ALL
ICH
ICH Elements 1,561
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Khaen music of the Lao people
The khaen is a mouth organ in which each tube has a reed. It looks like panpipes, but with bamboo (previously rice stalks or sometimes other plants) tubes of variable length, each with a metal reed. One blows into it through an air chamber called ‘marqunamdtow’. The sound produced is higher or lower depending on the size of the tube. It is a favourite instrument used in Lao traditional and folk music. Its design and number of tubes have evolved according to the changes in Lao folk melodies and songs. Today there are three kinds: the khaen 6 (12 tubes), the khaen 7 (14 tubes) and the most successful one, the khaen 8 (16 tubes). The khaen is very popular in all regions and communities of Laos due to its music’s richness and abundance, which represents the nation's soul for its population. The instrument is suitable for melodies and harmonic richness since it can produce several sounds simultaneously, like a piano. Its music is customarily part of numerous village festivals, accompanying traditional songs and dances. It symbolizes popular culture and it is customary for all villagers who listen to it to become actors rather than spectators, by participating actively and joyfully in the songs and dances it offers.
Lao People's Democratic Republic 2017 -
Vanuatu sand drawings
Situated in the South Pacific, the Vanuatu archipelago has preserved a unique and complex tradition of sand drawing. This multifunctional “writing” is more than an indigenous artistic expression and it occurs in a wide range of ritual, contemplative and communicative contexts. The drawings are produced directly on the ground, in sand, volcanic ash or clay. Using one finger, the drawer traces a continuous meandering line on an imagined grid to produce a graceful, often symmetrical, composition of geometric patterns. This rich and dynamic graphic tradition has developed as a means of communication among the members of some 80 different language groups inhabiting the central and northern islands of Vanuatu. The drawings also function as mnemonic devices to record and transmit rituals, mythological lore and a wealth of oral information about local histories, cosmologies, kinship systems, song cycles, farming techniques, architectural and craft design, and choreographic patterns.
Vanuatu 2008 -
Lakalaka, dances and sung speeches of Tonga
The Tonga archipelago lies in the South Pacific approximately 2,000 kilometres north-east of New Zealand. It is the only constitutional monarchy in the Pacific region. Often considered Tonga’s national dance, Lakalaka is a blend of choreography, oratory, and vocal and instrumental polyphony. This cultural expression is practised by communities throughout the islands and features prominently at important celebrations such as the coronation of the monarch and anniversaries of the constitution.The term lakalaka means “to step briskly or carefully” in the Tongan language, and its origins can be traced to a dance known as the me’elaufola. The tradition developed in the nineteenth century and, thanks to the continuous transmission and the patronage of the royal family, it underwent a revival in the twentieth century. Performances last approximately thirty minutes and involve large groups of up to several hundred people. Participants are aligned in rows, men on the right and women on the left.The men dance in rapid and energetic movements, while the women execute graceful dance steps co-ordinated with elegant hand gestures. Both groups clap and sing as they move, and a chorus often provides vocal accompaniment.The polyphonic singing coupled with the synchronized movements of hundreds of dancers offers an impressive spectacle.The creative force behind the performance is the punake who is at the same time poet, composer, choreographer and performance director. Punakes are expected to continually renew the Lakalaka repertory, by exploring themes related to Tongan history, legends, values and social structure.
Tonga 2008 -
Ie Samoa, fine mat and its cultural value
The 'ie Samoa is a special finely hand-woven mat that is fastened at the hem with 2 rows of green and red feathers on each end, and a loose fringe on one end. Traditionally woven with fine strippings of the pandanus plant, the final product is silk-like in nature. Its shiny coppery color adds to its value as it is a testament to its age and the natural bleaching process it undergoes from the sun and seawater. The length of 'ie Samoa is traditionally 12x9 aga or handspans of the weaver. This demonstrates its high level of intricacy as each woven strand measures as little as one milimeter in width. Therefore, the production of a single 'ie Samoa can take up to several months and even years depending on the length of the fine mat. Nevertheless, the 'ie Samoa is more than a cultural product of exceptional skills, its true value is demonstrated in its use as an exchange valuable in traditional ceremonies and rituals that serve to reaffirm kinship ties and strengthen community wellbeing. More colloquially known as 'ie toga, the 'ie Samoa is displayed and exchanged at festive celebrations or important gatherings such as weddings, funerals, or religious ordinations. The giving and receiving of the 'ie Samoa contributes profoundly to the maintenance of social structure and is an integral part of the Samoan culture. As objects of the highest cultural value, this traditional art form lies at the foundation of Samoa's rich intangible cultural heritage.
Samoa 2019
ICH Stakeholders 198
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Palu Community
Ali Haleyalur of Lamotrek Island, Yap State, Federated States of Micronesia, is one of the few remaining people with the knowledge and skills to journey long distances on the open ocean in traditional voyaging canoes without using modern instruments. He and the small community of palu (Carolinian master navigators) alive today learned this wayfinding knowledge through years of apprenticeship with the master navigators throughout the Caroline Islands of Micronesia. Customarily, the knowledge and practices required to navigate over what can be treacherous waters have been passed along to only a few select descendants of ancestral lineages that have protected the valuable practice for thousands of years.\nNavigation between the small inhabited islands continues to be a valuable practice that helps islanders sustain clan ties and obtain resources for survival. Traditional navigation is also seen as a vital form of intangible cultural heritage since it is a distinct facet of many Pacific Islander cultures and identities. Unfortunately, however, the knowledge and practices associated with traditional navigation are disappearing rapidly mainly because modern technologies and lifestyles make it much more difficult for palu to find young apprentices. With only a handful of master navigators still alive today, it is crucial to find new ways to safeguard this precious cultural practice.
Micronesia -
Lkhon Khol Community
Lkhon khol of Wat Svay Andet continues today because of its significance in the community’s beliefs and identity, but over the last decade it has been experiencing difficulty. Despite of having some support from the state, NGOs, and the community itself, the troop has faced some challenges, such as the lack of dance costumes, ornaments, masks, stages, and musical instruments. Furthermore, the number of performers has been gradually decreasing due to aging and a lack of natural talent, and the younger generations show little interest since the performances generate no income and they are busy with their studies or working.\nTraditionally, the lkhon khol is transmitted orally within a family and through informal, master-apprentice relationships. Community leaders, masters, and the temple patriarch also encourage younger generations to learn lkhon khol skills to ensure that the art form remains part of the community’s living cultural practice.\nApprentices have historically learned their preferential skills at their masters’ house at night, a time they were free from their agriculture work. While the same practice continues, recently amateurs are learning their art skills in groups during the day on Sundays or occasionally Thursday at the temple compound.
Cambodia
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Chris Ballard
I have worked as an archaeologist, anthropologist, and historian in Papua New Guinea, Indonesia and Vanuatu for 35 years. I was lead researcher for the World Heritage inscription of Chief Roi Mata's Domain in Vanuatu (2008) but most of my current work focuses on Living Heritage, especially in the context of emergencies (conflict and disasters), and questions of transmission.
Australia -
Harry Waluyo
axpert on intangible cultural heritage
Indonesia
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Toguz Korgool Federation
Toguz Korgool Federation was founded in 1991 by bearers and practitioners that aimed to promote the game in all regions of the country.\n\nToguz korgool is played on a special board with pellets made of stone, wood, metal, etc. The game has several variations and improves the strategic and creative thinking of the players. Nowadays, toguz korgool is one of the popular traditional games played during many cultural, social, and sports events and contests. The Federation has established a number of clubs in schools and universities in the country to enhance peer-to-peer learning and the transmission of the game to a younger generation. \n\nToguz Korgool Federation promotes the game through different means by creating online games, conducting research, organizing contests, etc. Twice a year, trainers of the game strengthen their capacity by attending special courses. The toguz korgool game was included in the program of the World Nomad Games and attracted participants from 34 countries (as of 2018, during the III World Nomad Games). There is also International Toguz Korgool Federation which unites more than 56 countries that play this intellectual game. \n\nIn 2020, with the support of the Federation the nomination file “Traditional intelligence and strategy game: Togyzqumalaq, Toguz Korgool, Mangala/Göçürme” was inscribed on the UNESCO Representative List of Intangible Cultural Heritage of Humanity from Kazakhstan, Kyrgyzstan, and Türkiye. \n\nThe Federation continues its efforts in the wide dissemination, safeguarding, and promotion of the strategy game for global communities. \n
Kyrgyzstan -
Association of Vietnamese Folklorists (AVF)
\nAssociation of Vietnamese Folklorists (AVF), established in 1967, is an organization focusing onncollecting, researching, and promoting folklore cultures in Vietnam. The Association aggregatesnofficial and unofficial folklorists across the country and cooperates with governments at differentnlevels to establish programs and projects that aim at promoting values of traditional culturalnelements of different ethnic communities in Vietnam. In addition, AVF also consults governmentnand non-government organizations in activities and programs related to folklore. AVF has 78nbranches in different locations of which there are 48 branches in the North and 30 ones in the Southnof Vietnam.
Viet Nam
ICH Materials 10,026
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Кобыз 002 (№ 2013-02-13)
Kazakhstan
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Khoja Nasreddin satirical and humorous storytelling traditions
"Traditions of telling humorous and satirical stories about Khoja Nasriddin - a folklore character of the peoples of the Muslim East. \nKhoja Nasreddin is a collective image devoid of spatial and temporal boundaries. He is a connecting link in a chain of cultural phenomena that are far from each other; in the end, he constitutes a single cultural layer. The first appearance of anecdotes about Khoja Nasreddin dates back to the 10th century.\nThe literary character of Nasruddin is eclectic and combines in himself the image of a sage and a simpleton at the same time, an internally contradictory image of an antihero, a vagabond, a freethinker, a rebel, a fool, a holy fool, a sly man, a rogue and even a cynical philosopher, a subtle scientist-theologian and a Sufi. He makes fun of human vices, misers, bigots, hypocrites, bribe judges, etc."\n
Azerbaijan,Kyrgyzstan,Tajikistan,Turkmenistan,Turkey,Uzbekistan
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Dondang Sayang
Dondang Sayang is a Malay traditional music and song that is well-known in the State of Malacca and still practiced by four communities such as the Malay, Baba Nyonya, Chitty and Portuguese. The performances are accompanied by violin, rebana, gong and accordion and sing by two singers of the opposite sex, who sing in quatrains. It has received UNESCO’s recognition as a Representative List of The Intangible Cultural Heritage of Humanity on 29th November 2018.
Malaysia -
Jeinpaw Dumba (Buffalo’s Horn)
Dumba was first played in Hkranghku Majoi Manau Festival, which was traced back to about AD 300. Dumba is played for Htaungkar dance and also for such events as housewarming ceremony, wedding ceremony, harvesting festival and funeral rite. And it is also called as "jinghpaw dumba" Bamboo grows in the wild in hilly region is used to make this oboe. The bamboo stick is needed to be dried first. And then, holes are perforated on it with the use of drill. It has to change the sizes of drills depending on the sizes of oboes. The oboes are in three different sizes_ big, medium and small. Each of them has a total of four perforated holes. A thumb hole is perforated on the lower side with the distance of an inch from the first finger hole. The four finger holes must be made with same distance. Reed made of dried straw is inserted on one end of oboe and young female buffalo's horn is put on another end. Yellow, blue, red and white ribbons are decorated in triangle and diamond patterns on the horn and oboe. The player must blow the reed made of straw to play this oboe by opening and closing the finger holes.\nThe size of Instrument is below.\n-2 feet 7 inches in length\n-4.5 inches in Length of dried straw reed\n-1 feet 5 inches in Length of oboe\n-11 inches in Length of horn\n-2.5 inches in Diameter of horn
Myanmar 2014-08-11
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FOLK DANCES OF NEPAL
Nepalese communities express their emotions through the rhythms of various folk dances. Folk dances, in fact, are an inseparable part of rural life. On the other hand, the religious influence can easily be observed in the songs and dances, which are often performed to please deities responsible for the well-being of humans and cattle, favorable climate, and good harvest. As the country has widely differing topographical features, so does it have vast variances in cultural aspects. Folk songs and dances depend on cultures, cas-tes, seasons, and geographical features. For example, a sherpa living in the Himalayan region sings and dances differently from a Tharu living in the Terai region. Similarly, songs and dances performed in the spring season express joyous emotions, whereas those performed in the winter season express sadness. This collection includes the most famous folk dances of the different indigenous communities of Nepal dwelling in various environments. These dances are a part of their daily life.
Nepal 2017 -
NEPAL'S HEREDITARY MUSICIAN CASTES
DVD2_NEPAL'S HEREDITARY MUSICIAN CASTES\n\nThe four hereditary musician castes of Nepal are Damai, Gandharba, Kapali, and Badi. The most visible of these are the Damai and the Gandharba musicians. The Kapali are temple musicians and the Badi are drum makers. Damai are required to play for the goddess of the ruling class and also to play at all types of ceremonies and rites of passage, such as weddings and Bratabhandha. They perform in a group known as a panchai baajaa, which is composed of nine musicians playing seven different musical instruments representing the five universal elements of earth, water, fire, air, and sky, of which all matter and living things are composed. The tyamko represents earth, the damaha represents water, the jhurma represents fire, the dholaki represents air, and the narasingaa, sahane, and karnal represent the sky. Panchai baajaa music is believed to keep the elements in balance and harmony and to result in therapeutic musical healing. The Gandharba or Gaine caste musicians traditionally travel from village to village and door to door singing bhajan (hymns), songs from the great Hindu epics, and karkha (historical songs of heroes and bravery), but also bring news. They accompany themselves by playing saarangi.
Nepal 2017
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Pagbo’o Pangantin
Paglami-lamihan Soundscapes 1: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble Performed on the eve of the wedding when the pangantin, either the groom (pangantin lella) or bride (pangantin dende), is fetched from his or her house and brought to the groom or bride’s house where the ceremony will be held. The groom or bride will then leave his/her house and spend the night at a relative’s house. This will be performed again the next morning when it is time to fetch the groom or bride from the relative’s house. Played solo using two agung (lagnaan and laboan). Performed by Uwang Ahadas on agung (lagnaan and laboan)
Philippines -
Malayalam lullaby 3
The lullaby asks the child if he or she is born with the blessings of Lord Vaikathappan. The lyrics are typical of lullabies in Malayalam.
India 1938
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Yapese Traditional Dance Chants
Yapese traditional dances are performed during village/municipal cultural activities or events. They are performed by men and women and are sometimes performed during a chief’s ceremonial events. These performances break down into bamboo dance, standing dance, and sitting dance.
Micronesia 2017 -
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
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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 -
Music, Songs and Stories: Archival Selections from India
The Archives and Research Centre for Ethnomusicology (ARCE) is a non-governmental organization established in 1982, with the aim of creating an integrated archive in India where recordings of Indian music and performance held in archives around the world could be made available through centralized mechanism. Today ARCE houses more than 25,000 hours of audiovisual recordings, including unique materials from all over India, ranging from the classical music genres to oral narratives.\n\nIn 2016, ICHCAP supported the ARCE in digitizing around five hundred hours of analogue recordings through the Digitization Project of ICH-related Analogue Audiovisual Materials. Some of materials representative of Indian traditions were chosen and reproduced as Music, Songs and Stories: Archival Selection from India, so they can be enjoyed by more people.\n\nThe Indian collection consists of nine CDs that feature audio materials recorded between the 1930s and the 1990s. The CDs list seventy tracks, including songs of everyday life, oral epics, and tribal communities. The first and second CDs, in particular, feature tracks recorded by Arnold Adrian Bake (1899-1963), a Dutch folk musician. He recorded lullabies, work songs, and sounds of rituals and everyday life while he was traveling around India in the 1930s. Lullabies, work songs, and sounds of rituals and everyday life that he recorded while he was traveling around India in the 1930s are well presented here.\n\nThis project is particularly important as it resulted in restoring analogue recordings at risk of permanent damage and digitizing them to enhance their academic value and public visibility. ICHCAP hopes that this collection will enable not just researchers in the relevant fields but also the general public to learn more about and become familiar with Indian ICH.
India 2016
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Sample Data Ⅰ : Kerala, Rajasthan Cultural Atlas of India - Development of a web-based statewide database on the cultural resources of India
Kathakali (lit. story- play) is a highly sophisticated and stylized semi-classical dance drama prevalent all over Kerala. It evolved amalgamating features from all folk and classical performing art forms of Kerala. \nKathakali as a performing art evolved from Ramanattam. The King of Kottarakkara adapted eight episodes from the Ramayana as Ramanattam. However, in the 17th century, the King of Vettathu Nadu modified Ramanattam to develop a classical dance-drama, the Kathakali.\nKathakali derives its themes from the Indian epics, the Ramayana, the Mahabharata and the Bhagavata Purana. The language used for the songs in Kathakali is a mixture of Malayalam and Sanskrit (manipravalam). For theatric communication, the actor uses dance movements, a codified language of gestures and facial expressions. Kathakali displays great dexterity and potential for the actor to show his histrionic and interpretative skills through resorting to an elaborate method of acting.\nThe performance of Kathakali follows a particular sequence. At dusk, the percussionists play their instruments to announce the event (keli). The traditional lamp is lit in front of the performing area (vilakku veppu). The horizontal drum is played to signal the commencement (arangu keli or suddha manddalam), and singers recite the invocation (sloka). \nTwo performers dance a ritual invocation behind the curtain, salute the deities. \nAnother prayer dance is performed in front of the curtain, followed by the ensemble of the drums (chenda, maddalam, chengila, elathalam). The actual story (katha) begins only after these preliminaries. \nIn Kathakali, the make-up and costume represent different traits of character. The colours are symbolic; green represents satwik (pious and virtuous characters); red patch on a green face to represent rajasi’(valorous characters); and a thadi (beard) is added to represents tamasic (evil traits of a character). Elaborate costumes and intricate face make-up In Kathakali is done to mask the human face and invest it with super-human characteristics. \nKathakali has transformed over the recent years from all-night performances in temples and other sites, to three-hour presentations in contemporary settings. The plays have become abridged to suit the tastes of a new audience.
India 2009 -
Intangible Cultural Heritage of Timor-Leste
This brochure introduces 14 intangible cultural heritage elements of Timor-Leste. \n\nThe publication is a result of a cooperative project between the Timor-Leste National Commission for UNESCO and ICHCAP.
Timor 2022
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THE KOREA CULTURAL HERITAGE FOUNDATION: A LEADER OF CULTURAL HERITAGE PROTECTION AND PROMOTIONEstablished based on the Cultural Properties Protection Law, the Korea Cultural Heritage Foundation is a corporation that specializes in traditional culture, and disseminates information on traditional Korean culture, while engaging in international joint projects to develop intangible and tangible cultural heritage worldwide.\nYear2009NationSouth Korea
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SPECIAL EMPHASIS ON RILLIThose familiar with Pakistan’s history can easily appreciate the range and variety of its hand-made textiles and the sight of a humble villager using them as everyday wear. The cloth weaving and dying tradition from the Indus Valley that originated roughly five thousand years ago has continued throughout the Middle Ages and has received a tremendous boost of encouragement with the onset of new technological developments and the introduction of new motifs while under Muslim rule.Year2010NationSouth Korea
ICH Collections 9
Open Archive 5
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Ihi-my first wedding to Bel
The picture above is my first marriage (according to Newar tradition) with the Bel fruit, along with my friends which is also known as a wooden apple. I was about 5 years old and had no idea about the wedding at all. Newars possess different cycles of rituals from birth to death. Wedding of a girl in Newari community possess a deep meaning and has great importance. Their wedding practices are unique too. A daughter born in a Newari community is married thrice. But not all marriages are with men (groom). The first marriage is performed before puberty with Bel fruit (Aegle marmelos), the second marriage is with the sun, and finally, the third marriage is with a man. Ihi, one of the most important rites of the Newar community, is an entrance ritual to the life cycle ritual of the Newar girl, which gives membership to the girl within the community. Young girls from age of 5-9, before their puberty, are married with bel fruit, the symbol of the Lord Bishnu, one of the gods in Hinduism. Hence, this function is related to marriage and divorce. After this marriage, Newar girl is, therefore, never believed to be a widow, even her real husband dies, because she has already married with eternal god, Lord Bishnu the god of sustainer. No less than other weddings, I was made ready for the wedding ceremony dressed up with my hair and makeup done. In Newar culture, during special ceremonies, people must clean from head to toe. Naunis (a traditional barber and pedicurist in the Newar community) are invited for nail trimming. Naunis cut nails and put “Ala” (a red pigment), around hands and feet (like in the second picture), which is a traditional pedicure for women in Newari culture. After all preparation, we were taken to the temple of the Lord Bishnu for the wedding ceremony with the Bel. And after the ceremony, relatives came to me bringing gifts and cash. There was a feast afterward. These practices are of more than religious and cultural significance. Through these rituals and practices, young girls are taught about the change they have according to their age. They are even taught about the norm and values of the community as a member of it. Fortunately, Ihi is being practiced to the date, but the importance and meaning of Ihi are declining day by day. Rituals like this should be safeguarded and transmitted to the coming generation.
Nepal -
Nubijang (Quilting)
Nubi is a method of sewing in order to put cotton, fur or mulberry paper between the outer fabric and the lining of cloth, or of broad pricking without putting anything between the outer fabric and lining to strengthen the cloth or to make it warmer. Nubijang refers to this skill or to an artisan with such a skill. The method became a common practice following the introduction of cotton growing. Some monks wore the same robe for tens of years, repairing it with this method. Nubi techniques developed to a point where even ordinary people came to adopt them. Among the things needed for the work of nubi are thread that matches as closely as possible that used on the clothes or bedding, needles, scissors, a heating iron, a push stick, a measuring stick, and a thimble. Regular straight lines are chiefly used for the nubi work on clothes or bedding, but a mixture of straight and curved lines are also used to make a pattern when working on wrapping cloth or pouches. The country’s traditional manual nubi sewing is said to be an artwork similar to embroidery, but it is gradually disappearing, as the work takes time and does not bring much economic benefit. (reference: www.heritage.go.kr)
South Korea -
An Ifugao Contemporary Wedding Celebration
This film features the highlights of an Ifugao wedding celebration in contemporary times. It started with an invitation posted on a store in the town of Brgy. Amduntog, about a 30-minute motorbike ride far from the celebration.
Philippines -
Weaving of Mosi (fine ramie) in the Hansan region
These photos were taken at the Hansan Mosi Museum in Seocheon, Republic of Korea on 26 July, 2019. Weaving of Mosi in Hansan is transmitted by middle-aged women in the township located in South Chungcheong Province, Republic of Korea. The region boasts fertile land and sea winds that allow ramie plants to thrive. Weaving ramie cloth involves a number of processes, including harvesting, boiling and bleaching ramie plants, spinning yarn out of ramie fibre, and weaving it on a traditional loom. Ramie cloth is comfortable in hot summer weather and is used to produce a variety of clothing from dress suits and military uniforms to mourning garments. The whiteness of the bleached ramie fabric, as well as its refined quality and neatness, makes it suitable for high-end clothing as well as for clothing for ordinary people. Weaving of Mosi traditionally takes place in the form of women-led family operations in which mothers transmit techniques and experience to their daughters or daughters-in-law. The tradition also binds the community together with neighbours gathered and working in a designated section of the town. At present, around 500 people in the province are engaged in the diverse activities of weaving fine ramie. (Reference. UNESCO https://ich.unesco.org/en/RL/weaving-of-mosi-fine-ramie-in-the-hansan-region-00453) As National Intangible Cultural Heritage No.15, it is enlisted on the UNESCO Representative Lists of Intangible Cultural Heritage in 2011.
South Korea