Materials
Iran
ICH Materials 357
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Women of the Mayoyao, Ifugaos in their ancient rice terraces
Save The Ifugao Terraces Movement
Philippines -
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia -
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia -
Tiga Aliran Tari Tradisional di Bali(Three Genres of Traditional Dance in Bali)
Balinese dance is an organic part which is always reflected in the character of the supporting community. The main idea of Balinese dance is life balance. Life balance between physical and mental aspects, balance between male and female, balance between spiritual and material sense. These aspects of balance are then dramatized in Balinese dance. ln the era after Indonesia's independence, many new dance creations were created. Nevertheless, the modern dance creation is still based on traditional values. Changes that appear only exist in the composition and interpretation of songs into motion.
Indonesia
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Cultural Space of Boysun, Uzbekistan
Representative List of the Intangible Cultural Heritage of Humanity, 2008\nCultural space of Boysun was proclaimed a Masterpieces of the Oral and Intangible Cultural Heritage of Humanity in 2001 and inscribed onto the Representative List of Intangible Cultural Heritage of Humanity in 2008.This film contains information about the Boysun district’s nature and the cultural processes related to craftsmanship, folk performance, traditional medicine, and others.Strong aspiration to preserve traditional lifestyles of the local people was observed during filming process in 2016 and 2017. An example of this is the increasing number of followers of the folk-ethnographic ensemble called Boysun.
Uzbekistan 2017 -
Uzbekistan Cultural Space of Boysun (Highlight)
Cultural space of Boysun was proclaimed a Masterpieces of the Oral and Intangible Cultural Heritage of Humanity in 2001 and inscribed onto the Representative List of Intangible Cultural Heritage of Humanity in 2008.\nThe current film contains information about the Boysun district’s nature and the cultural processes related to craftsmanship, folk performance, traditional medicine, and others.\nStrong aspiration to preserve traditional lifestyles of the local people was observed during filming process during 2016 and 2017. An example of this is the increasing number of followers of the folk-ethnographic ensemble called Boysun.
Uzbekistan 2017 -
Navruz Games
Representative List of the Intangible Cultural Heritage of Humanity, 2016\nNavruz is celebrated in Iranian cultures such as Tajikistan. As it is a happy festive day to welcome the spring after the long winter, the children enjoy various games. This video shows the children at play. Girls wear traditional Tajik costumes, and boys wear formal clothes while playing games like pebble tossing and catching, kite flying, stick tossing, skipping rope, hacky sack, arm wrestling, swinging, breaking eggs. They also sing, allowing viewers to also feel cheerfulness of a festive day and become quite comfortable
Tajikistan 2017 -
1. On the Feasibility of the Silk Roads ICH Network
UNESCO has ten subcategories of human communities and networks, but there are two patterns of human civilizations—sedentary and nomadic communities. Difficulty with archaeologists and historians to explore and discover civilizational heritage information. Nomadic communities served as an ancient networking system, bridging sedentary communities with cultural and technological information. There is a necessity of a network approach on the discovery, excavation, preservation, and public opening of Silk Roads intangible cultural heritages through a singular project hub—namely through ICHCAP. Examples of existing projects include the Caravanserai projects by UNESCO and National Geographic, which focus on tangible heritage along the Silk Roads without considering cultural interconnections and influences. A Korean case is the KBS six-episode documentary series on the origin, spreading and localization of noodle cuisine in Eurasian communities. Another networking case currently under way is the development of series on Silk Roads martial arts, dance, and play through Korea, Japan, China, Mongolia, Kazakhstan, Uzbekistan, and Iran.
South Korea 2020-11-19
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Webinar: Life, Environment, and ICH along the Silk Roads & Strategic Meeting on Silk Roads ICH Networking
Webinar: “Life, Environment, and ICH along the Silk Roads”\n\n<Day 1>\n\n1. 'The Need to Shift from Global to Local' by Helena Norberg-Hodge\n2. 'On Cooperative Mechanism for the Silk Roads ICH toward Sustainable Development' by Seong-Yong Park\n3. 'Vitality and Sustainability of the Silk Roads ICH Festivals' by Alisher Ikramov\n4. 'The Water-Performance Installation Project—Art Practice for the Coexistence of Humanity and Nature in the Silk Roads Region' by Dong-jo Yoo\n\nㅇ Panel Discussion\n\nSession1 : Online Strategic Meeting on Silk Roads ICH Networking\n: Case Studies on the Vitalization of the Silk Roads ICH: ICH Festivals & Sustainable Development\n\n1. 'Case of Tajikistan : Role of Festivals for ICH Safeguarding Within Local Communities' by Dilshod Rahimi\n2. 'Case of Kyrgyzstan: Influences and Effects of ICH Festivals on Local Communities' by Sabira Soltongeldieva\n3. 'Case of Kazakhstan: ICH Festivals’ Influence and Effects on Local Communities' by Khanzada Yessenova\n4. 'Andong International Mask Dance Festival: Realization of Folkloric Values and Transmission of ICH' by Ju Ho Kim\n5. 'Case of Turukmenistan : Future of ICH Safeguarding' by Shohrat Jumayev\n\n<Day 2>\n\nSession2: Cooperation and Solidarity for Operating the ICH Network along the Silk Roads\n\n1. 'On the Feasibility of the Silk Roads ICH Network' by Sangcheol Kim\n2. 'Operational Issues of the Network' by Alim Feyzulayev\n3. 'Cultural Context of a CIOFF Festival' by Philippe Beaussant\n4. 'ICH Festivals in Specific Goal and Task' by Kaloyan Nikolov\n5. 'Identifying Ways to Develop Intangible Heritage Festivals through Community Networks (Focusing on the Case of the Gijisi Tug-of-War Festival)' by Daeyoung Ko\n\nㅇ Panel Discussion\n\nSession3: Collaborative Work and Benefits through Activities of the Silk Roads ICH Network\n\n1. 'Scope and Definition of Collaborative Work through Activities of the Silk Roads ICH Network' by Kwon Huh\n2. 'Cooperative Measures for Festivals in the Silk Road Region' by Jahangir Selimkhanov\n3. 'ichLinks: Information-Sharing Platform as a Key Base for Safeguarding and Use of Intangible Cultural Heritage in the Asia-Pacific' by Sangmook Park\n4. 'Case Study: Silk Roads Heritage Corridor - Afghanistan, Central Asia, and Iran' by Krista Pikkat\n5. 'UNESCO Silk Road Online Platform' by Mehrdad Shabahang\n\nㅇ Panel Discussion
South Korea 2020 -
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
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Khwaja baba khwaja baba mar hawa mar haba
Bangla Qawwali Song\nBangla Qawwali is a wonderful example of the journey of a music genre through different countries. Originating in Greater Persia, Iran, Kherson and Baghdad, the Qawwali tradition gained a new identity in Bengal at the shrines of Muslim saints. In Bengal the Qawwali songs synthesized with the philosophy and music of various traditions, such as Vaisnava Kirtan and Baul songs, to produce a new genre of Qawwali called Bangla Qawwali which retained the Sufi idioms of Silsila (teachings of Sufi masters), Sama (listening to music and chanting to induce mystical trance), and Fana (annihilation of the ego).
India 2015 -
Aynate roop dekhite amar bhoktogoner bayna
Bangla Qawwali Song\nBangla Qawwali is a wonderful example of the journey of a music genre through different countries. Originating in Greater Persia, Iran, Kherson and Baghdad, the Qawwali tradition gained a new identity in Bengal at the shrines of Muslim saints. In Bengal the Qawwali songs synthesized with the philosophy and music of various traditions, such as Vaisnava Kirtan and Baul songs, to produce a new genre of Qawwali called Bangla Qawwali which retained the Sufi idioms of Silsila (teachings of Sufi masters), Sama (listening to music and chanting to induce mystical trance), and Fana (annihilation of the ego).
India 2015 -
Sovhan allah Alhamdulilla
Bangla Qawwali Song\nBangla Qawwali is a wonderful example of the journey of a music genre through different countries. Originating in Greater Persia, Iran, Kherson and Baghdad, the Qawwali tradition gained a new identity in Bengal at the shrines of Muslim saints. In Bengal the Qawwali songs synthesized with the philosophy and music of various traditions, such as Vaisnava Kirtan and Baul songs, to produce a new genre of Qawwali called Bangla Qawwali which retained the Sufi idioms of Silsila (teachings of Sufi masters), Sama (listening to music and chanting to induce mystical trance), and Fana (annihilation of the ego).
India 2015 -
Khwaja tomar preme ami holam diwana
Bangla Qawwali Song\nBangla Qawwali is a wonderful example of the journey of a music genre through different countries. Originating in Greater Persia, Iran, Kherson and Baghdad, the Qawwali tradition gained a new identity in Bengal at the shrines of Muslim saints. In Bengal the Qawwali songs synthesized with the philosophy and music of various traditions, such as Vaisnava Kirtan and Baul songs, to produce a new genre of Qawwali called Bangla Qawwali which retained the Sufi idioms of Silsila (teachings of Sufi masters), Sama (listening to music and chanting to induce mystical trance), and Fana (annihilation of the ego).
India 2015
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ICH Courier Vol.8 ICH AND TRADITIONAL KNOWLEDGE AS AN OCCUPATIONAL LIVING
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 8 is 'ICH AND TRADITIONAL KNOWLEDGE AS AN OCCUPATIONAL LIVING.'
South Korea 2011 -
ICH Courier Vol.11 ICH AND WEAVING WITH BARK AND PLANTS
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 11 is 'ICH AND WEAVING WITH BARK AND PLANTS'.
South Korea 2012 -
ICH Courier Vol.45 Oral Tradition of The Asia-Pacific Communities
Oral tradition consists of diverse narratives. It is passed on by word of mouth as everyday wisdom and transmitted through the generations. After that, it becomes infused in a region’s history, philosophy, and way of life, thus forming the foundation for a community’s knowledge systems. This volume introduces traditional tales in Sri Lanka, Palau, Kyrgyzstan, and Vietnam.
South Korea 2020 -
2019 World Forum for Intangible Cultural Heritage
2019 World Forum for Intangible Cultural Heritage
South Korea 2019
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Dizi, The Narration of Persian Family CeremoniesEvery nation has its comfort and social foods. Dishes play an influential role as a social object that interacts with people at the table. These recipes are more than just something to eat.\n\nAbgoosht or dizi is a unique, national, and comfort course in Persia. Relatively new, but shows the best of the culinary art in this land. In a word, abgoosht means meat and stock and is the general name for the mixture of meat, legumes, vegetables, and herbs with its own traditional eating habits, tools, side dishes, drinks, and even special dessert. It’s Persian folklore eating habits and a meal prescribed to cure illness.\n\nAbgoosht is a new dish in the Persian kitchen, but it descends from the mighty Safavid kitchen. Cooking a fine cut of lamb with spices between four to six and even ten hours is a subtle oriental cooking technique. The key to a good abgoosht is not losing any water during cooking so, chefs use many methods to keep the moisture locked into the pot. There are around eighty well-known types of this food in Persia, and the ingredients vary from region to region. Ingredients vary, even seasonal, and it follows today guidelines of sustainable food eating habits, and the meat can be substituted with the goat, veal, mutton, chicken, duck, etc.\n\nThis existing dish also has a special custom and tricky habit that would make this recipe even more interesting to try. First of all, you must strain the solid parts of the dish into a bowl and mash them with a mortar until it turns into a soft texture. The name of this part is Goosht-Koubideh eaten with warm oriental bread, herbs, and raw onion; the liquid portion is eaten with cracked and soaked bread like a soup. Abgoosht well developed after the Persian famines to not lose even one calorie of ingredients. So, when the “Goosht-Koubideh” is leftover, some cooks mixed it with eggs and fried the dough in a shallow pan to preserve the food even longer.\n\nSome unique Persian side dishes make the taste unforgettable, side dishes like torshi (pickled vegetables), fresh herbs (mostly reddish and basil), strained yogurt with shallots, etc. Dizi, is accompanied with a drink, a fermented savory yogurt-based beverage usually mixed with dried herbs like thyme or mint. And as the last course of the meal, it’s tradition to have a cup of hot black tea served with rock candy or some other Persian sweets to make the pleasure of trying a rich and nutritious Persian meal.\n\nAbgoosht is one of the most famous Persian dishes among the people, and it is enjoyed on busy days for lunch or after work. There are places around the bazaars in big cities that only serve dizi; these establishments are called dizi-sara (the house of dizi). People get together on big social tables, the floor, or even on beds in restaurants to enjoy this hearty meal.\n\nIn the past, four or even eight people shared a big pot of dizi without knowing each other, and that was a fun way to talk about politics, society, and work. Dizi is also served in ghahve-khane (coffee house) as a lunch that ends with two or three cups of tea with hookah for smoking as a dessert and listening to some ancient folklore narrations from the famous Shahnameh.\n\nThe name of ‘dizi’ itself reflects the pot that the food is cooked in. In Khorasan, artisans make dizi pots from unique stones that keep the heat long and effectively, which is it is one of the best pots for making dizi. The food is traditionally eaten on holiday lunches with the whole family gathered in elders’ houses. It is a social recipe that brings family members together around the table.\n\nYou can have dizi in many other countries around Persia, as culinary cultures with varied recipes have inherited it. Dizi traveled to many neighboring countries and mixed with their own kitchen. Piti is a kind of abgoosht famous in south Caucasian countries like Azerbaijan and parts of Georgia. Also, Iraqi people enjoy tashreeb, the same cooking pattern of dizi making and eating that assimilated in Iraqi culinary traditions.\n\nPhoto : Dizi feast © Mohammad ShirkavandYear2020NationIran
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Chogan and Horse CultureThe horse, a special animal that, ever since the beginning of civilization, has been tamed by humans. The creature has accompanied humans, from carrying loads to partaking in ceremonies. There’s not much information available on how exactly this animal was tamed, but historical evidence such as paintings discovered on the walls of caves and the pottery found in the very first human’s accommodations confirms that it was domesticated first by the Aryans and brought to the plateau of Persia. A place in which this creature has gone through many ups and downs, taken from carrying stuff for humans to becoming a playmate for him in such an ancient game like polo (chogan) with a significant role. And the presence of Turkmen horses, which are considered one of the best breeds in the world, has not been ineffective in advancing these events.\n\nHorse Background\nThe connection between humans and horses dates back to the Neolithic Era, and ever since men tamed horses, the essence of the value of these creatures has penetrated into the beliefs of the ancient people of Persia. Horses included in such a place that they would be sacrificed to the gods of ancient Persia and India. This value could be seen in the Zoroastrian’s book of Avesta, the epics, mythos, and legends in Shahnameh, and the poetry book of Ferdowsi, the great Persian poet. Names mentioned in the book of Avesta generally mean “the owner of the horse.” Horses were so sacred that they were said to carry the chariots of the gods of ancient Persia and India.\n\nHorseback Riding\nWith the technology in the hands of the ancient people, many things would not have been possible without the presence of animals such as horses, cows, or camels. In the meantime, on the one hand, because of horses’ value, and on the other hand, for its agility, strength, high speed, and loyalty, the horse could be a human helper. As history says: The Parthians did not separate their bows and horses only in their dreams, and among the Achaemenids, the horse has been their friend and helper since childhood. As the historical evidence confirms, the first Persian people to have an army on horseback were the Achaemenids, who were called Arteshtaran, the aristocrats who had been trained since childhood.\n\nIn the Parthians period, horseback riding was the favorite sport of the royal families. During the Sassanid period, they sided with the farmers and the traders. During the Samanid period, horses were sold in the bazaar of Khorasan as an intelligent animal, which its use in military units, Chaparkhaneh (in terms of posting offices), and carriages increased significantly.\n\nUsage of Horses\nIn ancient Persia, due to the power and speed of these animals, they could be used in many places to send messages and letters, they were used as Chapar’s horses who would only take messages and bring back the response. On the battlefield, they accompanied the cavalry and were used at banquets and military ceremonies. With all that, one question is left to answer:\n\nWhy was the role of horses in playing chogan as necessary as humans were?\n\nChogan (polo), as an aristocratic game played in the Safavid court, was a way for the Safavid kings to communicate with the people. The sport was popular among the people, and people used every opportunity to hold this game. To answer the question of why the horse’s role in chogan is as prominent as the role of man, it can be said that it is due to the picture of this animal captured in the minds of people and kings for centuries.\n\nThe superiority of the Turkmen horse breeding, on the one hand, and on the other hand, its role in the religious beliefs, and the powerful reality of this animal in traveling distances, and accepting the fact that it has been with man throughout history, could be a reason for humans, to share it in wars and travels, and now to share it in entertainment and joy so that he could once again meet his need for a sense of constant companionship.\n\nPhoto : Chogan in paintingYear2020NationIran