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ICH Materials 1,379
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PROMOTING AWARENESS AND ENGAGEMENT WITH TRADITIONAL MALAY PERFORMING ARTSThe Kakiseni Association was established in 2001 as the only online platform for artists to post information about productions and events, share news about auditions, reviews, and interviews, essentially functioning as an information hub for artists. In 2011, Kakiseni registered as a non-profit organization and expanded its scope of activities to include events and initiatives aimed at increasing audience size and appreciation for performing arts; developing the skills of Malaysian performing artists and the quality of their performances; and advocating for the arts to the Malaysian government and businesses.Year2017NationSouth Korea
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Sul, Traditional Medicine and Family : Korean Case StudiesRecently Korea’s traditional liquors have increasingly drawn the atten-tion of the general public and the national and local governments as cultural heritage. There are, however, some misunderstandings as to what “drinking” liquor means in the traditional Korean society. This is the context in which the authors of this paper decided to investigate the culture of sul in traditional society and as well as the changing aspects of such culture. In Korean tradition, sul or liquor was considered a part of daily diet not solely for entertainment or social activities. Every household brewed sul because its use in family life was very important, specifically with respect to ancestor worship, entertaining relatives, friends, neighbours and guests, and even for medicinal use. This paper deals with sul focus-ing on its medicinal purpose but it also presents the culture of sul which should be understood within the context of the daily life of a family.Year2019NationSouth Korea
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Traditional Medicine in Syria: Knowledge, Beliefs & ExperiencesSince ancient times, Syrians have practised traditional medicine just as many eastern and western civilizations have, where common natu-ral ingredients—such as tea and opium in the east and tobacco, coffee and wine in the west—were used in traditional methods for healing ailments and diseases. Traditional therapies used in Syria include plant- and animal-based therapies, leech therapy, cupping, cauteriza-tion and others.\nToday, traditional medicine is practised by all Syrian communities, where traditions and beliefs vary among different governorates and areas. There are literally hundreds of traditional healing methods still practiced in Syria today.Year2019NationSouth Korea
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Dai Yen, village des herboristes traditionnels au coeur de Hanoï (Vietnam)Aujourd’hui, bien que la médecine moderne aidée par les nouvelles technologies joue un rôle indiscutable, la médecine traditionnelle avec l’utilisation des ingrédients naturels pour les soins de santé attire de plus en plus les gens. Le Vietnam est un pays multiethnique et pluriculturel, chaque peuple, groupe local, région détient des savoir-faire propres que ce soit pour les pratiques de traitement des malades, soit pour le main-tien en bonne santé, mais aussi pour le bien-être quotidien. En début d’année 2003, une équipe des chercheurs du Musée d’Eth-nographie du Vietnam (MEV) à Hanoï, a mené une enquête sommaire dans divers marchés de la ville ainsi que dans les rues des herboriste-ries du vieux quartier de Hanoï, dit des 36 rues. Ce premier travail nous a permis de concentrer notre recherche sur Dai Yen, village ayant une longue histoire en herboristerie. Cet article a pour ambition de présenter les pratiques traditionnelles des herboristes de Dai Yen et de retracer les activités du MEV dans le but de valoriser des connaissances ancestrales en médecine populaireYear2019NationSouth Korea
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Community Empowerment through Promoting Intangible Cultural HeritageNagorik Uddyog (NU) was founded in 1995 by a group of nationally and internationally renowned Bangladeshi human rights activists and academics aiming to promote good gover-nance, access to justice, and the institutionalization of democracy at the local and national level. In the beginning, the organization worked on voter education programs and raised awareness among women that they could claim their rights from local government institutions and from the community. In this awareness-raising initiative, community cultural heritage properties like the Baul folk songs were used and earned immense popularity. Over a period of time, NU extended its activities across the country with specific focus on the rights of marginalized people, especially Dalit rights, land and human rights of Indigenous peoples, and access to justice for rural communities.Year2018NationSouth Korea
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Engaging Society in Cultural Preservation and Development through the Angklung MovementIn December 2011, Rumah Angklung was founded by a group of young people who loved and cared about the Angklung (a traditional Indonesian musical instrument) and finally had the initiative to create a community. That community is now a serious foundation committed to preserving and developing Indonesian art and culture, especially related to angklung.\nRumah Angklung has a responsibility to continue working and instill pride in people far and wide. “When Culture Becomes a Pride” includes the common threads, ideals, and dreams of Rumah Angklung to make Indonesian culture prestigious. Rumah Angklung could hopefully be a “home” for individuals, groups, or other angklung communities for gathering information, seeking solutions, and experiencing many other benefits of angklung. In these activities, the purpose of angklung preservation and development can be achieved.Year2018NationSouth Korea
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Alpine Communities and Their Food Heritage as Intangible Cultural HeritageFrom 1990 to 2010, as an ethnologist devoted to the process of heritagemaking, I investigated Alpine communities and their strategies in facing a changing world. In an historical perspective, my eldwork has been oriented to making memories and the ways they worked as strategies of resistance in facing the many uncertainties of the future (Certeau 1990).Year2019NationSouth Korea
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MalakwangDuring the first pilot project implementation on inventorying intangible cultural heritage in Uganda from 2014, Gulu Theatre Artists have been investigating a number of traditional foods within the Pageya Chiefdom to get an overview over the rich food tradition in this area.Year2019NationSouth Korea
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Safeguarding Italian Traditional RecipesFood, together with its preparation, cooking, sharing, and consumption, is now considered a form of cultural heritage (Brulotte, 2016). Traditional cuisine is passed down from generation to generation and is often an expression of cultural identity of communities. For example, sometimes the only thing migrants carry with them is the food of their countries, and cooking traditional food is a way to preserve their culture outside their place of birth. It is not surprising that today, food is receiving special attention from governmental organizations with the aim of preserving historical roots and cultural identication, providing food as close as possible to the farms of production and addressing health problems such as reducing obesity and\nunbalanced nutrition.Year2019NationSouth Korea
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The Safeguarding and Diffusion of Native Traditional Foods of Baja California, MexicoTraditional food systems of native peoples around the world are critical to cultural identity and customs as well as to the continuation of biological genetic diversity. However, such traditional cuisines are becoming increasingly vulnerable due to the advent of global food systems, agroindustry, and changing lifestyles as well as to shifting preferences and ignorance of original ingredients. Furthermore, territorial transformations and distancing from ancestral lands have led to the loss of knowledge regarding the benefits of diverse ecosystems and their natural resources.Year2019NationSouth Korea
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Gundri, a Traditional Nepali MattressMade up of hand-woven rice straw, gundri is used as a sleeping bed and sitting mat and for drying pulses and grains, especially in the countryside. People, peasants in particular, fold gundri into a vertical circle where they store rice and grains; it is called vakari. Giving gundri as a wedding gift is also a practice in Nepalese culture. In performing cultural and religious activities, chokho gundri (pure mattress or newly made mattress) is used.\n\nOnly the Nepalese with special knowledge and skill can make gundri. In October and November after rice is harvested, they save long and flexible rice straw to make gundri. Women start making gundri from November to February. A rectangular wooden framework with a rope, known as taan, is needed to make gundri. A long horizontal wooden frame with a rope called hataso is used to combine and tighten the straw. Normally, it takes three to four days to complete one gundri. However, the size of gundri determines the time to make it.\n\nSelling gundri is also a source of income for Nepalese women in the countryside. They normally sell it within the range of NPR 400 to 500, depending on the size, and it can last for three to four years. The increasing urban lifestyle of the Nepalese and the preponderance of mass-produced mattress make it difficult for handmade gundri to compete in the market, which has resulted in diminishing interest making and using this traditional Nepali mattress. Consequently, during the major festival season (October to December), some NGOs based in Nepal run gundri-making workshops and exhibitions to increase public attention to revitalize traditional knowledge of gundri and empower women, the major producers of the mattress.\n\nPhoto : Making gundriYear2017NationNepal
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Intangible Cultural Heritage Information in Critical Times: Questions on Production and DisseminationThis essay is the second in a series that chiefly argues for the importance of seeing intangible heritage protection as a form of human rights protection and thus a necessity in critical times such as COVID-19 pandemic. But is “heritage in critical times” a new concept? How do we qualify “critical times”? How has the discursive portrayal of bodies of knowledge and practices, as well as natural and built environments, in need of protection reinforced the concept of critical times?\n\nThis idea of “heritage in critical times” initially surfaced in the discourse around intangible heritage: when a cultural symbol is threatened by a physical harm. In Terrorism, Conflicts and the Responsibility to Protect Cultural Heritage (2016), Federico Lenzerini notes that the intent to eliminate communities is the common denominator characterizing all main cases of destruction of cultural heritage throughout history such as the demolition of part of the Pyramid of Menkaure in Egypt by Sultan Al-Aziz Othman at the end of the twelfth century, the systematic destruction of mosques and other religious or historical constructions during the Balkan wars in the former Yugoslavia in the 1990s, and the destruction of the two ancient giant Buddha statues in the Afghan valley of Bamiyan by the Taliban in 2001. What’s deeply significant in the discussion of Lenzerini is its commitment to the concept of cultural heritage as a “common good” belonging to all of humanity, noting the preambles to the 1954 Convention on the Protection of Cultural Property in the Event of Armed Conflict and the 1972 World Heritage Convention, affirming that “deterioration or disappearance of any item of the cultural or natural heritage constitutes a harmful impoverishment of the heritage of all the nations of the world.” This collective belongingness to heritage from tangible cultural heritage definitely persists when intangible cultural heritage (ICH) came to the fore, except ICH introduced threats to heritage in an abstract sense such as globalization and abandonment of traditional ways of life. Nevertheless, this kind of attitude toward heritage succinctly legitimizes the responsibility to protect all cultural heritage elements, tangible (including natural) and intangible, as an innate obligation, a part of coming into humanity. This also implies that the idea of “critical times” has made it possible to see and imagine some objects and practices as representative of our humanity and call it heritage. In other words, “critical times” arguably directed the generation of heritage knowledge as well as public measures to protect and rescue those cultural symbols we now call heritage of the humanity.\n\nThe above description of a link between “critical times” and heritage signals that even before the emergence of the COVID-19 pandemic, safeguarding and conservation practices were already situated within complex circuits of cultural interactions, interventions, and initiatives. And when social activities began to be restricted, cities placed on different forms of lockdowns, festivals cancelled as among the calamities brought by the pandemic, heritage protection has just become more complicated and challenging. Due to the fact that social distancing has become the most pervasive preventive measure against coronavirus, it has become almost instinctual to us to heavily rely on the internet to gain some modicum of normalcy, to be in touch with each other. In my observation, cultural practitioners in the ICH field also adopt the same formula in continuing their work, resorting to online infrastructures to conduct relevant activities. For example, UNESCO is developing a plan of action for Central America to ensure universal access to documentary heritage, which includes the use of community media to assuage the limited capacity of many people to internet access. I can only imagine the strong intent of organizations to continue the safeguarding and transmission of ICH thru every possible means, though this time, with a stronger consideration of digitizing community traditions, translating practices into electronic records, cultural rituals into screen. However, the reflexive use of internet or online technologies in ICH safeguarding and transmission in the pandemic may calibrate problems such as heritage fossilization. What are our views on the internet or digital technologies in areas of heritage archiving, documentation, and information dissemination in critical times? I argue that the continuous safeguarding and transmission of ICH must include a consideration of how ICH information is produced at the community or individual level, not only the possible means that such information can be disseminated in critical times. How then can we support communities, groups, and individuals in order for them to remain at the center of ICH information production? What new modes of documentary procedures can we implement that regard the fluency of the ICH of communities, relevant ethical frameworks as well as possible health risks?\n\nAlbeit the use of digital technologies can alleviate the feeling of impoverishment of information, there certainly is no single solution to a massive problem and sharing of experiences, as well as persistent networking, can make a difference in better understanding different contexts, specifically community needs and available instruments for heritage work to continue. The consumption of ICH information as a digital output may well be very possible in a context of restricted social mobility, but the production of such ICH information (for example, this online exhibition of ICH in South Asia and the Pacific) nonetheless requires actual social interaction. I maintain that ICH communities and tradition bearers should remain at the center of any effort to produce and disseminate ICH information.Year2020NationAfghanistan