea.
Myanmar 2014
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Malayalam lullaby
This lullaby playfully asks the child, “Do you resemble a lotus or a creeper? A dancing peacock, a Parijat flower, a lamp, or a bouquet of flowers? Are you as pure as milk or as fine as jasmine? Are you born with the blessings of Lakshmi Bhagavati or Lord Padmanabha?” The themes are typical and include the beauty of the child and the blessings of a god. It is sung to the rhythm of the cradle’s rock.
India 1938 -
Son Fiyoangon Yolfat me aetewe naiun(The Story of Yolfat and His Son)
A long time ago, there lived two sisters on a beautiful island. The older sister married a man, while the younger sister had a son without a husband. The two sisters were happy. One day, the younger sister went to fix a lei with the flower tree at the end of the island. After fixing the lei, she got tired and decided to sleep under the flower tree. She woke up and saw a man on the tree. The man proposed to her, and she accepted. The man asked her to leave her son with her older sister. After they left, though, the older sister started treating the boy very badly. One day, the older sister got mad and told the boy to look for his own mother. He left the house and climbed the flower tree and went to another world, where he met his mother. There, the boy met a man named Yolfat. Yolfat asked his mother if the boy could stay with him and become his son. The mother allowed her son to stay with Yolfat, who taught the boy how to navigate, sail, fight, etc. One day, the boy went to take a shower on the other side of the island and met a big, strong ghost. They started fighting until the last minute before sunrise. The ghost asked the boy who his father was and he answered it was Yolfat. Admitting defeat, the ghost named him Palulap, which means the one who has all knowledge of everything. The boy returned to Yolfat and told him what had happened. Yolfat told him to go back to the other world and spread his knowledge, so Palulap became the one who taught the knowledge of navigation to the people in this world. Note: Yolfat is used in the outer islands of Yap, whereas the Yapese main island uses Yalfath. Both Yolfat and Yalfath indicate the same god.
Micronesia -
Tukituki seni mulomulo(Pounding on the Mulomulo Flower)
This is a nursery rhyme that teaches children rhythm, numeracy, ancestral names, and the history of battles.
Fiji -
A Light Pink Flower that Doesn’t Bloom in a Valley, Khooloid Urgadaggui Khondon Yagaan Tsetseg
Mongolian folk songs are divided in three different categories, such as long songs, short songs and the authors’ songs. Folk songs are shorter than other forms of expressions with average durations of one to five minutes, but there is a high volume of them. Thus, restoring, categorising, and digitising folk songs were the most time-consuming tasks compared to others. Within the framework of the project, just under forty-eight hours of songs were restored and digitised.
Mongolia 1905
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Benedictions
Benedictions\n\nMongolian well-wishing is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Briefly, benedictions (well-wishing) propitiate people’s future happiness and well-being through skilfully composed and recited poems. There are thousands of benedictions on various subjects. For instance there are benedictions recited while beating the sweat cloth of a saddle, while distilling milk vodka, while celebrating a birth, and while cutting an infant’s hair for the first time. Besides ancient benedictions, many contemporary benedictions are being kept at the ILL. These include benedictions for a new ger, weddings, a child’s first haircut, endowment practices, mare-milking ceremonies, foal-branding ceremonies, the People’s Revolution, and others for the military.
Mongolia 2012 -
Folk Short Songs
Folk Short Songs\n\nMongolian folk songs are divided in three different categories, such as long songs, short songs and the authors’ songs. Folk songs are shorter than other forms of expressions with average durations of one to five minutes, but there is a high volume of them. Thus, restoring, categorising, and digitising folk songs were the most time-consuming tasks compared to others. Within the framework of the project, just under forty-eight hours of songs were restored and digitised.
Mongolia 2012 -
EPICS1
EPICS 1\n\nThere were more than fifty epics performed by renowned epic tellers, including S. Choisuren, B. Avirmed, Sh. Buyan, M. Yadmaa, G. Khainzan, Ts. Zodov, G. Od, T. Purev, R. Lkhagva, Ch. Khartsaga, Dugersuren, Kh. Zambal, R. Duvchinsambuu, D. Bat-Ulzii, E. Namilan, B. Gombojav, B. Gurragchaa, and U. Bataa that cover over 136 hours of the restored and digitised recordings.
Mongolia 2012 -
Odes
Odes\n\nAn ode is an expression of noble feelings of some events and it is linked to certain ceremonies. There are many common characteristics among benedictions and odes. People who recite odes can perform them to a very specific tune. Benedictions are rich in expressing future dreams and fantastical thinking. But odes express present events, as well as people’s pride, admiration, and enthusiasm. There were just over ten hours of restored and digitised odes.
Mongolia 2012
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Sounds from Mongolian Grasslands_Oral Traditions and Performing Arts in Mongolia
Sounds that Run in the Vast Grasslands of Mongolia_Oral Traditions and Performing Arts in Mongolia\n\nSince the early 1950s, the Institute of Language and Literature at the Academy of Science (ILL) has been sending survey teams one to three times a year to research and gather data on oral literature and local dialectics. These activities set the groundwork for officially establishing a new archive with written documents and magnetic audio tapes that could be used for research purposes and be maintained. Preserved on magnetic tapes are languages and dialects that have gone extinct, have lost their distinctiveness, or have been adsorbed into other languages or dialects.\n\nHowever, most of the magnetic tapes being kept at the ILL are more than sixty years old, and the expiration date on many tapes has already lapsed. Also, improper storage conditions have caused some tapes to dry out, cling to one another, or fracture. For these reason, it would be hard to transmit to the next generation. Accordingly, since 2008, efforts have been made towards restoring and digitizing superannuated magnetic tapes within the internal capability and capacity of the ILL. The lack of training, finance, and proper tools and technical equipment has, nevertheless, created several obstacles and the digitizing results have not been very successful.\n\nAt this crucial state, the ILL introduced a cooperative request to the Foundation for the Protection of Natural and Cultural Heritage (FPNCH), and the FPNCH proposed that ICHCAP continue the joint project and take measures for restoring and digitizing superannuated magnetic tapes and distributing and disseminating the data among the general public. According to the above decision, the FPNCH and ICHCAP implemented the Joint Cooperation Project of Safeguarding Intangible Cultural Heritage by Using Information Technology from October 2011 to April 2012.\n\nAs the first stage of the project, the Expert Meeting for Safeguarding ICH by Using Information Technology was held in the Republic of Korea to exchange information with experts for digitizing and restoring the analogue data. The experts of Mongolian National Public Radio, the ILL, and the FPNCH started the project after sharing restoration and digitization knowledge with the Munhwa Broadcasting Corporation (MBC) of Korea, the National Archives of Korea, and the Korea Film Council.\n\nAs the main outcome of the project, a total of 715 hours of superannuated magnetic tapes including epics, folk tales, tales accompanied by the morin khuur, traditional arts, khuumei, chor, long and short folksongs, and traditional customs were restored, digitized, and categorized. Among them, 128 audio clips were selected and reproduced in a ten-CD collection called Sounds from the Mongolian Grasslands. The collection also includes a twenty-page handbook in English or Korean. Through this project, the general public’s, involved organizations’, and domestic and international experts’ awareness about Mongolian ICH increased, and the archive and music contents of regional ICH were strengthened.
Mongolia 2012 -
Melodies from Uzbekistan
In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.
Uzbekistan 2015 -
Intangible Cultural Heritage Elements of Ferghana Valley
Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.
Uzbekistan 2015
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Pinagmulan - Enumerations from the Philippine Inventory of Intangible Cultural Heritage
This publication of the guide book on intangible cultural heritage of the Philippines is the precious result of the enthusiastic efforts made by the National Commission for Culture and the Arts (NCCA) to reconfirm and restore the national treasure of the long protected traditional culture, which have been alienated and marginalized during the colonial period of many centuries. This guide book has been edited to understand holistically the entire aspects of living heritage, the five domains defined by the Convention, and emphasize the importance of the communities practicing and transmitting them.
Philippines 2013 -
2009 Field Survey Report: Intangible Cultural Heritage Safeguarding Efforts in Vietnam
Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some South-East Asian countries (2009-2012), this summary provides a brief overview on the ICH situation in Cambodia, Thailand, Viet Nam, Indonesia, the Philippines, Laos, and Myanmar . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Apart from the main topic, information on the situation of intellectual property related to ICH safeguarding in each country is included. This survey report offers a large sample of the diverse ICH situations in South-East Asian countries. Each country has a different background on the issue of intangible heritage. \n\nFor instance, Indonesia is the only country participating in the field survey that has a programme in the Register of Best Practices. Viet Nam developed ICH-related definitions in its Law on Cultural Heritage; whereas the Philippines has a strong legislative background and solid network of public structures protecting cultural heritage. Cambodia recognises the link between cultural heritage and development of national economy and runs relevant activities on promoting traditional culture while maximizing its economic benefits to the country. For Laos, training local artists rather than researchers in ICH safeguarding, including IPR, is deemed to be essential, as the artists are the important resources that master their arts. Among the South-East Asian participants, Thailand and Myanmar are the newest to approach ICH safeguarding. Although all countries are concerned about the threats ICH faces, most countries participating in the survey haven’t defined ICH and haven’t established national ICH lists. Meanwhile, drawing up an inventory of traditional cultural expressions in different forms—register, cultural map, or database—is a common activity in these countries. Moreover, each country expresses a high degree of motivation and encouragement for safeguarding ICH, sharing experiences, and promoting international cooperation.\n\n- Ratified the ICH Convention in 2005; conducted survey in 2009 and updated in 2015.\n- As of March 2018, has 11 ICH elements on the RL, 1 element on the USL, and 2 accredited NGOs.\n
Viet Nam 2010 -
ICH Courier Vol.11 ICH AND WEAVING WITH BARK AND PLANTS
ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 11 is 'ICH AND WEAVING WITH BARK AND PLANTS'.
South Korea 2012 -
ICH Courier Vol.3 ICH AND TEXTILES
ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 3 is 'ICH AND TEXTILES'.
South Korea 2010
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ETHNOBOTANY OF MALAYSIAEthnobotany is an area of scientic studies investigating practical uses of indig-enous plants by people in a particular culture and region, which are inherited through traditional knowledge (www.fs.fed.us/wildflowers/ethnobotany). The term was first conceived by John William Harshberger, but the area really became well known by Richard Evans Schultes beginning with his Amazon expedition (Balick 2012). The use of plants as food sources and medicines date back to origin of human life, although the type of uses was not sophisticated as the modern forms. Overtime it has evolved into many forms in diverse cultures by local peoples. Since the first uses, people have learned to identify and classify the plants and understand the features and roles of plants. All the priceless knowledge has improved the uses of plants, and the knowledge has passed on across generations in the local cultures, which makes usage of plants even more sophisticated.Year2020NationSouth Korea
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Preserving Uncultivated Food Resources for Food Security in Bangladesh"BeezBistar Foundation (BBF), a community action-based non-governmental organization, was formed in 2009 by development workers and researchers. “BeezBistar” means prosperity in life and peaceful and joyful relations between human beings and all other life-forms. BBF works with local communities, especially farmers, weavers, fishers, adivashi, dalit, and other marginalized and socially vulnerable people for a prosperous and healthy life. Its guiding ethical principles are non-discrimination on the grounds of caste, race, class, and gender. BBF believes in people’s capacity to transform their existing situation of poverty and become pros- perous through a mediated process of interdependent, collective, and community support and actions. The notion of BEEZ is grounded in the local and indigenous culture of the peoples of Bangladesh, as well as advanced by science and life-affirming knowledge and technologies."Year2020NationBangladesh