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Navruz in KyrgyzstanMarking the beginning of spring, Navruz (meaning March equinox) is one of the largest traditional holidays in Central Asia. Located in the heart of Central Asia, Kyrgyzstan has been celebrating Navruz (Nooruz in Kyrgyz) for a long time as its national holiday. When the Navruz holiday comes, Kyrgyz families gather to make holiday desserts: sumolok and boorsok.\n\nIn the old times, sumolok was a ritual dish prepared before the start of spring sowing. Sumolok is a sweet paste made from germinated wheat and stir cooked in a kazan, a large traditional pot in Central Asia. Sumolok has become an important cuisine in Kyrgyz culture since almost all of Kyrgyzstan celebrates the holiday by making it. In villages and towns, families gather around a kazan full of sumolok and take turns to stirring the sumolok. Usually it takes a whole day and night to finish the cuisine, which is why a typical Navruz scene in Kyrgyzstan is pictured as a group of families sitting around a Kazan while singing and stirring sumolok.\n\nBoorsok, on the other hand, is cooked faster than sumolok. Also a traditional sweet in Central Asia, boorsok is a type of fried dough in various shapes. Kyrgyz boorsok is typically shaped like a pressed doughnut.\n\nThis year, Boorsok National Record was held in the Arashan village near the capital city, Bishkek. The event was organized by Ethnographic Complex Kyrgyz Aiyli (meaning Kyrgyz village), successfully attracting an estimated 1,500 local residents and tourists. The main programs included making boorsok, singing songs, and competing in horse riding and other national games. The participants in the boorsok cooking competition used about a ton of flour and made more than 800 kg of boorsok. Later, boxes of boorsok were sent to nearby orphanages and the elderly in Arashan Village.\n\nMarking the beginning of spring, Navruz (meaning March equinox) is one of the largest traditional holidays in Central Asia. Located in the heart of Central Asia, Kyrgyzstan has been celebrating Navruz (Nooruz in Kyrgyz) for a long time as its national holiday. When the Navruz holiday comes, Kyrgyz families gather to make holiday desserts: sumolok and boorsok.\n\nIn the old times, sumolok was a ritual dish prepared before the start of spring sowing. Sumolok is a sweet paste made from germinated wheat and stir cooked in a kazan, a large traditional pot in Central Asia. Sumolok has become an important cuisine in Kyrgyz culture since almost all of Kyrgyzstan celebrates the holiday by making it. In villages and towns, families gather around a kazan full of sumolok and take turns to stirring the sumolok. Usually it takes a whole day and night to finish the cuisine, which is why a typical Navruz scene in Kyrgyzstan is pictured as a group of families sitting around a Kazan while singing and stirring sumolok.\n\nBoorsok, on the other hand, is cooked faster than sumolok. Also a traditional sweet in Central Asia, boorsok is a type of fried dough in various shapes. Kyrgyz boorsok is typically shaped like a pressed doughnut.\n\nThis year, Boorsok National Record was held in the Arashan village near the capital city, Bishkek. The event was organized by Ethnographic Complex Kyrgyz Aiyli (meaning Kyrgyz village), successfully attracting an estimated 1,500 local residents and tourists. The main programs included making boorsok, singing songs, and competing in horse riding and other national games. The participants in the boorsok cooking competition used about a ton of flour and made more than 800 kg of boorsok. Later, boxes of boorsok were sent to nearby orphanages and the elderly in Arashan Village.\n\nMore information about Navruz is available in ICHCAP’s e-Knowledge Center.\n\nWatch Other Navruz Videos\nNavruz is celebrated throughout Central Asia, with each ethnic group having its own take on the holiday. The videos of Tajik and Uzbek celebrations below are from ICHCAP’s Central Asia ICH Collection.Year2018NationKyrgyzstan
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NAVRUZ, SHARING TOGETHER ON NEW YEAR’S DAY—SOME REFLECTIONS ON THE CULTURE OF NAVRUZNavruz (Nowruz) is not just about the first day of spring, but it is also not just a celebration of the New Year marked by indulging in a feast; it has a much wider historical and cultural context with deep doctrinal significance.Year2011NationSouth Korea
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Master ShajarianIntroduction\nA voice that revived traditional Persian music and played a role like ferdowsi (a poet who preserved the Persian language for 900 years) in literature for the music world. A hero to the world of art who interlaced the world of literature with sounds and melodies and blew with his voice in the existence of this country and gave it life again.\n\nMohammad Reza Shajarian, the artist whose voice resonates beyond the memories of Persians of his generation and the younger generations after him. A voice that is the phonetic embodiment of Persian music culture, and if anyone mentions traditional Persian music, the voice of Rabbana of Mohammad Reza Shajarian, which is registered as ICH by the Ministry of Tourism, will resonate in their minds.\n\nBiography\nBorn on 1 October 1941, into a family of art, culture, and literature, Shajarian began singing at an early age. When he entered school in 1326 AH, he started reciting the Qur’an with his father. He continued it very well so that by the age of 10, he could recite the Qur’an in political ceremonies and gatherings. His first high school whispers began with the help of his uncle and Mr. Young (a teacher). In 1331, the voice of young Mohammad Reza Shajarian was broadcast for the first time on Khorasan Radio.\n\nInternational Titles\nShajarian was so prominent that the largest organizations and art centers of the world would bequeath him with great titles; the website of the Asian Association has mentioned Shajarian as the most famous Persian of original music art. The National Public Radio has named him as one of the top fifty voices in the world, and the Vancouver Sun titled him as the most important music artist in the world.\n\nShajarian Awards\nShajarian was a great master of traditional Persian music and worked hard to spread the music of his land and introduce its culture and art beyond borders and became a label of music of his country. He did a great service to patriotic music, such as the Picasso Prize, the UNESCO Honorary Diploma, the Beta from Stanford University, the UNESCO Mozart Prize, the National Knight of the French Embassy, the High Prize for Art for Peace, and the Aga Khan Foundation Award as Lord of Music to Enrich Human Musical Heritage. He was perhaps the only artist to inject the essence of Persian music into the hearts of the world with his voice.\n\nShajarian Performances\nShajarian founded Del Avaz Company in 1977, and in 1978, he won first place in Quran recitation competitions all over the country. During the sixties, Shajarian began an extensive collaboration with Parviz Meshkatian, which resulted in the albums Mahour, Bidad, Nova, Dastan, and so on. In the same years, he performed concerts outside Persia with the Aref group.\n\nDuring his professional life, Shajarian held numerous performances around the world. Since 1968, he has been performing in the United States and Europe with the Pirniakan and Andalibi groups. Shajarian received the UNESCO Honorary Award (Picasso Award) in 1978, and his book, The Secret of Mana, was published in 1979.\n\nShajarian Family\nShajarian married Miss Farkhondeh Golafshan in Quchan which resulted in the beginning of a thirty-year life and three daughters and a son, Homayoun, who is also an artist as great as his father. They have published great performances and works together.\n\nShajarian Works\nThis beloved artist, who is not only in the hearts of the Persian people but also in the hearts of the people of the world, has released more than seventy albums during his professional life. The best of which are Yad Ayam (Memory of the Days), Del Majnoon (The Heart Insanity), Janan Province, Bidad, Dastan, Nova, Bi To Besar Nemishavad (It cannot be without you), Faryad (scream), Dar Khial (in imagination), and Night, Silence, Desert.\n\nTraditions are so important as the cultural lifeblood of a country. Some of have been transmitted to us through audio recordings, which has naturally formulated laws for itself that ultimately define the hearing culture, the essence of which is perpetuated by humans. A culture where part of it is playing music, and part of it is singing, and he was the perpetuator of that culture.\n\nPhoto : Shajarian London Concert CCBY Wikimedia/ Khashayar KarimiYear2020NationIran
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Nomadic Horse Games in KyrgyzstanPrevalent in Kyrgyzstan, the horse symbolizes nomadic culture. The country’s folk literature reflects how the Kyrgyz people harmoniously live with the animal. For example, in Manas, the epic poem, the hero was inseparable from his horse, Ak-Kula, in every battle he fought. The deep association of the Kyrgyz with horses is embodied in nomadic horse games.\n\nOccurring in summertime, nomadic horse games are usually played by men. These games are a depiction of spectacular skills and manliness. Men participating in these games demonstrate excellence in horse riding, prompt reaction, agility, and strength. There is a significant number of horse games in Kyrgyzstan collectively perceived as a traditional sport. Among the most important of these games is kok boru. Also known as ulak tartysh, it is a famous nomad horse game historically believed to train young men to be fearless. The game consists of two teams on horseback, where players have to throw a dead animal (ulak or sheep) to the opponent’s goal. The team with the most goals wins the game. Another game, at chabyish, is a long-distance horse-racing competition. Depending on the distance and age of horse, this game as classified as kunan chabysh, zhorgo salysh, or byshty zhorgo. Wrestling is also incorporated in nomadic horse games. Er enish is a good example of this. Requiring great stamina, this game consists of two horsemen who attempt to push each other off each other’s horse. The first to touch the ground loses.\n\nTo preserve and develop these traditional games of nomadic culture, the Republic of Kyrgyzstan initiated the World Nomad Games in 2012. The First World Nomad Games were held in 2014 in the Issyk-Kul Oblast of Kyrgyzstan. Around nineteen countries participated in the nomad games competitions. The Second Nomad Games were held in 2016, where sixty-two countries participated in twenty-six different nomadic sports. The Third World Nomad Games will take place this year, from 2 to 8 September in Cholpon-Ata, Issyk-Kul Oblast, Kyrgyzstan. For this year, around seventy-seven countries are expected to participate. The nomadic horse games mentioned in this article will be included in the program.\n\nPhoto 1 : Man riding a horse© National Commission of the Kyrgyz Republic for UNESCO\nPhoto 2 : Girl riding a horse © Tynchtyk Turdaliev\nPhoto 3 : Riding a horse © Tynchtyk TurdalievYear2018NationKyrgyzstan
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Ever wondered New year celebration in the Himalayas?Nepal is a country of Himalayas boasting the world’s tallest peak, Mt. Everest. Here different caste people live in harmony. Each caste has its language and culture. So, no wonder about having its own New Year as well. Before jumping towards the topic, I would like to introduce the people of the Himalayas. Sherpas, Gurungs, Tamangs, etc. are the biggest ethnic groups that live nearby the Himalayas. Sherpas, who are famous as mountaineers, live in the lap of mountains. Tamangs, Gurungs, etc. are other ethnicities that live in the mountain as well as hilly areas of Nepal. Apart from owning the beautiful snow-clad mountains, these ethnic groups also have their own culture and tradition which is celebrated by the whole Nepalese.\n\nAmong them, Losar is a major festival for the Buddhists people living in the Himalayas. ‘Lo’ means ‘year’ and ‘Sar’ means ‘new’, which means “New year” in the Tibetan language. Rather than Nepal, Losar is also celebrated in Tibet and Bhutan. It is celebrated on the first day of the Lunisolar Tibetan Calendar which falls in February or March according to the Gregorian Calendar. Nepal celebrates three different Losar and is called Tamu Losar, Sonam Losar, and Gyalpo Losar. Tamu Losar is celebrated by Gurung communities, Sonam Losar is celebrated by the Tamang communities whereas Gyalpo Losar is celebrated by the Sherpa community. Even these three Losar are celebrated on different dates, the way of celebrating it is very similar due to their similar lifestyle.\n\nOn Losar day or New Year, all people of the community wear their traditional costumes and gather in the square and celebrate it merrily. They sing their traditional songs, dance in their traditional style. They even celebrate by holding competitions for fun. Like all other festivals we celebrate, Losar is also a festival of family and relatives gathering. On this very day, traditional food is served to all guests who visit their homes. They even perform ritual activities to get relief from bad lucks and they also visit the Buddhist temple and chant their prayer for the prosperity of their family. During the festival, people forget the past thing and forgive each other by exchanging gifts. So, all can have their fresh new start with social harmony and with a new hope.\n\nThis day is a very important day for the young generations as they are learning not only their culture but also songs and dances too. Songs and dances are taught orally at the scene itself, and children learn them. Hence there is no doubt that Losar is a living heritage, that is transmitted from one generation to another generation.\n\nBut due to the rapid change of communities in Nepal, the celebration of Losar is deducting day by day. Young people are moving to the big cities and developed countries. New generations are not as involved as they used to be before. Therefore, to protect their culture and tradition, these ethnic group peoples are doing rallies in Katmandu on Losar day. All different caste people, who celebrate Losar, gather in the rally by wearing their traditional dress performing their cultural songs and dances, and enjoying the local food. They enjoy the whole day festival by doing cultural rallies, singing and dancing as well as making new friends.\n\nTo sum it up, Losar is more than a festival of New year. It is an Intangible Cultural Heritage. This festival brings new hope to the people who celebrate it. It is directly related to the lifestyle of the community as they gather and celebrated it together. But more than that it is a living heritage when they are practicing their songs and dances orally and teaching to the coming new generations. Since the Losar festival, as well as the songs and dances in the festivals, are not recorded, it may extinct at any time. Therefore, with its cultural significance, it is truly a Cultural Heritage of Nepal that should be safeguarded as soon as possible.\n\nphoto : Dance in Tamu Lhosar © Puskapuku123Year2022NationNepal
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A Festival of Tribal Traditional Craft and Culture in IndiaIndia has been known for centuries for its living heritage, tradition, and culture. The Rajasthan region is especially famous for its rich tribal tradition and craftsmanship. Different tribal groups have carried these traditions on since ancient times as the living heritage of the region. This practice is exemplified by the Aadi-Mahotsav, a three-day festival, which was most recently held in Udaipur from June 14 to 16, 2019. The festival demonstrates a discourse between the region’s tribal artists and the urban population in this cultural jamboree. The festival has earned a special importance in the conservation, exposure, and promotion of tribal traditions. \n\nAadi-Mahotsav is held by Tribal Area Development (TAD) and the Tribal Research Institute (TRI) in partnership with Bhartiya Lok Kala Mandal, Udaipur. The Aadi-Mahotsav starts in Udaipur, Rajasthan, on the second Friday of June and lasts for three days. The festival participants are children from tribal schools governed and run by TAD, tribal artists, craftsmen, musicians, singers, and other carriers of the intangible cultural heritage of Mewar, India, and other nearby villages.\n\nThe festival attracts all kinds of visitors: urban and rural residents, tourists, and collectors, representatives of businesses and cultural organizations, and so on. The festival traditionally opens with a sober procession of all the tribal artists, craftsmen, and participants of the festival in their traditional costumes. The participating artists welcome the distinguished guests at Bhartiya Lok Kala Mandal, the festival venue in Udaipur. More than 400 artisans, craftspeople, and experts from different districts of Rajasthan participated in the festival. \n\nTribal artists and students from tribal schools performed each day in the evening programs, while craftspeople, painters, and traditional healers displayed their tribal and rural products in the craft fair. Various conferences and workshops took place during the festival. These included a conference on arts and crafts for livelihood, as well as demonstrations of traditions, customs, and folk dances within the program framework. In addition, exhibitions and competitions for students like a talent hunt were included. \n\nAt the conferences and roundtables, participants and subject experts discussed the issues related to the current state of tribal culture in the region and in India more widely. Topics included the preservation of intangible cultural heritage, intellectual property rights, regional cooperation in developing the craft market, and cultural and rural tourism. During the festival, the Tribal Co-Operative Marketing Development Federation of India (TRIFED), an organization under the administrative control of the Indian government’s Ministry of Tribal Affairs, opened a permanent store at Lok Kala Mandal to promote and market tribal/rural traditional produce. \n\nAadi-Mahotsav, which demonstrates the idea of cultural and economic cooperation and harmony, contributes not only to developing tribal traditions, and the cultural and ecological tourism industry in the region but also to helping the tribal population to take active participation in the socio-economic development of India.\n\nPhoto : Aadi-Mahotsav, a three-day festival ⓒ Lokesh PaliwalYear2019NationIndia
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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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Post-Harvest Celebrations in NepalHuman has always lived in harmony with the nature and most of the festivities we celebrate today are still the reminder of that. One of such celebration is the full moon day in Marga Shukla Paskhya according to lunar calendar (which falls in the month of November or December) by different communities within Nepal.\n\nThis day is celebrated as Udhauli by the Kirat communities as the start of the winter and marks the downward migration from high land to low land. They worship mother nature as a gratitude of the abundant harvest. With the urbanization and modernization, and settlements in the urban areas, traditional migration is not done anymore. But this festival is still celebrated by Kiratis in Nepal, India and in diaspora.\n\nEven though modernity has changed some aspect of this ritual, Sakela dance which is a part of Udhauli is still practiced and now even more with much fanfare. Young people now wear traditional attire and accessories to participate in the dances organized in open space in different cities.\n\nSimilarly, Newa community celebrate this day as a Yomari Punhi festival which is also a celebration of the good harvest. On this day they make a dish from rice flour with filling of molasse and sesame seed paste, and the dish is known as yomari. The name “yomari” itself means the most loved bread. The first offering of yomari is made to the different deities early morning. In the evening farmers communities worship piles of rice which is the harvest of the year with yomari offering. The night of yomari Purnima is also known as the longest night and people really wake up early and do cleaning rituals and make yomari for the worshipping.\n\nChildren and youth go door to door chanting traditional songs of Yomari Punhi and in return people offer then yomari, rice and money. This tradition of door-to-door visit is not common now days. To give continuity to this tradition many organizations are organizing formal events at least to make aware younger generation of the ancient practices. The dish which used to be made once a year on this day with the flour of new rice is now becoming popular for everyday consumption due to growing food cultures Newa restaurants.\nThis day is an important day for the traditional farming community who are known as Jyapu within Newa community. Since 2004, this day is being also celebrated as Jyapu Diwas (Jyapu Day). Now Newa people go around the city with traditional attire, music and even with large size yomari in vehicles. Even though the farmland of Kathmandu Valley which was excellent for production of rice is now flied with concrete buildings, the tradition of Yomari Punhi is becoming more and more elaborate with added layers.\n\nDifferent groups and communities organize events to make yomari in public places and even sell them. The festival of Yomari Punhi had even spread to Newa people in diaspora. Newa living abroad are making yomari and making competitions as well as continuing the rituals of singing yomari song.Year2023NationNepal
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Thailand’s ICH Video Documentary Series #3: ‘Loy Krathong,’ Paying Homage to the River GodLoy kratong is one of the representative festivals held throughout Thailand. An event is held every year on the day of the full moon in December of the lunar calendar, and a ceremony is held to honor the river (and water) goddess, Ganga.\n\nThe origin of the loy Kratong Festival is unclear, but it is most likely that it began during the Sukhothai Kingdom in the 14th century. Through the festival, people ask for forgiveness for using water to dirty the river, make a lotus-shaped basket made of banana leaves, place the basket on their forehead, pray, and float it on the river to make a wish. In northern Thailand, a festival is held under the name Yi Peng, which means “flying lantern,” hoping that the lantern will fly in the sky to blow away diseases and bad luck.\n\nAll of the school affiliated with the temple and local community members work together to prepare for the festival, and through the preparation of the event, community members, especially the younger generation, actively participate in the safeguarding and transmission of traditional culture. In addition, the loy Kratong events held throughout Thailand include the production of Kratong and competitions, which are effective in continuing public interest in handicraft traditions and delivering traditional Thai culture.\n\nThis loy kratong festival video is one of the 10 ICH Video Documentary Series. which is the result of the collaborative project between ICHCAP and Thammasat University in Thailand. Both organizations aim to raise visibility and strengthen the public’s access to ICH in Thailand through this project.\n\nPlease refer to the brochure for more information on the Thai ICH video documentary.\n\nphoto 1 : © ICHCAP\nphoto 2 : After the massive launch of Khom Loys the sky is filled with the lanterns at the YeePeng Festival in Sansai Thailand © John-Shedrick, CC-BY-2.0\nphoto 3 : Thai people setting their candle-lit krathongs in the Ping river at night during Loy Krathong © John Shedrick, CC BY 2.0, Changed: Size\nphoto 4 : © ICHCAP\nphoto 5 : Thai couple and child ready to set their candle lit krathong into the river during Loy Krathong © John Shedrick, CC-BY-2.0, Changed : size\nphoto 6 : © ICHCAP\nphoto 7 : © ICHCAP\nphoto 8 : © ICHCAP\nphoto 9 : © ICHCAPYear2022NationThailand
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Nillaikalakki SilambamSilambam, a martial art originating from Tamil Nadu, South India, that focuses on stick twirling is one of many Indian traditional arts that have survived through the periods of Ancient India, Medieval India, and Modern India, including the British colonial era. It remained alive in other countries as well, including Sri Lanka, Myanmar, Malaysia, and Singapore. Silambam is an ancient Tamil martial art that carries many Tamil cultural values in its training and also during the transmission of the art from master to students.\nAncient Silambam’s cultural heritage and knowledge survived thousands of years through transmission to many generations, but the art is currently facing extinction. This drastic change is due to contemporary Silambam practitioners forgoing the values of the art and adopting elements of other martial art cultures, introducing new traditions such as belt grading systems, becoming more competition focused, and so on. The martial art with these newly adapted elements has been categorized as Sports Silambam. Many new Silambam organizations have been registered and even masters who have coached traditional Silambam are adopting these changes to train students toward success in competitions. Meanwhile, competition organizers offer handsome rewards to the winners in order to entice many young students to learn Sports Silambam. By focusing on the new approach geared toward competition, Sports Silambam masters fail to preserve the original combat techniques and cultural heritage values of authentic Silambam arts. While Sports Silambam is heavily and widely promoted, authentic Silambam masters and practitioners are struggling and facing hurdles to safeguard the intangible cultural heritage (ICH) of this particular ancient Silambam. Adding to the obstacles is the issue of finding the right disciples to ensure the knowledge is transferred to the next generations in the current era of mushrooming globalization.Year2020NationSouth Korea
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Maintenance of Cultural Identity in a Shared Context: Kırkpınar Traditional Oil WrestlingWrestling is an intense struggle between two people based on strength, endurance, and patience. In addition to power and physical capacity, this contest also requires mental strength and control of the body with the mind. Wrestling has some characteristics that reflect people’s physical struggle with nature under various circumstances. As a consequence of these two complementary aspects, this activity has long been part of relations, competitions, and some kinds of claims of superiority among human beings. Wrestling, for all these reasons, is one of the oldest sports in the history of humanity. At the same time, this means that rich traditions, rituals, and practices have formed and evolved around wrestling in different parts of the world. Therefore, it is possible to say that this sport, in a way, represents one of the aspects of the cultural accumulation of humanity, the knowledge, practices, and rituals transmitted from one generation to the next. This fact also leads us to think of the regional, national, and local forms of wrestling that may be regarded in the context of diversity of cultural expressions. Within this perspective and the focus of this paper, traditional oil wrestling embodies a living heritage with various cultural characteristics. It might be helpful to provide some information on the history and main elements of traditional oil wrestling before elaborating upon its value from the perspective of intangible cultural heritage (ICH) identity, transmission, and safeguarding efforts.\nTraditional oil wrestling is performed on a grass field by wrestlers called who are doused in olive oil and wear a type of hand-stitched, tight-fitting, knee-covering leather pants called . The roots of the relation between Turks and wrestling may be traced back long before its presence in Anatolia and the Republic of Turkey, to Central Asia inYear2020NationSouth Korea
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Case of Tajikistan : Role of Festivals for ICH Safeguarding within Local CommunitiesIn 2017, Tajikistan ratified the 2003 Convention. Two years later, the Tajik government passed a decree and project to take place between 2013 and 2020. The goals of this project were to safeguard ICH from disappearing; reviving traditions; helping and supporting performers and masters; endorsing cultural elements accessible for wide use; studying and preparing books, films, and musical discs; and organizing folk festivals, cultural competitions, and other exhibitions. The festivals have several social and cultural functions due to their continuity. Infestivals, a person experiences his/her membership in society and feels the collective solidarity. Festivals also include didactic elements, mainly structuring the young generation in the task of responsibility among other members of the society; they should follow prescribed social and cultural norms. At the same time, festival also function on a psychological level, giving people a sense of national or ethnic identity and building social integration, solidarity, thus creating an atmosphere of friendship.Year2020NationTajikistan