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artisan heritage
ICH Elements 37
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Shingzo: Wood work
For centuries, many great master carpenters of Bhutan have displayed their skills to produce distinctive architectural designs that had come to be our heritage in wood work or shingzo. Woodwork continues to be a dominant part of most construction works. For structures that require wood, master carpenters are called upon to employ their knowledge and skills and to engineer the entire works without any blue print. The achievements of our master carpenters are evident in the dzongs, temples and monasteries, palaces, houses and bridges. The dzongs are widely appreciated by their architectural marvels. Trulpai Zowo Balep is respected and revered as a legendary artisan, for his contribution in the construction of Punakha Dzong in 1637. A long thread called thig containing dissolved red soil; a pendulum (chongdo) and a wooden lopon are essential possessions of a carpenter as are other tools. Bhutanese master carpenters rely on their knowledge and experience, and are expert in the joining wood without using metal nails. Each structural part like pillars, doors, beams, window frames, and roof girders are fitted separately on the ground. These elements are then joined together using thick wooden pegs. Logs with ledges serve as staircases. Roofs are also made of wooden shingles, weight down in their places by boulders. Items for daily use: Skills in wood work are also employed in making tools and essential items as listed below: •\t Wooden printing blocks, altars and plates for making offerings in the household, drums (nga) and masks of different types; •\t Cups, scabbards, handles for knives and swords and boxes of different types; •\t Musical instruments like guitar and drums, •\t Various decorative items likethe dragons, eight lucky signs and other decorative items. •\t Sports items lime darts (khuru) and targets (bha), •\t Wooden phalluses of different sizes.
Bhutan -
Najeonjang (Mother-of-pearl Inlaying)
National Intangible Cultural Heritage, Republic of Korea Najeonjang, or mother-of-pearl inlaying, is a Korean traditional method of decorating the surface of diverse household objects by lacquering and inlaying them with strips of mother-of-pearl. This traditional handicraft is known to have originated from Tang China, but discoveries made at many archaeological sites related with ancient Korean kingdoms prove that Korea has a long tradition of the craft and that ancient Korean people exploited it profusely to produce all kinds of everyday household objects. To produce a lacquer work inlaid with a mother-of-pearl design, the artisan needs to make a “white frame” with wood first of all. He then lacquers its surface and decorates it by inlaying carefully prepared strips of mother-of-pearl, some of which are as thin as threads, on a prearranged pattern by using the techniques of kkeuneumjil and jureumjil. Each of the individual work processes is completed with a stage of grinding, lacquering, and polishing the surface. In the Goryeo and early Joseon Periods, the most favored designs included peony blossoms, chrysanthemums, and lotus flowers. Designs became more diverse during the mid-Joseon Period as artisans began to extend their interest to flowers with birds, white cranes, grapes, apricot flowers, and the Four Gracious Plants. The traditional technique of inlaying mother-of-pearl is a time-consuming process that is currently preserved by, among others, two government-designated artisans, Song Bang-ung and Yi Hyeong-man.
South Korea -
Sericulture and traditional production of silk for weaving
Sericulture, the traditional art of silk production, holds a significant place in Uzbekistan’s cultural and economic heritage. This tradition encompasses the cultivation of mulberry trees, rearing of silkworms, harvesting cocoons, and spinning silk threads, which are then woven into exquisite textiles. Uzbek sericulture is deeply intertwined with community life and seasonal cycles. Knowledge and skills have been transmitted through generations, often within families and artisan guilds, preserving ancient techniques alongside innovations. The process is accompanied by rituals and ceremonies that express respect for nature and the silk-producing creatures. Silk products from Uzbekistan are celebrated not only for their beauty but also as symbols of craftsmanship, social status, and cultural identity. Sericulture traditions continue to thrive in regions historically known for silk production, contributing to local economies and cultural tourism.
Uzbekistan 2022
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Nubijang (Quilting)
National Intangible Cultural Heritage, Republic of Korea 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 stitching 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.
South Korea
ICH Stakeholders 1
ICH Materials 127
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2020 ICH NGO Conference : ICH and Resilience in Crisis
On 12 and 13 November 2020, ICHCAP and the ICH NGO Forum virtually held the 2020 ICH NGO Conference entitled “ICH and Resilience in Crisis.” The fifteen participants, including eleven selected presenters from ten countries around the world, discussed various cases and activities of each country applied under the Corona-era, and proposed solidarity for the resilience of ICH for a ‘New Normal.’\n\nSession 1: In the Vortex: COVID-19 Era, Roles of NGOs to Safeguard ICH\n\nSpecial Lecture 1: 'Resilience System Analysis' by Roberto Martinez Yllescas, Organization for Economic Co-operation and Development (OECD) in Mexico\n1. 'Uncovering the veil of immaterial cultural heritage towards and autonomous management of well-being as well as cultural and territorial preservation' by Carolina Bermúdez, Fundación Etnollano\n2. 'Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China' by Kai-kwong Choi, Life Encouraging Fund \n3. 'Indigenous Knowledge System as a vector in combating COVID-19' by Allington Ndlovu, Amagugu International Heritage Centre\n4. 'Enlivening Dyeing Tradition and ICH: The initiative of ARHI in North East of India' by Dibya Jyoti Borah, President, ARHI\n\nSession 2: Homo Ludens vs. Home Ludens: Changed Features COVID-19 Brought\n\n1. 'The Popular Reaction to COVID-19 from the Intangible Cultural Heritage among Member Cities of the ICCN' by Julio Nacher, ICCN Secretariat, Algemesi, Spain\n2. 'Innovation for Arts and Cultural Education Amid a Pandemic' by Jeff M. Poulin, Creative Generation\n3. 'Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan' by Ghiasuddin Pir & Meeza Ubaid, THAAP\n4. 'Shifting to Online Activities: Digital Divide among the NGOs and ICH Communities in Korea' by Hanhee Hahm CICS\n\nSession 3: Consilience: Prototype vs. Archetype for Educational Source\n\nSpecial Lecture 2: 'Geographical imbalance: the challenge of getting a more balanced representation of accredited non-governmental organizations under the 2003 Convention' by Matti Hakamäki, Finnish Folk Music Institute\n1. 'Crafting a Post Covid-19 World: Building Greater Resilience in the Crafts Sector through Strengthening Ties with its Community’s Cultural System' by Joseph Lo, World Crafts Council International\n2. 'Arts and Influence: Untangling Corporate Engagement in the Cultural Sector' by Nicholas Pozek, Asian Legal Programs, Columbia University\n3. 'ICH in the South-Western Alps: Empowering Communities through Youth Education on Nature and Cultural Practices' by Alessio Re & Giulia Avanza, Santagata Foundation for the Economy of Culture\n\n
South Korea 2020 -
3rd APHEN-ICH International Seminar Diversity and Distinctiveness: Looking into Shared ICH in the Asia-Pacific
Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.
South Korea 2021
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ICH Courier Vol.35 ICH and City Festivals
ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 35 is 'ICH and City Festivals.'
South Korea 2018 -
Reflection on the Efforts to Safeguard ICH and Prospects for the Future
In the fall of 2013, ICHCAP convened an international conference celebrating the tenth anniversary of the Convention for the Safeguarding Intangible Cultural Heritage. Held in Gwangju, this conference aimed at reflecting on the ten-year implementation of the Convention and its achievements as well as searching to develop future tasks. Under the title of “Reflection on the Efforts to Safeguard ICH and Prospects for the Future”, this conference provided a useful opportunity to review the effects and outcomes of the ICH Convention on many countries in the Asia-Pacific region and to share theoretical discussions as well as practical experiences with a panel of experts and various stakeholders dedicated to safeguarding ICH. This book includes the presentation papers and the summary of discussion of the above conference.
South Korea 2014
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THE CHINA NATIONAL SILK MUSEUM CONTRIBUTING TO ICH SAFEGUARDINGThe China National Silk Museum (CNSM) first opened in February 1992 and reopened in September 2016. Now it has become one of the first state-level museums in China, where audiences will find 9,000 square meters of displays in a typical southern Chinese garden of 42,286 square meters near West Lake, a UNESCO World Heritage Site.Year2018NationSouth Korea
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VERBAL DUELING AND EPIC PERFORMANCE AMONG NUOSU COMMUNITIESNuosu, a subgroup of the Yi ethnic minority residing in southwest China, has maintained a long yet continually evolving tradition of verbal dueling from generation to generation. It is called kenre in the local Yi language, which literally means “mouth movement.” The tradition has not only been recorded in historical documents, but continues as a living knowledge contest undertaken primarily for honor and identity and for enlightenment and entertainment throughout the mountainous villages in Liangshan Yi Autonomous Prefecture, Sichuan Province, thereby imbuing audiences both young and old with a sense of cultural identity and strengthening dialogue, cooperation, and respect among Nuosu communities (belonging to three sub-dialect zones) and neighboring Yi areas.Year2018NationSouth Korea