Materials
carving
ICH Materials 173
Publications(Article)
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KOMUZ TEACHING METHODS IN FORMAL AND INFORMAL SYSTEMS IN KYRGYZSTANThe Kyrgyz komuz is a national musical instrument. Traditionally, komuz was made from a single piece of wood. The instrument has three strings, which were traditionally made from dried ram innards, but in modern times, fishing lines are often used instead.Year2017NationSouth Korea
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Coral Stone Mosques of the Maldives: The Vanishing Legacy of the Indian OceanThe Department of Heritage of the Republic of Maldives held an exhibition to display architectural drawings showcasing Maldivian craftsmanship skills at Maldives National Museum of the Maldives from 28 May to 31 July 2017. The event also featured the illustrations on Maldivian coral carpentry by a renowned Maldivian architect, Mohamed Mauroof Jameel. In the opening ceremony of the exhibition, “Coral Stone Mosques of the Maldives: The Vanishing Legacy of the Indian Ocean” was launched. It is a book detailing the architecture and coral carpentry of coral stone mosques co-authored by Mohamed Mauroof Jameel and Yahya Ahmad, a Malaysian architect.\n\nThe coral stone mosques in Maldives embody the intricate carpentry skills of the Maldivian. Intricately carved, they are exceptional with their lacquerware; an architectural creation seen only in Maldives. Coral carpentry dates back to the Buddhist era in the twelfth century and continued till the introduction of masonry in the late eighteenth century. As the only long-lasting and easily available materials were coral stone and timber, coral stones became the primary building material for monumental buildings. Skilled workers would lift live reef coral boulders or Porite corals from the seabed, cut them into stone blocks while still soft, air dry, and then interlock them to build an edifice. The method of construction using coral blocks was the tongue and groove method, an excellent building technique used in the ancient Maldives. Coral stone construction became even more refined during the emergence of Islam, particularly when the cutting techniques of Swahili region in East Africa influenced Maldivian artisans. The fusion of Buddhist and Islamic cultures in Maldives is reflected in the architecture of the mosques.\n\nHowever, removing corals is now prohibited due to environmental implications. The physical setting of the Maldivian islands with faros (ring-shaped reefs) by reef sediments resulted in the formation of coral reef islands. It is believed that the traditional lifestyle of the people had almost negligible impact on the marine environment. Being a country with more territorial sea than dry land, Maldivians highly depend on resources from the sea. Henceforth, coral reefs are not only economically important to Maldives in terms of revenue since they also function as a buffer to shorelines from wave action and other oceanic processes. It is found that coral mining for coral carpentry could be highly destructive and is carried out at a high cost to the reef environment with a very small return of corals as building materials. Consequently, the Government of Maldives is controlling coral mining with legislation, mindful of the environmental implications of such practice.\n\nThe only coral stone mosques left are those that were built during the ancient times. Maldivians do not practice coral carpentry anymore; however, coral carpentry as a skill is still being transmitted for the future generations. The existing coral carvings and construction are safeguarded by the government and local communities. This heritage embodies spiritual values and history of the Maldivian communities.\n\nPhoto : Detail of coral carving on the premises of Male' Friday Mosque © Dominic SansoniYear2017NationMaldives
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Challenges Facing Vietnamese Traditional Martial Arts Seen from a Case Study of Bach HoI arrived in Hue City by the Perfume River (Sông Hương) on a rainy afternoon in September 2019 to spend about a month gathering materials and data related to the preservation of the Hue Imperial Complex. One of my friends was waiting for me at a local bar together with his Bach Ho (White Tiger) master, a man in his sixties wearing a black martial arts shirt. After greeting one another, we began our conversation by taking about Hue’s recent conservation projects and local landscapes, before my friend’s master touched upon the history and the heyday of Bach Ho martial arts (the 1960s to the early 2000s). Indeed, Vietnamese people have created their own martial arts to boost their health and protect their homeland against aggressive and more powerful foreign invaders for a few thousand years. As Van Dung highlight: “martial arts contributed glorious pages to the history, appeared as a proof for resolute spirit, inexhaustible struggle, fearless of death, difficulty or danger and as a creative mind of people” (2017, p. 27). The Vietnamese philosophy of martial arts is “the Truth—the Goodness—the Beauty”; it attempts to advance Vietnamese culture and characters by forging a sturdy body, enduring health, and a strong spirit that provides support in dealing with difficulties and hardship (Van Dung ., 2017, p. 28). Viet Nam has some of its own styles of martial arts, but due to being located at a crossroads of civilizations, various martial arts from China, Korea, and Japan have been brought into and mixed with native ones, including kung fu, karate, judo, aikido, and taekwondo (Van Dung , 2016, p. 69). With the tremendous growth of this industry, martial arts have become an integral part of sports and physical activity culture, conveying not only lifestyles but also educational value and entertainment (Ko ., 2010, p. 3).\nHue became one of the biggest centers of martial arts in Viet Nam because it was home to the Nguyen dynasty, the final feudal society of Viet Nam (1802–45). The Nguyen dynasty fought against local rivals and also stood against Western colonialism, particularly the French invasion (Odell and Castillo, 2008, p. 82). Therefore, the practice of martial arts was very much encouraged and was stimulated through the organization of a number of nationwide martial arts competitions to select the best talents in the country (Le, 2020). Several temples were constructed, at which the masters’ skills and teaching were honored by the carving of their names on the stone columns.\nThe Hue Association of Traditional Martial Arts confirms that there are around 15 types of martial art within Hue, including Viet Vo dao, Bach Ho, Nga My, Thien Muc Son, Thieu Bao, Nam Son, Hau Quyen dao, Thieu Lam Dai Tam, and Kinh Van An. Other Vietnamese martial arts had their origins elsewhere, as noted, in countries such as China, Japan, and Korea, but Bach Ho (a genuine Vietnamese martial art) remained one of the most prevalent types of martial art in Hue City. Unfortunately, the stature of Bach Ho is fading significantly in comparison with other martial arts. This study thus aims to explore the relevance of Bach Ho in contemporary contexts and the primary impediments to its transmission. It will then propose recommendations for safeguarding and promoting Bach Ho as intangible cultural heritage for future generations. These are the primary objectives behind the selection of Bach Ho as our research topic.\nTo conduct our study, we worked closely with representatives from the Association of Traditional Martial Arts of Thua Thien Hue and different groups from the martial arts. InYear2020NationSouth Korea
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TRADITIONAL MUSIC OF THE MORIN KHUURThe Mongols have traditionally shown great respect for the horse, honoring it in their national values and symbols (flags and emblems) as well as in folk songs. The morin khuur, so named for the ornamental horse-head carving at the top of its neck, is a unique two-stringed musical instrument developed by nomadic Mongols. The strings of both the bow and fiddle are made from the hair of a horse’s tail.Year2010NationSouth Korea
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SAFEGUARDING DONG HO WOODBLOCK PRINTING IN VIETNAMDong ho woodblock printing originated in Dong Ho Village, Song Ho Commune, Thuan Thanh District, Bac Ninh Province, about 35 km east of Hanoi. The colors, color processing, printing paper, woodblock carving, and manual printing techniques, as well as the skills of craftspeople give dong ho woodblock printing its famous “naïve soul.” Printing colors, paper, and woodblocks are handcrafted from natural materials. Each color is printed on a separate woodblock, so the number of woodblocks used depends on the number of colors needed. In a multicolor print, craftsmen print colors in the following order: red, green, white, yellow, and finally black. After applying each color, craftsmen hang paintings to dry before printing another color.Year2016NationSouth Korea
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ICH as a Metaphysical Product: The Case of Wualai Silversmith Village in ThailandWualai Silversmith Village is located along Wua Lai Road, Hai Ya, Muang, Chiang Mai, Thailand. The village is well-known for handmade silver products. People in the village have been making silver goods for a hundred years, after they moved from Bagan (an old city in Myanmar). After farming, most of the villagers spend their free time as silversmiths. Family members are involved in creating silver products for trade and their daily life. Almost every household is also a workplace for creating silver goods.\n\nNecklaces, bracelets, paddles, and trays are some of the most common products of the Wualai Silversmith Village. However, the silver bowl or salung is most representative of their identity. In the past, these silver products were used to represent family wealth, especially for a grand occasions. With unique and sophisticated patterns and styles of the villagers’ silver products, for example, Kratin flowers, pineapples, twelve zodiac signs, Ramayana figures, and animal patterns, Wualai silver products became famous.\n\nIn May 2018, I went to the village to observe the process of making handmade silver bowls and interview a number of silversmiths. The silversmiths explained that there are many steps in making a silver bowl, and it takes days or weeks to finish one. The most difficult stages are forging and carving. A few days are commonly needed to forge a silver bowl by hitting silver coins or bars. Those responsible for forging should be demonstrably strong, patient, and resilient against hot temperatures.\n\nOn the other hand, there are two kinds of carving expertise. One in creating the patterns; the other is in detailing the bowl to be seen as three-dimensional. Not everyone easily learns and practices these skills. This impracticality is why it is difficult to continue the practice of creating silver products in Wualai. In addition, the cost of materials has also caused a decrease in practitioners and successors.\n\nThe local government is now concerned about safeguarding this intangible cultural heritage element. To act upon the problem, they created a silver product safeguarding network, which includes schools, temples, and other relevant institutions. Local knowledge on making silver products has recently been introduced as a part of academic curriculum. Relevant pedagogical programs are offered in schools, temples, and non-formal educational centers. The Ministry of Culture of Thailand also promotes the safeguarding of silverware as a metaphysical product or something priceless and invaluable. This is specifically helpful to the Wualai walking street, a space built by the villagers to commercialize their products. The Wualai walking street is visible every Saturday, beginning in the late afternoon and ending before midnight.\n\nPhoto 1 : Forging a silver bowl in Wualai Village, Thailand © Ratchda Sukka\nPhoto 2 : Firing up silver molds in Wualai Village, Thailand © Ratchada SukkaYear2018NationThailand
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2018 Auckland Tamaki Herenga Waka Festival: Celebrating Maori CultureThe Auckland Tamaki Herenga Waka Festival will be held on Auckland’s waterfront and harbor over the Auckland Anniversary Weekend, 27 to 29 January 2018. Traditionally, with Auckland being home to more than 180 ethnicities, the region has featured various types of Maori presence including Maori waka (canoes) during the weekend. And in the recent years, this tradition has been celebrated as a festival, a result from collaboration among the Mana Whenua; nineteen iwi (tribal groups) authorities of Tamaki Makaurau; the Auckland Tourism, Events and Economic Development (ATEED) on behalf of the Auckland Council.\n\nThroughout the three-day festival, many activities related to traditional and contemporary Maori culture will be featured. The activities are designed to boost harmonious understanding of the Maori culture to both children and adults by blending traditional and modern elements.\n\nThe program consists of music, games and craft activities, storytelling, and waka parades and rides. Sunday, 28 January, is the peak of the festival, hosting an array of waka activities such as waka paddling and a waka carving demonstration. On the same day, participants can visit village workshops to experience traditional arts and craft like toi (Maori arts), weaving, and carving. At the ANZ Viaduct events center, several art exhibitions will take place. There will also be a booth of modern digital games in the venue. Next to the Viaduct basin, people can experience waka sailing throughout the festival.\n\nThe festival has become a host of celebrated events during the Auckland Anniversary Weekend in just a short period of time. The 2018 Auckland Tamaki Herenga Waka Festival program is expected to be enjoyed by the locals and tourists, marking a scene to celebrate Maori history and heritage as well as the contemporary culture of Tamaki Makaurau.\n\nAdmission is free; however, partial payments may be collected in some tour zones and market places for food or souvenirs. The festival’s full program is available here.\n\nPhoto : Youth experiencing waka culture © Auckland Tamaki Herenga Waka FestivalYear2018NationNew Zealand