An endangered ICH in need of urgent safeguarding (only the Tunidau knows the art of net weaving)\n\nA keen to the purse seine nets (modern forms have used nylon) of Guinea: sack-like feature\n\nAccording to the Tunidau (head fishermen), the Late Asaeli Tabuadrau, the net is over 100yrs old … it undergoes kuvui (smoking) to keep it durable!\n\nIt encompasses the iTaukei concept of “solesolevaki” & “veivakaturagataki”

▶ Play Video 2. Into the Heart of the Mandaya A Journey through the Wilds of Davao Oriental\nThis episode was first aired on Filipino television on November 16, 1995. This episode has been modified from its original format.\n\nAnimals were offered in the context of the Mandaya cultural ritual.\n\nThe Mandaya are a complex group that can be referred to by different terms: Mangwanga, Mangrangan, Mangosan, Magosan, Pagsupan, Divavaonon, Dibabaon, and Mansaka. Members reside in Davao Oriental. They are concentrated in the municipalities of Caraga, Manay, Cateel, Lupon, and Tarragona. The known subgroupings are: (1) Mansaka, (2) Pagsupan, (3) Mangwanga (Mangrangan, Compostela), (4) Managosan, (5) Divavaon (Dibabaon, mixed Manobo Mandaya), and (6) Karaga.\n\nThe Mandaya occupy upstream areas, practicing slash-and-burn cultivation in highly dispersed settlements. In addition to a wide range of cropping for domestic consumption, abaca is cultivated as a cash crop. Rice, various tubers, and bananas form the bulk of their diet. Communities are dispersed usually near swiddens. Two or three family units usually occupy houses, and these are usually within sight even if dispersed. Proximity of these houses constitutes a neighborhood, which is loosely organized into a larger discrete domain with all of the households related through various kin relationships. Families are either nuclear or polygynous.\n\nTraditionally, each domain has a headman, bagani, whose word is considered law and who wears distinctive red clothing. He is the recognized protector of the community. His rule is tempered by an advisory council, angtutukay, usually composed of community elders. With the disappearance of the bagani social structure at present, the civil structures of the barangay prevail. There still exists, however, a conflict between the established civil authority and the informal authorities.\n\nThe Mandaya/Mansaka women are famous for their distinctive dresses and ornaments. Their tie-dye weaving and embroidery are intertwined through a sophisticated symbolic art system that evolved design motifs that each have names. The binulanbulan motif, for instance, consists of nested circles representing the moon, and suksuk ng kasili represents fish scales. These motifs are embroidered on blouses against a contrasting red or black background. The beadwork and silver craft on body ornaments mark this group as one of the most noteworthy in terms of art. Unique among Filipino ethno-linguistic groups are the women’s large ornate silver breast ornaments (platina), their multiple fossil shell arm bracelets, and their embroidered blouses. The men wear a distinctive narrow hat constructed from the shaft of a palm frond.

▶ Play Video 5. Ang mga Banal na Krus ng Mayo\nThis episode was first aired on Filipino television on June 6, 1996. This episode has been modified from its original format.\n\nConsidered to be the largest of the Filipino ethnic groups, the Tagalog are concentrated in the metropolitan area of Manila and spread out as the major population of nearby provinces, such as Rizal, Laguna, Cavite, Batangas, Bulacan, and Nueva Ecija. This is a highly urbanized group occupying the very well-developed regions of the country, where the centers of national government are located.\n\nThe national language is actually being built around Tagalog, which is now understood and spoken in other parts of the country. One of the oldest forms of the spoken language is called sinaunang tagalog, and used to be spoken in the municipality of Tanay, Rizal. During the introduction of the Malayo-Polynesian branch of the Austronesian family of anguages, it was pushed northeastward to the areas around the Zambales mountain ranges. Only a small group of Negrito at the foot of Mt. Pinatubo speak the language today.\n\nThe Tagalog are associated with all kinds of agricultural production, usually monocropping with rice as the main crop, silviculture, animal husbandry, and industrial production. They are also engaged in international marketing, politics, and foreign relations. They are equally adept at fish culture--both marine and freshwater--in man-made ponds and cages in waterways.\n\nThe kinship structure is essentially bilateral, with offspring considered linked equally to both parents, and inheritance following the same pattern, although in practice, it takes on a more cognatic nature. In the urban areas and where large properties are concerned, there is a tendency for a lineal distribution of wealth and property in the manner of corporations. Members of the group are involved in all sectors of government practice and in private institutions at the national and international levels. Such an advantage is reflected in the development of the Tagalog in contrast with other ethnic groups. Presently, however, with the development of infrastructure throughout the country, a larger portion of the population is now part of mainstream culture. The index of culture has leveled out within the group such that the subgroups are indistinguishable from one another, except in terms of spoken language.\n\nThe Tagalog are highly Christianized, with the majority belonging to the Roman Catholic Church and the rest dispersed in various homegrown sects, such as the nationalistic Aglipay and the Iglesia ni Cristo. Thus, much of the festivities are founded on Christian liturgy and belief systems.

▶ Play Video 7. The T’boli A People Who Live with Art\nThis episode was first aired on Filipino television on September 19, 1996. This episode has been modified from its original format.\n\nThe T’boli (Tagabili, Tiboli), together with the B’laan to the east and Teduray to the north, are in a single language group distinct from the remaining language groups of Mindanao. The T’boli traditionally live in scattered ettlements in the highlands of southwestern Mindanao, in the province of South Cotabato. The cultural communities surround the complex of highland lakes—Lake Sebu, Lake Selutan, and Lake Lahit. Settlements are composed of family clusters of fifteen or more households. Clusters are at elevations averaging 3,000 feet above sea level. Recently, these settlements have grown to comprise thirty or more households. Each settlement has a ceremonial house called a gono bong (big house). Members of such communities are usually related by kinship.\n\nThe T’boli practice swidden farming, cultivating highland rice (teneba), the staple food, potato, sugar cane, taro, and sweet potato. Corn and coffee are considered cash crops. Owning a horse is an indicator of economic status. Forests function as the main source of food, and the main source of protein is lake fish.\n\nThe T’boli are noted for their backstrap loom textile, t’nalak, which is woven from tie-dyed abaca fiber. Personal ornaments made of multicolored beads and embroidered blouses and hats are other notable features of the T’boli. Small household metal industries use the lost-wax process to manufacture cast brass bolo handles, figurines and betel-nut containers, and other ornaments.\n\nWhile the kinship system is bilateral, there is a strong male dominance. The father leads the household, and the oldest male leads joint and extended families. The oldest male child takes over this dominance upon the death of the father. If there is no son, lomolo is practiced, whereby the father’s eldest brother assumes the wealth of the deceased and claims the latter’s wife as his own.\n\nThe communities are also linked through a recognized leader, the datu, who does not officially command but whose word is respected because of his status, economic means, reputed courage, skill in settling disputes, and wisdom in the interpretation of custom laws. The position is achieved through community validation. He traditionally acquires rights over a person for whom he has paid an unsettled debt.\n\nA major social ritual of the T’boli is the mo-ninum, which is usually celebrated for a marriage and includes a multilateral exchange of articles of wealth (kimu). After six ceremonial feasts, for which the families take turns being hosts (moken) and guests (mulu), the ceremony climaxes with the marriage itself. The whole cycle may take many years to complete and sometimes results in the construction of a gono mo-ninum, a huge house that can accommodate more than two hundred people.\n\nMaguindanaoMandayaKalingaSubanonTagalogManobo

“Hakka” means “guest people” in Chinese. A group of Hakka settled in Mui Tsz Lam, a village in North-East New Territories in Hong Kong, in the 17th Century during the Qing Dynasty. \n\nThe Hakka are known for being hardworking and enduring. Since they farmed on less fertile terraces, their food grown is modest and practical. This culture is also reflected in festive foods like rice dumplings for the Tuen Ng Festival, also known as the Dragon Boat Festival.\n\nMaking and eating rice dumplings is an essential part of the Tuen Ng Festival. The festival is associated the patriotic poet and politician Qu Yuan in the 3rd Century BC, who committed suicide at the river. After his death, people made rice dumplings and threw them into the river and played drums on the dragon boat, hoping that the fish would not eat Qu Yuan’s body. \n\nAt present times, people still make rice dumplings every Tuen Ng festival as a tradition, with different recipes passed on in different areas. The Hakka recipe is modest and simple, which utilizes almost all home grown produce, which includes bamboo leaves, sticky rice, peanuts, shallots, and dried shrimp. After many years of desolation since the 1970s, Mui Tsz Lam villagers come back to their home village to make rice dumplings together for the first time.\n\nThe instructions to make a Hakka rice dumpling are as follows:\n1. Preparing ingredients:\nSoak bamboo leaves and sticky rice overnight, and dried shrimps for 15 minutes. When bamboo leaves are soft, clean and cut the top and bottom of bamboo leaves.\n2. Chopping and crushing:\nMince the soaked dried shrimps, shallots. Crush peanuts and remove skin.\n3. Frying the filling:\nFry the dried shrimps, shallots and peanuts, first separately then together. Set the filling aside.\n4. Wrapping the dumpling:\nWith 1 bamboo leaf, place a layer of stick rice and a layer of filling, then another layer of sticky rice. Cover the layers with the same piece of bamboo leaf. Turn the dumpling aside and use another piece of bamboo leaf to wrap the side. Do the same for the other side, and the dumpling should be completely wrapped by 3 bamboo leaves. Tie up the dumpling with strings or grass. \n5. Cooking: \nBoil the dumpling for 3 hours before eating.

Hard wood is made the arm of violin and dried gourd was made for sound box in ancient time. Wood has to be made sound box. The head of sound body was covered frog skin in the ancient time. Nowadays, it is covered by thin skin like as fish and snake. It is put on two strings of guitar string no(1). First string is called Saw Tune and second string is called Daw tune. Bow was made horse tail in ancient time. Nowadays, it is made of Nylon string. Bow is put on between two string to play. Saw tuning and Daw tuning is based to produce pitch by pressing strings.\n-2 feet 7.5 inches in Length\n-2 feet 3.5 inches in Length of the arm of violin\n-4 inches in Length of sound body\n-5.5 inches in High\n-1 feet in Girth\n-2 feet 7 inches in Length of bow\n-2 feet 1 inch in Length of the string of bow

Women in the Philippine fisheries are often labeled as “the Invisible Fisherfolk”. Their pre-harvesting contributions are multifaceted, involving bait gathering, net fixing, and meal preparation for their husband while post-harvesting activities include bringing the fish to the shore, sorting, and cleaning of the daily catch. In most cases, women’s participation in fishing communities is neither socially recognized nor economically compensated. The primary goal for the development of women in the fisheries is to empower them, make them productive and self-sufficient. In this way, they can have an equal status as partners in promoting the living conditions of their own families and communities.

Long lasting eaglewood is curved the pattern of circular, egg and triangle and four strings are put on it. Jute fibers was used at ancient time. String of fish rod can be used. Nowadays, guitar string No (1) is used. It is played according to banjo song that hears from ear. It can play traditional melody. Bow is put between the strings and strikes one beat to the upperand then to the lower string. It has to be systematically played at Lesu traditional dance ( CharNaew Char ) as non-professional playing. It must played only for traditional melody.\n-2 feet 3.5 inches in Length\n-1 feet 2.5 inches in Length of sound body\n-1 feet 1 inch in Arm of guitar\n-1.5 feet in Thickness

The Vugalei Chiefdom is renowned for its iconic traditional basket known as Voco. Savu village is straddles the center of the chiefdom. Tributes of fish pass through Naimasimasi Village on its way to the village of Sote, Natuva and Nameka resting at Savu village along the way. Savu village provides the Voco basket before it is carried to Sote Village. The exchange from Sote Vilage is pork, which passes through Savu and carried to Naimasimasi Village. This is an age old expression of the warrior-chief relationship from these villages to the Ratu of Verata chief. The basket is woven from a kind of climbing pandanus known as wa me. \n

Sulawesi Islands are well known as a hotspot of bio-diversity, particularly coral reef, coral reef fish mangrove and sea grass. They are located in the center of coral triangle regions, the regions under the authority of six countries that have been the global attention for conservation. Dedi Supriadi Adhuri noted cultural diversity of the rigions through highlinghting traditional knowledge on marine territory resource management of these people.

Nom Banhchok, a type of locally made rice noodle, is a very popular food that can be found all over Cambodia. The noodle can be served with different kinds of sauces or soup, from a simple mix of salt and chilly or a mix of fermented fish paste and chilly and herbs to the red curry, or the most popular one, the samlor proheur or also known samlor Khmer (fish lemongrass soup). The last is generally served with fresh vegetables including cucumbers, long beans, bean sprouts, banana flowers, water lily stems, and so on. Although popular, it is not a staple food like cooked rice. It is eaten once in a while or on a special festival with a large gathering of people.

“Hát bội” is a traditional performance art in Vietnam, it has a rich historical foundation, and quite an influence to the community. The stage of Hát Bội also consists of Viet aesthetic values, reflecting the life, stories, and aspirations of the Vietnamese. Hát bội characters contain a fine selection of multiple human characteristics. With those qualities - every plot, every movement, technique and performing elements are conveyed in a holistic sense. Let's learn about the details of each character type so we can fully appreciate this traditional art form. Check out ichlinks.com to learn more about Hat boi essential types of characters. \n\nCredit:\nProduced in ICHCAP - Cultura Fish (Hiếu Văn Ngư) partnership. \n\nContent development: Vuong Hoai Lam (Researcher), Luc Pham Quynh Nhi (Coordinator, editor), Ha Hoang Minh Trang (Translator)\n\nContributors : \n- Cultura Fish team: Ha Thuc Duc Tung, Nguyen Le Thanh Thao, Nguyen Le Nhat Anh, Tran Thi Minh Thuy\n- Ho Chi Minh city Theatre of Hat boi: Vu Ho Hoang Vu, Ha Tri Nhon, Linh Hien, Bao Chau, Hoang Tuan, Thanh Binh, Dong Ho, Kieu My, Anh Thi, Ngoc Giau, Thanh Trang, Hoang Ha, Huu Danh, Linh Phuoc, Nguyen Tuan, Minh Khuong, Ngo van Tong, Nguyen Van Do, Ho Tuan Dung, Le Minh Tan, Tran Thanh Hung, Nguyen Tran Thanh Tuan. \nProduction: Cao Trung Thao and Pham Anh Nguyet\nPhoto by Giang Pham