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ICH Materials 301
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Small Epics as an Important Element of Oral Epic Creativitiy of the Kyrgyz PeopleThe rich folklore of the Kyrgyz people is an important historical and cultural phenomenon developing over many centuries and spiritually and artistically valuable. As an inexhaustible source of people’s wisdom, it reflects the history, life and social, political and spiritual ideals of the people. The oral folklore is the basis of our unique cultural heritage. Due to the harsh conditions of the nomadic life, endless clashes with enemies and invaders, and long distances of migration, the Kyrgyz people have not preserved their spiritual culture in the stone monuments of architecture, papyrus or clay writings but have preserved it in their memory for more than two thousand years of history. Memory proved to be good enough for keeping millions of lines of epic songs and works, which have been passed from generation to generation and reached the present day.Year2015NationSouth Korea
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Dalian Maritime University – Safeguarding China’s Navigation CultureFounded in 1909, Dalian Maritime University (DMU) is a Project 211 National Key University and an International Maritime Organization (IMO) Centre of Excellence. Known affectionally as the “cradle of navigators,” DMU has, since its inception, produced more navigators than any other Chinese institution. DMU is, without doubt, the beating heart of China’s maritime industry. Following China’s ratification of the 2003 Convention on the Safeguarding of the Intangible Cultural Heritage of Humanity in 2004, and in recognition of the critical need to preserve China’s navigation culture in the face of globalization and social transformation, DMU established the Centre for Maritime History and Culture Research (CMHCR) in 2008. Charged with safeguarding China’s navigation culture, CMHCR has, over the past twelve years, grown to become home to more than twenty-one associated experts, drawn from disciplines as diverse as history, archaeology, heritage, languages and linguistics, translation and interpretation, marine engineering, navigation science, and technology. This short article will highlight the vital work of this safeguard\u0002ing pioneer.Year2021NationSouth Korea
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BAKHSHI ART FESTIVAL TO REVIVE SILK ROAD CULTUREA wide range of festivals are held in Uzbekistan to generate public interest in intangible cultural heritage. This includes the recent International Bakhshi Art Festival, which was held for a week from 5 April in the ancient city of Termez. Bakhshi is a multi-genre art form that brings together singers, musicians, and performers of Doston, a Central Asian oral epic. Teams from seventy-five countries took part in this festival, which featured not only a wide range of performances but also an enlightening international conference.Year2019NationSouth Korea
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Virtual Heritage Tour in the Time of CoronaAs the whole world is still gripped with Covid-19 and most people are confined within the boundary of their houses. In this time, cultural heritage has an equal impact as other economic sectors. Especially in the places where people’s social practices and everyday life is connected with heritage it has been hit hard. In case of Nepal not only the festivals, religious and social ceremonies has been cancelled or limited to formal rituals. But also the everyday practices of people visiting temples and performing rituals has been stopped. In the meantime, people are also showing resilience towards this global pandemic and finding ways to get connected with cultural heritage.\n\nEvery year the birthday ceremony of Lord Buddha (also known as Buddha Purnima or Buddha Jayanti) is celebrated on the full moon of Baishak according to lunar calendar, which usually falls on April or May according Gorgian calendar. Budha Purnima is celebrated in most of the Asian countries with various rituals, ceremonies and prayers. This year, it was celebrated on 7 May, and due to the nationwide lockdown, many people had ceremonies in their houses and small ceremonies in the monasteries and temples. In past, major temples, which used to see a huge mass of people, were limited to a few, especially the caretakers, priests, few locals, and monks/nuns.\n\nOn this day, many people from all over the world used to visit Lumbini—the birthplace of Buddha, which was not possible this year. So the StoryCycle together with the British Council organized a Virtual Heritage Tour (VHT) to Lumbini. Even though this site contains the archeological remains of Stupas, Vihara, and Temples, it still has religious and spiritual linkages with people in present time. The VHT was curated with Mr. Anil Chitrakar as a resource person. Mr. Chitrakar is a social entrepreneur, and he regularly organizes heritage walks and gives inspirational talks on conservation and development. He has worked for the conservation and development of Lumbini over the last thirty years in various capacities.\n\nThe VHT included a brief tour of the site, which included Maya Devi temple (mother of Buddha), sacred garden, and Ashok pillar (erected by emperor Ashoka in 249 BC testifying to Buddha’s birth there) as well as other important sites associated to the Buddha’s life and after his death. Also included are lesser-known sites such as Kudan, the hall where Buddha met his parents and his son Rahul (for the first time) after he became Buddha. Ramagrama—one of eight Buddhist stupas was constructed after the death of Buddha with his relics. It is the only stupa that has remained unopened to date. Mr. Chitrakar also explained the greater plan of Lumbini that includes forty-four unique monuments representing Buddhism in different countries within its boundaries. The way forward after the construction of international airport there, as well as how this important Buddhist site could connect to other important Buddhist sites.\n\nThis was an interesting event, as Mr. Chitrakar explained not only the physical structures but also the intangible aspects of them. From the mathematical explanation of the construction of stupa, stories of the Buddha’s life, and King Ashoka in spreading Buddhism as well as to the simplified and brief teaching of Buddha. Even though virtual, this tour was able to realize the calmness of site and praise its nature with canals and cranes in the surrounding.\n\nThe event was scheduled for one hour, but lasted a bit longer since around hundred people participated. At the end of which there was a question-answer session. This event also had a sign language interpreter.\n\nThe event recording can be accesses via https://www.facebook.com/storycycle/videos/253552219340656/\n\nEvent Page: https://www.facebook.com/events/730005211072259/\n\nPhoto : Lumbini © Anil ChitrakarYear2020NationNepal
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Memory and ICH in KyrgyzstanKyrgyzstan, a landlocked country the territory of which is more than 94 percent mountainous, is among the most attractive lands located at the heart of Asia on the ancient Silk Road trade routes. The cultural heritage of the Kyrgyz people has been greatly influenced by their nomadic history. Kyrgyz people occupy a unique cultural environment and have a rich ICH. The vitality of this cultural heritage is safeguarded and transmitted from generation to generation as collective memory, orally or through practice and expression.Year2021NationKyrgyzstan
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Mongolian Culture and HeritageThe culture of the Central Asian steppes expresses itself vividly in the lifestyle of traditional nomadic practices. Mongolian culture has been in practice in the nomadic life and the traditions surrounding the nomad’s home (ger). And it is present in religious celebrations, national festivals, art and crafts, music and dance, language and literature, which form the backbone of Mongolian intangible cultural heritage of Mongolia. Mongolia is filled with valuable cultural properties and intangible cultural heritage of humanity that have been kept or practiced for thousands of years.\n\nGer, Mongolian Traditional Dwelling\nThe traditional architecture of the Mongols differed strongly from that of the settled peoples of Asia and other continents. Centuries ago, there the ger, also known as a yurt, appeared. It still offers shelter to nomads in particular places in Central Asia. Its development and fundamental principles are determined by the specific features of the way of life of Mongol tribes, which made it necessary to evolve a light and collapsible structure to be used as a dwelling or for public functions.\n\nMongolian Language and Literature\nMongolian is the language of most of the Mongolian population and inner Mongolia. By origin, Mongolian is one of the Altaic family of languages, and the history of the Mongolian language is long and complicated. Significant literary work of early Mongolia includes The Secret History of the Mongols, which was published in 1228).\n\nMongolian Religion and Beliefs\nThe Mongols have practiced several religions, of which Shamanism and Buddhism were the most common. The faith in Mongolia is Buddhism, though the state and religion were separated during the socialist period, but with the transition to the parliamentary republic in the 1990s, there has been a general revival of faiths across the country\n\nMongolian Art and Crafts\nMongolian arts and crafts have been passed down across generations from the Paleolithic times to today, leaving behind deep impressions on all facets of life and conscious, aesthetic, and philosophical thinking. Highly developed Mongolian arts and crafts come from the second millennium BCE. The works included sculptured heads of wild animals with exaggerated features. Other items include knives, daggers, and other items of practical and religious use.\n\nMongolian Music and Dance\nMusic is an integral part of Mongolian culture. Among Mongolia’s unique contributions to the world’s musical culture are the long songs, overtone singing, and morin khuur (the horse-headed fiddle). The music of Mongolia is also rich with varieties related to the various ethnic groups of the country. Among the most popular forms of modern music in Mongolia are Western pop and rock genres and the mass songs written by contemporary authors in the form of folk songs.\n\nHorse Culture of Mongolia\nIt is famously known that horses play a large role in the Mongols’ daily and national lives. Common sayings are, “A Mongol without a horse is like a bird without wings,” and “Mongols are born on horseback” these are arguably true words. Even today, horse-based culture is still practiced by nomadic Mongolians.\n\nVisit https://www.toursmongolia.com/tours for additional information about Mongolian culture.\n\nPhoto 1 : Prairie meadow grass inner Mongolia traditional clothing © Batzaya Choijiljav\nPhoto 2~7 : © Batzaya ChoijiljavYear2020NationMongolia
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Masterpieces of Oral Tradition and Expression Kyrgyz Epic HeritageThe oral tradition of the Kyrgyz people is the basis of a unique intangible cultural heritage that reflects Kyrgyz cultural identity. Oral heritage, developed over centuries, depicts the history and culture of the Kyrgyz people. Their creativity has been proven to survive exclusively in an oral form for many generations. This oral tradition represents a unique layer of traditional knowledge, making it a valuable source of cultural and traditional values and evidence of the development of the sociopolitical history of the Kyrgyz people. Kyrgyz oral heritage takes a wide variety of forms, including songs, fairy tales, proverbs, and riddles. These can all be different in terms of content and structure. Depending on the genre, oral tradition can reflect history, legends, fairy tales, or lore, which can be important in educating younger generations about the value of peace, attitudes toward nature and people, and love for the motherland. Many traditional oral works portray the main characters as defenders of their native land, arousing a sense of pride, and also depict the rich nature of the Kyrgyz land, nourishing love for their home. Some elements of oral tradition such as songs and folktales tell the stories or the specificities and peculiarities of the everyday life of Kyrgyz people. Folktales also reflect the esthetic views of the Kyrgyz people and teach us to recognize beauty, rhythm, and skillful use of language.\nYear2020NationKyrgyzstan
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키르기즈사람들 제 5장 키르기즈 민족의 역사 (The History of the Kyrgyz Nation)유네스코아태무형유산센터는 국립아시아문화전당과 협력하여 키르기스스탄의 문화와 역사를 소개하는 도서 <키르기즈 사람들>을 발간했다. 키르기즈 민족의 다채로운 문화를 총망라한 최초의 국문 단행본인 이 도서는 키르기스스탄의 전 교육과학부 장관인 카니벡 이마날리예프(Kanybek Imanaliev)가 저술한 를 한국어로 번역한 책이다.\n\n오늘날 중앙아시아의 산악지역에 살고 있는 키르기즈 민족은 말과 유목 그리고 서사시와 관련된 문화유산을 중요시한다. 이 책을 통해 키르기즈 사람들의 삶과 예술 속에 문화유산이 어떤 의미를 갖는지 살펴볼 수 있다.Year2023NationKyrgyzstan
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A Participatory Digital Campaign for ICH: Singapore’s Thaipusam ProjectUnder Our SG Heritage Plan, Singapore has been stepping up its efforts to strengthen research and documentation of its ICH, increase community participation in such research and documentation work, and leverage new technologies to promote ICH and increase both public awareness and appreciation of Singapore’s ICH elements.\n\nAs part of these efforts, the National Heritage Board of Singapore (NHB) has partnered with source communities and use new technologies for safeguarding ICH. One such recent partnership is “A Journey of Devotion—Celebrating Thaipusam in Singapore,” where the NHB partnered the Hindu Endowments Board and Indian temples to document the festival of Thaipusam and produce digital resources related to the festival.\n\nAbout Thaipusam\n\nThaipusam is an important festival among Singapore’s Tamil Hindu community, and it is celebrated every year on the full-moon day of the Tamil month of Thai. For many believers, Thaipusam is a time of devotion, sacrifice, and thanksgiving dedicated to the Hindu god Lord Murugan, who symbolizes bravery, power and virtue.\n\nThe festival commemorates Lord Murugan’s victory over evil forces, and one of the most recognizable elements of Thaipusam is the ceremonial procession of the kavadi-bearers—men who walk carrying large metal structures known as kavadi that are fixed with spikes or hooks that pierce their bodies.\n\nDuring Thaipusam, kavadi-bearers and their supporters walk along a designated route, which starts at Sri Srinivasa Perumal Temple on Serangoon Road, and ends at Sri Thendayuthapani Temple on Tank Road. These kavadi-bearers walk barefooted along this route while other worshippers carry offerings such as paalkudams or milk pots, fruit, and flowers.\n\nLive music forms a key part of the Thaipusam procession, and hymns are often sung by friends and family while religious songs (known as bhajans) are also performed by groups of musicians who follow the kavadi-bearers to boost their spirits as they make their arduous journey from temple to temple.\n\nAlong the route, there will also be community volunteers at various thaneer panthal or water points, and these volunteers will pour water onto the feet of kavadi-bearers to provide much-needed relief from walking barefoot on the hot tarmac and to offer food and water to the rest of the community.\n\nA Digital Campaign Journey\nWhen conceptualizing the campaign, NHB sought feedback from a younger audience (18–35 years old) and noted that most youths did not understand Thaipusam—what it represents and its associated practices. To better engage this younger and more digitally savvy audience, NHB put together a digital engagement plan to create content that would be engaging, informative, and participatory.\n\nThe title “A Journey of Devotion” was chosen with reference to two aspects of Thaipusam. First, it refers to the physical journey as devotees walk along their route. Second, it also refers to the personal journey devotees take upon themselves in the lead-up to Thaipusam, which includes making their own kavadis and adopting fasting practices that include consuming only vegetarian meals for up to forty-eight days.\n\nUnder Our SG Heritage Plan, Singapore has been stepping up its efforts to strengthen research and documentation of its ICH, increase community participation in such research and documentation work, and leverage new technologies to promote ICH and increase both public awareness and appreciation of Singapore’s ICH elements.\n\nAs part of these efforts, the National Heritage Board of Singapore (NHB) has partnered with source communities and use new technologies for safeguarding ICH. One such recent partnership is “A Journey of Devotion—Celebrating Thaipusam in Singapore,” where the NHB partnered the Hindu Endowments Board and Indian temples to document the festival of Thaipusam and produce digital resources related to the festival.\n\nAbout Thaipusam\nThaipusam is an important festival among Singapore’s Tamil Hindu community, and it is celebrated every year on the full-moon day of the Tamil month of Thai. For many believers, Thaipusam is a time of devotion, sacrifice, and thanksgiving dedicated to the Hindu god Lord Murugan, who symbolizes bravery, power and virtue.\n\nThe festival commemorates Lord Murugan’s victory over evil forces, and one of the most recognizable elements of Thaipusam is the ceremonial procession of the kavadi-bearers—men who walk carrying large metal structures known as kavadi that are fixed with spikes or hooks that pierce their bodies.\n\nDuring Thaipusam, kavadi-bearers and their supporters walk along a designated route, which starts at Sri Srinivasa Perumal Temple on Serangoon Road, and ends at Sri Thendayuthapani Temple on Tank Road. These kavadi-bearers walk barefooted along this route while other worshippers carry offerings such as paalkudams or milk pots, fruit, and flowers.\n\nLive music forms a key part of the Thaipusam procession, and hymns are often sung by friends and family while religious songs (known as bhajans) are also performed by groups of musicians who follow the kavadi-bearers to boost their spirits as they make their arduous journey from temple to temple.\n\nAlong the route, there will also be community volunteers at various thaneer panthal or water points, and these volunteers will pour water onto the feet of kavadi-bearers to provide much-needed relief from walking barefoot on the hot tarmac and to offer food and water to the rest of the community.\n\nA kavadi-bearer being cheered on by friends and family near the Sri Thendayuthapani Temple © National Heritage Board, Singapore\n\nA Digital Campaign Journey\nWhen conceptualizing the campaign, NHB sought feedback from a younger audience (18–35 years old) and noted that most youths did not understand Thaipusam—what it represents and its associated practices. To better engage this younger and more digitally savvy audience, NHB put together a digital engagement plan to create content that would be engaging, informative, and participatory.\n\nThe title “A Journey of Devotion” was chosen with reference to two aspects of Thaipusam. First, it refers to the physical journey as devotees walk along their route. Second, it also refers to the personal journey devotees take upon themselves in the lead-up to Thaipusam, which includes making their own kavadis and adopting fasting practices that include consuming only vegetarian meals for up to forty-eight days.\n\nFor the campaign, NHB decided to focus on telling the story of the festival through the perspective of four practitioners: a kavadi-bearer, a piercer, a musician, and a water point volunteer. By focusing on these individuals, NHB hopes to make the content more relatable to the audience. The video interviews were then uploaded on NHB’s Facebook and Instagram platforms, and to date, have attracted more than 650,000 views.\n\nNHB also noted that Thaipusam has always been a vibrant and colorful festival that attracts photographers every year. As a result and as part of NHB’s efforts to increase community participation in ICH documentation, NHB created the hashtag #Thaipusamsg on Instagram to encourage community photo contributions. This has resulted in the collection of a wide array of photographs.\n\nFinally, NHB created a comprehensive NHB’s webpage at https://www.roots.sg/thaipusam, which includes photographs, a brief history of the festival, and how it was brought into Singapore by early migrants as well as relevant artifacts in the National Collection that are associated with the festival, such as the kavadi from the collection of the Asian Civilizations Museum and photographs of the festival from the early twentieth century from the collection of the National Museum of Singapore.\n\nMoving forward, NHB will be developing and implementing similar digital campaigns to document and promote other ICH festivals and practices from other communities such as the upcoming campaign on Ramadan, a month-long fasting period observed by Muslims in Singapore in the lead up to Hari Raya Puasa, also known as the Day of Celebration.\n\nPhoto 1 : Singapore’s digital campaign to engage the Indian community and educate the public about the practices associated with Thaipusam © National Heritage Board, Singapore\nPhoto 2 : A kavadi-bearer being cheered on by friends and family near the Sri Thendayuthapani Temple © National Heritage Board, SingaporeYear2020NationSingapore
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Traditional Samoan faletele to be built in JapanTraditional builders from Samoa are in Japan on a very special mission: to build a faletele, a traditional Samoan house that is circular with one or more central posts. Master Builder Lesā Laufale, who started learning his craft some 30 years ago, leads the crew.\n\nThe Little World Museum of Man, where the faletele will be built, is near the city of Inuyama in Aichi prefecture, southwest of Tokyo. It is an open-air museum celebrating cultures and architecture, with 32 traditional houses from 23 countries and regions represented. Founded in 1983, the museum arranged for 12 builders from the village of Sa’anapu, where the current crew also comes from, to build four Samoan houses over 30 years ago.\n\nThe faletele will be built using traditional techniques and materials. This means using ’afa, a versatile and strong coconut fiber sennit used for lashing the structure together. Over 14,000 meters of the handmade cord is needed, work taking many months to complete. The making of sennit during village council meetings is now rarely practiced. Aiming to rekindle interest in the declining craft and with support from the U.S. government, project manager Galumalemana Steven Percival produced a documentary film and museum exhibit on Samoan sennit in 2013. A stone-floored and sennit-lashed faletele was also built at the Tiapapata Art Centre.\n\nHouse construction is replete with esoteric knowledge, but Lesā explains that there are no schools in Samoa where one can learn the required skills. He studied under Mulitalo Kirifi, a well-known builder from his village.\n\n“I observed Mulitalo working and whenever he asked me to do something and I made a mistake, he would tell me to start over.”\n\nThe passing down of knowledge from a master builder, matua o faiva, to an apprentice is common across cultures but when particular techniques are no longer used or are modified, esthetics can be compromised. Not only is the structure less appealing, but the language is also diminished. The natural environment is also affected by the decline. Building materials come from the forest: various palms and trees and a long coconut known as niu’afa, a species believed to yield the longest coconut in the world.\n\nIn traditional society, the natural environment was protected by tapu, a set of laws forbidding actions that would adversely impact the sustainable supply of resources. Ask a sennit maker about the elongated coconut and he will tell you about the tapu: one is not allowed to burn leaves or other parts that fall to the ground; these must be buried or thrown in the sea. Ignoring tapu, it is believed, leads to a gradual shortening of the husk. A plant that seems to have disappeared completely from the environment is the wild sugarcane known as tolofualau, named after its broad and supple leaf that was preferred for thatching.\n\nLesā remembers seeing beautiful houses thickly thatched with the leaf. “We now use the courser leaf of the sago palm niu o Rotuma because when we stopped protecting the wild sugarcane, pigs had a feast,” he says. But the environmental story is not all bad. There are invasive species now used in house construction such as the togo vao, a type of mangrove tree that grows no thicker than a finger but is tough and flexible, a perfect combination for the many hundreds of aso (listels) used to tie thatching. \n\nThe Japan faletele provides a unique opportunity for the crew to deepen and apply their knowledge. It is a place of learning for an important piece of intangible cultural heritage that will help assure a future for traditional house building in Samoa.\n\nPhoto 1 : The roof structure of the faletele at the Tiapapata Art Centre. No nails have been used in this construction ⓒ Galumalemana Steven Percival\nPhoto 2 : In Japan, Master Builder Lesā Laufale (front right), stands next to Little World Museum of Man Curator Takao Miyazato. ⓒ Galumalemana Steven PercivalYear2019NationJapan
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From Micronesia to YouTube: Pasifika Renaissance on Documenting Oral TraditionPasifika Renaissance was established in September 2014 in Japan as an NGO with a mission to preserve and promote cultural and historical heritage in the Pacific Islands. The organization aims to revitalize traditional culture and empower local communities. They work in three main fields: documenting, researching, and teaching about traditional cultures and cultural heritage; providing technical assistance to relevant agencies and organizations; and promoting tourism. You can find out more at the organization’s Facebook page, where they post cultural and historical information, including historical photos and educational materials, and share updates about their activities.\n\nThey are currently engaged in a major project to document oral traditions in Pohnpei State. Many older Micronesians have fond childhood memories of listening to stories told by elderly relatives before bed. This practice, however, has been largely lost in Pohnpei due to the spread of new media such as videos and games and the decline of the younger generation’s interest in traditional culture.\n\nTo document stories from knowledgeable elders and pass them down to younger generations, Pasifika Renaissance began filming those stories in 2015 and sharing the videos on their YouTube channel with kind permission from the Federated States of Micronesia (FSM) Office of National Archives, Culture and Historic Preservation. This method of documenting and sharing traditional knowledge through online media is rare in the Pacific Islands. However, we believe that it has a great potential for future applications due to the relative ease of use and the internet’s global reach. Our project has been welcomed and supported by traditional chiefs, elders, and other community members, who share our concern that traditional knowledge could be lost.\n\nTo date, Pasifika Renaissance has uploaded more than two hundred narrative videos. These stories include legends, traditional tales, historical events, customs, chants and songs from Pohnpei (9 videos), Pingelap (69), Mwoakilloa (11), Sapwuahfik (60), Nukuoro (25), and Kapingamarangi (25) as well as two island groups of Chuuk State: the Mortlock Islands (10) and Namonuito (16). They hope to add more videos from Pohnpei, where they began their work just this year in collaboration with the Division of Historic Preservation and Cultural Affairs, Pohnpei State Department of Land. The YouTube channel has attracted over 240,000 views. Of these views, 78.5 percent are from United States, where one-third of FSM citizens now reside, and an 12 percent of the views come from within the FSM. Pasifica Renaissance’s YouTube channel has now reached 640 views per day, which they believe suggests a keen interest in these stories.\n\nThey offer their appreciation to the storytellers and others who have supported this project as well as the generous donors such as the KDDI Foundation in Japan. They hope by watching these videos, people can continue to pass on these stories to their children and younger relatives. If you would like to contribute stories or know someone who is willing to share stories with the organization, please contact them at pasifika.renaissance@gmail.com or by phoning the above Division (320-2652). If you have a knowledgeable elderly relative or friend staying overseas and have the ability to record his or her story via cell phone, tablet, or digital camera, please let them know. Please follow Pasifika Renaissance on Facebook and YouTube channel to receive updates as this project develops. They plan to extend this project to other states in the FSM and other Pacific regions in the near future and hope to collaborate with researchers, government agencies, NGOs, and community members. Please get in touch, and let them know how you can help spread this “renaissance” movement.\n\nPhoto : Interviewing Mr. Rasner Elias, Pohnpei © NGO Pasifika RenaissanceYear2017NationMicronesia
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Mat Weaving in the MaldivesThundukunaa or traditional mat is popularly presented as a royal gift in the ancient times. Traditionally produced by women, the practice of making Maldivian traditional mat is handed down from generation to generation—mostly from mother to daughter. The women of Gaafu Dhaalu Gahdhoo are perhaps the most skilled producers of this prominent symbol of Maldivian craftsmanship. The mats are hand-woven on a loom from reeds which are dried in the sun and stained with natural dyes of different colors. Thundukunaa is created with beautiful, elaborate, and ornate designs. Quite functional in nature, traditionally used for sleeping, seating or praying, thundukunaa is still presented as a memorabilia to visiting foreign dignitaries.\n\nGaafu Dhaalu Fiyoaree harbors the marshland where premium quality reed or hau grows which is used for making thundukunaa. The marshland is of significant importance to the island for its resilience in terms of controlling flooding from heavy downpours and sea surges. The raw material for the Maldivian traditional mat is a specific kind of reed found in Fiyoaree, which can last for hundreds of years. It is also the only island out of the 1,190 islands across the Maldives, where premium quality reeds preferred by the mat weaving community are found. The site is of national significance in both ecological and cultural aspects. Therefore, establishing a business model for reed is of crucial importance for conservation of the area.\n\nThrough successfully receiving the small grant scheme from the Global Environment Facility (GEF) and the Mangroves for the Future (MFF) facilitated through United Nations Development Program (UNDP), the Maldives Authentic Crafts Cooperative Society (MACCS) has not only been able to revive traditional livelihoods (reed cultivation and mat weaving), but has also empowered a number of women and enhanced their general well-being. MACCS is still continuing to revive the tradition by organizing a number of mat weaving workshops across the Maldives. The organization has also released a folk story on the Fiyoaree reeds, raising awareness of the source of thundukunaa. The last workshop held in Fuvahmulah to teach the tradition of mat weaving concluded on 10 October 2017.\n\nPhoto : Thundukunaa from a festival held by MACCS and Velassaru Maldives to support local artisans © Velassaru MaldivesYear2017NationMaldives