Materials
pacific
ICH Materials 550
Publications(Article)
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Inspire Tasmania: A Matter of Cultural Sustainable DevelopmentThe Migrant Resource Centre Inc. (MRC) in Southern Tasmania has launched Inspire, an innovative and vibrant program connecting Tasmanian performing artists to a broader community. The project’s website introduces a range of artists—migrants and refugees alike—bringing multicultural creative practices to the fore. They are talented individuals and groups of musicians, dancers, and public speakers who have been selected for their exceptional cultural skills and their ability to deliver professional performances in a range of settings. Tasmanian Chinese Community, for example, can present 56 different Chinese ethnic performances incorporated with traditional Chinese instruments. The Neeraalaya School of Dance is Tasmania’s premier Bharatanatyam dance troupe while Shuang Zhang is a conservatorium trained Chinese opera singer and dancer.\n\nInspire is funded by the Tasmanian government, Department of State Growth, while its website receives funding from the Tasmanian government, Department of Premier and Cabinet, Communities, Sport and Recreation. On its website, the performing artists are shown with a brief introduction about their own stories and expertise.1. The public can access the site and request performer(s) accordingly.\n\nThe performing artists get every opportunity to showcase their talents; in return, already-existing communities can experience their distinct performance for free. They say it is generating “common benefit and mutual prosperity.” MRC is not just giving the performing artists an online platform but more importantly it is helping them receive appropriate professional training to further refine their competence. Also, bi-cultural workers and volunteers have supported Inspire participants throughout the program. It is expected that this project can contribute to settle cultural sustainable development in Tasmania.\n\nPhoto : Karen Choir Hobart - The Karen people are a culturally and linguistically diverse ethnic groupYear2017NationAustralia
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People on Vanuatu’s Malekula Island Speak More than 30 Indigenous Languages. Here’s Why We Must Record ThemMalekula, the second-largest island in the Vanuatu archipelago, has a linguistic connection to Aotearoa. All of its many languages are distantly related to te reo Māori, and the island is the site of a long-term project to document them.\n\nVanuatu has been described as the world’s “densest linguistic landscape,” with as many as 145 languages spoken by a population of fewer than 300,000 people.\n\nMalekula itself is home to about 25,000 people, who among them speak more than thirty indigenous languages. Some are spoken by just a few hundred people.\n\nIndigenous languages around the world are declining at a rapid rate, dying out with the demise of their last speakers. The UN Permanent Forum on Indigenous Issues estimates one indigenous language dies every two weeks. As each language disappears, its unique cultural expression and world views are lost as well. Our project in Malekula hopes to counter this trend.\n\nMalekula Languages\nThe work in Malekula began in the 1990s when the late Terry Crowley hosted a Neve’ei-speaking university student from a small village. The encounter inspired his interest in the island’s many Indigenous languages.\n\nThe Malekula project works with communities to facilitate literacy initiatives, often in the form of unpublished children’s books and thematic dictionaries. The research highlights the value of Indigenous languages as an expression of local cultural identity. The Malekula project is a response to the urgent need to record the island’s indigenous languages in the face of significant changes to almost every aspect of traditional life. These changes have brought indigenous languages into contact and competition with colonial English and French and the home-grown Bislama, a dialect of Melanesian pidgin. From education to religion, administration, and domestic life, Bislama is now often the language of choice.\n\nWhy is that a problem? The value of indigenous languages lies in the fact that they articulate the way in which people have engaged with and understood their natural environment.\n\nMalekula has a 3,000-year history of human settlement. Each language spoken on the island encodes unique ways in which its speakers have sustained life. Indigenous languages preserve ways in which people engage with their environment.\n\nAnother fundamental aspect of indigenous languages is their direct link to cultural identity. In a place where distinctive local identities are the norm, the increasing use of Bislama reduces the linguistic diversity that has been sustained for millennia.\n\nIn recent times, the way of life for the people of Malekula has shifted from intensely local communities to broader formal education. Imported religions have similarly influenced local belief systems.\n\nThe same centralized governance that facilitates infrastructure development and access to medical care also affects the autonomy of small communities to govern their affairs, including the languages in which children are taught.\n\nTraditionally, linguistic field research has produced valuable research for a highly specialist linguistic audience. Most scholars had no expectation of returning their research to the community of speakers. We initially followed this tradition in writing about the Neverver language of Malekula but grew increasingly dissatisfied with the expectations of the discipline. Looking to modern decolonizing research methodologies and ethical guidelines in Aotearoa, we developed the “first audience principle.” This means indigenous language communities should be the first to hear about any field research findings.\n\nIn 2020, the COVID-19 pandemic and travel bans brought linguistic fieldwork to an abrupt halt. During this unwelcome hiatus from fieldwork with Malekula communities, it has been tempting to focus on more technical analysis for our fellow academics. But our obligation to communities remains, and we are developing new ways of working with our archived field data in preparation for the time when we can return to Malekula.\n\nThis article is based on the free flow of information, the creative commons from https://theconversation.com For the original source with additional links, please visit https://theconversation.com/people-on-vanuatus-malekula-island-speak-more-than-30-indigenous-languages-heres-why-we-must-record-them\n\nPhoto : Indigenous languages preserve ways in which people engage with their environment. CCBY Royce Dodd, Author providedYear2021NationVanuatu
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“Natural” Disasters and Intangible Cultural HeritageThe distinction between natural hazards (such as earthquakes or droughts) and disasters (which are the impact of these hazards on human populations and infrastructure) has been clearly defined since at least the 1970s. No disaster is entirely natural. Instead, hazards exploit existing vulnerabilities, including the ways in which people are exposed to their impacts, and the capacity of communities and states to respond to hazard events and to prepare for future disasters. Disasters related to natural hazards, or to anthropogenic hazards such as nuclear pollution, are classed as emergencies, along with epidemic disease and armed conflict. In the context of cultural heritage, all these emergencies share a dual aspect – the impact of the emergency on culture and heritage, and the capacity of culture and heritage to respond to and limit the impacts of the emergency.Year2021NationPacific Ocean
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Film Documentaries on Samoan Traditional CraftsThe Samoan government’s efforts to revitalize fine mat weaving (‘ie sae) and the making of siapo or tapa, a bark cloth art, now includes a series of short films describing the processes. The film series was commissioned by the Ministry of Women, Community, and Social Development and produced by Galumalemana Steven Percival, a local filmmaker and ICHCAP correspondent. The documentary films in the Samoan language provide viewers with a glimpse into how these cultural products continue to be used in Samoan society. These traditional crafts are full of esoteric knowledge and lie at the bedrock of Samoa’s rich intangible cultural heritage.\n\nHere is a short video from the series.\n\nYoutube: https://youtu.be/Ccuf67O3Gos \n\nPhoto : Makers of Samoan siapo or tapa use traditional knowledge for dyes and fixatives ©Galumalemana Steven PercivalYear2017NationSamoa
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2018 Auckland Tamaki Herenga Waka Festival: Celebrating Maori CultureThe Auckland Tamaki Herenga Waka Festival will be held on Auckland’s waterfront and harbor over the Auckland Anniversary Weekend, 27 to 29 January 2018. Traditionally, with Auckland being home to more than 180 ethnicities, the region has featured various types of Maori presence including Maori waka (canoes) during the weekend. And in the recent years, this tradition has been celebrated as a festival, a result from collaboration among the Mana Whenua; nineteen iwi (tribal groups) authorities of Tamaki Makaurau; the Auckland Tourism, Events and Economic Development (ATEED) on behalf of the Auckland Council.\n\nThroughout the three-day festival, many activities related to traditional and contemporary Maori culture will be featured. The activities are designed to boost harmonious understanding of the Maori culture to both children and adults by blending traditional and modern elements.\n\nThe program consists of music, games and craft activities, storytelling, and waka parades and rides. Sunday, 28 January, is the peak of the festival, hosting an array of waka activities such as waka paddling and a waka carving demonstration. On the same day, participants can visit village workshops to experience traditional arts and craft like toi (Maori arts), weaving, and carving. At the ANZ Viaduct events center, several art exhibitions will take place. There will also be a booth of modern digital games in the venue. Next to the Viaduct basin, people can experience waka sailing throughout the festival.\n\nThe festival has become a host of celebrated events during the Auckland Anniversary Weekend in just a short period of time. The 2018 Auckland Tamaki Herenga Waka Festival program is expected to be enjoyed by the locals and tourists, marking a scene to celebrate Maori history and heritage as well as the contemporary culture of Tamaki Makaurau.\n\nAdmission is free; however, partial payments may be collected in some tour zones and market places for food or souvenirs. The festival’s full program is available here.\n\nPhoto : Youth experiencing waka culture © Auckland Tamaki Herenga Waka FestivalYear2018NationNew Zealand
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Innovation as a Means of Re-capitalization of Intangible Cultural Capital for the Development of the Cultural and Creative IndustryInnovation has always been important within the cultural and creative industry (CCI). However, how and why innovation is so central is not necessarily well articulated; rather, it is just assumed that innovation is a necessary factor within CCI practice.Year2023NationAfrica,Southeast Asia,Pacific Ocean,Western Europe,Middle East,North America
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DRA-NYEN: BHUTANESE TRADITIONAL MUSICAL INSTRUMENTBhutan’s rich cultural heritage embraces different traditional musical instruments that have been created and developed over the years and used since the beginning of Bhutan’s origination. Consequently, in tandem the lingm (flute), pi-wang (fiddle), dra-nyen (guitar), and yang-chen (harp) popularly form elements of Bhutanese music among various indigenous instruments.Year2010NationSouth Korea
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CULTURAL MAPPING PILOT PROJECT IN PAPUA NEW GUINEACulture is the very essence of our existence—it reflects our history, our language, our tradition and our beliefs. However, with the wind of globalization and change, our cultures and traditions do not remain static, but evolve overtime. Papua New Guinea (PNG), being one of the most culturally rich and diverse countries in the world, wherein about ninety percent of its approximate six million people speak over 850 distinct languages and live in their respective social structures in their cultural communities, generally rely on their environment to ensure their livelihood. Papua New Guineans’ daily relationship among each other coupled with the evolving environment depicts a high appreciation of their unique cultures and traditions. On the contrary, it is on the verge of disappearing.Year2010NationSouth Korea
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WAYANG KLITHIK, RELUCTANT TO LIVE, BUT NOT WILLING TO DIEKlithik form wayang puppetry gets its name from the sound the puppets make—klithik–klithik—when the puppeteer (dalang) performs. The puppet bodies are carved from thin wood while their arms are made from leather. Wayang klithik performances do not use a screen, and the audience directly faces the puppeteer. Performances are accompanied by a small ensemble of gamelan orchestra instruments—namely, kendang (drums), saron, ketuk, kenong, kecer, rebab, and kempul.Year2011NationSouth Korea
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METHODS FOR MAKING DIARY PRODUCTS AS A LIVING HERITAGESince ancient times, Mongolians have been producing and consuming more than 3,000 types of foods and beverages. Mongolian culinary tradition can be classified into the following three categories:\n\nTsagaan idee ‘White food’ or Dairy products\nUlaan idee ‘Red food’ or Meat products\nNogoon idee ‘Green food’ or Vegetable products\n\nAmong these three, Mongols primarily consumed diverse forms of dairy and meat products more than the vegetable foods. This is relative to the living condition and ancient transhumant lifestyle of the Mongols.Year2011NationSouth Korea
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CIRCLE DANCES OF THE MIAO ETHNIC GROUP THRIVING IN CHINAThe Miao people are a linguistically and culturally related ethnic group who settled in the Chinese provinces of Guizhou, Yunnan, Hunan, and Guangxi. While the Miao are disbursed over a large area and are subdivided into several different branches, they share a common heritage element called the circle dance. Often accompanied by a lusheng (a bamboo musical instrument), the circle dance is the most important dance and the most popular among all Miao branches. The wood drum dance is popular among the Fanpai Miao in Taijiang County, Guizhou province.Year2011NationSouth Korea
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The Historical Context of the 2003 Convention and the Contemporary Regional and Global Significance of ICHIn reality, safeguarding ICH (or whatever term one uses)1 has been an important issue for the large majority of countries around the globe and their citizens long before the 2003 Convention was adopted. The ‘problem’ of ICH, therefore, was a lack of formal international recognition of this reality and a cultural heritage protection paradigm that prioritised monumental European cultural forms over local and indigenous ones and that, when it addressed traditional culture, it did so from a heavily researcher-oriented viewpoint. The experience of those countries that are Parties to the 2003 Convention shows clearly that ICH in all its various forms is a rich social and, often, economic and even political resource that provides a variety of possible routes towards sustainable models of development. This variety is determined by many social, cultural, economic, political, and environmental factors and is itself part of the invaluable diversity of this form of heritage.Year2012NationSouth Korea