ALL
historical site
ICH Elements 8
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Meri Pun-sum: The Three Brothers’ Hills
When you arrive in Haa, you are greeted by three giant identical hills rising steeply to the west, known as Miri Pun Sum, also styled as Miri Pun Suum or sometimes Me Rig Puen Sum: The Three Brothers Hills or The Three Sisters Hills. Located on the border between Kartshog and Uesu Gewog, one can admire the aligned hills in the middle of Haa Valley. For centuries, the Miri Pun Sum has been worshipped as the abode and embodiment of the Rig-sum Gonpo, Lords of the Three Families: with Jampleyang or Manjushiri on the left; Chenrizig or Avalokiteshvara in the middle; and Chana Dorje Vajrapani on the right. These three deities are considered the most important deities in the Vajrayana Buddhist pantheon, Miri Pun Sum symbolizes and emplaces them in the landscape, so they are worshipped as guardian deities protecting the Haa Valley. Legend has it that people suddenly appeared out of nowhere from Miri Pun Sum, and built the Lhakhang temple of Karpo and Nagpo, which stands in front of the three hills today. It is also believed that this sudden appearance of people from these three hills gave the place its name "Ha". Locals believe that the three hills themselves embody Buddhist powerful beings, and each is associated with a village as well. The people of the Bji and Kartshog Gewog village block are represented by the hill of Chana Dorji, the Vajrapani bodhisattva; they are known to be darker and tougher than their neighbors. While the notoriously meek people of the Uesu gewog are represented by the hill of Chenrizig, the Avaloketeshvara bodhisattva of compassion. Finally, Samar, Gakiling, and Sangbay gewogs are represented by the hill of Jampelyang, Manjushri bodhisattva of wisdom, to reflect their gentle, down-to-earth, and easygoing nature. People also believe that the collective welfare of Haaps depends on the condition of Miri Pun Sum, which is why the Haaps protect the three hills with great reverence. Locals believe that the Miri Pun Sum maintain peace in the valley. It is also believed that these three hills are responsible for rain, harvest, and prosperity of the families. Only when in the presence of these majestic hills can one truly fathom and appreciate this unique, fascinating landscape. Miri Pun Suum is considered a sacred landmark, revered by all Haaps with great respect and devotion. Since time immemorial, Haaps have offered Soel-kha propitiation rituals to Miri Pun Sum. In 2013, under the leadership of the Lhayul-kha people, the Haaps officially erected a Lha-chhim deity shrine in front of Miri Pun Sum to specifically perform Mang-chhoe, a great offering ritual for the welfare of the entire population, or Soel-kha for Miri Pun Sum. This Mang-chhoe is performed annually on the 30th day of the twelfth lunar month. The Lha-chhim is looked after by two administrators whose posts are filled alternately by the residents of Lhayulkha village.
Bhutan -
Udumvara: The Sacred Plant of Yangthang Monastery, Haa
"Udumvara/Udumbara" is a Sanskrit word meaning an auspicious flower of the sky. This type of flower is believed to bloom only once in 3000 years. In the Mahayana Buddhist scriptures (Arts, 2011), it is said that "Udumbara is the product of unwholesome and supernatural phenomena; it is a heavenly flower and does not exist in the mundane world." According to the Monlam dictionary, "In Tibetan, it is called Phag-chog or Tsher-zag. There is also a plant called Dud-jom-shing, which bears a flower that is unique and is called Udumvara because of its rarity in the world. Udumvara exists only when there is a living Buddha in the world. It has attractive colors and a sweet aroma that can spread over a large area. The plant is known for treating eye diseases, phytic abnormalities and is also known for other medicinal properties. Whether the flower is a specimen of its kind or an unknown plant, I have heard a few times that this plant grows in the Yangthang Goenpa area. There are various online sources or books written about the properties of Udumvara, one of the authors has the following to say about Udumvara; "Udumbara flowers are tiny white tulip-shaped flowers that grow on a white thread-like stem. The flowers have no leaves or roots and grow on anything" (Haddock, 2018). On the other hand, the udumvara growing in front of Yangthang Goenpa is different from the one in the online sources or images available online. The Udumvara seen at Yangthang Goenpa has a green color and my interviewees said that until today, no one is able to identify the species of this plant. Perhaps the plant was named by Drubthop itself because it is a very rare species of its kind. It was in 2015 when the plant bloomed in June just before His Majesty's visit to Yangthang Goenpa. Everyone was amazed when the five petals of this plant opened. According to Lopen Tshering Wangchuk, who has been in charge of the Goenpa for four years, he did not observe the plant's blooming. However, he believes that the plant blooms once a year, on the 15th day of the 4th month in the Bhutanese calendar. So far, propagation of the plant has been unsuccessful. Currently, the plant is well protected and surrounded by a tall structure to prevent visitors from stealing or touching it. He has heard from previous caretakers that the flower resembles a peony. The literature states that peony consists of 33 species, including annuals and perennials, all native to Central and East Asia, including eastern Tibet. The first indication is that Udumvara came to Yangthang Goenpa via Tibet. The Yangthang Zabdon Chholing Goenpa or Lhakhang is located at an altitude of 2920 meters above sea level and was founded by Lam Thinley Gyatsho, a follower of Lama Drakpa Gyatsho's disciple Lam Choeying Gyatsho, in the 17th century5. The Yangthang Goenpa has important cultural and religious significance not only for the Yangthang community, but for all Haaps in general. The Goenpa was rebuilt in 2012 under His Majesty's command after being damaged by an earthquake in 2011. All sacred artifacts are restored inside the Goenpa. The Goenpa consists of a two-story building; the top floor houses the Choe-long Trul-sum Lhakhang and the Lami Lhakhang, and the first floor is dedicated to the Chenrezig Lhakhang6. The inauguration of the Goenpa was performed by His Majesty and Gyaltsuen, led by His Eminence Dorji Lopon Kinley (also known as Sonam Jamtsho) from Zhung Dratshang. During this time, hundreds of people gathered and presented various cultural programs. His Majesty offered prayers for the safety and happiness of the country and its people. According to local oral sources, around the 15th century, a Tibetan saint named Drupthob Dondup was on a pilgrimage and took the seed of the plant Udumvara during his lifelong pilgrimage. According to an oral account, "he promised to sow the seed wherever he finished his journey. However, it was believed that he ended his lifelong pilgrimage at Yangthang Goenpa. He sowed the seed of Udumvara in front of the Lhakhang and also left behind a Tashigomang; (auspicious multiple doors). The Tashigomang is shown or displayed to the public only during a specific event. Such significance of the Goenpa attracts not only the locals but also visitors from other Dzongkhags. When tourists visit the Goenpa, they primarily ask about the Udumvara plant. On important occasions and events, many people come to receive offerings and blessings.
Bhutan -
Lake Nub Tshona-patra: The Great Lake in the West
Nub Tshona-patra literally means "The Great Lake in the West" and is beautifully situated between the ancient trade route of Haa and Tibet. From some sources, "Nub" may also be known as Nob, which means Norbu (precious treasures). Nub Tshona-patra is considered one of the most sacred and revered lakes in Bhutan. It is believed that the lake is so large that two types of vegetation grow on the lake. On the Tsho-gu (head of the lake) grow plants commonly known as Chukar meto (Rheum nobile), which grow only in mountainous regions such as Jomolhari, while on the Tsho-ju (tail of the lake) grow Dungshing plants (Abies densa), which grow in low regions such as the Haa Valley. Nub Tshona-patra is one of the holiest lakes in Bhutan and can be hiked from Haa on many different routes. The most common routes are from Kipri in Uesu gewog, from Karjena in Kartsho gewog via Changzur Nyela to Drakna Trashiding-kha Gonpa and also from Tokey in Bji gewog. Nub Tshona-patra can also be reached through Jula Pass, Talila Pass, from Miri Pun Suum and from Norbugang in Samar gewog. The river that flows through Dozam at the foot of Chana Dorje (Vajrapani bodhisattava) hill is fed by Lake Tshonapatra. This river feeds the Haa fishery at the foot of Chana Dorji hill. This river flows through Nakha Tashigang and Shubji in the Sangbay Gewog and joins the Amochu further downstream. The river from Baytsho also flows along this river. The sanctity of the lake brings about the fact that Terton (treasure revealer) Sherab Mebar (1267-1297?) came to Bhutan from Kham in Tibet in the 13th century at the age of thirteen, settled in Paro Pangbisa and established the Pangpa Ugyen Guru Temple as his seat. Even today, this two-story temple is considered very sacred. According to oral traditions, he was destined to recover treasures from a lake in western Bhutan. He was also destined to visit Bumthang and the Jawar Tsedrag Goenpa (temple). To find the treasures, Terton Sherab Mebar traveled to Haa. After finding the lake (now Nub Tshona-patra), he unveiled many treasures including gold, religious artifacts and religious instruments such as dung (trumpet), Nga (drum), Nge-tok (drumstick) and a pair of Rol-mo (cymbals), among others. Terton was prophesied to visit Nub Tshona-patra seven times. When Terton came across a huge lump of gold in Nub Tshona-patra, it turned into a giant frog as big as a hill and swallowed (and held) all the water of the lake in its mouth. He asked a carpenter to carve the gold nugget into a pillar to be used in Paro Dzong. The carpenter was instructed to take the splinters and fragments of the pillar as payment for his work. However, the carpenter tried to shear off too much of the column in order to receive his wages. The Terton feared that the column would be too short, and when he tried to talk to them about shearing too much out of concern, a drop of water fell out of his nose and spilled into the lake, drowning them all along with the gold. Some locals believe that those who cut off the gold pillar were his one hundred and five monk disciples from the village of Pangbisa, while others say that his team consisted of thirty-two strong men who were farmers and carpenters. The angry deity of the lake Tshodag/Tshomen (mermaid) sensed this and began to pursue the Terton. While he was running for his life, religious instruments such as cymbal, trumpet, drum, drumstick and a sickle fell from him, and lakes sprouted in the place where the treasures fell. Locals know these lakes as Drum Lake (Nga-tsho), Drum Lake (Dungtsho, in Jarey), Drumstick Lake (Ngetok-tsho), Cymbal Lake (Roel-tsho, in Rigona), and Sickle Lake (Zoutsho), which are now found in the Haa Shongana region (also known as Shokuna), including Nub Tshona-patra in Tshona Diga. Ngatsho and Ngetok tsho are located close to each other at Tsoo. Yak herders spend their summers in Tsoo. Locals believe that the Terton also spent time meditating (thukdam/tsham) in Yatokha, the area behind the hills of Ngatsho and Ngetok tsho, to see clear visions and find hidden treasures. Some sources say that the Terton also dropped other treasures such as religious artifacts and religious instruments made of gold, turquoise, silver, shells and a vase during his escape, which led to the formation of Ser-tsho, Yu-tsho, Ngyul-tsho, Dungkar-tsho and Bumpa-tsho (in Jarey Damshog). The terton Sherab Mebar turned into a bird and the angry deity into a falcon. When they reached Tergola (which means "gateway to hidden treasures," as it was believed that many treasures were hidden behind this mountain pass), the deity of the mountain (Tsan) negotiated peace between the Terton and the angry deity of the lake. Some consider this Tsan or Drak-tsen to be Ap Chungdu. Some sources also indicate that the negotiation actually took place in Lab-dza of Tshellu-tsho. It was agreed that both Terton and the deity would not enter their respective territories. Terton and the descendants of his followers would never set foot in Haa Shongana. Similarly, the lake deity agreed not to cross Tergola. Thus, all connections between the people of Haa Shongana and Paro Pangbisa were severed, even though these two places are considered to be close to each other. Even today, when the descendants of the Terton people in Pangbisa cross the Tergola Pass, it rains even when the weather is fine, and people die when they enter the Haa Shongana region. Animals also die when they cross the border, or if animals are traded between these two places, they do not survive. However, some of the locals believe that this border does not apply to livestock. To resolve the conflict between the two, the mountain deity erected five Do-tshams (boundary stones) between Gangche-la and Zou-tsho (Sickle Lake) to mark the border. It is believed that the boundary was initially marked with dried yak and sheep dung, which later turned into stones. The cairns are still preserved today. The Do-tshams are located in Ramzur, under the Uesu gewog. The stone mounds look as if they would collapse at any time. But if you actually touch them, it is not easy to dismantle them or break them into the ground. People say that stones and pebbles can be added to the piled up structures, but they should not be removed or disintegrated. When the Terton died, he left the only Rol-mo treasure (basin) and a Phurpai ku (three-sided ritual dagger statue) in the Pangpa Ugyen Guru Temple. The Phurpa ku can be seen in this temple to this day as one of the Nangten (sacred religious objects). It is said that after the death of Terton, his Kudung (sacred body) was taken from Pangbisa to Rinpung Dzong (fortress). However, the people of Pangbisa wanted to reclaim the Kudung, and when they tried to steal the Kudung through the U-tse (central tower) of Rinpung Dzong, the "head" detached from the Kudung, and the headless Kudung was left in Rinpung Dzong, which later burned in a fire tragedy. Today, the skull of Terton is revered as one of the most important sacred relics of the Pangpa Ugyen Guru Temple. In lieu of formal punishment, the people of Pangbisa had to cede the only treasure, the Rolmo, to the Rinpung Dzong. This cymbal can be visited today as one of the most important sacred relics of the Rinpung Dzong. The cymbal is shown to the public once a year, on the first day of Paro Tsechu, to give blessings, and it is also used to determine the timing of the mask dancers during Tsechu. The other cymbal that belongs to this treasure was newly made; therefore, this pair of cymbals sounds slightly different from the other normal pairs of cymbals. Some believe that the Nub Tshona-patra was originally located in the village of Sangbay Ama in the Sangbay gewog before it was settled in its present location. People say that a mermaid carried the lake in a dung-chung (slender container made of bamboo used to store salt) and planned to move the lake to another location because the lake's location was either dirty or it was time to move away from Sangbay Ama. On the way to the present location of the lake, the mermaid stopped for a night at a Norgi-jangsa (settlement of cattle herders). It is believed that the mermaid gave cattle to the Nublang cattle as a reward for the kindness shown to her by this local herdsman. Today, this particular breed of Tha-nor (low altitude cattle) exists only in the Sangbay gewog of Haa. Before the lake was built on the present site, the place was a Bjobi-lakha (nomadic settlement). The mermaid asked the shepherds to move their camp so that the lake could settle there. The mermaid found that even the next morning the shepherds had not moved away. So, the mermaid emptied the Dung-chung that contained the lake's water, drowning all the shepherds along with their camps. It is believed that some lucky people on a clear day can see the entire Nogi-jangsa, including dogs, yaks and people. Legend has it that once a woman from Tshaphel village was washing clothes on the lakeshore and polluted the lake. Nothing happened to her for five years. But in the sixth year, the lake "consumed" and she drowned along with her livestock and camp. To this day it is believed that at Nya-chhu, the source of Haa fishing, people come across pieces of clothing or Bjob's hat. It is believed that it is a bad sign to find such items. Locals also believe that whenever the waters of Lake Nyaku-na appear in Tshaphel, people either die or mysteriously disappear. It is believed that Dungkar Aekhil (a shell with a right head) appears to those who have good luck when visiting the lake. Lam Duetsi from Dumchog village in Uesu is said to have seen this shell while visiting the lake. Local people believe that a hundred cattle once drowned in the lake because the water of the lake appeared so calm that the cattle mistook the water of the lake for the ground. Later, about nine tethers that were used to tie the cattle were found at the water source that feeds the fishery in Haa.
Bhutan -
Lha-soel (A Local Deity Offerings)
Lha-soel (Lha means local deity and soel means offerings) is the ritual performed annually seeking assistance and blessing from the local deities with the offering and recitation of religious scriptures. Unlike rituals in other places in western Bhutan depending on the need and purposes, the people of Bem si-si, under Toebesa Gewog (block) perform this Lha-soel annually mostly towards the end of the year beginning from October till December month with the presence of the entire family members. As far as history is concerned there is no exact date of origin of this ritual. However, the village households herein perform Lha-soel that is passed down from the forefathers. This ritual originated from the Bonism commonly known as Nak-choe (ritual requiring animal sacrifices) wherein animals such as pigs and oxen were slaughtered for the offering. However, on later dates as per respondents, with blessing and order from the 70th Je-Khenpo (Chief Abbot) Trulku Jigme Chhoeda (1955- ) to avoid killing animals for the purpose of the rituals. The locals in Bem si-si started to offer butter, cheese, and fruits unlike before who used to offer meat, lungs, and blood along with the ritual cakes. Oral traditions say that Lha-soel is considered the most festive occasion of an individual household to gather all the family members who are now in challenge due to expenditures and lack of manpower. However, people in villages believe that these ritual practices are embedded in the lifestyles and traditions for ensuring prosperity, wealth, and long life besides the adoption of it as a medium for the higher Buddhist spiritual message, thus, individual households never fail to perform despite the challenges. The challenges the Lha-soel undergo is accrued that the too many of the present generations are engaged in the schools, colleges, and universities and gives priority to the curriculum in schools that lacks the knowledge of this very ritual in particular. Therefore, the children, unlike in the past who resided in villages, knew and easily inherited the cultural and traditional legacies of their time which decline today. Even though the majority of the younger population resides in the urban areas, therefore, only the older people are left in the villages observing rituals on behalf of all the family members.
Bhutan
ICH Stakeholders 1
ICH Materials 255
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Van Thi Temple (Thanh Binh Ward, Ninh Binh City, Ninh Binh Province)
Chèo – Vietnamese traditional stage art in Ninh Bình province\n\nLady Phạm Thị Trân originally came from Hải Dương province. She was a singer, talented in singing, and was eventually invited to the royal court of the Đinh Dynasty to teach dancing to soldiers. She was also credited as a mandarin in the royal court. Currently, there is a temple in Vân Thị in Ninh Binh city, which demonstrates that lady Phạm Thị Trân was the creator of Chèo singing in our country.\n\n
Viet Nam -
Teaching the art of Cheo singing to students at a historical site in Gia Vien district, Ninh Binh province
Chèo – Vietnamese traditional stage art in Ninh Bình province\n\nChèo is a very difficult genre to sing. In order to sing beautifully a Chèo tune, especially an ancient tune, such techiques as slurring, vibrato, tempo control are required.
Viet Nam
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The Traditional Musical Instruments on Myanmar
The traditional musical instruments of Myanmar were prominent throughout the nation’s history. The instruments were developed as early as the Pyu Era, Bagan Era and many were dominant features of music during the Innwa Era and Konbaung Era.\n\nWhile some of these instruments have been preserved and are used today, others have been lost to history.\nIn an attempt to preserve the traditional musical instruments of Myanmar, the Ministry of Culture displayed traditional instruments and distributed the books about the instruments during an exhibition in 1955. This research shows thirty-three kinds of instruments. Moreover, in a 2003 celebration of traditional instruments, the Ministry of Culture exhibited over two hundred traditional instruments at the national museum.\nWhile the instruments on display were representative of many regions and states, many instruments were not included.\nBecause of this lack of full representativeness, additional research through field studies is required. This project proposal addresses this need.\n\nTo create a preliminary basis towards developing a national ICH inventory of craftsmanship and performing arts of traditional musical instruments in Myanmar. To safeguard ICH related to the craftsmanship and performing arts of traditional musical instruments and to promote cultural diversity among multi- ethnic groups in Myanmar. To raise awareness of the Myanmar public on the importance of ICH. To expand networking and information sharing between Myanmar and Korea.
Myanmar 2014 -
ICH Video Production in the Asia-Pacific Region : Central Asia (Living Heritage : Wisdom of Life)
ICH Video Production in the Asia-Pacific Region : Central Asia\n\nRapid urbanization and westernization are changing the environments in which intangible cultural heritage is rooted. The importance of documentation that traces the effect of social changes on intangible cultural heritage is being emphasized as a safeguarding measure. Quality video documentation is an important resource that enables the conservation and transmission of existing intangible cultural heritage and raises its visibility.\n\nVideo documentation is the best medium to record intangible cultural heritage in the most lifelike manner, using the latest technologies. It is also an effective tool for communicating with the public. However, conditions for video production in the Asia-Pacific remain poor, requiring extensive support for quality video documentation.\n\nICHCAP has been working to build the safeguarding capabilities of Member States and raise the visibility of intangible cultural heritage in the Asia-Pacific by supporting the true-to-life documentation of intangible cultural heritage as this heritage is practiced and cooperating with experts, communities, and NGOs in related fields.\n\nSince 2010, ICHCAP has hosted annual Central Asian sub-regional network meetings with Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Mongolia to support the ICH safeguarding activities of Central Asia. Through their collaboration, ICHCAP has supported projects involving collecting ICH information, producing ICH websites, and constructing ICH video archives.\n\nAt the Sixth Central Asia Sub-regional Network Meeting in Jeonju in 2015, ICHCAP, four Central Asian countries, and Mongolia adopted a second three-year cooperation project plan on producing ICH videos to enhance the visibility of ICH in Central Asia.\n\nICHCAP developed guidelines and training programs for the project and invited video and ICH experts from the participating countries, and held a workshop in November 2015. After the workshop, focal points for the project were designated in each country, and each focal point organization formed an expert meeting and a video production team to produce ICH videos.\n\nInterim reports were submitted to ICHCAP in February 2016, and the first preview screening was held in Dushanbe, Tajikistan, during the Seventh Central Asia Sub-regional Network Meeting in May 2016. Since then, each country has carried out the project according to the project plan. ICHCAP met with each country between October 2016 to February 2017 to check on the project progress.\n\nAfter the final preview screening during the Eighth Central Asia Sub-regional Network Meeting in Bishkek, Kyrgyzstan, in 2017, final editing process took place in each country, and fifty ICH videos were completed by October 2017.\n\nAll photos introduced on this page along with fifty ICH videos are from the exhibition 'Living Heritage: Wisdom of Life' held in the Republic of Kyrgyzstan and the Republic of Korea. Designed for introducing various ICH in the five countries, this exhibition shows photos on representative twenty elements in each country collected during the process of on-site survey and documentation for ICH Video Production Project in Central Asia by experts participated in the ICH video production project.\n\nICHCAP will continue its ICH documentation projects in the Asia-Pacific region for the next ten years by expanding the scope from Central Asia and Mongolia to Southeast Asia, Southwest Asia, and the Pacific.\n\n\nPartners\nMongolian National Commission for UNESCO • National Commission of the Kyrgyz Republic for UNESCO • National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • National Commission of the Republic of Uzbekistan for UNESCO • National Commission of the Republic of Tajikistan for UNESCO • Foundation for the Protection of Natural and Cultural Heritage Mongolia • National Committee for the Safeguarding of the Intangible Cultural Heritage under the National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • School of Fine Art and Technical Design named after Abylkhan Kasteyev • State Institute of Arts and Culture of Uzbekistan • Tajik film • Tajikistan Research Institute of Culture Information • Korea Educational Broadcasting System • Asia Culture Center\n\nSupporters\nUNESCO Almaty and Tashkent Cluster Offices • Cultural Heritage Administration • Panasonic Korea • Turkish Airlines
Kyrgyzstan,Kazakhstan,Mongolia,Tajikistan,Uzbekistan 2017
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Intangible Cultural Heritage Elements of Ferghana Valley_Alla (lullaby)
Alla (lullaby) is an oral form of ICH sung by one person, usually a mother who is putting her baby to sleep. Alla is important in raising a child. That alla is a unique part of Turkic culture has been stated in many sources. Alla is highly emotive in that it allows a child to perceive not only motherly affection but also her spiritual sufferings. \n\nAlla creators and performers are mothers. The content and melody of all songs are derived from the spiritual state of a mother. The Spirit of the period is reflected in the song. Today, mothers perform all, enriching the songs with new content by signing and praising love for life, a happy life, and a bright future. The Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan, in cooperation with the National Commission of the Republic of Uzbekistan for UNESCO, organized an expedition to Ferghana Valley to research and classify intangible cultural heritage samples as well as to inventory and define the bearers of this heritage. The expedition team recorded samples of alla songs. Through these recordings, listeners can feel a high sense of motherly love as well as the utterance of a suffering human spirit. \n\nAlla\nI say alla my dear baby, \nListen to it. alla. \nListening to my sweet alla, \nEnjoy rest, alla. \nListen to my sweet alla, \nGo to sleep, alla, \nMay your future be prosperous. \nMy little soul, alla-yo.
Uzbekistan 2015 -
Intangible Cultural Heritage Elements of Ferghana Valley_Alla (Lapar)
Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform Lapar songs composed of four-lined ghazals in two groups. Through Lapar songs, girls and boys express their love for each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing Lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.\n\nLapar songs are mainly composed of four-lined verses and are performed in the form of a dialogue between two parties. If they resemble o'lan songs from these features, they are distinguished by the ideas, literary references, descriptive objects, and the lifestyle that are sung in the lyrics- the level of thought is more highly developed by images. \n\nLapar songs were performed and became increasingly better known through the work of famous Lapar singers, such as Lutfikhonim Sarimsoqova, Tamarakhonim, Lizakhonim Petrosova, Gavkhar Rakhimova, Oykhon Yoqubova, Guishan Otaboyeva, To'khtakhon Nazarova, Qunduzkhon Egamberdiyeva, and others. To pay more attention to Lapar and o'lan songs, to collect them, to support the performers, and to publicise their creative work to the broader community, the Traditional Republican Festival of Lapar and O'lan performers is regularly conducted by the Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan.\n\n\n\n
Uzbekistan 2015
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ICH Courier Vol.26 HEALING RITUALS AND INTANGIBLE CULTURAL HERITAGE
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 26 is 'HEALING RITUALS AND INTANGIBLE CULTURAL HERITAGE.'
South Korea 2015 -
Lialiaci Publication January – March 2022
Lialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs.\nLialiaci means to ponder or reflect upon deeply. That is the intent of these articles and perspectives on culture. \n\nThe Vanua Spirituality will attempt to explain the ancient spirituality of the indigenous people of Fiji. Indigenous spirituality is important because it describes in totality the significance of the Vanua, its worldview and vanua ethos. \n\nFijian Bread; The people of Qoma are fisherfolk, and part of their traditional role is the presentation of turtle accompanied with a basket of Fijian bread 'madrainiviti' to the chief of Verata and Dawasamu. Before the introduction of wheat bread in Fiji, their ancestors were enjoying traditional bread made out of fermented root crops.\n\nThe five Cultural Protected Water Body (CPWB) Types in Fiji; A total of five CPWB were found to be practiced in Fiji.\n
Fiji January – March 2022
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POST DISASTER NEEDS ASSESSMENT OF VANUATU ICH FOLLOWING TROPICAL CYCLONE PAMFrom 10 to 14 March 2015, Tropical Cyclone Pam (TC Pam) struck Vanuatu, an island country in the Pacific composed of more than 80 islands with a population of around 270,000 people and with some 100 languages. The category 5 cyclone caused widespread damage across the country. TC Pam’s eye passed close to Efate Island in Sefa Province, where the capital Port Vila is located, with winds around 250km/hr and gusts peaking at 320km/hr. The President of Vanuatu, Father Baldwin Lonsdale, who was attending the third UN World Conference on Disaster Risk Reduction, returned to the country immediately, before the adoption of the Sendai Framework for Disaster Risk Reduction (2015-2030) was concluded. The Sendai Framework includes the importance of Disaster Risk Reduction strategy of cultural heritage to contribute to strengthening communities’ resilience and nurture a culture of prevention.Year2015NationSouth Korea
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Regional Collaboration for Safeguarding ICH: Overview, Tasks, and Strategies with Special Reference to India, Bhutan, Sri Lanka, and the Maldives Shubha CHAUDHURI Secretary-General Executive Director American Institute of Indian Studies"As we all know, the importance of intangible cultural heritage has been greatly enhanced since the 2003 Convention though the forms we are talking about are old if not ancient in many cases, and the individuals who have worked in the arts with what was called ‘expressions of folklore’ were involved in efforts to preserve and transmit these traditions. However, the 2003 Convention, which has at its centre the aim of safeguarding, has helped bring these issues to the centre, resulting in debate and the need to define the ‘intangible’.\nI am discussing these issues not only as one who works in this area but as one providing perspective from India, from the standpoint of an archivist who is involved in the documentation, preservation, and dissemination of forms of intangible cultural heritage, including music, oral traditions, rituals, and other forms of performance.1 Though this is an attempt at providing an overview of the status of the Convention, my aim will be to deal with the spirit rather than the Though my experience is limited to India, this paper is based on input from Moe Chiba of the UNESCO New Delhi office for an overview of issues from Bhutan, Sri Lanka, and the Maldives, which fall under their aegis."Year2011NationSouth Korea