ALL
skills
ICH Elements 360
-
Practices of Then by Tày, Nùng and Thái ethnic groups in Viet Nam
Then a ritual practice indispensable in Tày, Nùng and Thái ethnic groups' spiritual life, reflects concepts about human beings, natural world and the universe (the Earth realm, the 3-layer Heaven realm). Then ceremonies describe a journey in which Then Master (Male/Female) controls ghost soldiers travelling from the Earth realm to the Heaven realm, the residing place of the gods, to offer worshipping items and show their praying requests for peace, bad luck relief, illness treatment, good crops, new house inauguration, initiation/title-conferring ritual (cấp sắc), blessings and happy new year. Then Masters start the journey by singing and plucking the tính lute (two or three-string lute). Depending on worshipping purposes, Then Masters will arrange worshipping trays to pray different native Gods, among whom Ngoc Hoang is the highest God. Then Masters often use a summoning tablet, a seal, a demon-expelling sword, a yin and yang rod, a bell, a fan and items such as pork, chicken, wine, rice, fruits and votive papers to perform Then ceremonies in the believer’s house, outdoor or at Then altar of the Master’s house. While practising, Then Master wears ceremonial dress, sings the language of his ethnic group and plays the tính lute, shakes the chùm xóc nhạc (rattle-bells), waves a fan. In some ceremonies, a female dancing group will accompany. Then rituals performances express Tày, Nùng and Thái’s cultural identities, from customs to musical instruments, dance and music. Then is always transmitted orally while its rituals are being conducted, reflecting the succession between generations.
Viet Nam 2019 -
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 -
Kushtdepdi rite of singing and dancing
Kushtdepdi rite of singing and dancing is a performing art combining the genres of creative poetizing focused on good feelings and wishes, its singing with vocal improvisation and dancing with movements of hands, gestures and footsteps in accordance with the tune of the song. The element serves as a tool and a medium for conveying good wishes for happiness, mutual respect, solidarity, social cohesion to the wide public and youth. The element is considered as an inseparable part of child birth ceremonies, wedding ceremonies and national celebrations. Its introductory part starts with singing poetic words of best wishes for well-being, happiness and sermon for the youth to keep close ties with elders that is performed by a seated group of respected women dressed in traditional costumes. Its next stage continues with inviting performers to start the rite and then the performance is led by singing of a couple of poetry singers (traditionally a woman and a man) with dances to the accompaniment of songs in a semi-closed or closed circles. Dancing movements start with three steps on right foot and then simultaneously tramping and clapping which are intended to drive maleficence and misfortune away from the future life. The element is performed at the end of events concluding in a positive note as a prayer to the nature for fertility, procreation, solidarity and peace.
Turkmenistan 2017 -
Traditional turkmen carpet making art in Turkmenistan
The traditional turkmen carpets and carpet products are the hand-woven woollen textile goods of ornamental art with quadrangular shape in different sizes with dense texture ornamented with characteristic colored patterns pertaining each separately to one of five main turkmen tribes (tekke, yomut, ersary, saryk and salor). Their designs form patterns from clear linear geometric ornaments (dots, lines and figures). Compositional decision of the turkmen carpets has characteristic features: the central field with major patterns ("gels") in octagonal forms is limited with the borders, patterns which differ from that of the central field. The alternation of recurrence of designs represented with combination of the belt and centric ornamental compositions. Reality surrounding a carpet weaver (local flora, fauna and environment) has been reflected in a combination of the threads, pictures and colours creating carpet designs. The turkmen carpets are created on horizontal or vertical looms mainly using different coloured wool threads. Weavers use both types of knotting; double knots with double weft or one-and-a half knot with double weft. Carpets serve both as a floor covering and a wall decoration functions and substitute furniture to satisfy everyday aesthetic needs of turkmen people. There are also special carpets woven for the birth of a child, for wedding ceremonies, for prayers and for mourning rituals. Carpet products such as chuvals (sacks), khorjuns (saddle-bags), torbas (bags) are destined for clothing, transportation of various household paraphernalia and used for decorations of camels, horses, nomad tents, wedding processions etc.
Turkmenistan 2019 -
Chakan, embroidery art in the Republic of Tajikistan
The art of chakan embroidery is a kind of sewing ornaments, image of flowers and symbolic drawings with colorful threads on cotton or silk fabrics. Chakan embroidery is used to decorate women’s shirts, pillows, bed spreads, head scarves, towels, curtains and coverlets for cradles. In the chakan embroidery art, there are symbolic depictions and mythological images related to the surrounded nature and cosmos, which express people’s wishes and hopes. Each ornament has special name and meaning, for example, pomegranate flower, willow leaves, almond, tulip, cockscomb, nightingale, peacock’s tail, moon, star, sun, cloud and so on. Process of chakan embroidery consists of selection of textile and threads, drawing ornaments, doing the needlepoint images, and sewing clothes. The threads were prepared in the past from cotton and silk fibers, and colored them with natural paints prepared with some kinds of plants and minerals. Now, chakan dress makers use fabric threads for needlework. In the Khatlon region chakan shirt is an important dress of brides. Every bride should have chakan embroidered curtain and pillows as well. Grooms during wedding ceremony will put on tāqi – the national skulp-cap with chakan embroidery. In houses of the Khatlon are hang chakan embroidered needlework curtains. During the traditional festival and holy days Tajik women and girls wear chakan dress. Musical folklore groups and dancing ensembles of Tajikistan widely use chakan embroidered dress in the scene. Annualy in Tajikistan are held festivals and competitions of traditional costumes titled "Jilvai chakan".
Tajikistan 2018 -
Mangal Shobhajatra on Pahela Baishakh
Mangal Shobhajatra is a vibrant procession brought out in Dhaka City on the first day of Bangla New Year . It is a creative innovation to give new social and cultural meanings to the celebration of Bangla New Year, a tradition going back to 1556 CE during the reign of Mughal Emperor Akbar the Great. In 1989, the students and teachers of the Faculty of Fine Arts of Dhaka University organized a colorful procession entitled "Mangal Shobhajatra", literally meaning well-being procession, on the first day of the Bangla New Year. Since then, Mangal Shobhajatra has become a major secular festive event in which people from all walks of life join freely and spontaneously. Pahela Baishakh, the first day of Bangla New Year, coincides with 14 April. Preparation for Mangal Shobhajatra begins a month earlier on 14 March in the campus of the Dhaka University. The students, under the guidance of their teachers, make several large artifacts for display in the procession. Each year at least one stupendous artifact is made to signify the dark forces of evil and iniquity. This one and the other artifacts vary from year to year. The Mangal Shobhajatra of 2013 comprised a monster and a reptile to signify the sinister forces, a dove to symbolize peace, a bull to stand for the revolutionary spirit, a clenched hand to embody vigour and courage, and a wide range of masks for the activists to carry in order to drive away the sinister forces and pave the way for progress.
Bangladesh 2016 -
Sbek Thom, Khmer shadow theatre
The Sbek Thom is a Khmer shadow theatre featuring two metre high, non-articulated puppets made of leather openwork. Dating from before the Angkorian period, the Sbek Thom, along with the Royal Ballet and mask theatre, is considered sacred. Dedicated to the divinities, performances could only take place on specific occasions three or four times a year, such as the Khmer New Year, the King’s birthday or the veneration of famous people. After the fall of Angkor in the fifteenth century, the shadow theatre evolved beyond a ritualistic activity to become an artistic form, while retaining its ceremonial dimension. The puppets are made from a single piece of leather in a special ceremony for each character representing gods and deities. The hides are dyed with a solution made from the bark of the Kandaol tree. The artisan draws the desired figure on the tanned hide, then cuts it out and paints it before attaching it to two bamboo sticks enabling the dancer to control the puppet. The performances traditionally take place at night outdoors beside a rice-field or pagoda. A large white backdrop is held between two tall bamboo screens in front of a large fire or, nowadays, projectors. The shadows of the puppet’s silhouettes are projected onto the white screen. The animators bring the puppets to life with precise and specific dance steps. The performance is accompanied by an orchestra and two narrators. Inspired from the Reamker, the Khmer version of the Ramayana, the performances stage scenes of this epic, which may last several nights and require up to 160 puppets for a single presentation.
Cambodia 2008 -
Kazakh Kuresi – Traditional wrestling
Kazakh Kuresi represents ancient form and style of Kazakh traditional wrestling, essential element of all festive events, celebrations and integral part of modern Kazakhstani national identity. Since ancient times, the beauty of this sports and strength of the hero-wrestlers “Baluans” have been reflected in folk epics, fairy legends, Kazakh literature like the poem of Iliyas Zhansugurov “Kulager” and Gabit Musrepov’s novel “Ulpan”, and archaeological findings. Wrestling of two opponents is performed on 12m.x 12m. sized mat. The opponents are matched according to their weight category ranging from 60 kg and above 90 kg. All techniques are performed above the waist – wrestlers must fight on foot, making it more difficult. Wrestling on the ground is prohibited. The purpose is to lay the opponent on shoulders. Duration of the match is 5 minutes with extra time of 3 minutes which is offered in case of even number of points. Evaluation of matches is counted by: a) “Buk” – if the opponent touches the mat with abdomen, knee or both knees; b) “Zhambas” is given for three “Buks” or when the opponent touches the mat with one side of pelvis or both; b) “Zhartylay zhenis” is awarded for the technique when the opponent touches the mat with both shoulders.
Kazakhstan 2016 -
Art of crafting and playing with Kamantcheh/Kamancha, a bowed string musical instrument
The art of crafting and playing with Kamantcheh/kamancha (“little bow”), a bowed string instrument, has exsited for more than 1,000 years. In Iran and Azerbaijan, types of this art constitute major elements of classical and folkloric Music. Classical Iranian Music refers to the urban music with “Radif” repertoir; the Folkloric Kamantcheh Music refers to the mainly rural musical traditions of Azarbayjan, Lorestan, and Torkaman Sahra. In both countries, contemporary practitioners mainly make and use four string Kamantcheh/kamancha composed of a body (chamber, neck and pegs) and a bow with horse-hair. Some Folkloric variants with two or three strings are also popular in Lorestan, Azarbayjan, or Torkaman Sahra, Iran(also, cf.D). Craftsmanship starts with choosing wood material. Craftspeople use walnut and/or mulberry for the body, and cornel for the bow. In Azerbaijan, only ball-shaped resonating chambers are crafted. Iranian communities produce the following resonating chambers/sound-boxes: 1-Pošt-baste(""closed in the back""):A hollow oval with sheep-skin; 2-Pošt-bāz(""open in the back""):A half-cone, with sheep-skin on one end. Craftspeople create a bowl and a round fingerboard, and unite them with an iron billow that ends up with a base shaft at the bottom. The chamber’s open side is covered with sturgeon, catfish, sheep or bovine bubble skin. They very often inlay the body with mother-of-pearl or other materials to express and mark different motifs and add their personal touch to the external decoration. In Iran, calligraphy, wood carvings, or inlayed jewels and shells are also practiced. The instrument rests on the base shaft and stands vertically on performer's lap or beside them; performers move the bow horizentally on the strings, and pivote Kamantcheh round the shaft to facilitate transfers on the strings. Kamantcheh/kamancha produces strong and subtle sounds, close to human voice with the sound diapason ranging from small octave ‘A’ to the third octave ‘A’. Players perform large works and etudes using various performing techniques, individually or as part folk orchestras. Generations of performers have left invaluable heritage of Kamantcheh/kamancha works, which are reproduced by young performers, adding their own playing dynamics and colouring. Transmitted from generations to generations at professional and amateur levels, within families or professional education institutions, this art brings together a large community of Kamantcheh/kamancha music lovers and listeners and continues to be a marker of cultural belonging.
Azerbaijan,Iran 2017 -
Chinese Zhusuan, knowledge and practices of mathematical calculation through the abacus
With the abacus as a tool, mathematical algorithms as a theoretical facility, Chinese Zhusuan is figure-based knowledge and practices through moving beads on an abacus according to the defined formulas. The abacus is made of bamboo or wood in the shape of a rectangle, divided horizontally into two decks with a string of five beads (one in the upper deck and four in the lower) or a string of seven beads (two in the upper deck and five in the lower). Each bead in the upper deck has a value of 5 while each in the lower has a value of 1. Atypical abacus has 13 to 19 rods connecting the beads. Zhusuan practitioners can perform mathematical calculations including addition, subtraction, multiplication, division, exponential multiplication, root, equations of higher degree, thus demonstrating the wonderful wisdom and creativity of the Chinese people. This time-honoured tradition has played a vital role in giving impetus to mathematical studies, promoting algorithmic practices, and nourishing intelligence. Zhusuan oral formulas have easy-to-learn rhymes that represent the specific calculation rules and summarize the arithmetic operations. Beginners can make quick calculations after moderate trainings, while proficient practitioners usually develop an agile mind. Through oral teaching and bodily practice, Chinese has maintained and transmitted Zhusuan for generations. With a scientific theoretical system and a simple operation method, Zhusuan has long been popular in various aspects of Chinese living and production. As an important legacy of mathematics and cultural tradition, Zhusuan has become a national symbol of cultural identity.
China 2013 -
Lum medicinal bathing of Sowa Rigpa, knowledge and practices concerning life, health and illness prevention and treatment among the Tibetan people in China
The Lum Medicinal Bathing of Sowa Rigpa (Tibetan Medicine) has been developed by the Tibetan people within a life view based on Jungwa-nga (five elements) – i.e., Sa (earth), Chu (water), Me (fire), Lung (wind) and Namkha (space) – and a view about health and illness based on Nyepa-sum (three dynamics) – i.e., Lung, Tripa and Pekan. In Tibetan, “Lum” indicates the traditional knowledge and practices of bathing in natural hot springs, herbal water or steam to adjust the balance of mind and body, to ensure health and treat illnesses. Influenced by the Bon religion and Tibetan Buddhism, Lum embodies folk experiences in illness prevention and treatment, and reflects the transmission and development of traditional knowledge represented by the treatise Gyud zhi (the Four Tantras) in present-day health practice. Lum is practiced under the guidance of a Manpa (traditional physician) in two ways. One is bathing in Five Types of Hot Springs containing different minerals. The other, bathing with Five Medicinal Nectars, includes three methods: immersion, steam-bathing and applications with sachets. In this process, Manpa, in collaboration with Lum Jorkhan (pharmacist) and Manyok (Lum assistant), conducts symptom differentiation based on observation, questions and pulse palpation. Then preparation of medicines includes herb compound, boiling, fermentation and addition of extra herbs. The element has been transmitted over generations through daily life, religious rituals, folkloric activities and medical practices on account of its safety and accessibility. While providing Tibetans with a sense of identity and continuity, the element reflects cultural diversity and human creativity.
China 2018 -
Kyrgyz epic trilogy: Manas, Semetey, Seytek
Kyrgyz Epic Trilogy "Manas. Semetey. Seytek" represents three interconnected parts of Epos created more than millennium ago. Manas is the epic hero who united scattered tribes into one nation – Kyrgyz. Deeds of Manas were continued by his son Semetey and his grandson Seytek. Trilogy became the immortal spirit and basic identity of the Kyrgyz. Kyrgyz people did not preserve their written language, therefore, they attach great importance to the oral Trilogy which has preserved their historical memory. World-wide known writer Chinghiz Aitmatov stressed that Epic Trilogy is a synonym of Kyrgyz and is an encyclopaedia of their life. It is one of the biggest epics in the world; its version contains 500 553 lines. Today there are more than 80 versions. Kyrgyz people say: “There is no Trilogy without tellers”. Trilogy lives thanks to community of epic tellers - manaschies, semeteychies, seytekchies. Continuous epic narration may last many hours in a row. Epic tellers believe that Trilogy narration is their mission assigned from above; it gives them sense of identity and continuity.
Kyrgyzstan 2013