Traditional heroic epic poems. It is consisted of many poems and dedicated to the defense of native-land and heroic actions.

Traditional heroic epic poems. It is consisted of many poems and dedicated to the defense of native-land and heroic actions.

Traditional heroic epic poems. It is consisted of many poems and dedicated to the defense of native-land and heroic actions.

I am Alina Tamrakar. I am an architect currently working in documentation and restoration of heritage structures affected by the massive earthquake of 2015. I belong to Newa community who are the indigenous people of Kathmandu valley. Kathmandu is the capital of Nepal. Born and raised in a typical Newa family who has always put rituals and tradition in the first place, I was always very connected to the cultural heritage of Kathmandu. As I grew up being part of the festivals and rituals, there were always numbers of questions running inside: why do we celebrate these festivals, what is the story behind it, who initiated the traditions and so on. After the devastating earthquake took down so many monuments, some of which carried centuries-old history, it gave me time to reflect on the rich knowledge and skills that our ancestors held and handed it down to our generation. It also explained how tangible and intangible heritage are interlinked with each other. Also, a realization that there is still so much to learn from our heritage and to pass on to the next generation.\nAmong the Newa community, Tamrakars are one of such communities, who follow Buddhism. Gunla is one of many festivals celebrated in Kathmandu valley. It is the tenth month in Nepal Sambat lunar calendar, in which devotees from all around Kathmandu valley visit Swayambhu Stupa that is also one of UNESCO’s World Heritage Sites. The festival of Gunla last for one whole month. In addition to this, devotees also take a visit to different Buddhist courtyards called Baha-bahi and other stupas and chaityas. The devotees in the process recite Holy Scriptures and play devotional gunla music. Music groups from different communities take part in the procession. Like other numerous communities, Tamrakar community also has the musical group named “Tamrakar Gunla Baajan Khala” who have been taking part in playing gunla music and reciting Holy Scriptures from time immemorial. The procession starts from a traditional courtyard called “Piganani” in Maru, near Kathmandu Durbar Square. Piganani is the centre point of the location where Tamrakars initially settled in Kathmandu. Every day for the month of gunla, the community of around 20- 25 (on Saturdays and holidays the number increased to around 50 attendees) start the procession from Piganani at 5:30 am and visit the Swayambhu stupa and come back to Piganani and end the tour at around 8:00 am. On holidays, the team takes a longer route covering other major Buddhist monasteries, chaityas and stupas on the way. During the procession, the devotees and practitioners cover a distance of 6 kilometres.\nUntil three years back, I used to take part in the procession just as an audience listening to people reciting the scriptures and watching the team of young members playing the drums and cymbals to play devotional gunla music. Three years back, I enrolled as one of the practitioners and started taking part in the procession. I came to know that earlier, women were not allowed to play musical instruments in the gunla procession, but only take part as devotees. However, as time passed on, the society opened the doors for women as well. In today’s time, there are a huge number of women practitioners who have taken the initiative to be a part of the team.\nThe tradition of playing gunla music, according to local experts is thousands of years old practice. As much as this musical tour is interesting, it is equally full of knowledge regarding our culture and tradition. Such practices of cultural heritage are not only a matter of pride that an individual or the whole nation takes in but also a major affirmation that such huge collection of knowledge, skill and accomplishment that our ancestors have developed are being transferred to the next generation. Apart from carrying on the tradition, it is also very necessary that we understand the depth of each of these practices in order to keep the tradition alive in the long run. It is equally necessary that we know where our roots lie while we soar up to reach the sky. This is only possible when youths take the initiative to participate in these practices and talk about the “why”, “what” and “how” while they do so.\nDuring Gunla procession different traditional musical instruments are played. “Dhā” and “Nayo khin:” are drums played on one side by bare palm and with a wooden stick on the other are the main musical instruments played during the procession. The small cymbals called “tā” give the beat to the drums and big cymbals and trumpets are played along. For the first time, starting this year, flutes have also been added to the band. The music performance begins with “Dyo lhayegu”, which is a small introductory piece played in order to invoke the “Nāsa dya”, a deity of performing arts. There are separate pieces especially played depending upon the time and place in the procession. For example, the piece played while revolving a chaitya or stupa is different from a one played while beginning the procession.\nThe practice session for each year, begin one or two months prior to gunla month. Anyone who is capable of learning to play the instruments is eligible to participate. The members of Tamrakar community enrol their younger ones once they are ready to take part, while people from other communities are also welcomed to participate in learning and later take part in the procession. The practice sessions take place each evening in the courtyard of Piganani where a guru, a teacher takes a lead in taking music classes. In addition to a regular teacher, the elders in the Tamrakar Gunla Baajan community also offer their presence as well as their knowledge so that the learners get all the support they need. The sessions are one of such encouraging steps that the elder generation in the Tamrakar Gunla Baajan Khala take that make sure that the centuries-old tradition of playing gunla music is safely being transferred to the next generation.

#bhutan #bhutaneseculture #bhutantravel #유네스코아태무형유산센터 #unesco \n\nDey-zo is an art of manufacturing paper using an indigenous plant locally called Dey-shing (Daphne: ). The term Dey refers to Daphne and zo is an art therefore, when these two words combine, an art of Daphne i.e. making paper out of Daphne pant bark. Though there are more than 21 different types of Daphne species- for paper making purpose in Bhutan are of two types; Dey-kar, white Daphne and the other is Dey-na, black Daphne.\n\nThe white Daphne grows up to four or five metres in height and has pale green oval shaped leaves and greyish bark. Its flowers are yellow at the top so they look generally yellowish, though the stems are whitish in colour. They produce a pleasant odour. White Daphne grows in Bhutan from an altitude of 1,500 to 3,500 metres in huge groves on the edge of open meadows and forests. The black Daphne, on the other hand, grows from 500 to 3,000 metres above sea level. Unlike the white Daphne, it grows as individual plants, scattered along the forest floor. Though the colour of bark is greyish, the flowers are somewhat brownish. Papers made from black Daphne are considered to be the best for its long lasting and Thsar-sho paper specially manufactured by using bamboo mat frame are normally used for writing purpose.\n\nGenerally Dey-sho comes in two different types; Tshar-sho and Re-sho. Tshar-sho is made by using a special bamboo crafted mat frame while the latter is a produce from cloth frame though both the papers’ raw materials are either white or black Daphne plant bark. However, upon the demand, paper makers also makes blue or indigo paper (Sho-na or Thing-sho) using the tshar-sho making techniques for gold script writing.\n\nPerhaps, the paper making art must have been existed in the early centuries, even before the use of words and sentences, when pictures and symbols were used as a means of communication in Bhutan as the Padma chronicles mention that "the king ordered paper to be collected in the land of the Mon." This was when the Dharma King Trisong Detsen (755-804) of invited Guru Padmasambava to Tibet in the 8th century and introduced the Tantric teachings to that land. Having completed the construction of Samye Monastery, translation of Buddha's precepts and commentary texts that are written in Sanskrit were initiated into Tibetan language through Indian pandits and incarnate translators from Tibet, but there was not enough paper in Tibet. So the king imported huge amounts of paper from the southern country (Bhutan), which enabled Tibet to produce many volumes of the scriptures. This means that trade between Tibet and Bhutan was already active at that time. The so-called shog-tang (shog-ltang), a cargo size of 1000 sheets of Daphne paper, were transported to Tibet in large quantities for trade purposes. This means that very early in history, papermaking was passed down from generation to generation, from father to son, from son to son, and so on.\n\nGradually, as the demand for paper increased, the paper industry in the country expanded, especially in the 17th century when great changes took place in the country after the arrival of Zhabdrung Ngawang Namgyal (1594-1651). At that time, the demand for paper increased greatly at the central government, monastic community and monastery levels, leading to a nationwide expansion in the production and use of paper especially for printing purpose.\n\nPaper manufacturing units were instituted in Dzongs and employed five people either form the monastic body or from the lay citizens for papermaking. The raw materials such as daphne bark, ash, etc. were supplied by the residents of the respective dzongkhag as tax. The dzongkhag administrations then transported the paper cargoes to the central government and ensured proper remuneration. The skilled workers at the papermaking centers were also appointed from the villages and households in the district, who were exempt from other charges such as labor, fodder, firewood, and pounded rice. A load Shog-tang as mentioned above, was a bundle of 1000 sheets of paper. (Lam Kezang Chophel, 2021). Normally a single sheet of paper measures approximately 75x110 cm and colloquially it is called pheg-pang.\n\nAlthough, papermaking was once a thriving art until 1970 yet, due to the development progress in the country and introduction of imported papers such as books and note books has gradually affected in declining number of paper production centres in the country.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874507459569673284

Tholpavakoothu is a form of shadow puppetry unique to central Kerala, in southern India . It is performed in permanent temple theatres as a form of ritual primarily honouring the Goddess of Bhadrakali. It enacts the hindu epic Ramayana in a version based on the Tamil Ramayana of Kambar. A highly flexible narrative allows a typical cycle of Tholpavakoothu to extend between seven and twenty one nights, depending on the performance commissioned and sponsored locally. After remaining largely unknown to the West, until the twentieth century, recent scholarship has established its ancient beginnings, while also highlighting the absence of a detailed account of the Art in performance over centuries of its existence. Long ago the creator Bhrahma blessed a demons and as a result of his blessing she gave birth to a son named Darika. When this Demon boy grew up, he became so strong that he turned out to be a threat and a constant source of harassment to the gods. sages and hermits .They approached Lord Shiva for help .In order to kill Darika shiva created the goddess Bhadrakali from the kaalakooda poison lodged in his throat . A fierce fight ensued between Darika and Bhadrakali ,lasting several days. Finally Bhadrakali killed Darika. While Bhadrakali was engaged in fighting Darika,Rama was fighting Ravana.So Bhadrakali was not able to see Rama and Ravana fight. That is why the Ramayana story is enacted in her presence through Tholpavakoothu. Theme and LyricsnThe theme of tholpavakoothu is Ramayana story extending from birth of Rama to his coronation, presented in 21 parts over 21 days. The story of Ramayana is written in 21 parts especially for pavakoothu . This composition which is a mixture of prose and verse is called adalpattu. Adal is acting and pattu is relating to . Since the composition is related to the enactment of Ramayana story it is called adalpattu.\nn The verse of this composition is collectively called koothukavikal; kavikal means verse or poems. Many of this verses are from Kamba Ramayana ,the Ramayana in Tamil by the poet Kambar .But tholpavakoothu performers have changed many of Kambar’s verses and in some places had added their own to meet the purpose of ritual. Scholars differ about the date. Kambar wrote Ramayana in Tamil because Valmilki Ramayana was not accepted among common people .He lived in 9th century A.D. Some say it is 13th century AD. But common opinion is that he lived at Tanjavur during the period of Chola dynasty in the 12th c AD.\n Kambar’s Ramayana is based on Valmiki’s epic, but his presentation and style of narration are most dramatic. This long epic poem containing 20,000 verses is divided into six sections: Balakanda, Ayodhyakanda, Aryakanda, krishkindhakanda, and Yuddhakanda. In addition to verse borrowed from the Kamba Ramayana the performers have added their own verses. A few verses are in Sanskrit and some area mixture of Tamil and Sankrit. Tholpavakoothu, performed every year in the temples of Bhadhrakali ,is regarded as the part of ritualistic worship of goddess. The Arayankavu Temple near Shornur is famous for its Tholpavakoothu because of the attendant ceremonies. The administration of this temple was completely under the control of Kavalapara Muppil Nair . The family attached much importance to pavakoothu and regarded the annual performance at the temple as solemn religious duty. There was a reason for this. At a point of time there were no children in Kavalappara family, and there was a danger that the danger that the family would die out for want to heirs. The family they conducted Tholpavakoothu in the temple as an offering to the goddess and children were born. Since then the family has conducted pavakoothu in the temple every on a grand scale showing the whole of Ramayana from Rama’s birth to his coronation. Ganapathi Iravi Maharajan, who was then the head of the Kavalappara family ,firmly established this tradition of presenting every year at Aryankavu Temple. nTholpavakoothu puppets are made of deer skin. The figures are drawn on the skin by cut out and embellished with dots, lines and holes. The skin is first stretched taut on a smooth board, nailed at the corners to keep it stretched and in position. It is then smeared and rubbed with ash, a process which leaves a thin layer of ash on the skin, and exposed to the sun till dry. When the skin is completely dehumidified all the hair on it is removed by scraping with a sharp edged piece of bamboo. nThen the puppet figure is drawn clearly on it and cut with a fine chisel. The eyes, nose and lips are also drawn on the puppet and cut out. Ornaments and dress are drawn by drilling different kinds of holes in the skin for which special pointed chisel are used. When the puppet is ready it has the same thickness as the original piece of leather.\n The puppets are painted in different colours. The original method of making red dye was by boiling the bark of chappanga tree, black by mixing gum from neem and soot from a coconut oil lamp and blue from boiling neeli leaves in water. The shadows of the puppet on the screen are black, but these become very attractive when shades of other colours merge in them. To prevent the puppet from bending, a thin strip of smoothened bamboo is fastened vertically along the middle on either side. The arms of the puppet are provided with movable joints. There are usually three joints on an arm.\n Puppets are usually made showing them in sitting, walking and fighting postures. In puppets in sitting and moving postures only one arm is movable; both arms are movable in puppets in fighting posture. There are puppets of birds, animals, trees and even for the sea, The puppets of deer and snake are provided with joints that enable them to bend and move their bodies. nThe expression on faces of the puppets indicates their characters. When the shadows of puppets are seen on the screen in the light of oil lamps, they resemble the sculptures in the temples.\nThe puppets have to make gestures and movement in conformity with the narration or dialogue. The puppeteers manipulate their puppets in this way: with one hand they hold the puppet by the lower end of the bamboo strip fastened to the puppet and with a stick in the other hand they make the puppet perform the required movements. The stick they use is usually a thin strip of bamboo some 50 cm long. At the end of the stick, tied to it with a string, is a very thin strip of wood not more than 3cm long. nThis thin end piece is inserted in a hole in the puppets hand when a hand movement is required. The movable arms and fingers are uniform in shape in almost all puppets. The most common hand gesture is the chidmudra- which represents peace, by joining the tips of thumb and first finger, keeping other fingers stretched.\nAfter the ritualistic ceremonies the nandi-shlokha, a hymn in praise of Ganapati is sung. At this the puppet of Ganapati is shown on the screen. The Brahmin characters called pattar pavas are shown on the next. These Brahmin are known by such names as-Moothapattar holding an umbrella, Malleesapattar holding a veeshari, Gangayaadipattar holding a theerthakudam, and Somayajipattar holding a kaavadi. They come from the four regions- north, south, east and westnAs they appear on the screen, the Brahmin’s sung the glories of mahavishnu and explains the greatness and importance of their yagas for the welfare of the mankind. They also praise the other gods and afterwards are supposed to praise the gurus of Tholpavakoothu; but as these guru’s are shudras, the Brahmins cannot praise them. So they leave the stage saying that the function of praising the gurus must be performed by the puppeteers themselves. This is done by the puppeteers. After this the pattar pavas appear again on the screen and sing hymns in praise of Ganapati, Saraswathi, Mahavishnu and Parameshwara.\nThis is followed by a ceremony called sadyavazhthkal- which is the praise of families which have played host to members of puppet troupe that day and offered them hospitality. While praising these families, the puppeteers give a detailed description of the feast offered by them. When the sadyavazhthal is over, a performer summarizes the part of the story to be shown that day. This is followed by paramparamala, where the puppeteers sing hymns in praise of Subrahmanya, Ganapati, Shiva and Krishna, touching the lamps behind the screen as a sign of devotion. Then they begin the koothu. These ritualistic observances such as kalarichintu and paramparamala are performed every day before the koothu commences. It is performed in 7,14,21,41, or 71 days depending upon the custom practiced in the templenIn the course of performance, the performers give explanations and interpretations of the verses, depending on the context. Often they have to bring out the depth and range of the meaning of the words. Where a verse contains allusions or some inner significance, the explanation may continue for as much as an hour.

Folk Dance of Nepal_Mushar Naach\n\nPerformers: Chandra Bahadur Mahara, Chandra Hazara, Joshu Ram, Bhajan Paswan, Mahanga Paswan \nCaste: Musahr \nDate of Recording: 1998 \nCollector: Dan Bahadur Nepali\n\nNepalese communities express their emotions through the rhythms of various folk dances. Folk dances, in fact, are an inseparable part of rural life. On the other hand, the religious influence can easily be observed in the songs and dances, which are often performed to please deities responsible for the well-being of humans and cattle, favorable climate, and good harvest. As the country has widely differing topographical features, so does it have vast variances in cultural aspects. Folk songs and dances depend on cultures, cas-tes, seasons, and geographical features. For example, a sherpa living in the Himalayan region sings and dances differently from a Tharu living in the Terai region. Similarly, songs and dances performed in the spring season express joyous emotions, whereas those performed in the winter season express sadness. This collection includes the most famous folk dances of the different indigenous communities of Nepal dwelling in various environments. These dances are a part of their daily life.\n\nMushar is a unique caste residing in various districts of the Terai region of Nepal, including Saptari, Siraha, Udaipur, Dhanusa, Janakpur, Morang, Sarlahi, Malangwa, Mahottari, Gaur, Rautahat, and Sunsari. This group has its own culture and tradition. Netwa is the most popular dance for festivals in their society. Here, dancers are seen wearing traditional attire. This dance is performed during special festivals, at birth ceremonies, wedding ceremonies, on the ninth day of Dashain, and other occasions. Five male artists take part in this dance. The rhythms are initiated by the guru (the master). Epics, stories about gods, the origin of earth, and life and family issues are the main topics of the song. It is performed either as a solo or in a duet. This dance is in vulnerable condition.\n

Nepalese communities express their emotions through the rhythms of various folk dances. Folk dances, in fact, are an inseparable part of rural life. On the other hand, the religious influence can easily be observed in the songs and dances, which are often performed to please deities responsible for the well-being of humans and cattle, favorable climate, and good harvest. As the country has widely differing topographical features, so does it have vast variances in cultural aspects. Folk songs and dances depend on cultures, cas-tes, seasons, and geographical features. For example, a sherpa living in the Himalayan region sings and dances differently from a Tharu living in the Terai region. Similarly, songs and dances performed in the spring season express joyous emotions, whereas those performed in the winter season express sadness. This collection includes the most famous folk dances of the different indigenous communities of Nepal dwelling in various environments. These dances are a part of their daily life.

“Hasi Deu Bolideu Rasaile” is a Jhyaure song most commonly heard in the mid-hills area of the central and western regions of Nepal. This type of song is performed by two groups of singers, one male and one female, and the lyrics typically express emotions, including pain or happiness.\nInstruments: maadal, chum chum, maajiraa, saarangi, baansuri

This is an asaare song, a rice planting song sung in June, when the men are ploughing and the women are transplanting the seedlings from the nursery fields. Damai musicians sit along the water-retaining dykes of the paddy fields, playing their panchai baajaa instruments and singing. The lyrics are very light-hearted and comical, with many innuendos to help ease the pain of hard labor in the heat and heavy rain.\nInstruments: panchai baajaa

“Chandi Kaati Chandra Maalaa” is a traditional Tappa song from the mid-western region of Nepal. This song has a distinctive rhythm and uses a question-and-answer form between two groups of singers, one male and one female. This type of song is heard when people gather in the evening at the haat bazaar (temporary market), where goods are exchanged by bartering.\nInstruments: maadal, baansuri, saarangi, chum chum, machetaa

This traditional folk song comes from the Dhimal community, which inhabits the forests of the Eastern Terai area in the south of Nepal. Both men and women sing and dance to this song sung in the Dhimal language.\nInstruments: dhimal dhol, baansuri, juri

Baul Fakiri Song\nDo not look for God anywhere, look for Him in the human body. The Bauls & Fakirs are conveying the message of peace through their music, they reject division of caste, creed, religion etc. The Bauls are minstrels whose song and dance reflect the joy, love and longing for mystical union with the Divine. The Bauls believe that one can free oneself from earthly attachments through their philosophy. Murshid or Guru is the steersman who takes the devotee to God. They propound detachment from earthly bonds or ties.

Baul Fakiri Song\nDo not look for God anywhere, look for Him in the human body. The Bauls & Fakirs are conveying the message of peace through their music, they reject division of caste, creed, religion etc. The Bauls are minstrels whose song and dance reflect the joy, love and longing for mystical union with the Divine. The Bauls believe that one can free oneself from earthly attachments through their philosophy. Murshid or Guru is the steersman who takes the devotee to God. They propound detachment from earthly bonds or ties.

Baul Fakiri Song\nDo not look for God anywhere, look for Him in the human body. The Bauls & Fakirs are conveying the message of peace through their music, they reject division of caste, creed, religion etc. The Bauls are minstrels whose song and dance reflect the joy, love and longing for mystical union with the Divine. The Bauls believe that one can free oneself from earthly attachments through their philosophy. Murshid or Guru is the steersman who takes the devotee to God. They propound detachment from earthly bonds or ties.

Baul Fakiri Song\nDo not look for God anywhere, look for Him in the human body. The Bauls & Fakirs are conveying the message of peace through their music, they reject division of caste, creed, religion etc. The Bauls are minstrels whose song and dance reflect the joy, love and longing for mystical union with the Divine. The Bauls believe that one can free oneself from earthly attachments through their philosophy. Murshid or Guru is the steersman who takes the devotee to God. They propound detachment from earthly bonds or ties.

Recently, in early September, Hurricane Ida struck the Caribbean, and the Southern and Northeastern states of the U.S. caused catastrophic flooding, even the death of the people. Even Australian Bushfires, Cyclone Amphan hit Bangladesh and India, Volcano eruption in the Philippines in 2020 scratched the people all over the world. Mother nature makes human beings humble; however, we get the power from nature to overcome hardships at the same time. This volume mainly introduces traditional knowledge and oral traditions by focusing on who, what, and how with the Pacific Islands, Japan, India, and Thailand cases.

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 33 is 'Village Guardian Rituals and Communities.'

This book is a collection of the eight selected NGOs’ ICH safeguarding activities in accordance with achieving Sustainable Development Goals, especially Goal 4: Quality Education. With the inclusion of NGOs from Azerbaijan, Bangladesh, Bhutan, India, Indonesia, Mongolia, and the Philippines, this book provides an opportunity to look into the current ICH safeguarding status and environment of the seven countries and to seek measures to overcome the many different challenges involved with ICH safeguarding.

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 30 is 'Royal Court Dances.'