Materials
regions
ICH Materials 426
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Rope walking and under-rope performances
Rope walking and under-rope performances are a genre of folk-spectacular art and have deep history. Some written sources testify that in the palace of Amir Temur magnificent performances were staged with participation of ropewalkers. There is also information that Uzbek ropewalkers demonstrated in the past (i.e. in XVIII- XIX centuries) their skills in China, India, Afghanistan, Iran, Russia and other countries. But with a lapse of time rope walking developed significantly, so that ropes began to be mounted on a much higher height. Later rope walking began to be performed in circus arenas and became an integral part of circus art. Notably, the performances of ropewalkers were always combined with those of polvons (strongmen), illusionists, dancers, qiziqchi and askiyachi (comedians and wisecrackers) as well as with traditional circus-related performances (such as walking on stilts, tricks, acrobatics, equilibristic, legerdemain; tamed bears, snakes, monkeys, horses, goats, etc.).
Uzbekistan -
Dastan (Epos)
Doston is a lyric-epic genre, a large-sized epic work in oral and written literature. The word "doston" is used in the meaning of "narrative", "story", "adventure", "description" and "praise". As a literary term this word stands for epic works of large size in oral folk art and written literature. Though, dostons of written and oral literature differ significantly from each other in terms of means and methods used in describing and depicting life.nThus, dostons, which are examples of oral creativity, differ from those which are examples of written literature, with existence of versions (for example, nearly 50 versions of doston "Alpomish", and about 100 dostons from the cycle of "Goroghli" were written down up to present), universality and traditionalism. Dostons, which represent the brightest examples of intangible cultural heritage, are usually mastered, performed and inherited (transmitted) orally. And bakhshis, who are performers of dostons, are called differently across Uzbekistan.nDostons have very ancient historical roots. They, based on the imagination of the people, reflect historical events through generalized characters. Therefore it is possible to observe epic generalization in them. And such a generalization embodies ideals and aspirations of the people about social justice. Hence, typical features of doston are epicism, monumentalism.nIn terms of compositional and narrative structure, doston covers complex events and occurrences. These events and occurrences, which are heroic in nature, unite around a single hero, who represents the ideals of the people. And such a hero, who has extraordinary powers, embodies hopes and aspirations of the entire nation.n
Uzbekistan -
Dastan (Epos)
Doston is a lyric-epic genre, a large-sized epic work in oral and written literature. The word "doston" is used in the meaning of "narrative", "story", "adventure", "description" and "praise". As a literary term this word stands for epic works of large size in oral folk art and written literature. Though, dostons of written and oral literature differ significantly from each other in terms of means and methods used in describing and depicting life.nThus, dostons, which are examples of oral creativity, differ from those which are examples of written literature, with existence of versions (for example, nearly 50 versions of doston "Alpomish", and about 100 dostons from the cycle of "Goroghli" were written down up to present), universality and traditionalism. Dostons, which represent the brightest examples of intangible cultural heritage, are usually mastered, performed and inherited (transmitted) orally. And bakhshis, who are performers of dostons, are called differently across Uzbekistan.nDostons have very ancient historical roots. They, based on the imagination of the people, reflect historical events through generalized characters. Therefore it is possible to observe epic generalization in them. And such a generalization embodies ideals and aspirations of the people about social justice. Hence, typical features of doston are epicism, monumentalism.nIn terms of compositional and narrative structure, doston covers complex events and occurrences. These events and occurrences, which are heroic in nature, unite around a single hero, who represents the ideals of the people. And such a hero, who has extraordinary powers, embodies hopes and aspirations of the entire nation.n
Uzbekistan -
Shashmaqom music
Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.
Uzbekistan
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Jaggery production in Myanmar
Jaggery (Htan Nyat) is very important sweet food stuff in Myanmar which is boiled the toddy palm sap(Htan Yee) so that can be made solid jaggery.It's colour ranges from yellow to brown.Toddy palm tree(Htan Pin) are growing especially in Rural Area of Central Dry Zone of Myanmar such as Mandalay Region, Magway Region and Sagaing Region.The jaggery production can be found as the traditional production in most villages from Kyauk Pa Daung, Myin Gyan, Taung Thar, We Laung, Ye Sa Gyo, Pa Kok Ku, Meik Ti La, Poppa, Bagan and Nyaung Oo township. Other growing areas of Toddy palm tree(Htan Pin) are Lower Myanmar such as Tha Nin Thar Yi Region, Ayeyarwady Region, Dawei, Yebyu, Thaton Districts.\nHere, I would like to express about a traditional jaggery production from Zee O village. Zee O village located in Myay Thin Twin Group,Nyaung Oo Township in Mandalay Region. It locates on the south of Old Bagan and about 25km from Nyaung Oo city. For their seasonal livelihood, they pratice traditional way of jaggery making process through their ancestors for long time ago. Among 200 households of Zee O village, 100 are doing jaggery production. We can see the jaggery production as traditional food for their economic life.\nAccording to the different region, collection time of the toddy palm sap(Htan Yee) is not same. In Zee O village, the sap from male toddy palm (Htan Pho) can only be collected from February to June and the sap from female toddy palm (Htan Ma) can only be collected from April to September. nTo collect sap from the toddy tree,the toddy palm climber uses special tools such as small ladder (Yin Swee) fixed to the upper part of a toddy tree and portable ladder (Yin Htaung) used in connection with the fixed ladder and etc. The work of collecting to sap starts early in the morning. The toddy climber climbs the toddy tree via special ladder attached to its trunk and brings down the pots that have filled with the toddy palm sap overnight, replacing them with empty pots at noon.\nFirst of all,heat the pots(Myu Oe) with dry the toddy palm leaves. Afer heating,the pot are roped.And then,poured the slaked lime into the pot. The one of the important things of the toddy climber is the knife(Dar Hnee) which is needed to sharp.\nSo,the toddy climber grinds the knife before his functions. The toddy climbers of Zee O village are distinct from other places of the toddy climbers. For testing knife is sharp, he cut his hairs himself. And then,he carries about ten pots(Myu Oe) with shoulder-yoke and the sharp knife attached to his waist and goes to the toddy palm trees.\nThere are two ways of collecting toddy juice(Htan Yee) depends on male and female toddy tree. A bit of wood(Ka Laing) is wedged into the top of the toddy palm tree to provide seating while he cuts the flower clusters. When the toddy-udders(Htan Nosh) of male tree become blossom, the climber has to clip the toddy-udders toddy-udders with wooden stick or pounding soften that can get much toddy sap. After that,the toddy climber tied nine or twelve toddy-udders cutting for sap into the pots.\nToddy farmer cut female toddy palm's stalks that have fruits for sap collection. He pounds the base of toddy palm's stalk with a small iron hammer (Zauk Khauk). Toddy farmer slice a little to each fruit to collect toddy sap.\nThe sap has to be filtered leaving behind the sediment of lime(Hton Yee Kyi) is put into a stainless steel boiling pan and boiled for about 45 minutes. According to the different region,the kilns for boiling toddy palm sap are different types.In Zee O village, the kilns are made by digging into the ground so that can work for five boiling pans at the same time. While the sap are boiling, the worker has to stir with flat wooden laddle continuously and also has to be added the seeds or powder of castor oil plant so that it cannot be split into the ground. The boiling and stirring has to be continued to get the suitable condition for moulding of toddy palm syrup was obtained. After that, toddy palm syrup was cooled to make granules by hands. Then,it is also dried for about 15 minutes and jaggery is obtained. nAfter that, export jaggery to the buying centre. The buying centre has to put out to dry with the sun. And then,prepare to trade other regions. Especially, Zee O village trade with Nyaung Oo township and Yangon region.\nThere are some animals to disturb the jaggery production such as mouses,squirrels,butterflies, bats,ants,crows and so on. They suck toddy sap,bite the pot's rope and fruit clusters,throw away faeces into the pot.\nJaggery is completely organic without any chemicals.It is used for Myanmar traditional food such as Mont-lone-yay-paw, Mont-lat-saung,Mont-kywe-thae,Thar-ku-yoo,Mont-lat-kout; etc.\nThere has many nutritional values of jaggery. They are protein, fat, carbonhydrate, energy, calcium, phosphorus, iron, mineral, carotine,vitamin and so on.In medical benefits, jaggery treats cold and cough,purified blood,relieves bone and joint pain,strengthens immunity etc.So,jaggery(Htan Nyat) is very useful for snack and traditional medicine.
Myanmar 2019 -
Tholpavakoothu, Shadow Puppetry
Tholpavakoothu is a form of shadow puppetry unique to central Kerala, in southern India . It is performed in permanent temple theatres as a form of ritual primarily honouring the Goddess of Bhadrakali. It enacts the hindu epic Ramayana in a version based on the Tamil Ramayana of Kambar. A highly flexible narrative allows a typical cycle of Tholpavakoothu to extend between seven and twenty one nights, depending on the performance commissioned and sponsored locally. After remaining largely unknown to the West, until the twentieth century, recent scholarship has established its ancient beginnings, while also highlighting the absence of a detailed account of the Art in performance over centuries of its existence. Long ago the creator Bhrahma blessed a demons and as a result of his blessing she gave birth to a son named Darika. When this Demon boy grew up, he became so strong that he turned out to be a threat and a constant source of harassment to the gods. sages and hermits .They approached Lord Shiva for help .In order to kill Darika shiva created the goddess Bhadrakali from the kaalakooda poison lodged in his throat . A fierce fight ensued between Darika and Bhadrakali ,lasting several days. Finally Bhadrakali killed Darika. While Bhadrakali was engaged in fighting Darika,Rama was fighting Ravana.So Bhadrakali was not able to see Rama and Ravana fight. That is why the Ramayana story is enacted in her presence through Tholpavakoothu. Theme and LyricsnThe theme of tholpavakoothu is Ramayana story extending from birth of Rama to his coronation, presented in 21 parts over 21 days. The story of Ramayana is written in 21 parts especially for pavakoothu . This composition which is a mixture of prose and verse is called adalpattu. Adal is acting and pattu is relating to . Since the composition is related to the enactment of Ramayana story it is called adalpattu.\nn The verse of this composition is collectively called koothukavikal; kavikal means verse or poems. Many of this verses are from Kamba Ramayana ,the Ramayana in Tamil by the poet Kambar .But tholpavakoothu performers have changed many of Kambar’s verses and in some places had added their own to meet the purpose of ritual. Scholars differ about the date. Kambar wrote Ramayana in Tamil because Valmilki Ramayana was not accepted among common people .He lived in 9th century A.D. Some say it is 13th century AD. But common opinion is that he lived at Tanjavur during the period of Chola dynasty in the 12th c AD.\n Kambar’s Ramayana is based on Valmiki’s epic, but his presentation and style of narration are most dramatic. This long epic poem containing 20,000 verses is divided into six sections: Balakanda, Ayodhyakanda, Aryakanda, krishkindhakanda, and Yuddhakanda. In addition to verse borrowed from the Kamba Ramayana the performers have added their own verses. A few verses are in Sanskrit and some area mixture of Tamil and Sankrit. Tholpavakoothu, performed every year in the temples of Bhadhrakali ,is regarded as the part of ritualistic worship of goddess. The Arayankavu Temple near Shornur is famous for its Tholpavakoothu because of the attendant ceremonies. The administration of this temple was completely under the control of Kavalapara Muppil Nair . The family attached much importance to pavakoothu and regarded the annual performance at the temple as solemn religious duty. There was a reason for this. At a point of time there were no children in Kavalappara family, and there was a danger that the danger that the family would die out for want to heirs. The family they conducted Tholpavakoothu in the temple as an offering to the goddess and children were born. Since then the family has conducted pavakoothu in the temple every on a grand scale showing the whole of Ramayana from Rama’s birth to his coronation. Ganapathi Iravi Maharajan, who was then the head of the Kavalappara family ,firmly established this tradition of presenting every year at Aryankavu Temple. nTholpavakoothu puppets are made of deer skin. The figures are drawn on the skin by cut out and embellished with dots, lines and holes. The skin is first stretched taut on a smooth board, nailed at the corners to keep it stretched and in position. It is then smeared and rubbed with ash, a process which leaves a thin layer of ash on the skin, and exposed to the sun till dry. When the skin is completely dehumidified all the hair on it is removed by scraping with a sharp edged piece of bamboo. nThen the puppet figure is drawn clearly on it and cut with a fine chisel. The eyes, nose and lips are also drawn on the puppet and cut out. Ornaments and dress are drawn by drilling different kinds of holes in the skin for which special pointed chisel are used. When the puppet is ready it has the same thickness as the original piece of leather.\n The puppets are painted in different colours. The original method of making red dye was by boiling the bark of chappanga tree, black by mixing gum from neem and soot from a coconut oil lamp and blue from boiling neeli leaves in water. The shadows of the puppet on the screen are black, but these become very attractive when shades of other colours merge in them. To prevent the puppet from bending, a thin strip of smoothened bamboo is fastened vertically along the middle on either side. The arms of the puppet are provided with movable joints. There are usually three joints on an arm.\n Puppets are usually made showing them in sitting, walking and fighting postures. In puppets in sitting and moving postures only one arm is movable; both arms are movable in puppets in fighting posture. There are puppets of birds, animals, trees and even for the sea, The puppets of deer and snake are provided with joints that enable them to bend and move their bodies. nThe expression on faces of the puppets indicates their characters. When the shadows of puppets are seen on the screen in the light of oil lamps, they resemble the sculptures in the temples.\nThe puppets have to make gestures and movement in conformity with the narration or dialogue. The puppeteers manipulate their puppets in this way: with one hand they hold the puppet by the lower end of the bamboo strip fastened to the puppet and with a stick in the other hand they make the puppet perform the required movements. The stick they use is usually a thin strip of bamboo some 50 cm long. At the end of the stick, tied to it with a string, is a very thin strip of wood not more than 3cm long. nThis thin end piece is inserted in a hole in the puppets hand when a hand movement is required. The movable arms and fingers are uniform in shape in almost all puppets. The most common hand gesture is the chidmudra- which represents peace, by joining the tips of thumb and first finger, keeping other fingers stretched.\nAfter the ritualistic ceremonies the nandi-shlokha, a hymn in praise of Ganapati is sung. At this the puppet of Ganapati is shown on the screen. The Brahmin characters called pattar pavas are shown on the next. These Brahmin are known by such names as-Moothapattar holding an umbrella, Malleesapattar holding a veeshari, Gangayaadipattar holding a theerthakudam, and Somayajipattar holding a kaavadi. They come from the four regions- north, south, east and westnAs they appear on the screen, the Brahmin’s sung the glories of mahavishnu and explains the greatness and importance of their yagas for the welfare of the mankind. They also praise the other gods and afterwards are supposed to praise the gurus of Tholpavakoothu; but as these guru’s are shudras, the Brahmins cannot praise them. So they leave the stage saying that the function of praising the gurus must be performed by the puppeteers themselves. This is done by the puppeteers. After this the pattar pavas appear again on the screen and sing hymns in praise of Ganapati, Saraswathi, Mahavishnu and Parameshwara.\nThis is followed by a ceremony called sadyavazhthkal- which is the praise of families which have played host to members of puppet troupe that day and offered them hospitality. While praising these families, the puppeteers give a detailed description of the feast offered by them. When the sadyavazhthal is over, a performer summarizes the part of the story to be shown that day. This is followed by paramparamala, where the puppeteers sing hymns in praise of Subrahmanya, Ganapati, Shiva and Krishna, touching the lamps behind the screen as a sign of devotion. Then they begin the koothu. These ritualistic observances such as kalarichintu and paramparamala are performed every day before the koothu commences. It is performed in 7,14,21,41, or 71 days depending upon the custom practiced in the templenIn the course of performance, the performers give explanations and interpretations of the verses, depending on the context. Often they have to bring out the depth and range of the meaning of the words. Where a verse contains allusions or some inner significance, the explanation may continue for as much as an hour.
India 2019 -
The Art of Rickshaw Painting
Rickshaw is considered one of the most popular transport vehicles in Bangladesh. Millions of rickshaws can be seen all over the country. It is one of the most easy-to-get and traditional vehicles in this region. Basically, this is a three-wheeled pedicab driven by a person who is generally called 'rickshaw-wala'. It is required to put hard physical labor to drive this vehicle. Most of the Asian nations have their own form of this primitive transportation. But, in Bangladesh, the vibrant, colorful designs on rickshaw has taken it to another level of aesthetics and craftsmanship. The painted rectangular metal board at the backside, between the two wheels of the vehicle is the main attraction of the whole artwork. This is what you generally refer to as rickshaw painting- a genre of art that is unique to the Bengali culture. Sometimes it resembles rural life, sometimes historic incidents or movie stars or surreal thoughts, essentially to attract the passengers. This is a traditional Bangladeshi urban folk art form that represents the culture, history, and livelihood of common people. In reality, every rickshaw is a single mobile piece of art.\n\nThe themes of rickshaw painting are a bit different in different cities. In Dhaka, the capital city of Bangladesh, the paintings are more vibrant than the paintings Chittagong region, and you can also notice the difference in Rajshahi or other regions. But most of the time It includes the colorful paint of birds, flowers, village scenery, liberation war, cinema poster, cities, mythology, animals, human beings, national monuments, etc. Even sometimes global incidents inspire the artisans. There were rickshaw paintings in Dhaka based on the incidence of the collapse of twin towers in the United States of America.\nThe rickshaw painters are considered as traditional folk artists. Their arts are sometimes considered as people's art. There are different types of rickshaw painters. Mostly they are less educated. They are the people who have been working in rickshaw garages. If you visit the rickshaw garages you may find elderly people who have been painting for decades. This is somehow a pearl of local wisdom. Most of the early artisans self-taught. They have no institutional training or knowledge of painting. However, their colorful vibrant paintings on rickshaw show their craftsmanship, skill, and level of imagination and observation power. These paintings on the body of the rickshaw can easily catch someone's eye which is the main reason behind rickshaw painting- to attract passengers. nThe painters reflect their own likings and desires in their paint as well as the desires of the people who are ordering the painting. They also consider the likings of the passengers whom we call rickshaw-jatri. The decoration and painting attract the general riders. They enjoy watching this piece of art.\n\nWe can see some challenges nowadays, in terms of keep going on with this traditional form of art because of mechanization, modernization, and urbanization. Rickshaws are gradually being withdrawn from selected streets of the larger cities. There is a doubt that this will eventually affect the traditional art form. If this continues to happen, the big cities will have no more rickshaws which is really a big threat to the art form. Some people also oppose rickshaw pulling because this is a very hard physical labor-oriented occupation. But if rickshaw gets withdrawn from the big cities there will be a risk to lose the tradition and it will affect the economy and living of the people related to this. nThe traditional artisans of rickshaw painting are somehow facing some problems to keep going on with their traditional livelihood. They complain that they are not getting enough earing from rickshaw painting these days. They paint rickshaws with their hands. But nowadays there are other available digital paint forms like screen printing which costs three or four times less than the hand paintings. So the rickshaw owners are preferring to buy these screen printings. nRickshaw painting is one of the most tangible forms of intangible cultural practice. This art is considered 'peoples art. The painted rectangular metal board at the backside, between the two wheels, leaves a trail of passion that the Rickshaw artist puts in his creations. This craftsmanship requires knowledge and skills which is transmitted from the early rickshaw painters themselves. nSome young students of Charukola, Dhaka University; one of the most influential fine arts institutes of the country, have expressed their thoughts on the safeguarding of this unique art form. They are also trying to revitalize this traditional form of art. They are trying to make it popular among the urban upper and middle-class society. They suggested using this form of art on other products like dresses, mobile phones, and other accessories. nAs the genre of the rickshaw paint is dying down due to digital printing and other such technologies, some young Bangladeshi artists are trying to bring back rickshaw art and promote it by hand painting on modern, innovative products. They are trying to convert the traditional form of rickshaw art into a modern form of art. \n\nThe youth of Bangladesh is very much connected to this intangible cultural heritage and they are finding their way to safeguard and promote it in this era of digital printing. While we can feel the risk of diminishing this art form, It is a light that young people who are parts of institutional or formal fine arts are trying to safeguard and promote the knowledge and tradition of the painting. They are also taking steps to preserve and protect the form of art .
Bangladesh 2019 -
Traditional Ikat Making in Uzbekistan
Fabric making art has been known in the territory of Uzbekistan since ancient times. Initially fabrics were weaved only from cotton. But in the first and second centuries bce, due to trading along the Great Silk Road, our ancestors learned the secrets of weaving silk fabrics.\n\nThis film includes some of the thirty-two stages involved with making abr fabrics. Rasuljon Mirzaahmedov is the representative of the ninth generation of abr makers. He revived various secrets of abr making as the result of his research on Uzbek fabrics being kept not only in the museums of Uzbekistan but also in Moscow and Saint-Petersburg and in other cities of Europe. As follow up his studies he established ikat weaving workshops in many regions of Uzbekistan as well as in neighboring countries.
Uzbekistan 2017
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The Traditional Musical Instruments on Myanmar
The traditional musical instruments of Myanmar were prominent throughout the nation’s history. The instruments were developed as early as the Pyu Era, Bagan Era and many were dominant features of music during the Innwa Era and Konbaung Era.\n\nWhile some of these instruments have been preserved and are used today, others have been lost to history.\nIn an attempt to preserve the traditional musical instruments of Myanmar, the Ministry of Culture displayed traditional instruments and distributed the books about the instruments during an exhibition in 1955. This research shows thirty-three kinds of instruments. Moreover, in a 2003 celebration of traditional instruments, the Ministry of Culture exhibited over two hundred traditional instruments at the national museum.\nWhile the instruments on display were representative of many regions and states, many instruments were not included.\nBecause of this lack of full representativeness, additional research through field studies is required. This project proposal addresses this need.\n\nTo create a preliminary basis towards developing a national ICH inventory of craftsmanship and performing arts of traditional musical instruments in Myanmar. To safeguard ICH related to the craftsmanship and performing arts of traditional musical instruments and to promote cultural diversity among multi- ethnic groups in Myanmar. To raise awareness of the Myanmar public on the importance of ICH. To expand networking and information sharing between Myanmar and Korea.
Myanmar 2014 -
Intangible Cultural Heritage Elements of Ferghana Valley
Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley. The collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.
Uzbekistan 2015
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Xu Xe Xang song
You've been gone away for so long\nLeaving me alone in this longing\nSo how many moons will you stay this time?\nWhy would you carry sickness then remain your stay\nChopping bamboos to weave baskets\nSo that I can carry the combs of all types
Viet Nam October, 2021 -
Catfish song
Reaching hands into the catfish pouch\nYou live in strange waters and faraway lands\nIn the dark of night with the mysterious moon on high\nWhere do you live? Can you tell me again?
Viet Nam October, 2021 -
Luffa song
It's in the afternoon, where I'm cooking soup with the melon\nI saw that you came around to drop some scallions with it \n- \nIt's the green of the melon vine\nHow can one greet a stranger when they're first met?
Viet Nam October, 2021 -
Swinging song
If you ever pass the empty lands of Giồng Dứa \nWhere the winds blow the reed, much like my sorrows
Viet Nam October, 2021
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Narrative Traditions - Oral Epics and Ballads Vol. II_ the Jagar and the Epic of Alha
CD5_NARRATIVE TRADITIONS – ORAL EPICS AND BALLADS VOL. II: THE JAGAR AND THE EPIC OF ALHA\n\nOral epics, ballads, and narratives form a major part of the background of rituals, storytelling, and local mythologies – all an important part of the intangible cultural heritage of India. The vast range of oral epics in India, most often sung, also contain recitation and prose that explain the text. The meters vary greatly, and they all have different definitions and terms. For instance, the meter and singing of the Alha is called Alha Chhand. A wide variety of types of performances and expression of this genre exist. Some stories are narrated with scrolls that illustrate episodes. Sometimes, they are acted out, and sometimes sung, as in the case of the paddanas, which are performed while transplanting rice. Stuart Blackburn and Joyce Flueckiger distinguish three kinds of oral epics in India: martial, sacrificial, and romantic. \n\nSome epics tell a story with multiple episodes and characters, and some are “multi-story” oral epics. Oral epics in India are very closely tied to communities, with performers, audience, and participants all belonging to the same community. Most oral epics are associated to rituals, the performance of some being the ritual itself. Caste also plays an important role in the performance or patronage of the oral epic traditions in India. The great epics of Ramayana and Mahabharata in some cases, enter the world of these local oral epics, where the performers are considered to be reincarnations of heroes and gods from these epics. According to Komal Kothari, an eminent folklorist of India, this phenomenon happens when the impact of the oral epic spreads beyond its initial local boundaries. Though we are not able to present full performances of all the oral epics, we believe that these recordings provide a good glimpse into the variety of meters, singing styles, and contexts that exist within these traditions. Three oral epics are presented in this volume. They are all part of larger collections, and each one is contributed by an expert on the genre who has done extensive research. The paddanas were contributed by Peter Claus, the Nanda Devi jagar by William Sax, and Alha by Karine Schomer. This album presents extracts from two kinds of narrative traditions that are part of the intangible cultural heritage of two very different traditions and regions of India.
India 2016 -
Bukhara Shashmaqom
In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.
Uzbekistan 2015 -
Khoresm Maqoms
In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.
Uzbekistan 2015 -
Dostons from Khoresm
In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.
Uzbekistan 2015
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Phong Hoa Ca Vinh
The genre Ru tends to perform within the familial environment, with a hypnotising nature that tends to be use to lull children.\n\nThe genre Hò originated from the working environment. The Southern part of Vietnam, where the waters are a vital element for the workers to sing on these flowing streams. Back then, the genre of hò đường thuỷ (singing on waterways) was rather popular. From traditional performing environment, hò eventually separated into different genres- hò trên cạn (hò on land) and hò dưới nước (hò on water). Based on the carrying content, reflected themes, hò continue to evolve into various genres to adapt with different forms and narratives (hò thơ, hò văn, hò tuồng, etc.) \n\nThe genre Lý is a common performance genre across all three regions of the country, although it could be the most popular in the Southern region. Pétrus Ky, a renowned Vietnamese scholar, once mentioned the saying “Southern region has lý, Huế region has hò, Northern region has thơ.” (Nam lý Huế hò Bắc thơ) as it points out how lý is a specialty of the Southern locals. In reality, lý not only has its mainstream popularity but also achieved a high level of craft and essence in traditional culture and professional life of the Southern region.\n\nThis project is sponsored by the British Council under the program Heritage of Future Past- A 2018 project which aims to conserve and cultivate the archive of Vietnamese music and film, especially focusing on the untapped values of these mediums that are under the threat of being forgotten. You can learn more about the Heritage of Future Past program via this link: https://www.britishcouncil.vn/cac-chuong-trinh/nghe-thuat/di-san-ket-noi.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang
Viet Nam 2021 -
Melodies from Uzbekistan
In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.
Uzbekistan 2015 -
Intangible Cultural Heritage Elements of Ferghana Valley
Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.
Uzbekistan 2015
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Regional Collaboration for Safeguarding ICH in Asia and the Pacific: Tasks and Strategies
This report publication is a collection of the discussion papers presented on 28 November 2011 at the International Conference on Safeguarding Intangible Cultural Heritage under the theme ‘Regional Collaboration for Safeguarding ICH in Asia and the Pacific: Tasks and Strategies’, which was held in commemoration of ICHCAP’s inauguration. The conference provided an opportunity to look into the current ICH status and environment of the five sub-regions within the Asia-Pacific region and to seek measures to overcome the many different challenges involved with ICH safeguarding.
South Korea 2011 -
2020 Living Heritage Series: Traditional Martial Arts
ICHCAP published the book Living Heritage Series – Traditional Martial Arts in collaboration with UNESCO International Centre of Martial Arts (ICM). The Living Heritage Series is a serial publication on regional/national transmission and safeguarding of intangible cultural heritage elements. It focuses on a different topic each time, discussing the relevant intangible cultural heritage of various regions to raise the visibility of cultural diversity emphasized by the UNESCO.\n\nLiving Heritage Series-Traditional Martial Arts showcases creative and historical traditional Martial Arts from around the world through contributions from 19 writers in various countries.
South Korea 2020
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History of Sawahlunto Mining Town: World Heritage SiteHistory of Sawahlunto Mining Town\nBased on the Van Lien report released in 1917, in the interior of West Sumatra along the Ombilin River at Sawahlunto, the Sijantang and Pamuatan people had collected coal that appeared on the surface on the river banks to use for cooking and had even sold the mineral to coastal areas along the course of the river, long before the Dutch came and conducted research on energy sources for the industrial revolution.\n\nThis activity of the people surely became a reference and the first information for the Dutch geologists to come and conduct research on the coal reserves of Ranah Minang (West Sumatra). C. De Groot Van Embden conducted preliminary research beginning in 1858 and continuing for nine years, carried on by the geologist W.H. De Greve, who finally discovered coal in the Ombilling basin in 1868 and reported the results of his research to the Dutch Government in 1870. Subsequent research by R.D.M. Verbeek succeeded in detailing the results of the discovery by revealing the quality of the coal, which was as high as 7,000 calories with an estimated reserve of 200 million tons, distributed around the areas of Parambahan, Sigalut, Lurah Gadang, Sungai Durian, and Lembah Segar.\n\nDevelopment of an Integrated Megaproject\nThe potency of energy sources for the industrial revolution found in Sawahlunto were hotly discussed in the Dutch parliament. The officials thought hard how the black coal reserves could be extracted and used for expansion of the area controlled by the Dutch colonialists in Southeast Asia. After debate and more research over the next twenty years, the Dutch government finally designed an integrated project called “Three in One”. The project focused on (1) developing mining infrastructure and then of a mining town at Sawahlunto; (2) developing a rail network, beginning from Pulau Aer Station in Padang, and then in stages up to Sawahlunto; (3) developing Emmahaven Port, which included coal bunker facilities, from where the coal would be shipped to Europe.\n\nWe can still see this “Three in One” project, first in the form of the coal mining site and the mining town of Sawahlunto, including the open mining area and the deep mining network and facilities for processing the coal, with supporting facilities of the town built at Sawahlunto. Second, the railway infrastructure and technical facilities including a rack and pinion railway system in the highlands with bridges and tunnels connecting the mining area with the port over 155 kilometers through the mountains. Third, the coal bunker facilities at Emmahaven Port located on the western coast of Sumatra. This was for storing the coal before it was shipped out by sea.\n\nSawahlunto Mining Town at This Moment\nFor over a century, the product of mining in Sawahlunto contributed to moving the wheels of development of infrastructure in various areas of Indonesia, especially in West Sumatra. Besides this, the technical achievement in deep mining and integrated infrastructure development provided a model for development of mining activities in various regions of the world. Although the mining activities no longer go on, yet the results of the development that took place in the form of heritage buildings and experience (in the form of cultural traditions) gained can still be felt by the people even now. Sawahlunto is proof of the effect of the industrial revolution that had taken place. The mining has ceased. Yet the footprints of the mining town are safeguarded as an attraction of West Sumatra.\n\nPhoto 1 : Office of the old coal mine at Sawahlunto, now part of the World Heritage Site © Deri Asta\nPhoto 2 : Coal processing facilities from the old mine at Sawalunto, now an industrial cultural heritage site © Deri Asta\nPhoto 3 : Old Photo of Batang Ombilin Ranuh River at Sawahlunto © Deri AstaYear2021NationIndonesia
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The Kyrgyz Shyrdagy FestivalThe Kyrgyz Shyrdagy Festival was inaugurally organized in 2010 by felt carpets producers in Kyrgyzstan, after UNESCO inscribed the traditional Kyrgyz felt carpets ala-kiyiz and shyrdak into the List of Intangible Cultural Heritage in Need of Urgent Safeguarding.\n\nThe festival is held every year in June in the mountainous Naryn region, famous for its felt carpets. The festival is managed by the Craft Council of Kyrgyzstan under the auspices of the Ministry of Culture and the Information and Tourism of Kyrgyz Republic with the support of the regional administration and in partnership with the local crafts communities, NGOs, international agencies, and private businesses.\n\nThe goals of the festival are to attract social attention to the necessity of safeguarding the art of traditional Kyrgyz felt carpets, to develop the local market of the felt carpets, and to develop event/cultural tourism, especially in remote mountainous areas of Kyrgyzstan.\n\nThe art of making felt carpets among Kyrgyz has ancient historical roots dating back to the first century BCE. Felt carpets are an important decorative component in the yurt, the traditional nomadic dwelling of Kyrgyz people, which is used by local residents in everyday life.\n\nThe process of making felt carpets is a socializing, unifying factor. It involves all family members and often relatives and neighbors. During the joint work, knowledge and skills are interactively transmitted by the older generation to young people.\n\nIn the past, felt carpets were not intended for sale; they were passed down from generation to generation, playing the sacred role in the family as an ancestral memory of the mother. Therefore, the carpet ornamentation was marked individually by the woman-creator—an imagery of the benevolence or the blessing of the mother to her descendants.\n\nShyrdak felt carpet today is a popular product on the local tourist market and international craft market, providing a significant income for rural women. Being exported to western countries, shyrdak carpets are highly appreciated as handmade eco-friendly products with unique ornamentation.\n\nWith about three hundred crafts artisans and participants, the Kyrgyz Shyrdagy Festival has become a national holiday, recognizing the Kyrgyz people’s cultural values. Residents of neighboring villages go to the festival, dressed in traditional festive clothes. At the festival, attention is given to master classes of the carriers of knowledge of ancient felt-making methods and contests are held for felt carpet producers to better carpet preservation.\n\nIn the past festivals, seventy craftspeople were awarded with diplomas and monetary prizes from state institutions and private foundations. Twenty-five awarded shyrdaks were gifted by organizers to five leading museums in Kyrgyzstan. In 2018, within the framework of the festival, it is planned to hold an international conference on preserving traditional crafts with the participation of the National Commission for UNESCO, museum representatives, and tourism and craft organizations.\n\nThe Kyrgyz Shyrdagy Festival is currently a meeting point for artisans, traders, representatives of travel companies, scientists, and aficionados of felt carpets from Kyrgyzstan and other countries. It promotes the development of the craft market in Kyrgyzstan and other regions, consequently improving the living standards and social status of artisans. The festival also demonstrates the inseparability of cultural ties between generations, stimulating young people to study, preserve, and develop traditional crafts and drawing the attention to preserving Kyrgyz ICH.\n\nPhoto : Shyrdagy festival photo © Photographer Urmat Osmoev CACSARC-kgYear2018NationKyrgyzstan