Vietnam_Picture_Tugging Rituals and Games:Anh Keo co ngoi

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The film is about the traditional village festival in Phu Dong village that is organized annually to commemorate the Giong God from the 7th to the 9th days of the fourth lunar month. Among the Commanders, the Commander of the Flag is the most important, symbolizing the communal God. It is the task of Hieu to choose good people from decent families to serve the God. After taking part in the festival, they are honored by people in the area. The film emphasizes the social and religious aspects of the life of the local village people who worship their local god and the festival reflects the spiritual life of the community.

Phu Dong Village in Vietnam holds a traditional festival to celebrate Saint Giong from the seventh to the ninth days of the fourth lunar month every year. One of the most important figures in the festival is Hieu, the Flag Commander. It is the Flag Commander's responsibility to select young men of good character from decent families in the village to serve the saint. Those selected are honored by the local residents after taking part in the festival.\n\nThis video shows the social and religious aspects of the lives of local people who worship their local god, as well as the spiritual life of the local community reflected in the festival.

As a UNESCO category 2 center, ICHCAP organized the youth ICH storytelling contest with the aim to support ICH safeguarding activities of young practitioners. Youth practitioners play an essential role, as ICH relies on direct transmission among community members. Their activities and involvement will hopefully contribute to raising awareness of ICH worth protecting. The story below won the Grand Prize of the 2019 Asia-Pacific Youth ICH Storytelling Contest. \n\n---------------------------------\nThe Hát Bội is Vietnamese intangible traditional performing art which has taken shape, developed during Vietnam history and is still preserved. The Hát Bội is form of traditonal opera which has a 500 old year long history of development in Vietnam. It contains features close to the culture in many other countries in Asia. My name is Anh Quan, I am sophomore of The Ho Chi Minh City University of Culture in Vietnam. \n\nWhen I started in junior high school, I had opportunity to study and enjoy The Hát Bội. These images, stage, eyes, gestures of The Hát Bội are so excited. But I strongly impress by artists’ face. This emotion is always with me in my thoughts. When I have been a student. Immediately, I go to The Ho Chi Minh city Hát Bội Theater to learn more about this art. Hát Bội relies on the principles of symbolization and stylization. These principles prodoundly influence Hát Bội typical dance/ gesture and makeup by which Hát Bội in distinguished from other traditional performing arts. Being the essences of Hát Bội, gesture and dance are perfomrmed based on several rules of symbolization and stylization with the aim of sophisticatedly expressing the feeling and emotion of characters and other implications of plays. These artists of Hát Bội have to understand very well about principles of symbolization and stylization and when they makeup and. Makeup is definitely the outward essence Hát Bội indicate the specific and personality of every character. The articial materials for making-up a disguise includes as followings: Multi-colours-lipsitcks, powder in multi-colors, the balckening-wax or the ash-like-black powder, the zinc-powder in golden-red– a mixture of the deep-red and golden powder, powder in blue, in green, and in yellow. With many special kinds of professional tools, such as: Tooth sticks, fingernail like kinife flat which look like a spoon – flat and made of wood.\n\nI observe artists makeup , I dream that i can makeup like them. I want to pursue my dream of being one of characters of Hát Bội. With the help of Thanh Bình Artist, I have fulfilled my dream. I feel virtuosity, sophistication and passion of Thanh Binh Artist when he makeup for me.\nThe face painting in an original feature in Hát Bội as well as in some forms of opera in Southeast Asia .The make-up in Hát Bội ( chiefly for male personages , rarely for female ones) includes three main parts : painting the complexion, drawing lines on the face and pasting false beards. There is nothing called the realistic things to identify but absolutely living - symbols in the art of the Hát Bội with its speical ways of disguiting for whole characters at all.\n \nLooking at the face makeup, the audiences can understand wether a character is good or bad, loyal or disloyal, etc. Below are some basic colour used in Hát Bội makeupnRed: Loyal, unyielding personnWhite: artful flatterernGreen: intelligent person or person with venturesome spirit or short lifenYellow: gentle and virtuous personnBlack: Furious and vigorous personnThat is the dialectics of the art of theatrical masks attained by masterly (mask makers, makeup, artist). nThe above special things may be generally get a common concept for us all to comprehend some intersted – things in many kinds of the characters and characteristics in traditional culture and art of the Hát Bội. \n\nThe Hát Bội has any characters. Currently, plays of Hát Bội are mainly performed at the temple (or shrine). The young generation do not strongly like the traditional art include The Hát Bội. Few young people are passionate about traditional art, this situation make the training for young people quite so difficult. For make youth generation learn more about The Hát Bội. Over the past years, The Ho Chi Minh city Hát Bội Theater has organized program called “The school stage” to introduce The Hát Bội to pupils and students.\n\nThis program around the content: history of formation and development of The Hát Bội, dance, and makeup art. Besides that, performance of historical topics, excerpts about children to raise patriotism, hope students have the opportunity to learn more about The Hát Bội. I think this working is very well for young people. That thing will make me and young people will love and have positive emotion with the traditonal stage. I hope The Ho Chi Minh city Hát Bội Theater always create other program to performance for community. To get deeply understanding about Hát Bội, warmly welcome to The Ho Chi Minh city Hát Bội Theater – Vietnam. I am so happy when I have chance to get experience and share excited valid content of The Hát Bội for every body. Vietnam also has so many traditonal arts. The Hát Bội is one of them. For protecting and delivering The Hát Bội, I think the young generation have to focus on studing intangible culture of country. I aslo contribute a little working for do that. I hope other young person will do that like me. I am going to keep my passion to learn more about traditonal of Vietnam also the other coutries over the world. Vietnam - a friendly destinaton always warmly welcome all of you, we have so many stories to talk with you. When you meet me together, I am going to “play” the Hát Bội for you. Because I really become “an actor” of The Hát Bội by my heart in my dream.

Digital is becoming new normal after COVID 19 pandemic situation. But digital cannot be the only way of going with the community and ICH. and For reaching the balance of digital and ICH community, Nikhil Joshi shares the experience of documentary filming and narrative techniques of three schools in Singapore.\n\nNIKHIL JOSHI is a Senior Lecturer in the Department of Architecture at the National University of Singapore (NUS). Educated at the University of Pune (India), University of York (UK), and National University of Singapore (Singapore). His research interests include cultural heritage management; traditional building materials and techniques; and community participatory approaches.

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.

DVD2_NEPAL'S HEREDITARY MUSICIAN CASTES\n\nThe four hereditary musician castes of Nepal are Damai, Gandharba, Kapali, and Badi. The most visible of these are the Damai and the Gandharba musicians. The Kapali are temple musicians and the Badi are drum makers. Damai are required to play for the goddess of the ruling class and also to play at all types of ceremonies and rites of passage, such as weddings and Bratabhandha. They perform in a group known as a panchai baajaa, which is composed of nine musicians playing seven different musical instruments representing the five universal elements of earth, water, fire, air, and sky, of which all matter and living things are composed. The tyamko represents earth, the damaha represents water, the jhurma represents fire, the dholaki represents air, and the narasingaa, sahane, and karnal represent the sky. Panchai baajaa music is believed to keep the elements in balance and harmony and to result in therapeutic musical healing. The Gandharba or Gaine caste musicians traditionally travel from village to village and door to door singing bhajan (hymns), songs from the great Hindu epics, and karkha (historical songs of heroes and bravery), but also bring news. They accompany themselves by playing saarangi.

Kalam pattu is a ritual art of Kerala where floors are decorated with colored powders. The tayampaka played by the Marars is an important part of Kalam pattu.

An ashtapadi is a type of hymn with eight lines. Ashtapadis have been associated with specific ragas. This ashtapadi, “Lalitalavangalata” is a famous composition of Jaydeva’s Gita Govinda. Chenda players sing it accompanied by drums.

Ngâm vọng is an old song of Ca trù. According to legend, it appeared in the Lê dynasty. There are many explanations about the origin of its lyrics. According to some books, it tells the story of a lake excursion by King Lê Thánh Tông. On his excursion, he met a beautiful woman and wanted to marry her. She suddenly disappeared when she was in a palanquin on the way to the royal palace. After that, the king knew that she was a fairy. Missing her, the king had a temple built. According to other books, the lyrics of Ngâm vọng were the confidence and the wish of beautiful women in the imperial palace. Those wishes were expressed through incoherent sentences; thus, the lyrics do not have a unified content. This song opens with a low singing voice and then a high singing voice gradually comes in.

Balambu is an ancient settlement in the western part of the Kathmandu Valley that dates back to the Lichhchavi period of Nepal's history. The village has many ancient historic stone inscriptions, and its musical culture is very rich. The day-long jaatraa of goddess Mahalakshmi takes place in November and starts at her temple in Balambu. The chariot carrying the image of the goddess is supported on the shoulders of her followers in a procession that crosses the whole settlement so that all villagers have an opportunity to worship her and join in the celebrations. The procession includes traditional musicians playing music for the goddess.

CD6 CA TRÙ SINGING\nCa trù singing has other names such as hát ả đào, hát cửa đình, hát nhà tơ, hát nhà trò, or hát cô đầu. According to Đại Việt sử ký toàn thư (The Complete Book on the History of Đại Việt), Ca trù appeared in the Lý dynasty (1010-1025) under the name Ả đào singing. Many Ả đào singing contests were held in the village communal houses. In that time, village notables often played the praised drum while enjoying the performers singing and threw reward cards to the singers who performed well. That card was call “trù”. Gradually, the way of rewarding the singers with cards became known as Ca trù. This name is found in the poem namely “Nghĩ hộ tám giáp làm giải thưởng cho cô đào hát” (“On Behalf of People from Eight Hamlets to Write the Rewarding Rule for Awarded Singers”) of Lê Đức Mao in 1500. Ca trù is a popular genre of traditional singing and dancing of the Kinh people in the northern and the central Vietnam. The key members of a Ca trù band include one đàn đáy (three-stringed lute instrumentalist) (the đàn đáy is the only musical instrument for accompanying Ca trù), one singer who both sings and plays the phách clappers, and one praise drummer (known as quan viên cầm chầu) player.\n\nCa trù can be performed in a wide variety of places. Ca trù was born to serve as worship singing. From serving as worship at the village communal houses and ancestor worship, Ca trù has changed into singing for entertainment at private houses, restaurants, or cabarets. In addition to these main performance environments, Ca trù was performed at the royal palace and the palaces of mandarins. At present, Ca trù is sung as traditional music. In each performance environment, Ca trù has some changes in terms of the repertoire, musical nature, or performance styles. The CD Ca trù singing (Hát Ca trù) introduces some songs that which were performed for worship and for entertainment. They were recorded in 1970 (tracks 5, 6, and 7), in 1982 (tracks 1 and 4), and in 1997 (tracks 2 and 3) and performed by the three most famous Ca trù folk artists.

CD1_BHAJANS OF NEPALI FOLK CULTURE\n\nA bhajan is a spiritual chant in traditional Nepalese culture that is performed mainly in temples. The lyrics typically recount the good deeds of various gods and goddesses. It is believed that the performance of a bhajan brings about peace and prosperity and an improved quality of life for all living beings. Bhajans of Nepali Folk Culture This CD includes examples from four distinct categories of bhajan, namely Devi Bhajan, Dafa Bhajan, Khainjadi Bhajan, and Usha Charitra Bhajan.

CD9_KARTATAK CLASSICAL INSTRUMENTAL MUSIC – NAGASWARAM PERFORMANCE BY KOTTUR RAJRATHNAM PILLAI\n\nKottur N. Rajarathnam is a master of the south Indian conical-shaped reedpipe with a double reed known as the n ā gasvaram (Sanskrit; Tamil spelling: n ā kacuram ) or n ā dasvaram . He leads an ensemble of musicians known as periya m ēḷ am (Tamil, “the big ensemble”), which for centuries has been producing auspicious music ideal for offering to the gods and for enabling a joyous ambiance at weddings and other important life-cycle events. Indeed, at weddings and the events surrounding the actual wedding ceremony, the periya mēḷam is expected to accompany women who sing traditional songs for the each stage of the wedding. The ensemble is at its best when performing at night on the streets surrounding the major temples, as the instruments are ideal for an outdoor setting. Temple musicians and a visiting ensemble often perform as part of temple activities and all-night street processions, and indoors for concerts and at weddings and other life-cycle events. \n\nPlayers carefully modulate their tone to suit the acoustics of indoor spaces. Accompanying Kottur Rajarathnam is a second nāgasvaram player, shadowing his playing and helping to maintain the continuity of the performance. He is a skilled master drummer, who plays the tavil (sometimes known as tavul ). He plays this double-skin barrel drum with a beater in the left hand and the four fingertips of the right hand covered by thimbles, producing a characteristically bright, sharply percussive range of sounds. The tavil matches the nāgasvaram in brightness of sound, volume, and penetrating tone. The t āḻ am (small hand cymbals made of bell metal) marks the rhythmic cycle being performed and a free-reed bellowspumped drone box, the curutipe ṭṭ i (Tamil, “drone box”), produces the necessary tonal reference for the nāgasvaram. Since the mid-twentieth century, the instrumentation of the periya mēḷam has undergone changes. Perhaps most significantly, the pitch of the nāgasvaram and of the tavil has been lowered. The nāgasvaram and tavil became larger to produce a deeper sound. In this recording, Kottur Rajarathnam and his ensemble play four rāgas, including four kirtanas (a devotional song genre) and three kinds of improvisation characteristic of Karṇāṭak music. Improvisation in Karṇāṭak music can be understood as unmetered melodic improvisation and as metered improvisation following the performance of the compositions. The unmetered improvisation heard here is known as ā l ā pana (Sanskrit, “conversation”) and is unmetered melodic exploration of a rāga. The two kinds of metered improvisation heard here are svara kalpana (“note imagination”) and tavil solo improvisation. Svara kalpana is played after the composition has been concluded. It consists of sequential passages of svara (“note”) playing that develop from short, relatively slow passages to longer passages at faster speeds. Though they might not all start from the same position relative to the tāḷa cycle, each of the each svara kalpana passages concludes with a return to a selected phrase of the composition. For his performance, Kottur Rajarathnam selected three songs by Tyagarāja. This comes as no surprise, as this outstanding composer left a plethora of compositions ranging from short pieces for religious congregational singing to the most sophisticated and erudite compositions. He is also well known for having produced standalone compositions in rare rāgas, such as the composition in rāga vāgadīśvarī in this album. Tyagarāja (b. Tiruvaiyyār, 1767-1847) was a saintly brāhmaṇ composer. His family was from Andhra Pradesh but settled in Tañjāvūr. His grandfather Girirāja was a poet and musician at the court of the maharāja of Tañjāvūr. Tyagarāja composed kirtanas in his mother tongue, Telugu, as well as in Sanskrit. He is revered by musicians and music-lovers as one of three great contemporary composers, whose brilliance and popularity have almost obscured the music and achievements of their predecessors. In the popular mind, Tyagarāja is the most prominent of all Karṇāṭak musicians and his annual memorial celebrations ( ā r ā dhana) attract hundreds of musicians, thousands of audience members, and even more listeners through the broadcast media. His life story was made into a film and numerous bhāgavatars continue to re-tell versions of his life replete with his compositions. His charisma and his exceptional musical repertoire was passed down with succeeding generations of singers and instrumentalists who have polished his works. His pieces have even penetrated the repertoire of dancers attracted by the music, even though his compositions were not originally intended for dance, though he did write several music dramas. Tyagarāja unequivocally rejected the offers of position as a court musician as he was completely averse to singing the praises of mere mortals—something court musicians were obliged to do. Instead he lived an austere life, composing as an expression of religious devotion ( bhakti ), especially to his beloved Rāma. The kirtana form that Tyagarāja favored had two or three sections. \n\nAll the kirtanas in this album have three sections: pallavi, anupallavi, and caraṇam. In the pallavi the semantic theme of the composition is stated, though this is not apparent when an instrumentalist performs. The anupallavi develops the raga and moves the melodic range higher up the scale to the higher octave. After the anupallavi, the pallavi is repeated as a refrain. The caraṇam usually moves into the middle range and often explores the lower octave. The pallavi refrain is repeated to conclude the performance. A common feature in many of Tyagaraja’s kirtanas is the repetition of the anupallavi melody as the second half of the usually longer caraṇam. These audio recordings are extracted from the collection of video recordings made by Yoshitaka Terada, a wellknown scholar of the Nagaswaram who has written extensively on the topic.

CD2_JAATRAAS OF NEPAL\n\nA jaatraa is usually an annual festival associated with a particular god or goddess. A ritual is performed in a temple dedicated to the deity. People of all ages, ethnicities, and religions come together to celebrate a local jaatraa. It is believed that a god may join in the festival by possessing one of the participants. The possessed person is usually taller than others and often wears a turban. Other participants may also entera trance state, and they are also believed to be possessed by a god. This is considered a sign that the god is happy with the jaatraa. A jaatraa typically includes a procession in which the image of the god or goddess is mounted on a chariot accompanied by musicians and other worshippers.

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 34 is 'Wandering Minstrels and Songs of Blessing.'

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 44 is 'Traditional Knowledge to Lead a Healthy Life.'

As part of the Cultural Partnership Initiative of 2016, ICHCAP invited ICH professionals from Malaysia, Mongolia, Sri Lanka and Tonga. Each participant researched ICH topics of interest that relate to comparative studies, sustainable development, traditional medicine, and safeguarding organizations. These reports were compiled into a bound publication and is now made available as an online download.

The 2018 Sub-Regional Meeting for Intangible Cultural Heritage Safeguarding in Northeast Asia jointly organized by ICHCAP and the UNESCO Beijing Office and hosted by the Mongolian National Commission for UNESCO, was held on 10 and 11 October 2016 in Ulaanbaatar, Mongolia under the theme of ICH education: towards joint collaboration for promoting ICH in formal and non-formal education\nThis report is composed of country reports and case studies discussed at the meeting and generated participation from five Northeast Asian Member States—namely DPRK, Japan, Mongolia, China, and ROK—and international experts as well as the outcome document.