ALL
ngo
ICH Elements 541
-
Shawa Sha-khe/che Chham: The Dance of the Stag and Hounds
Shawa Sha-khe/chi Chham (the mask dance of the stag and the hounds) or also called as Acho Phen-to (the Hunter and the servant) by its character is one of the mask dances that falls under the Nam-thar zhi-chol gi gar-chham (biography-based mask dances) category of three broad classifications of mask dances in the Bhutan. This mask dance has a characteristic of theatrical play extracted from the life story of Milarepa (1052-1135) and has various characters and episodes basically conveying the Buddhist principals of compassion, arising faith and human values that lead to a harmonious life. The origin of the mask dance dates back to the 11th century when Jetsun (venerable) Milarepa the great yogi from Tibet, converted Gonpo Dorji, a fierce hunter as his disciple who later listed as became one of his principal followers named as Khe-rawa Gonpo Dorji. In brief, the story goes as follows: While Milarepa was meditating in a cave known as Katya in Nyishangkurta (on the present-day border between the Tibetan autonomous region of China and Nepal), he heard a couple of hounds barking somewhere near to his hermitage. In a short while, a stag glistening with sweat and exhausted bounds into his cave indirectly seeking refuge from the lean and thin meditator Milarepa. Out of great and compassion and pity, Milarepa sangs a song to calm the terrified stag, which eventually laid down peacefully near to the great yogi in the cave. Led by the scent of the stag, two ferocious hounds; a red and a black-coloured appeared in lightning speed, rushed inside the cave in pursuit of the stag. Milarepa also calms them by singing yet another stanza of song dedicating to the hounds which subsides its rage and calmly sits beside Milarepa waggling its tail alike to their owner. Subsequently, the merciless hunter, the owner of the dogs, Gonpo Dorje soon arrives in pursuit of his target, the hounds, and steped into the cave frustrated, drenched in sweats, tired and a bow and arrow ready to release the trigger. The sight of his hounds and the stag calmly sitting together with Milarepa infuriates him, thinking that the yogi has used some kind of black magic on the animals. Dragged by his rage, he shoots an arrow at Milarepa which in-turn slips the arrow from his bowstring. Milarepa then sings the hunter a song to calm his mind and open it to the Dharma, but the hunter remains uncertain whether Milarepa is a great saint or else a black magic practitioner. Gonpo Dorje inspected Milarepa’s cave, and upon noticing nothing in it but an empty bowl surprised him. Overwhelmed by feelings of profound respect for Milarepa, feled deep remorse for all his past sinful actions and thereafter vowed never to commit such acts and became a faithful disciple. The mask dance has various characters such as; Shawa (the Stag), Sha-khi/che (two hounds), Acho (the hunter), Phen-to (servant), Milarepa (the Saint) and a package of Atsa-ra (clowns). The mask dance is performed only during the annual Tshe-chu (Mask Dance Festival) with several episodes portraying different scenes. The element is still vibrant in the country.
Bhutan -
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 -
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 -
Suri Jagek (observing the sun), traditional meteorological and astronomical practice based on the observation of the sun, moon and stars in reference to the local topography
Suri Jagek, literally translated to ‘observing the Sun’ is the traditional Kalasha meteorological and astronomical knowledge system and practice based on the observation of the Sun, Moon, Stars and Shadows with respect to the local topography. The practice of Suri Jagek demonstrates the relationship of the Kalasha people with their surroundings and the capacity of their immediate geographical context to sustain their way of life. Suri Jagek is a knowledge system which connects a long history of “events” to topographical locations. The system is a complex structure of empirically observed accumulated knowledge and is repeatedly referenced to allow the Kalasha people to predict the appropriate time for the sowing of seed, animal husbandry and natural calamities. It is also used to govern the Kalasha calendar by determining dates of important social events, festivals, feasts and religious ceremonies. It draws greatly from the rich cultural heritage and social practices of the people, therefore functioning in the capacity of a repository of the history of the people and the region at large. Visual cues existing within the periphery of the topography are used to mark the specific positions of the rising and setting Sun, and hence the collective markings are used to record the positions of the Sun throughout the year. Observatories called ‘Suri Jagaekein’, are chosen in each village to observe the rising Sun, and a separate location is assigned to observe its setting. The specific positions on which the sun casts its shadows are also marked in some people’s houses on walls or poles etc. Individual localities have their own specific knowledge, generated using the common processes of marking the positions of the Sun. Qazis, who are authorities on matters pertaining to religion, history and indigenous models of conflict resolution, farmers, some shepherds and a few village elders are the knowledge bearers of Suri Jagek and the observations at the Suri Jagaekein made by various community members are shared in communal gatherings. A general consensus is reached in a Jirga (communal forum); however, presently this is only practiced in the Rukmu valley on the 16th of December. Knowledge related to the constellations of stars, meanings of various types of rainbows and the study of clouds as well as shadows are all in the wider ambit of Suri Jagaek. The Libra constellation known as Tarazu is considered particularly important during the Spring period coinciding with the month of Amaal Mastruk. When the constellation is observed in its clarity during the month, it is indicative of the ground softening the next morning; a time considered vital for the planting of crops.
Pakistan 2018
ICH Stakeholders 26
-
Dr. Aijarkyn Kojobekova
Dr. Aijarkyn Kojobekova has been participating in a series of Training of Trainers on different aspects of ICH organized by the UNESCO in Central Asian region since 2016 which helped her to step forward in this field. Since then, she has been conducting a series of workshops on safeguarding ICH and implementing of the 2003 UNESCO Convention in Central Asia (Kazakhstan, Kyrgyzstan, Tajikistan, Uzbekistan). \n\nIn 2018 she was actively involved in a regional research project on ICH in the TVET system and also coordinated the research project on ICH in TVET in Central Asia. In 2020 Dr. Aijarkyn Kojobekova worked on the national manual on safeguarding sacred sites, rituals and practices related to sacred sites in Kyrgyzstan. During the work, she has explored the challenges and opportunities local communities and individuals face in practicing worship on sacred sites and what safeguarding measures need to be taken by the communities themselves, local authorities and state bodies. \n\nShe has facilitated an online meeting and conducted face-to-face training on intangible cultural heritage (ICH) community-based inventorying along the Tian Shan Corridor of the Silk Roads in Kyrgyzstan. She has been also involved in research on the Inventory of ICH elements in Kyrgyzstan in the framework of the community-based inventorying along the Tian Shan Corridor of the Silk Roads in Kyrgyzstan within the framework of the EU/UNESCO Project: “Silk Road Heritage Corridors in Afghanistan, Central Asia, and Iran – International Dimension of the European Year of Cultural Heritage”. In 2022 she developed a manual for school teachers on ICH in Kyrgyzstan. \n\nDr. Aijarkyn Kojobekova has: \n- 10-year collaboration experience with different local and international organizations: Open Society Institute, UNDP, UNESCO, IFES, SaferWorld, IWPR, Soros-Kyrgyzstan Foundation, Aigine Cultural Research Center and others.\n- 15-year expertise in revealing the content of different types of reading materials by the means of critical discourse analysis, narrative analysis, in expert interviewing, working with massive of literature, processing collected data by MAXQDA programme, conceptualizing complicated processes and sociocultural phenomena.\n- 19-year teaching of social sciences (sociology, political science). Courses: Qualitative Social Research Methodology, Past in Present: Memory, Culture and Politics, Nation-building in Central Asia, Social Stratification.\n\nPublications: 5 manuals, 1 monograph in co-authorship, more than 70 articles (Kazakhstan, Kyrgyzstan, Singapore, Russia, Turkey, USA)
Kyrgyzstan -
Urtnasan Norov
Dr. Urtnasa Norov received his tertiary education at the State Pedagogical University in Moscow (1972-1977) and later graduated with a doctoral degree from the Academy of Social Science in Moscow (1984-1987). He served as Director General of the Culture and Art Department in the Ministry of Culture of Mongolia (1993-1997), served in the Department of External Cooperation (1997-2001), and held the title of Secretary General of the National Commission for UNESCO (2001-2011). His research fields include culture, cultural heritage, civilization, and so on. He is currently serving as President of the Mongolian National Committee for the International Council on Monuments and Sites (ICOMOS).
Mongolia
-
Ariyapala and Sons
Ariyapala & Sons’ passing through their fifth generation of carving traditional masks and dancing is a non-profit organization which works with the mask making community in Ambalagoda. Ambalangoda is a very popular cultural centre in the southern coastal region of Srilanka and is well known for traditional mask carving and mask dancing. It was named after ‘Ariyapala Wijesuriya Gurunnanse’, one of the greatest master craftsmen in Sri Lanka. The organisational building includes a well developed museum, a workshop and a well decorated product display shop with various types of traditional masks. The museum is designed to introduce into the richness of the mask tradition of Ambalangoda and to strengthen cultural heritage. This museum also has a small library containing all available anthropological literature on mask performances to serve as a centre for traditional arts & crafts and for research as well.
Sri Lanka -
Vayali Folk Group, Kerala
Vayali is a folklore group that was started in 2004 exclusively with the intention of preserving the folk arts of the indigenous communities along the banks of river Nila. Vayali nears a decade of active participation in the social arena, reaching far deeper and spreading to a larger number of people.\nVayali, from its birth has constantly expanded, shifting focus to various aspects of indigenous arts and crafts which are at the verge of extinction. The group of folk singers were identified by folk enthusiast Vinod Nambiar, now the Director of Vayali and given a chance to perform at ‘Thali silpasala’, where they performed the artform ‘Chavittukali’. This was the real beginning of Vayali’s journey. What started as a group of folk singers then became an authority in performing various other Folk forms, like Dharikavadhom, Kudachozhi and Maani.
India
ICH Materials 1,379
-
Traditional Craftsmanship of the Mongolian Ger and Associated Customs
Traditional Craftsmanship of the Mongolian Ger and Associated Customs (Representative List of the Intangible Cultural Heritage of Humanity, 2013)\nThe Mongolian ger is composed of wooden frames, canvas, and ropes. The wooden frames comprise the crown, roof poles, wall lattices, door, and two pillars; each wooden element is produced by separate, specialized carpenters. The traditional craftsmanship of the Mongol ger reflects the nomadic culture and national identity of Mongolia.
Mongolia 2017 -
Talent of Possessing Swiftness
Folk Knowledge and Tradition of Recognizing and Training Swift Horses\nSince ancient times, Mongols have developed a complex understanding of how to choose the swiftest horses from among a herd and coach and train these horses to race. Over one month, the horses’ diet is restricted, and the horses are raced over longer and longer distances each day. Race horses are classified into six age categories: ikh nas, soyolon, azarga, khyzaalan, shüdlen, and daaga, and horses in each category race for different distances. The jockeys are children between the ages of 6 and 13. The sweat-scraper and brush are patterned with symbolic designs of the horse’s prowess and promptness.
Mongolia 2017
-
Youth Meets ICH
Youth Meets ICH is video clips on ICH produced by six Asia-Pacific institutions with youth participation.
Bangladesh,South Korea,Kazakhstan,Myanmar ,Mongolia,Tonga 2017 -
2020 World Forum for Intangible Cultural Heritage - Human, Nature, and Intangible Cultural Heritage
2020 World Forum for Intangible Cultural Heritage - Human, Nature, and Intangible Cultural Heritage\n\nSession1: Re-defining the Relationship Between Humanity and Nature\n\nKeynote Presentation :'Re-defining the Relationship Between Humanity and Nature' by Ernesto Ottone Ramirez, Assistant Director-General for Culture of UNESCO\n1. 'Intangible Cultural Heritages in the Anthropocene' by Buhm Soon Park, Director, Center for Anthropocene Studies at KAIST\n2. 'Sustainable Agriculture in Nature, Micronesian Agroforestry' by Francis Reg, Head of the Yap States Historic Preservation Office (HPO)\n3. 'Intangible Cultural Heritage as Protection, Avalanche Risk Management' by Michael Bruendl, Head Research Group Avalanche Dynamics and Risk Management, WSL Institute for Snow and Avalanche Research SLF\n4. 'Pacific Islands of the Anthropocene' by Elizabeth DeLoughrey, Professor of University of California, Los Angeles\n\nSession2: Humanity's Response to the Crisis and Intangible Cultural Heritage\n\nSpecial Lecture : 'Future of Humanity, Ecological Turn, and the Role of ICH' by Jae Chun Choe, Chair Professor of Ewha Womans University, Former Chair of UN Convention of Biological Diversity\n1. 'Mitigating “Nature Deficit”: lndigeneous Language and Oral Literature' by Chidi Oguamanam Professor of Law at University of Ottawa\n2. 'India's Disaster Reduction and Management through ICH' by Rahul Goswami, UNESCO ICH Facilitator\n3. 'Sea Ethics as Intangible Cultural Heritage' by Kumi Kato, Professor of Faculty of Tourism, Wakayama University, Japan\n4. 'Building Ecosystem and Community Resilience in Asia and the Pacific Region' by Sinikinesh Beyene Jimma, Regional Coordinator, United Nations Environment Programme (UNEP)\n\nSession3: Intangible Cultural Heritage in Our Daily Lives, Towards a New Age\n\nSpecial Lecture : 'Role of Communities in Promoting Environmental Sustainability and ICH' by Micheael Mason Director, Smithsonian Center for Folklife and Cultural Heritage\n1. 'The Role of NGOs in Safeguarding ICH and Environmental Sustainability' by Greg Mitchell, President and Chairman of the Board of the Pacific Blue Foundation, Professor Emeritus of UCSD\n2. 'Nature, Intangible Cultural Heritage and Law' by Anita Vaivade, Assistant Professor of Latvian Academy of Culture\n3. 'Role of the State in ICH Safeguarding in the COVID-19 Pandemic' by Eric Babar Zerrudo, Assistant Professor of University of Santo Tomas\n4. 'Joining our Voices in ICH Youth Network' by ICH Youth Network (Korea National University of Cultural Heritage)\n
South Korea 2020
-
Tale: Desperado Juuya, Juramgui Juuya
Tales are an important genre of the oral prose literature of the Mongolians. Tales typically begin with the phrase “Once upon a time, in such-and-such a place, in such-and-such a country.” Mongolian tales are symbolic. The most frequent ending is “and they lived happily ever after.” The legends are a popular genre of oral prose literature. The real-life legends are always complementary expressions of historical events within folk literature. Historical facts are usually adorned with fanciful magic and metaphoric devices to later become historical legends. Among the restored and digitised data, the tales take up the most recording hours. Within the framework of the project, over two hundred hours of tales and almost fourteen hours of legends were restored and digitised.
Mongolia 1905 -
Tale: Merciful Ezen Khaan, Uglugiin Ezen Khaan
Tales are an important genre of the oral prose literature of the Mongolians. Tales typically begin with the phrase “Once upon a time, in such-and-such a place, in such-and-such a country.” Mongolian tales are symbolic. The most frequent ending is “and they lived happily ever after.” The legends are a popular genre of oral prose literature. The real-life legends are always complementary expressions of historical events within folk literature. Historical facts are usually adorned with fanciful magic and metaphoric devices to later become historical legends. Among the restored and digitised data, the tales take up the most recording hours. Within the framework of the project, over two hundred hours of tales and almost fourteen hours of legends were restored and digitised.
Mongolia 1905
-
EPICS2
EPICS 2\n\nThere were more than fifty epics performed by renowned epic tellers, including S. Choisuren, B. Avirmed, Sh. Buyan, M. Yadmaa, G. Khainzan, Ts. Zodov, G. Od, T. Purev, R. Lkhagva, Ch. Khartsaga, Dugersuren, Kh. Zambal, R. Duvchinsambuu, D. Bat-Ulzii, E. Namilan, B. Gombojav, B. Gurragchaa, and U. Bataa that cover over 136 hours of the restored and digitised recordings.
Mongolia 2012 -
Folk Performing Arts
Folk Performing Arts\n\nThis CD presents a selection of the best, most distinct, and most outstanding works of Mongolian folk performing arts, which acknowledges their contribution to the cultural diversity of humanity.
Mongolia 2012
-
Sri Lanka-ICHCAP Cooperative Workshop on Digitizing ICH-Related Audio-Visual Materials
ICHCAP, with the support of the Cultural Heritage Administration of Korea and the cooperation of the State Ministry of Cultural Affairs of Sri Lanka, hosted the five-day Sri Lanka-ICHCAP Cooperative Workshop on Digitizing ICH-Related Audio-Visual Materials in various locations in Jeonju and Seoul. The workshop was organized to explore methods and technologies involved with digitizing analogue audiovisual resources related to intangible cultural heritage, with emphasis on Sri Lankan music so that it can be approached and enjoyed around the world.\n\nThis publication includes the nine paper presentations as well as transcripts of the speeches and information related to the field visits.
South Korea 2015 -
Strategies for ICH Visibility in the Pacific through Information Building and Sharing
ICHCAP and the Vanuatu Cultural Center organized the fourth sub-regional networking meeting in collaboration with the UNESCO Apia Office. Representatives from the collaborating organizations as well as from six Pacific countries—Fiji, Federated States of Micronesia, Palau, Papua New Guinea, Tonga, and Vanuatu—attended the meeting in Port Vila, Vanuatu, in April 2013. This publication includes presentation materials as well as meeting summaries to provide information to promote international cooperation among Pacific experts and institutions in the ICH safeguarding field.
South Korea 2013
-
PROMOTING AWARENESS AND ENGAGEMENT WITH TRADITIONAL MALAY PERFORMING ARTSThe Kakiseni Association was established in 2001 as the only online platform for artists to post information about productions and events, share news about auditions, reviews, and interviews, essentially functioning as an information hub for artists. In 2011, Kakiseni registered as a non-profit organization and expanded its scope of activities to include events and initiatives aimed at increasing audience size and appreciation for performing arts; developing the skills of Malaysian performing artists and the quality of their performances; and advocating for the arts to the Malaysian government and businesses.Year2017NationSouth Korea
-
Sul, Traditional Medicine and Family : Korean Case StudiesRecently Korea’s traditional liquors have increasingly drawn the atten-tion of the general public and the national and local governments as cultural heritage. There are, however, some misunderstandings as to what “drinking” liquor means in the traditional Korean society. This is the context in which the authors of this paper decided to investigate the culture of sul in traditional society and as well as the changing aspects of such culture. In Korean tradition, sul or liquor was considered a part of daily diet not solely for entertainment or social activities. Every household brewed sul because its use in family life was very important, specifically with respect to ancestor worship, entertaining relatives, friends, neighbours and guests, and even for medicinal use. This paper deals with sul focus-ing on its medicinal purpose but it also presents the culture of sul which should be understood within the context of the daily life of a family.Year2019NationSouth Korea
Open Archive 6
-
Kapingamarangi Taro Cerebration Day
Kapingamarangi is one of two Polynesian Islands with Nukuoro Atoll in Micronesia. March 15 is the Kapingamarangi Taro Cerebration Day, which commemorates communal efforts to expand taro patches on the island. This project, which began around 1944 during WWII, was very hard work during the hardship in wartime, only relying on manpower with simple tools such as shovels made from a drum. Their success was begun to be cerebrated from 1947. Two kinds of food, sea eels and giant swamp taro, are the main dishes in the communal feast. The eels were caught in traps and were roasted on fire fueled by firewood of hard mangrove wood for several hours.
Micronesia -
Sailing Canoe Building, Namonuito Atoll, Micronesia
This video depicts some processes of Namonuito sailing canoe building. Namonuito Atoll is an outer island of Chuuk State, Federated States of Micronesia. We would like to thank a master canoe builder, the late Mr. Samuel Jos (b. 1942) and his helpers from Mr. Asterio Takesy's family in Pohnpei.
Micronesia -
Loom weaving, Yap, Micronesia
On the outer islands in Yap, loom weaving is actively practiced by women and is passed down to younger generations. Woven cloths are wore daily by women and also function as exchange goods on ceremonial occasion.
Micronesia -
Pwo Navigator Initiation Ceremony, Yap, Micronesia
On a limited number of small coral atolls in the Central Caroline Islands, in Yap and Chuuk States in the Federated States of Micronesia, traditional navigation has been still actively practiced. This tradition, however, which has been succeeded by their ancestors for hundreds if not thousands of years, is sadly disappearing due to a lack of interest among the current generations of islanders. This video depicts a pwo initiation rituals for traditional navigators in Yap, Micronesia. A navigation school sponsored by the Yap Traditional Navigation Society was taught by a master navigator Ali Haleyalur from Lamotrek Atoll, who conducted the pwo ceremony. This video shows that the master of ceremonies initiated a navigator while he tied a coconut-leaf bracelet and an amulet to an initiate’s right wrist over lavalava-covered ceremonial bowl and intoned “bracelet for the navigator” chants. Then the master removed all the lavalavas, which were given to him by the initiates’ relatives, from the top of the bowl, and performed “tapping of the pounded breadfruit” chant, getting down on his hands and knees. After he took the initiates’ food from the bowl and put it in baskets, additional baskets of food were filled for 12 schools of navigators. After the pwo ceremony, a new navigator needs to attempt a solo voyage on his own to be considered a full-fledged navigator.
Micronesia