Materials
gift
ICH Materials 59
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The convoy of gifts from Van Gia communal house to the Va temple
The convoy of gifts from Vân Gia communal house to the Và temple for THE FISHING RITUAL IN MID-SEPTEMBER _Va Temple Festival
Viet Nam -
Gifts of Phu Sa village
Gifts of Phu Sa village Festival for THE FISHING RITUAL IN MID-SEPTEMBER _Va Temple Festival
Viet Nam -
_Alastoo_ ritual
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Kyrgyzstan -
Tyiyn enmey_Nooruz celebration_Kyrgyzstan
Kyrgyzstan
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The Wonder Woman of Wood Painting highlight
Foshan Woodblock Painting is a kind of well-known folk woodblock paintings of South China. It is mainly produced in Foshan City, Guangdong Province, Consequently it was named Foshan Woodblock Painting.\nThere has been much important research on the history of Chinese New Year pictures, but there are still different opinions on how to rescue New Year pictures from the brink of disappearance and how to fit them into the modern life. As far as Liu Zhongping can see, the revival of New Year pictures is not something that can be achieved by making one or two field visits and publishing one or two articles, but something that needs to be acted out. That is to say, it is necessary to carry out social practice that help to activate traditional culture with a focus on inheritors rather than researchers.\nIn this regard, from the “Intangible Cultural Heritage Inheritors’ Training Program” to the “Revitalization Program of Chinese Traditional Crafts” to the recent “New Year Pictures Back to Spring Festival”, some explorations and attempts have been made around the inheritance and innovation of New Year pictures. From inheritor’s study and training to holding exhibitions and cross-disciplinary dialogues, from developing experience-oriented craft courses to developing new products and expanding sales channels, under the guidance of the intangible heritage protection concepts of “Seeing People, Seeing Things, Seeing Life” and “Leading by Usage” in the new era, New Year pictures practitioners, local people and all stakeholders have gradually regained confidence in the revival of New Year pictures.\nThe first step is always the hardest. On top of a good start, further progress is needed. It’s imperative to know the sticky issues and difficulties and come up with targeted, creative and feasible solutions. As a practitioner, She takes the liberty of thinking about several key points in practice, offering advice and suggestions to practitioners and decision-makers, and hoping to contribute to the revival of New Year pictures. China has entered the twenty-first century. The social scenes that endow New Year pictures with meaning year after year have vanished. It is very difficult for us to ask people to change their house gates back to the old-fashioned style, and it is also very difficult for young people to observe the traditional festival customs. However, what we can do is not only to enshrine New Year pictures in museums, but also to keep pace with the times and find a place for New Year pictures in modern life.\nThrough her effort and hardwork, she focuses on the innovation of Foshan Woodblock Painting and meets the needs young people She updates some painitngs, such as the mobil phones shell, schoolbags, notebooks as well as painitng gift packs. By the resurrection of the gods through a number of newly designed derivatives,now the paitings are popular among the local people. And she believes her master's dream as well as hers of continuing and spreading the national intangible cultural heritages have been realized
China 2019 -
Festive Day on Sapwuahfik Atoll, Micronesia
This video was taken as part of NGO Pasifika Renaissance’s efforts to document oral heritage of Sapwuahfik Atoll. It depicts a festive day on the occasion of the International Women’s Day, which was celebrated in a traditional manner, by welcoming those visiting Sapwuahfik islanders from the main island of Pohnpei. It includes footage of preparation of food and dance attire, ceremonial procession of a gift float and accompanying chant, and traditional dance on that day as well as recording of a historical song composed to commemorate WWII and a traditional sailing canoe.
Micronesia 2016 -
NA VILA: Sacred Power Over Heat and Fire_Costume Preparation (Traditional fire walking in Fiji)
Firewalking (Vila) an intangible gift to the people of Sawau (Beqa, Fiji) performed only on solemn ceremonial occasion. This is the mystical phenomenon of walking on hot stones passed through generations from the Sawau ancestors. \n\nCostume Preparation (Traditional fire walking in Fiji)\nThe liku (skirt) is the main component of the ensemble of the dauvila firewalker. This is the entire process of preparing the vilavilairevo (firewalking) costume.
Fiji 2017-08-03 -
NA VILA: Sacred Power Over Heat and Fire__Pit Preparation(Traditional fire walking in Fiji)
Firewalking (Vila) an intangible gift to the people of Sawau (Beqa, Fiji) performed only on solemn ceremonial occasion. This is the mystical phenomenon of walking on hot stones passed through generations from the Sawau ancestors. \n\nPit Preparation.\nWhile it maybe a cumbersome activity, the preparation of the irevo is pivotal to ensure the sanctity of the fire walking ceremony is maintained.This is the entire process captured.
Fiji 2017-08-03
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To‘sma Yo‘limni (Do Not Stand in My Way, Lapar) by Laylokhon Khakimova
Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform lapar songs composed of four-lined ghazals in two groups. Through lapar songs, girls and boys express their love to each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.
Uzbekistan 2015 -
Yorim Kelarmikan (Will My Darling Come?, Lapar) by Mukhabbat Rakhmonova
Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform lapar songs composed of four-lined ghazals in two groups. Through lapar songs, girls and boys express their love to each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.
Uzbekistan 2015 -
Kho-kho Yalla (Kho-kho Yalla, Yalla) by Nasiba Boykhonova
Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform lapar songs composed of four-lined ghazals in two groups. Through lapar songs, girls and boys express their love to each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.
Uzbekistan 2015 -
Tog‘dan Keling (Come Down from the Mountain, Lapar) by Matluba Rakhimova
Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform lapar songs composed of four-lined ghazals in two groups. Through lapar songs, girls and boys express their love to each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.
Uzbekistan 2015
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Memory and ICH in KyrgyzstanKyrgyzstan, a landlocked country the territory of which is more than 94 percent mountainous, is among the most attractive lands located at the heart of Asia on the ancient Silk Road trade routes. The cultural heritage of the Kyrgyz people has been greatly influenced by their nomadic history. Kyrgyz people occupy a unique cultural environment and have a rich ICH. The vitality of this cultural heritage is safeguarded and transmitted from generation to generation as collective memory, orally or through practice and expression.Year2021NationKyrgyzstan
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“Tết Trung thu” – an element contains traditional intangible cultural valuesWhen the festive activities of Lunar July ends, it is the beginning of “Tết Trung thu” (or “the Mid-Autumn festival”). It usually falls out on the 15th day of Lunar August when the weather turns a little cooler after the unpleasantly hot summer. In Vietnam, this event has many humanistic meanings such as: regarding as “family union holiday”, thanksgiving to the nature Gods for the harvest and growth of life, praying to ask the blessings for families and relatives. As time went by, it is known as the Children’s festival because of its pureness and closeness to the natural world. Moreover, watching the moon’s color on that day can predict the harvest as well as the national destiny: namely, the successful silk-making season (golden moon), natural disasters (blue moon), peaceful country (orange moon).\n\nAlthough the origin of “Tết Trung thu” is not really clear, Vietnamese people still practice it as an intangible cultural heritage (ICH) belonging to ancient wet-rice civilization. There have been several folktales about it: the story of Hằng Nga (Moon Lady), the legend about the woodcutter named Cuội, the tale of the king went to visit the moon, ect. And the oral tradition of Cuội was the most popular story and it reflects the Vietnamese folk identity. It is said that Cuội’s absent-minded wife poured dirty water on a magic tree which caused it to fly towards the moon. He failed to pull the tree back and stuck with it on the moon. Therefore, children often carry colorful lanterns on the full moon night of Lunar August to help him find the way back to Earth.\n\nVietnamese people spend whole a month preparing for the celebration. Some outstanding customs indispensable on the brightest moon night include:\n\n– Worshiping the natural Gods: This practice demonstrates knowledge concerning nature and the universe of indigenous people. The mid-autumn day is the occasion to show their respect to the natural Gods and ancestors. Besides, the worshiping tray with five kind of fruits (representing the universe’s five elements), moon-cakes with many unique shapes including two main types: “bánh dẻo” (symbol of reunion) and “bánh nướng” (meaning of life’s taste), toys which expressed the desire for a good harvest year, a happy and reunited family.\n\n– Enjoying traditional mid-autumn specialities: After the full moon rises, when the Gods and ancestors have received the devotion of living people, it will be time for everyone to enjoy the fruits and cakes together. It can be said that gathering in the moonlight is a traditional practice and also a rare time of year for everybody to gather and show the connection between family members.\n\n– Carrying lanterns: For Vietnamese children, the traditional lantern is the most meaningful gift to parade in the Mid-Autumn festival. The making lantern is considered as one of the famous traditional craftsmanship of agricultural residents as well. Traditional lanterns are made from bamboo and cellophane, going through many stages. There are many lantern shapes designed with folk symbolic meanings: the star lantern shows the purity of children, the rabbit lantern represents the moon, the toad lantern describes a desire about favorable weather for crops, the carp lantern stand for wishing peace and prosperity, ect.\n\n– Performing the unicorn dance: This performance art originated from the folk legend about the unicorn. Legendarily, unicorn was very aggressive and often caused trouble for human. Then “ông Địa” (the character incarnated by Maitreya Buddha) appeared and tamed it into a sacred animal to bless everyone in annual Mid-Autumn festival. Hence, the simulation of “ông Địa” hanging out with his unicorn among the children’s lantern lights is an unforgettable image in this festival.\n\nIn general, “Tết Trung thu” in Vietnam retains positive traditional elements in the modern time. It still has attracted the younger generation and directed them to the values of truth – goodness – beauty which are inherent to the festival. As an element that covers most of the specific domains of ICH, Vietnam’s Mid-Autumn festival has its own identity despite the great impact of globalization in its culture and the recent transformation of customs.\n\nPhoto : The worshiping tray with an identity of agricultural residents © Hoang The PhucYear2019NationViet Nam