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Panorama of Va temple seen from the three-entrance gate _Va Temple Festival

Thánh Gióng’s Statue at Phù Đổng Temple, Phù Đổng Commune, Gia Lâm District Photographer Nguyễn Trung Bình, 2009. © Vietnam Institute of Culture and Arts Studies.

Thánh Gióng’s horse at the enacted battle at Gióng Festival, Phù Đổng Commune, Gia Lâm District.\nPhotographer Xuân Át, 2005. © Vietnam Institute of Culture and Arts Studies

Odissi, a dance which developed in the East Indian state of Orissa is rooted in the dances performed by temple dancers (devadasi). It is usually performed by a solo female dancer, who acts out all the roles in legends from ancient epics. In the modern day, it may be performed together by 2 or more dancers. The Odissi dance depicts stories about the 8 incarnations of the Hindu god Vishnu, expressing deep love and strong faith in him.\n\nThe detailed expressiveness of Odissi is comparable to that of Bharatanatyam, a traditional dance from the South Indian region. Its movements are restrained in scale, and a half-sitting posture with the legs bent at the knees is maintained during the dance. Unlike Khattak which involves the stretching of the arms, the arms remain curved in Odissi and there are over 50 different traditional hand gestures. The head, chest and torso are used to accentuate femininity, and the curves of the dance are emotive and sensual. The movements of the eyes and facial expressions are highly important. It is one of the oldest dances in India together with Bharatanatyam.\n\nCharacteristics:\n∙One of the 8 major traditional dances recognized by the Indian government\n∙Originates from a religious dance performed by Devadasi female dancers in Hindu temples\n\nPerformed by Papia Desai\nDirected by Papia Desai\nChoreographed by Papia Desai

Throughout the Pacific, kava is synonymous as the elixir or drink of the gods. Known in various words ranging from kau, sakau, kava, ava and yaqona, the ritual commonality is similar. \nThis video revisits the sacred kava ritual from a retelling of the indigenous spirituality and worldview as far as yaqona, chiefs, mana, power and the people are involved. \n\nYaqona or kava is the best known traditional drink of the Fijians today. You cannot have a meeting or social gathering without it. For all gatherings where traditional customs are observed, one will see a yaqona ceremony. It is used to welcome visitors, install chiefs at initiations and at the completion of communal work; celebrations of births, marriages, at deaths and in almost all phases of life in villages. Not only it is consumed in social gatherings and traditional ceremonies, it has also been used in after-church gatherings by members to express customary respect and consideration for one another. \n\nIn pre Christian Era, the way yaqona was used was totally different. It was for chiefs only, as they represented the gods. The yaqona or wainivanua was presented to the chiefs in temples early in the morning before any work could begin. The yaqona represented all that belonged to the land. Once the chief accepted it by drinking it in the temple, everyone was free to touch and use everything in the land (vanua). When the ceremony was going on in the temple, total silence was observed all over the land. As the people went to work, the king and chiefs continued to sit around the yaqona bowl discussing the affairs of the vanua. \n\nThomson Basil wrote in his book "The Fijians. A study of the Decay of Custom." 1968, that yaqona serves as a catalyst for social activities and still continues to be so. \n....The chief's yaqona circle supplied the want of newspapers; the news and gossip of the day were related and discussed; the chief's advisers seized upon the convivial moment as the most favourable opportunity for making known their view; matters of high policy were often decided; the chief's will, gathered from a few careless words spoken at the yaqona ring, was carried from mouth to mouth throughout his dominions.

#bhutan #bhutantravel #bhutanculture #유네스코아태무형유산센터 #unesco \n\nThe Bhutanese tradition of xylography and printing was begun in the 15th century by Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521) and his sons, creating the root of virtues for the wellbeing of both living and dead in the country. Thereafter, the biography of the Terton and his collected works were printed on woodblocks and distributed to his residential monasteries and his patrons both in Bhutan and Tibet.\n\nFollowing the arrival of Zhabdrung Ngawang Namgyal (1594-1651) in Bhutan, the hitherto divided country was united under the main influence of the dual system of governance. Thereafter, the successive abbots of the monastic system and heads of the temporal system and then the successive far-sighted kings of the Wangchuck Dynasty, together with the heads of various other schools of Buddhism have continued to uphold the tradition. Skills training in woodblock making, engraving and printing were facilitated to provide sufficient copies of works on science and crafts, and the biographies and excellent teachings to be distributed to the communities of ordained monks and practitioners, dzongs and temples throughout the country. Therefore, Trashigang in the east, Trongsa in the centre, and Punakha and Paro in the west of the country became popular centres for such activities, until the reign of 3rd King Jigme Dorji Wangchuck (1928-1972).\n\nStarting 1970s, however, distribution has entered into a commercial phase, with increasing numbers of scriptural works being offset printed in India and then returned to Bhutan for distribution. At the same time, the interest in and practice of the traditional method of printing on woodblocks have been gradually losing their value among the users. Nowadays, printing machines have been set up in ever increasing numbers countrywide and these can produce, in larger quantities and within a very short time, scriptural volumes and other books that have a clear typeface, and are colourful and pleasing in appearance. On the one hand, this is a clear indication of progress in economic development, but on the other, this has become one of the main reasons for losing the precious heritage of woodblock print, among others.\n\nTransmission method\nIn Bhutan, the transmission of the knowledge and skills related to Xylography printing is usually undertaken by teaching or engaging the interested candidates in the printing process. The process normally requires two persons for better results, but one person alone can also do the job in cases of urgency when there is no one else available to help. The woodblock is first placed flat on a printing bench. The following steps are followed for printing.\n\nFor more information please visit \nhttps://www.ichlinks.com/archive/elements/elementsV.do?nation=BT&page=1&urlAnchor=txt&elementsUid=13874510342886677176&mode=grid&searchText=printing&orderCd=A&countrys=BT

#bhutan #bhutantravel #bhutanculture #유네스코아태무형유산센터 #유네스코 \n\nYig-par koni is an adverb that means engraving of scripts which is the art of Xylography, one of the indigenous craftsmanship art of Bhutan. Script engraving is done using special wood locally called Tag-pa shing (Birch: Betula utilis) that flourishes at altitudes varying from 3000 to 4200 meters above sea level. Tag-pa shing can be easily identified by its bark that has a mix red and pink and brown colours alternatively across the trunk like that of a tiger’s skin thus got its name. The art is considered as one of the religious craftsmanship since its significance, production and usage are all connected to spiritualistic believes and purpose.\n\nIn Bhutan, the presence of skills for making woodblock prints are seen in temples, monasteries and Dzongs (fortress) every part of the country in the form of biographies, excellent teachings of the Buddha printed from woodblocks. The earliest biography is that of Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521), as prophesied by Guru Padmasambava, the epitome of the Secret Teachings of Tantric Buddhism. Terton Pema Lingpa was the last reincarnate of Princess Pema Sal (?), daughter of King Thrisong Deutsan of Tibet. Owing to the propensity of his previous lives, the Terton knew craft works without training, and dedicating his skills to ensure the continuity of the Buddha’s teachings, had made uncountable number woodblocks, available in the monasteries established by the Terton himself and by his sons as well as in the house of a number of his patrons that can be seen even today.\n\nMoreover, Thugse Dawa Gyaltshan (1499-1586), the son of Pema Lingpa, had also engraved as many as 614 woodblocks for the collected works and autobiography in memory of his father which is still preserved at the sacred place of Kunzang Drag, Bumthang Dzongkhag (district). After Terton Pema Lingpa and his heart son Thugse Dawa Gyaltshen had started the tradition of woodblock print, Choje Ngagwang Tenzin (1522-1590), the reincarnate of Gartoen who was the son of Phajo Drugom Zhigpo, engraved the biography of Phajo Drugom in about 1570 (C.E). Then, in the 17th century Zhabdrung Ngawang Namgyal, having satisfactorily completed all the activities related to the dual system and before he went into the final retreat (i.e. parinirvana), initiated a project to engrave the collected works of the omniscient Pema Karpo (1527-1592) and all the essential ones and its prints are distributed them to all the monasteries and sangha communities as dharma donations.\n\nHe created of the seat of Je Khenpo as the overall head of sangha monasteries and ecclesiastical affairs and that of Desi, who functioned as the secular head of the country. He had also appointed officials to fit these high-ranking positions. The successive Je Khenpo and Desis ensured the practice, manage and spread of the teachings and the good system of administration, by engraving unlimited number of woodblocks prints in their respective areas which can be seen still today in all the historical monuments. However, due to the advancement of printing technologies, the National Library & Archives of Bhutan is the only institution that is upholding the xylography art in the country while the practice is turned its form to an oral account.\n\nFor more information \nhttps://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13874508750347675141

DVD2_NEPAL'S HEREDITARY MUSICIAN CASTES\n\nThe four hereditary musician castes of Nepal are Damai, Gandharba, Kapali, and Badi. The most visible of these are the Damai and the Gandharba musicians. The Kapali are temple musicians and the Badi are drum makers. Damai are required to play for the goddess of the ruling class and also to play at all types of ceremonies and rites of passage, such as weddings and Bratabhandha. They perform in a group known as a panchai baajaa, which is composed of nine musicians playing seven different musical instruments representing the five universal elements of earth, water, fire, air, and sky, of which all matter and living things are composed. The tyamko represents earth, the damaha represents water, the jhurma represents fire, the dholaki represents air, and the narasingaa, sahane, and karnal represent the sky. Panchai baajaa music is believed to keep the elements in balance and harmony and to result in therapeutic musical healing. The Gandharba or Gaine caste musicians traditionally travel from village to village and door to door singing bhajan (hymns), songs from the great Hindu epics, and karkha (historical songs of heroes and bravery), but also bring news. They accompany themselves by playing saarangi.

Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.

The main jaatraa of Bishnu Devi Temple in Tinthana, Kathmandu, is the Sat Gaunle jaatraa, an annual celebratory jaatraa that takes place in December. The festival lasts three days and three nights. On the third day before dawn, the chariots of the seven children of Goddess Bishnu Devi are brought together to visit their mother in her temple in Tinthana. They rest with her until the afternoon and then are returned to their respective village temples. The chariots are carried on the shoulders of devotees from the seven surrounding villages. Their arrival at Vishnu Devi Temple is heralded by the sounds of many kaa, drums, and cymbals.

The main jaatraa of Bishnu Devi Temple in Tinthana, Kathmandu, is the Sat Gaunle jaatraa, an annual celebratory jaatraa that takes place in December. The festival lasts three days and three nights. On the third day before dawn, the chariots of the seven children of Goddess Bishnu Devi are brought together to visit their mother in her temple in Tinthana. They rest with her until the afternoon and then are returned to their respective village temples. The chariots are carried on the shoulders of devotees from the seven surrounding villages. Their arrival at Vishnu Devi Temple is heralded by the sounds of many kaa, drums, and cymbals.

Villu pattu means “bow song” A villu pattu consists in singing and playing a bow-shaped instrument, the villu, which is very popular in Tamil Nadu. Though played by one main performer, various members of the group also strike the villu, giving it a unique sound. Traditionally, stories related to gods and deities are performed outside their temples. The Story of Shasta or Ayyanar is popular in Kerala, where the cult of Shasta is strong. This performance is the beginning of the Shasta story and describes the birth of Shasta.

CD2_HISTORICAL RECORDINGS FROM THE 1930S OF ARNOLD BAKE VOL. II: EVERYDAY SONGS\n\nThe recordings by Dutch ethnomusicologist Arnold Adrian Bake in India in the 1930s and later are one of the earliest examples of what may be called “ethnographic” recordings. Arnold Bake and his wife Corrie spent a long time in Bengal but travelled all over India, recording the music, sounds, and other forms of intangible culture of the people. These recordings cover an immense range of music and recitations that are part of people’s everyday lives, such as work songs, devotional pieces, and ritualistic performances, and include a high number of women’s songs and cultural expressions. Bake’s first field trip was in 1925 and his last was in 1955. During that time, he travelled not only to India but also to Nepal and Sri Lanka. Collections of Bake’s recordings are held in archives in the United Kingdom, Germany, and the United States. Recordings from 1925 to 1929 were on cylinders, and those from 1938 to 1939 were recorded on a machine called Tefifon. The collection that has been digitized for this project consists of the recordings made in 1938 and 1939. \n\nThe Tefi recordings were transferred to spools and deposited in ARCE in 1982. During those two years, Bake travelled from Sindh, the Gujarat coast, to Kerala, and thus the recordings are from Maharashtra, Karnataka, and Kerala. There are also recordings made in the Maldives and Sri Lanka. Thus, the selections presented on these albums are largely from the Southwest Coast of India. These recordings were chosen because they carry great historical value yet were not easily accessible until now. NB: The titles given by Arnold Bake have been retained. However, in the notes, places and names have been changed to reflect current designations – e.g. Canarese was changed to Kannada. Place names have also been modified to follow current spelling conventions.\n\nEveryday Songs - The everyday lives of people are what make up the core of intangible cultural heritage (ICH). This selection includes rituals, work songs, devotional and religious songs, as well as common songs that express joys and sorrows. In addition to songs, some tracks include cries and noises, reflecting the wide variety of sounds that Bake recorded.

CD2_JAATRAAS OF NEPAL\n\nA jaatraa is usually an annual festival associated with a particular god or goddess. A ritual is performed in a temple dedicated to the deity. People of all ages, ethnicities, and religions come together to celebrate a local jaatraa. It is believed that a god may join in the festival by possessing one of the participants. The possessed person is usually taller than others and often wears a turban. Other participants may also entera trance state, and they are also believed to be possessed by a god. This is considered a sign that the god is happy with the jaatraa. A jaatraa typically includes a procession in which the image of the god or goddess is mounted on a chariot accompanied by musicians and other worshippers.

CD5 HÁT VĂN\nHát văn (văn singing) is a special traditional music associated with the Tứ Phủ religion, a local religion of the Kinh people in Vietnam. Hát văn or chầu văn means singing for reporting something to gods. In religion, it can be called cầm ca chúc thánh, which means “singing for praising gods”. There is a sentence in a book: “The Buddha loves the scripture and gods love singing”. The combination between singing and instrument playing, various repertoire and melodies, and strict regulations in performing ritual music helped hát văn become a professional traditional music, which strongly attracts listeners. The Tứ Phủ belief (the Four-God belief) is the environment in which hát văn has been nurtured and developed. The Tứ Phủ belief mentions the gods of the four components of cosmos, the world located in Heaven, Earth, Water, and Mountains. These gods are ranked differently. At the top of the temple is the Father of the Jade Emperor. Under the position of that god are Tam tòa Thánh Mẫu, ngũ vị vương Quan, tứ vị Chầu bà, ngũ vị Hoàng tử, Tứ Phủ thánh Cô, Tứ Phủ thánh Cậu, Ngũ Hổ, and ông Lốt. The Mẫu Liễu Hạnh God is considered to play the center role. Before becoming one of four Vietnamese gods, he was a normal person on the Earth with the hometown and the name.\n\nThe people in charge of performing music in the Tứ Phủ belief are called cung văn. A person practicing the cung văn profession has to train for a long time, from five years to seven years. This person has to be excellent in writing Hán-Nôm words and organizing a worship ceremony and hát văn so that he/she can take care of a temple. The cung văn profession is transferred only to family members. Hát văn music is usually performed by two cung văn, including one person playing the nguyệt (moon-shaped lute) and the other playing percussion instruments. One of them or both can sing. In a big rite, the number of performers in a band can be four or five with the participation of the tranh (16-chord zither), the nhị (Vietnamese two-string fiddle), or flutes. The nguyệt originates from the yeuqin instrument of China. However, comparing to the yeuqin instrument, the nguyệt has a longer neck with eight to eleven frets. A neck with ten frets is the most popular. Two strings of this instrument used to be made of silk but now are made of nylon. The small string is called dây tiếu, and the bigger one is called dây đài. The nguyệt is usually tuned to dây bằng (the fifth interval) and dây lệch (the fourth interval). It is seldom tuned to dây tố lan (the minor seventh interval) and to dây song thanh (an octave).

CD4 QUAN HỌ BẮC NINH IN THE NORTH VIETNAM\nQuan họ,a special alternate singing between men and women, was once only available in Kinh Bắc region in northern Vietnam. Traditional Quan họ was previously the folk art of forty-nine villages in Kinh Bắc, which is presently Bắc Ninh and Bắc Giang provinces.Quan họ singing has been associated with twining occasions in the past. Quan họ is often sung between two groups, called bọn Quan họ, who are living in two different villages and wanting to strike up friendship with each other. During annual festivals or their free time, the Quan họ people sing to satisfy their demand for exchanging art. They sing throughout the day and night. The twining relationship between the Quan họ performers as artistic and intimate friends has continued from forefathers to descendants; thus, they are never allowed to marry each other. Quan họ is one of the few musical forms that has alternate singing between men and women and lyrical love-exchange lyrics but has no the function of love-exchange in daily life as other love-exchange folksongs.\n\nNevertheless, Quan họ is sung not only by twinning Quan họ people but also by others from other places. People can sing Quan họ at many locations; for example, they can perform it at houses at night on normal days, at temples on festivals, on hills, in the forest, along the street, at ponds, or on boat.In Quan họ singing, the male group is called liền anh, and the female group is called liền chị. Traditional Quan họ is pair singing without accompaniment. One of the pair is in charge of singing, leading the tune while the other sings as a secondary part. These two people have to be selected and trained to be in perfect harmony at the same timbre. In addition to pair singing, there is group singing, which is performed on congratulatoory and worshipping occasions. The male group sings in response to the female one. Four typical singing techniques of Quan họ are resonant, ringing, restrained, and staccato.

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'.

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 42 is 'ICH FESTIVALS ON THE SILK ROAD.'

Communities in the Asia-Pacific region greet the New Year at different times depending on region and religion. Communities celebrate a new beginning with traditional songs and dances. This volume introduces traditional performing arts to celebrate the beginning of the New Year in Japan, Nepal, Micronesia, and Myanmar.

ICHCAP hosted an international forum, ‘Unlocking the Potential of Tertiary Education for ICH Safeguarding’ on 17 July in Seoul, Republic of Korea, in cooperation with UNESCO Bangkok Office and the Korea National University of Cultural Heritage.\n\nICH education experts from twelve Asia-Pacific countries attended the forum to discuss the main subjects of ICH education in universities in the Asia-Pacific region and community-based approaches for ICH safeguarding. Participating experts shared ICH-related curricula of regional universities and discussed the roles and importance of tertiary education institutions in the safeguarding of ICH through community-based curriculums.