Materials
pottery
ICH Materials 82
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A Pact for Peace - A Pact for Peace A Journey to Kalinga
▶ Play 3. A Pact for Peace A Journey to Kalinga\nThis episode was first aired on Filipino television on April 18, 1996. This episode has been modified from its original format.\n\nAn animal was offered in the context of the Kalinga cultural ritual.\nHistorically, the Kalinga is a mixed group (Calinga, Kalingga, Kalina’), but it is now considered as a more or less homogenous group in the province of Kalinga. Subgroups of the Kalinga may also be found in the adjoining provinces of Apayao, Abra, Ilocos Sur, and Cagayan. There is a small group of people in the province of Ifugao also called Kalinga but who are not related to the central Kalinga population. The core area of the group is in the drainage areas of the Chico River and its tributaries in northern Cordillera. One of the ways in which this culture has been subgrouped is as follows: Balbalan (northern), Lubuagan (southern), and Maducayan (eastern). Another suggested subgrouping is: (1) Giad’an Balbalasang, (2) Sumadel, (3) Lubuagan, (4) Nabayugan, (5) Ablig Saligsig, (6) Kalagua, and (7) Mangali Lubo. In addition, there is a little-known highly mobile group in the Kalakad-Tupac area in east Tanudan.\n\nThe members form a mixed group of people thought to be descendants of migrants into the area from the Cagayan Valley to the east and the province of Abra to the west. There is a marked difference between the northern and southern populations due to the introduction of wet rice terracing in the south from Bontoc. An eastern grouping caused by eographic circumscription is also recognized. The society is organized into endogamous groups stemming from budong (peace pact) alliances. Because of their dress and personal ornamentations, the Kalinga have been dubbed the “Peacocks of the North.” Two distinctive features are the octagonal house in southern Kalinga, and the peace pacts that they enter into to preserve relationships between neighboring groups. Settlement areas are denser in the south.\n\nAgriculture is also carried on in terraces, though on a smaller scale than the Ifugao and Bontoc, and field preparation is done with the use of draft animals. Rice is the principal crop. Swidden crops include beans, sweet potato, corn, sugar cane, and taro. Coffee is a popular cash crop. The Kalinga are also known for their pottery, baskets, and metal craft.\n\nAlthough in the past, peace pacts had been common among the numerous ethno-linguistic groups, the budong of the Kalinga has caught the country’s imagination. Warring groups enter peace-enhancing arrangements through an elaborate procedure and the holders of each party keep token symbols from the other holders. These symbols ensure that the communities adhere to the terms of the pagta, the rules dictated by the pact.
Philippines 1996 -
Pottery of Uzbekistan
The culture of making household necessities from clay can be seen in almost all nations around the world. The knowledge of making objects from clay and firing them have been known since ancient times and developed into regional schools.\n\nThe current film describes a small sample of pottery schools operating in Rishton (Fergana region) and Gijduvon (Bukhara region) and their representatives, current state, history, and the future of Uzbek pottery.\n\nAlisher Nazirov from Rishton and Abdullo Narzullayev from Ghijduvon are the masters who set off such traditions in their schools. Working activities of these masters, their opinions about restoring traditions and styles of their schools were recorded in this film.
Uzbekistan 2017
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Lialiaci Publication 2020 - 2021
Lialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs. Lialiaci means to ponder or reflect upon deeply. \nThat is the intent of these articles and perspectives on culture.
Fiji 2020 -
ICH Courier Vol.21 Traditional Pottery Making
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 21 is 'Traditional Pottery Making.'
South Korea 2014
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Lialiaci(2020 - 2021) PublicationLialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs. Lialiaci means to ponder or reflect upon deeply.\n\nThat is the intent of these articles and perspectives on culture.Year2021NationFiji
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Revitalizing the ICH of a Million Village Goddesses in IndiaVisually imposing sites often catch the imagination of the public. But there is often more than the monumental that informs local’s and visitor’s experiences. Few realize the importance of local civic spaces that demonstrate community benefits from safeguarding heritage in all its manifestations. Engagement with the local primary stakeholders and their spaces reveals deep knowledge for pilgrimage, tourism, education, and recreation. Safeguarding intangible cultural heritage (ICH) requires benefit analysis and integrated local area planning through a bottom up praxis for sustainability.\n\nA promising development in Amaravathi Heritage Town, Andhra Pradesh, birthplace of Mahayana Buddhism, is a major program for safeguarding its tangible and intangible heritage. Known to the outside world for its famous Amaravathi School of Buddhist Art, recent systematic cultural mapping revealed 2,900-year layers of history and a rich inventory of intangible heritage. Significant is the first Government Order for safeguarding the Balusulamma Thalli Gudi or temple. Its archaeological and historical importance is amplified through the collective memories and living heritage of Balusulamma as the village patron goddess of the ancient Dharanikota.\n\nTwo hundred years ago, local king Raja Vasi Reddy Venkatadri Naidu used to dismount his elephant on returning home from other villages and make offerings to Balusulamma. Last month, his direct descendants on an annual pilgrimage visited the place during the harvest festival and conducted vermillion or Kumkuma Puja for Balusulamma. They are now sponsoring an onsite educational room built strictly according to traditional architecture and in partnership with the Amaravathi Heritage Centre and Museum.\n\nThe priest or pujari, potter Sambayya, is reviving famous Dharanikota pottery traditions. Scaled drawings of the cultural space were prepared by the School of Planning and Architecture, Vijayawada. Local farmers are assisting with documentation and the use of the cultural space for revitalizing the diversity of intangible heritage. The landscape has been carefully fenced. Five solar lamps, a water tank, and boring pump have been installed. A gateway has been constructed and landscaping is preventing soil erosion.\n\nThe rachhabanda or traditional meeting place under the large 200-year-old Banyan tree has been renovated with smooth granite. It is being used by the local village administration, school groups, and families. Everyone loves the ambience of the place, irrespective of caste, faith, age, and other cultural affiliation. The access road to the temple, along with drainage, has been completed. Festivities that have revived the intangible heritage of the place are once again bringing back people from the surrounding twenty-three villages. The Village Vathavaranam or village ambience is revitalized. It is a concept that is rarely addressed in critical heritage discourse.\n\nBalusulamma Thalli Gudi is an illustration of locating culture in development in safeguarding intangible heritage through integrated local area planning. There are about 14,000 villages in the state and an estimated 100,000 shrines to a high number of village goddesses across its thirteen districts—perhaps a million of heritage-rich sites in India. They are the bedrock of Andhra and Telugu culture and Indian heritage. They provide the essence of what it is to experience village atmosphere in the face of rapid urbanization and globalization.\n\nBalusulamma signifies culture as an essential component of human development as it is a source of identity, innovation, and creativity for the village life in India. UNESCO emphasizes that many people, especially the poor, depend directly on ecosystems for their livelihood, and, in effect, their economic, social, and physical well-being, including nonetheless their cultural heritage. Balusulamma Gudi is also a good representative example of the UNESCO 2011 Recommendation on Historic Cultural Landscapes and the 2003 Convention on Safeguarding Intangible Heritage. The value and role of community cultural reclamation and responsible tourism through safeguarding and promotion of heritage landscapes is better understood in Amaravathi Heritage Town.\n\nPhoto : Local folk theater revitalized © Amareswar GallaYear2018NationIndia