Nom Banhchok, a type of locally made rice noodle, is a very popular food that can be found all over Cambodia. The noodle can be served with different kinds of sauces or soup, from a simple mix of salt and chilly or a mix of fermented fish paste and chilly and herbs to the red curry, or the most popular one, the samlor proheur or also known samlor Khmer (fish lemongrass soup). The last is generally served with fresh vegetables including cucumbers, long beans, bean sprouts, banana flowers, water lily stems, and so on. Although popular, it is not a staple food like cooked rice. It is eaten once in a while or on a special festival with a large gathering of people.

Rolaet is a solo instrument of the indigenous people in Mondulkiri province called Bunoong. The device consists of a gourd and a long bamboo tube shaped like a flute with three holes, and a short bamboo tube plugged into the gourd.\nRolaet has been called by the Bunoong people from generation to generation and they do not know the history of this musical instrument, nor do they know which generation or ethnic group was the first creator (According to Mr. Bev Kras and Mr. Dernh Buntha). As for the production of this instrument, it can be made by yourself because the components are convenient and available locally. \n

Neal refers to a cake-making tool called NomNeal (Neal Cake). In some parts of Cambodia, this cake is an annual tradition associated with the ascension (Neak Ta) of the villagers near the Sambor Prei Kuk temple complex in Kampong Thom province. Every month, the locals prepare to make offerings to their Neak Ta, which is associated with the entire archeological site. There are two Neak Ta who are closely related to each other, the "gatekeeper or Neak Ta Tvear" and another one is “Neak Ta” who looks over the entire temples’ complex. In every house, the locals make cakes to donate for any ritual ceremonies.\n To make this cake, they need to mix white rice with some sticky rice and pound it together until it turns into powder. Then add a little bit of sugar and salt to make it taste salty and sweet. Before they start cooking, they boil water in a clay pot and put a coconut shell with a hole on the bottom on top of it. They put the rice flour around the edge of the clay pot so that no steam can come out of the mouth of the pot. They take two long banana leaves and put them on the bottom of the pot before pouring the flour into it. For this powder, they mix them with water to make it sticks together and becomes a paste and then cover it with two or three banana leaves before putting the lid on the pot and pressing it on for about 5 to 10 minutes. When the cake is ready, they remove the cover and touch the leaves. Peel a squash, grate it and squeeze the cake out of the Neal.\n

Sastra or Sastra Sleuk Rith (manuscript written on palm leaves) is an important document that records the knowledge and words of wisdom in Cambodia for centuries. Sastra is the long format of palm leaf manuscripts, other known as Vean (short format), mostly documented Buddhist scriptures in Pali or bilingual Pali-Khmer. In addition, it also contains sermons, legal writing, etc.

Silk weaving is one of Cambodia’s traditional crafts. The traditional natural silk dyed with natural color is very expensive and well-known nationally and internationally. Silk can be woven into different-sized pieces of textile, to be used as wrap-around skirts (sampot), shirt, scarves (krama) or Pidan (lit. ceiling) for Buddhist temple decoration. There are three main kinds of Cambodian silk textiles: ‘Phamuong’ (plain colored silk cloth) and ‘Hol’ (ikat and tie-dyed patterned cloth), both used for making clothes, and ‘Hol Pidan’ (elaborately designed pictorial silk textile) and it is usually used as “canopy” or “ceiling” above the principal Buddha images in the Buddhist monasteries.

#bhutan #bhutaneseculture #bhutantravel #유네스코아태무형유산센터 #unesco \n\nDey-zo is an art of manufacturing paper using an indigenous plant locally called Dey-shing (Daphne: ). The term Dey refers to Daphne and zo is an art therefore, when these two words combine, an art of Daphne i.e. making paper out of Daphne pant bark. Though there are more than 21 different types of Daphne species- for paper making purpose in Bhutan are of two types; Dey-kar, white Daphne and the other is Dey-na, black Daphne.\n\nThe white Daphne grows up to four or five metres in height and has pale green oval shaped leaves and greyish bark. Its flowers are yellow at the top so they look generally yellowish, though the stems are whitish in colour. They produce a pleasant odour. White Daphne grows in Bhutan from an altitude of 1,500 to 3,500 metres in huge groves on the edge of open meadows and forests. The black Daphne, on the other hand, grows from 500 to 3,000 metres above sea level. Unlike the white Daphne, it grows as individual plants, scattered along the forest floor. Though the colour of bark is greyish, the flowers are somewhat brownish. Papers made from black Daphne are considered to be the best for its long lasting and Thsar-sho paper specially manufactured by using bamboo mat frame are normally used for writing purpose.\n\nGenerally Dey-sho comes in two different types; Tshar-sho and Re-sho. Tshar-sho is made by using a special bamboo crafted mat frame while the latter is a produce from cloth frame though both the papers’ raw materials are either white or black Daphne plant bark. However, upon the demand, paper makers also makes blue or indigo paper (Sho-na or Thing-sho) using the tshar-sho making techniques for gold script writing.\n\nPerhaps, the paper making art must have been existed in the early centuries, even before the use of words and sentences, when pictures and symbols were used as a means of communication in Bhutan as the Padma chronicles mention that "the king ordered paper to be collected in the land of the Mon." This was when the Dharma King Trisong Detsen (755-804) of invited Guru Padmasambava to Tibet in the 8th century and introduced the Tantric teachings to that land. Having completed the construction of Samye Monastery, translation of Buddha's precepts and commentary texts that are written in Sanskrit were initiated into Tibetan language through Indian pandits and incarnate translators from Tibet, but there was not enough paper in Tibet. So the king imported huge amounts of paper from the southern country (Bhutan), which enabled Tibet to produce many volumes of the scriptures. This means that trade between Tibet and Bhutan was already active at that time. The so-called shog-tang (shog-ltang), a cargo size of 1000 sheets of Daphne paper, were transported to Tibet in large quantities for trade purposes. This means that very early in history, papermaking was passed down from generation to generation, from father to son, from son to son, and so on.\n\nGradually, as the demand for paper increased, the paper industry in the country expanded, especially in the 17th century when great changes took place in the country after the arrival of Zhabdrung Ngawang Namgyal (1594-1651). At that time, the demand for paper increased greatly at the central government, monastic community and monastery levels, leading to a nationwide expansion in the production and use of paper especially for printing purpose.\n\nPaper manufacturing units were instituted in Dzongs and employed five people either form the monastic body or from the lay citizens for papermaking. The raw materials such as daphne bark, ash, etc. were supplied by the residents of the respective dzongkhag as tax. The dzongkhag administrations then transported the paper cargoes to the central government and ensured proper remuneration. The skilled workers at the papermaking centers were also appointed from the villages and households in the district, who were exempt from other charges such as labor, fodder, firewood, and pounded rice. A load Shog-tang as mentioned above, was a bundle of 1000 sheets of paper. (Lam Kezang Chophel, 2021). Normally a single sheet of paper measures approximately 75x110 cm and colloquially it is called pheg-pang.\n\nAlthough, papermaking was once a thriving art until 1970 yet, due to the development progress in the country and introduction of imported papers such as books and note books has gradually affected in declining number of paper production centres in the country.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874507459569673284

Traditionally, navigators learn the way-finding knowledge from fathers or uncles within their family and eventually, when ready, may pass through the traditional initiation of navigators', Pwo Ceremony.\nIn the remote central caroline islands where the indigenous lifestyle of the seafearing system is still practice, it all begins at a very young age and evolves around the central facility known as the canoe house. Every navigator knows to protect his canoe when he is not voyaging. A local canoe house is an important asset and central facility of learning all about navigation. It is said that one has to first learn the stories that are told in the canoe house, then from there begins the long journey toward becoming a complete "Pwo" Navigator.\n\nThe Navigator's Float.\nGetting side blanks fitted.\nBecause the central Caroline Islands are small atolls, bigger logs for canoes are rare. Thus, the canoes, particularly the voyaging canoes need to be constructed in such a way that they are not only large enough but sea worthy. To do so, the builders main objective is to be able to get the main hull of the canoe and start to build up the sides from there. This video shows how the guys are building the sides up and using a similar techniques used by dentist for molding and ensuring the planks are fitted nicely.

Baor-making is a unique skill of the Maranao people. With its embossed handmade and intricate designs – particularly called okir – this skill has claimed a recognition abroad. nOkir is folk motifs found in various artworks and objects, they are usually inspired from detailed and different curves and no machines involved.\nBaor is a maranao translation of baul or the trunk.\nAside from the famous Darangen, a singing-like epic storytelling originally from the Maranao people as well, which belong to the top three of United Nations Educational, Scientific and Cultural Organization (UNESCO) inscribed intangible cultural heritage of the Philippines, baor-making skill is listed as an element among the other 366 under the inventory of Philippine Inventory of Intangible Cultural Heritage.\nHowever, since the 2016 Martial Law declaration in Mindanao stricter regulations are implemented on trees-cutting that are main ingredient to produce baor. Tree like the Philippine National Tree Narra.\nThe absence of professional teaching also creates significant hole for the identity of Maranao younger generations. As of the moment, the only way to transmit the skill is learning the techniques by observing elders while at home.\nThese reasons lead to saddening thought that the Tugaya’s one of a kind skill is slowly dying because youth have now better, numerous options to survive the living over the dynamic society.\nAlthough baor-making is traditionally originated in Tugaya, a small municipality in Lanao del Sur, there is a man who has been living so far from the root of baor-making: Abdulsamad Usman, 58, has been dwelling his fate on making and selling baor amidst the Taguig city’s uncertainties.\nnTaguig is one of the urban cities in Metro Manila, National Capital Region. The gap between Tugaya and Taguig is at least one-thousand kilometers.\nAccording to Usman, more or less a month period before finishing a medium-sized baor. He can carve designs and paint them. He, with his team, is the only considered baor maker who practice the skill in Metro Manila.\nUsman strongly believes that baor-making will not vanish from the present and history because the skill has been playing a huge part for the Maranaos’ culture and identity.\nn기타설명nBaor-making is a unique skill of Maranao people from Tugaya, Lanao del Sur. Baor is a maranao translation of baul or the trunk. The designs embossed in it are called okir --- detailed and different curves. They are handmade and no machines involved. Tugaya is a small community in Lanao del Sur, a province in Mindanao.\nThe skill is considered as an intangible cultural heritage (ICH) among the other 366 listed under the inventory of Philippine Inventory of Intangible Cultural Heritage.

Mongol Tuuli is an oral tradition comprising heroic epics that run from hundreds to thousands of lines and combine benedictions, eulogies, spells, idiomatic phrases, fairy tales, myths and folk songs. They are regarded as a living encyclopedia of Mongolian oral traditions and immortalize the heroic history of the Mongols. Epic performers are distinguished by their prodigious memory and skills, combining singing, vocal improvisation and musical composition coupled with theatrical elements. Epic lyrics are performed to musical accompaniment on instruments such as morin khuur and tovshuur. Epics are performed during social and public events, including state affairs, weddings, a child’s first haircut, naadam and worship of sacred sites. Epics evolved over many centuries, and reflect nomadic lifestyles, social behaviors, religion, mentalities and imagination. Epic performers cultivate epic traditions from generation to generation, learning, performing and transmitting techniques within kinship circles, from fathers to sons.

Highly traditional nomadic rites, such as the tusau kesu, have been preserved among the Kazakhs, but the people’s understanding of the rites has been transformed. For Kazakh forbearers, rituals like tusau kesu (cutting the rope) or ashamayga mingyzu (landing on a horse) were rituals for beginning a journey, the journey through life and the exploration of the space around them. Many Kazakh families believe that the tusau kesu rite helps accelerate the child’s physical development so that the child can walk confidently, but if the child walks weakly, the rite can be repeated. The rite also symbolizes the discovery of a life path. The rite transfers spiritual and physical qualities to the child from a respected person elected by the parents. A grandmother, for example, shows the techniques of fetter weaving to her granddaughter.

Takraw is a traditional Thai volleyball that has been a beloved pastime among Thai people since the Ayutthaya era. Teams consisting of six or seven players use various body parts to serve and return a rattan ball. In an evolution in the 1920s, a configuration of three hoops with attached nets was hung at a height of 4–5 m, into which players try to propel the ball. Around the 1950s, Hoop Takraw gained widespread popularity and was formalized, with a tournament held each year during the Thai sports festival season. This video explains the rules of Takraw and demonstrates the acrobatic kicking techniques players use to score points.

The Keun Taepyeongmu is a version of the Taepyeongmu, rearranged as a mass dance. Taepyeongmu is a court dance depicting the King and Queen dancing to pray for peace and prosperity in the nation. It is thought to have been created in the early 20th century by Han Seong-jun, the father of modern Korean dance, based on the shamanic music and dance of the danggut rituals from Gyeonggi Province.\n\nTaepyeongmu is visually impressive, with elaborate and grand costumes influenced by court dances. The movements are full of energy, and set to complex and precise rhythms. The steps feature techniques such as gyeob georeum, jan georeum, raising the knee, and heel stomping and raising, timed to the changing rhythms, which are mesmerizing yet restrained. The highly technical steps are unique to this dance and give it its unmistakable style.\n\nCharacteristics:\n∙ 20th century adaptation of a shamanic dance performed at danggut rituals\n\nPerformed by Mongolian National Song and Dance Academic Ensemble\nDirected by Kim, Mi-Sook