L’anthropologie s’est intéressée à l’alimentation sous diérentes perspectives. Parmi celles-ci figurent notamment les pratiques alimentaires et les manières de table, la diversité des traditions culinaires, la variété des produits consommés, les interdits alimentaires et les repas rituels. Y ƒgurent aussi la place de l’alimentation dans la construction des rapports sociaux, l’importance de la commensalité, la pratique de l’hospitalité, le don de nourriture et l’échange des préparations et des recettes culinaires. Y ƒgurent également l’alimentation comme un indicateur de différentiation sociale entre individus et groupes sociaux, un révélateur d’inégalité et de hiérarchie, en somme un instrument de pouvoir.

The widespread outbreak of novel coronavirus infections (COVID-19) has brought rapid changes on various systems and ways of life across the world, creating an entirely new global landscape. Korea’s activities to safeguard ICH were no exception. Amidst a situation that forced the cancelation of a wide range of ICH-related events and educational programs and considerations to find new safeguarding methods, the transition to non-face-to-face methods rather broadened the scope for safeguarding and promoting intangible heritage.

Telugu language is the mother tongue for carriers and transmitters in safeguarding the Intangible Heritage of the Telugu people. We have come up with an interdisciplinary and innovative educational programming that safeguards our intangible heritage of over 53.6 million people in Andhra Pradesh (AP). Our higher educational programming cuts across the five domains delineated in the 2003 ICH Convention of UNESCO. It is an integral part of a systematic safeguarding plan that is unique. I will introduce the framework that enables us to bring together the teaching of intangible heritage in a linguistic environment through six tertiary educational institutions for the Telugu speaking people. I am responsible for the curricula, pedagogy, employment of carriers and transmitters as teachers and performance education in all the six colleges. \n\nWe also address the interface between intangible heritage and language through higher education. Moreover, I will also reflect on my own engagement as a carrier and transmitter of theatre traditions of the Telugu people. My conclusion would advocate that we need to think in new and innovative ways for safeguarding the rich diversity of the intangible heritage of humanity. Our innovative tertiary education programming provides a feasible role model.

In Japan, etoki, or picture deciphering, is a centuries-old form of performing arts that involves telling stories about Buddhist principles and historic events while using emaki (illustrated scroll) or kakejiku (hanging picture) as a visual reference. Other related performances are called sekkyou, or sermons, and they are distinguished from etoki in that sekkyou includes narration without any visual references. The stories for both arts, which were originally performed by monks and nuns, may explain the history of a shrine or temple, a pilgrimage, a biography of Shakyamuni, Buddhist sutra, or any other related topics. The origins of this heritage element is unclear, but some evidence indicates that it arrived in Japan from Southeast Asia through China and Korea, and historical records do tell us that monks were performing etoki for aristocratic audiences in Japan by the tenth century.

Capoeira , a Brazilian martial art (MA) expression, was in 2014 inscribed on the UNESCO Representative List of the Intangible Cultural Heritage (ICH) of Humanity for its fundamental values and characteristics, transmitted from one generation to another (Vianna, 2016; UNESCO, 2020). The is a circle formed by capoeiristas, musicians, and the audience, in the center of which capoeira matches take place.

A durae is a cooperative labor organization that was established as the culture of agriculture developed in Korea during the latter part of the Joseon dynasty when rice transplantation methods became widely implemented. Rice transplantation is simply the method of transplanting rice seedlings to a rice paddy, after first sowing them in a seedbed. By using this technique, the need for weeding could be reduced to only two times per year from the typical three times or more with the normal way of seeding. Work could be finished in a much shorter period by transplanting into this type of rice field filled with water.

Co-orgarnized by ICHCAP and Hue Monuments Conservation Centre (HMCC), this year’s Asia-Pacific ICH NGO Conference was held in Hue, Vietnam under the theme of ICH NGOs towards Sustainable Development of Communities.

Une musicienne entre chez nous et dépose sa grosse boîte sur la table du salon. Comme un écrin, celle-ci s’ouvre et laisse apparaître un accordéon. Un autre musicien barbu pose un étui et en sort une guitare, sous l’œil accoutumé de son chien. La salle s’enflamme à travers le rythme et les volutes de fumée de cigarette. Mes parents, tantôt danseurs ou musiciens, me somment d’aller me coucher, mais je fais semblant d’y aller et je reste caché en haut de l’escalier avec mon frère. Fasciné, je m’arrache au sommeil pour écouter jouer des membres de groupes culte tels que Le Rêve du diable ou La Bottine souriante.\n\nD’aussi loin que je me souvienne donc, j’ai été bercé par ce son si caractéristique de l’accordéon diatonique et de ses anches dites mouillées, c’est-à-dire des lamelles accordées suivant des fréquences suffisamment éloignées entre elles pour que cela produise une sonorité forte et large, avec un soupçon de dissonance parfaite pour accrocher les cœurs et surtout les chanteuses, les danseurs ou les gigueuses!

A treasure trove of both natural and cultural diversity, India is home to innumerable rural and indigenous communities dotting its varied geographical landscape. One such community—the Manganiyars—is a clan of hereditary professional musicians residing in the villages of the Thar desert in western Rajasthan. Their oral legends say that these communities settled in different villages of Barmer and Jaisalmer around a thousand years ago. \n\nThe Manganiyars hold a vast repertoire of folk songs integral to their ways of life and significant to their social systems. For centuries, their music has been supported by their traditional patrons, called Jajmans, who usually live in the same or nearby villages and engage the Manganiyars to sing at various life events and celebrations of their families in exchange for money, land, and gifts. A distinctive feature of this patron-server relationship is the Manganiyars’ exclusive and vital role as genealogists of their patrons’ families that can go back to fourteen or eighteen generations, such record keeping being entirely oral. The Manganiyars belong to the Mirasi (entertainers) community. They are Muslims but sing for both Hindu and Muslim patrons, performing songs of Hindu gods and goddesses as well as Muslim Pirs and \nFakirs (Sufi saints or spiritual guides). The melodic structure of their music resembles classical traditions, but in reality, is very different in terms of the raagas (combination of notes) and associated time theory. The Manganiyars believe that their children are born with an inherent sense of music that is naturally transmitted to subsequent generations through some magical non-formal framework that is undefined and innate. Unlike many other indigenous communities, they themselves have kept their tradition alive, believing that music is fundamental to their ‘being.’

One phenomenon that distinguishes humans from other animals is the use of music and language. Musical instruments are a major tool in making music, which is sound organized by humans. In many regions, music, singing, and dancing are used interchangeably, and musical instruments and music are inextricably closely related. The word Ngoma in Africa is the name of a drum, but it is a comprehensive term that includes all the music, songs, and dances played by the drum and has the meaning of ritual ceremonies.\n\nMusical instruments have been with humankind since the Paleolithic era. Musical instruments are among the oldest and most widespread objects made by humans. Humans began making musical instruments to imitate the sounds of nature such as wind, rain, thunder, and the sound of birds singing as well as the howling of animals. Such a tradition of using nature sound continues to this day. We can see wind chimes that dangle by the wind in Buddhist temples throughout Asia; wind bamboo tubes in Bali of Indonesia; Đan Nu’o’c, created by Sedang people in Vietnam, which is a clicking bamboo musical instrument using water; and Suikinkutsu using a bamboo tube and water pot in Japanese gardens. Since the Neolithic era, people soothed the hardships of labor with songs, learning the power of the rhythm by pounding a pestle in a mortar. Humans began to think about transcendental beings and had ritual ceremonies, and they tried to impress their existence by using music and musical instruments.

Traditional music: the soul of the universe! Traditional music: the unspoken language!\n\nAll around the world music plays an important role in communicating human expressions and emotions. Besides being an artistic and creative form of expression, music is associated with festivity—the celebrations of new beginnings, birth, initiation, courtship, marriage, and death. Music, with or without instruments, is an integral part of traditional occupations and daily chores, such as planting, harvesting, and processing food, herding, fishing, and craft making, such as carpentry, pottery, and basketry. \n\nMusic communicates meaning during rituals and rites and is often used as a tool for meditation. With or without song, the sounds of flutes, drum, trumpets, gongs, bagpipes, and others can evoke memories and transport people to places of happiness, peace, hope, nostalgia, and melancholy. As Plato, the philosopher said, “music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” The ability to sing and create music is a gift bestowed on a person regardless of his or her social status. Regardless of its source, music can be embraced by people of all walks of life and is an intrinsic part of cultural heritage

Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. It has strived hard and treads the untrodden path with a clear motto of preservation and inculcation of old folk and cultural values in our society. Folkland has a veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows