Materials
doll
ICH Materials 30
Publications(Article)
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Tò he: Folk toys capture the heart of children and adults in Hà NộiWhen strolling the pedestrian zone around Hoàn Kiếm Lake in Hà Nội, one may be attracted by a man sitting behind a small wooden box filled with colorful figurines. With only a small bamboo stick in his hands, the man can create beautiful roses, lively dragons and legendary generals in their elaborate costumes. It takes only ten minutes for him to complete the creation of a figurine. This man is a tò he maker.\n\nTò he, as briefly described, are figurine toys popular in Hà Nội and some other provinces in the Red River Delta of Vietnam. Traditionally, the common figurines depicted flowers, animals, historical figures and characters in folk tales. Nowadays, a diversity of new figurines can be made, adapting from famous cartoon and movie characters whom children adore. They range from Doraemon, Sailor Moon to Elsa Princess.\n\nThe about-10-centimeter figurines seem to be simple at the first sight but what make them really stand out are the sophisticate craftsmanship and great passion of their makers. The first step of making tò he is to prepare the dough by pouring fresh water into a mixture of glutinous and regular rice powder. The dough then is dropped into the boiling water for about one hour. The final step of making the dough is to divide it into different portions and dye them with food colors. There are seven basic colors used in tò he figurines: green, pink, red, violet, yellow, white and black. The dough must be carefully prepared to ensure the edibleness of tò he, which is a unique characteristic of these folk toys.\n\nThe creation of tò he figurines requires another great amount of patience and skillfulness. Every small detail is kneaded by hand, and different colors are applied without never staining one another. Therefore, seeing a favorite character coming to his/her life on the hand of the tò he maker is like watching a magic trick for many children.\n\nWith several anecdotal evidence, the history of tò he is said to date back to the 17th century. Xuân La, a suburban village in Hà Nội, is the home of most active tò he craftsmen. Every day, tò he makers from Xuân La spread out to different corners of Hà Nội to sell their craftworks.\n\nIn the past, tò he figurines were only sold during Tết (Vietnamese New Year) and Trung Thu (Mid-Autumn Festival). Therefore, getting these figurine toys from their parents could bring immense joy for children who had waited for them for such a long time. These days, tò he can be found almost every day at several major parks and tourist attractions in Hà Nội, such as the walking streets around Hoàn Kiếm Lake, Văn Miếu (The Temple of Literature) and the Museum of Ethnology. Tò he craftsmen are also present at many cultural events in different parts of Vietnam.\n\nFor many people in today’s Vietnam, tò he can evoke their beautiful childhood memories. And for children, tò he can bring them into a colorful world of creativity and imagination. While tò he, as such, currently enjoys considerable vitality despite the invasion of children’s modern toys and games, more efforts are required to make in order to keep this folk art continuously alive and flourishing. Making new figurines that are closer to children’s daily life is one of the directions almost tò he makers have been following. In addition to that, tò he craftsmen and those who love tò he have organized several tò he making classes where children and adults can learn about the history of this folk art and get hands-on experience of tò he making.\n\nphoto 1 : Dragons and roses are two among the most common tò he figurines. ⓒ Nguyễn Phú Đức\nphoto 2 : A craftsman is kneading a rose-shaped tò he. ⓒ Nguyễn Phú ĐứcYear2022NationViet Nam
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BAHRA CEREMONY IN NEPALNewar culture has different lifecycle rituals, performed at different stages of life from birth to death. These rituals are complex and embedded in the socio-cultural environment. With every lifecycle ritual, a person gains certain rights, responsibilities, and maturity within the society.Year2019NationSouth Korea
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FISHERWOMEN ACROSS THE BAY OF BENGAL REGION (INDIA, SRI LANKA, AND BANGLADESH) AND THE EXTENSION OF THEIR PROFESSION IN ICH-UNDERSTANDING THE CONTRIBUTIONS OF A VITAL PART OF COMMUNITY AND THEIR SYMBOLISMS OF SUSTAINABILITY, SURVIVAL, AND CONTINUITYThe region of Bay of Bengal has been an important part of maritime activities, including trading and fisheries from very ancient times. The significance of the region continues even at present. The massive \nwaterbody is a representation of a busy network of trade and commerce and the basis of livelihoods for thousands who surround it from all sides from various countries. Fishing as an occupation is an important \nsector of food and nutritional security and India alone, has more than nine million active fisherfolk across its coastline, who are directly dependent on fisheries for their livelihood, amidst which 80 % are small scale fishers. The sector of fisheries employs over 14 million people and contributes to 1.1 % of the Indian GDP. Though the number remains unaccounted for in most countries, but amidst the number of \nfishermen, there is a substantial number of fisherwomen, who have been contributing through generations in various ways, including supplementing the family income through alternative methods of income, as well as being the main conduits of maintaining various elements of intangible cultural heritage, including traditional methods of fishing. This research paper is an attempt to look into the contribution of the fisherwomen community around the western fringes of the Bay of Bengal, especially looking at the countries of Bangladesh, India and Sri Lanka and the vital contributions of these womenfolk. The fisherwomen \nnot only help to sustain the families through the main profession of the family, but also helps financially through various subsidiary modes of income, like handicrafts and artwork. This is extremely helpful for sustaining the family in time of the lean seasons of fishing, as well as during periods of disaster, like the present Covid-19 pandemic situation. These attempts of the fisherwomen, thus, connects various factors to \noverall social cohesion and development, including sustaining various channels of intangible cultural heritage which directly connects to their main profession and also helps in transmission of community values \nand also redefines gender roles within the community.Year2020NationSouth Korea
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Case Study(Bangladesh, Nepal, India, Bhutan, Maldives, Pakistan)The 2019 Sub-Regional Meeting for Intangible Cultural Heritage Safeguarding in South Asia: ICH in Education: Towards Joint Collaboration for Promoting ICH in Formal and Non-Formal Education jointly organized by ICHCAP and UNESCO Dhaka Office, was held from 24 to 26 June 2019 in Dhaka, Bangladesh.\n\nThis report is composed of nineteen presentation papers delivered at the meeting by national representatives, NGOs, and UNESCO Offices in Bangkok and Dhaka. In addition, the outcome document of the meeting is also affixed to put it on record the adopted recommendations of the participants in moving forward together.YearNationBangladesh,Bhutan,India,Maldives,Nepal,Pakistan
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Epic Tradition and Epic Novel 'Alpomish'Learning oral epic traditions means learning people’s lifestyle, traditions, customs and history, their present and future, their way of thinking and their spirit. Specifically, it means understanding the originality of a nation, its qualities, wishes, way of living and outlook or, in other words, learning the oral traditions of a nation means to study the nation itself. The process of modernising our present morals depends on how we have studied literary heritage, including the originality and degree of mythology in oral epic traditions. For this, initially we need to learn, investigate and research ancient mythological imaginations of our people and their oral narrative traditions, which are the base for art and literature. Oral epic works present the literary history of any nation.Year2015NationSouth Korea
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Safeguarding Traditional ICH Spaces as WorkshopsIndigenous communities around the world are bearers of strong traditional culture, art, craft, and knowledge of the environment, together termed by UNESCO as intangible cultural heritage (ICH). A fascinating characteristic of ICH is that it is constantly evolving and adapting to its changing physical, social, and economic environment, and in this way can be described as “living heritage.”Year2022NationBangladesh
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AGRICULTURE ASSOCIATED RITES IN BOYSUNBoysun district, in southern Uzbekistan, has a beautiful natural landscape and is surrounded by a mountain range. The local environment and geographic isolation created favorable conditions for unique local intangible cultural heritage forms and expressions to form and be preserved over time. The same conditions also led to the existence of various types of labor activities, such as agriculture, cattle breeding, and handicrafts.Year2009NationUzbekistan