The Nôm-Dao script constitutes a system of old scripts used by the Dao people to record the way in which they pronounce the Han script, which is connected to their cultural and ritualistic practices and quite different from the language the Dao people use in their daily life today. Because the Nôm-Dao script is so difficult to read and write, few Dao people are actually capable of understanding the texts and reading old documents and prayer books in the rituals of the Dao, and most of these people are now very old.

It's not just a story of a young man, but a story of mine and a group of friends about paper-cut.\n\nMy first memory about paper-cut in childhood is the paper-cut for window decoration and Fu (lucky) character paper-cut. I was born in an artistic family, where grandma and grandpa are the inheritors of a national intangible cultural heritage. Thus, from childhood I yearned for art and beauty very much. When five years old, I began to follow my grandma, held a pair of scissors and hollowed out a picture on a piece of red paper. In the end, a lovely rabbit stood vividly as revealed on the paper. Even though my action was clumsy and the work was not exquisite, my grandmother was very pleased with my love for traditional art. After years of exercise, I gradually learned to cut cornflower, shoe flower, regiment flower, and other complex patterns of works. Every Chinese New Year, my family sits together, singing operas, writing calligraphy, and creating many festive paper-cuts as New Year gifts to relatives and friends. When my paper-cut is praised and loved by them, it deepens my love for the traditional art of paper-cut and stimulates my enthusiasm in learning it.\n\nWith gradual growth, I realized that paper-cut as intangible cultural heritage was facing the risk of loss. Fortunately, the country and even the whole world have paid more attention to the traditional culture and gave great help to the inheritors. However, as a teenager who loves traditional art, I should do something for saving it. Then I called my friends to learn making paper-cut together. Taking the principle of disseminating and inheriting paper-cut culture into consideration, my grandma set up a paper-cut class which was free of charge and available to everyone. From the scale of only a few people to dozens of people, more and more man who love paper-cut, including young people, kids and their parents, participate in this activity. We created, exercised and participated paper-cut competitions and exhibitions together. Gradually, more people came into contact with paper-cut and passed on this art.\n\nNow I have entered the university and have more free time and ways to learn and disseminate the art of paper-cut. In the summer social practice activities in 2018, I led more than ten students back to my hometown, Binzhou, Shandong Province, to conduct a systematic survey of paper-cut art. After interviewing four paper-cutting inheritors including my grandmother, the students also learned the paper-cut skills from them and created a series of paper-cut which was our school—— Shanghai Jiao Tong University’s architecture. At the same time, we also went into a kindergarten to help the pupils learn paper-cut. When I saw the eagerness for learning paper-cut in their eyes, I seemed to return to the first time I got scissors and felt excited beyond my words and was proud of my contribution to help my grandmother disseminate the art of paper-cut continuously. In order to better protect and promote the works, our practice members also made postcards of the paper-cut for the school, as creative cultural products loved by students and teachers. What’s more, this series of postcards become gifts as a microcosm of the school and even Chinese culture to exchange with universities in China and other countries.\n\nAs young people in the new era, bred in the precious cultural heritage left by the wise ancients, facing the impact of fashion culture and the risk of heritage loss, we should think about the inheritance and innovation of these cultures. My grandma once picked up a lot of fallen leaves when she was walking on the roadside, and carefully figured out their shapes and drew them as paper-cut patterns. In her eyes, there is no absolute consistency among all things in the world. Even the expression of leaf patterns on paper-cut has thousands of ways. People need to observe and think about the world carefully and then try to make these ideas become works of art. The changes between them may be the cultural power given to human beings. \n\nOut of love for ICH, in the previous summer vacation, I participated in a research project on ICH in southwest China organized by the school, whose purpose is to produce some creative products to help local people get rid of poverty. The destination is Guizhou, a gathering place of minority nationalities. I am very gratified to see that Miao children are still learning embroidery and silver ornaments with national characteristics. When interviewing the administrator of thousands of Miao stockade tourist attractions, I asked her how she viewed the inheritance of local non-heritage culture. She said that there are two ways: one is education, which means to let ICH into schools and children have more contact with such culture; the other is commercialization, on the basis of non-legacy culture to create cultural products adapting to the times. In the end, people can’t only get benefits but also better spread ethnic culture. The same is true for paper-cut. While retaining the essence of paper-cut, innovation to adapt to the times is the best inheritance, like Mr. Geng, one of the inheritors of Binzhou paper-cut, who applied the paper-cut elements to blue printed cloth which could make clothes and then sold them everywhere. Commercial operation not only brings him considerable income, but also promotes the culture of paper-cut.\n\nAs an undergraduate student, my strength is still very weak, but I hope that through my continuous learning of art, communication, and other professional knowledge, I can make great efforts to promote and innovate the ICH in my hometown. On this way, I can also meet more like-minded young partners, gathering and struggling together, continuing to carry forward this valuable traditional culture.

It's not just a story of a young man, but a story of mine and a group of friends about paper-cut.\n\nMy first memory about paper-cut in childhood is the paper-cut for window decoration and Fu (lucky) character paper-cut. I was born in an artistic family, where grandma and grandpa are the inheritors of a national intangible cultural heritage. Thus, from childhood I yearned for art and beauty very much. When five years old, I began to follow my grandma, held a pair of scissors and hollowed out a picture on a piece of red paper. In the end, a lovely rabbit stood vividly as revealed on the paper. Even though my action was clumsy and the work was not exquisite, my grandmother was very pleased with my love for traditional art. After years of exercise, I gradually learned to cut cornflower, shoe flower, regiment flower, and other complex patterns of works. Every Chinese New Year, my family sits together, singing operas, writing calligraphy, and creating many festive paper-cuts as New Year gifts to relatives and friends. When my paper-cut is praised and loved by them, it deepens my love for the traditional art of paper-cut and stimulates my enthusiasm in learning it.\n\nWith gradual growth, I realized that paper-cut as intangible cultural heritage was facing the risk of loss. Fortunately, the country and even the whole world have paid more attention to the traditional culture and gave great help to the inheritors. However, as a teenager who loves traditional art, I should do something for saving it. Then I called my friends to learn making paper-cut together. Taking the principle of disseminating and inheriting paper-cut culture into consideration, my grandma set up a paper-cut class which was free of charge and available to everyone. From the scale of only a few people to dozens of people, more and more man who love paper-cut, including young people, kids and their parents, participate in this activity. We created, exercised and participated paper-cut competitions and exhibitions together. Gradually, more people came into contact with paper-cut and passed on this art.\n\nNow I have entered the university and have more free time and ways to learn and disseminate the art of paper-cut. In the summer social practice activities in 2018, I led more than ten students back to my hometown, Binzhou, Shandong Province, to conduct a systematic survey of paper-cut art. After interviewing four paper-cutting inheritors including my grandmother, the students also learned the paper-cut skills from them and created a series of paper-cut which was our school—— Shanghai Jiao Tong University’s architecture. At the same time, we also went into a kindergarten to help the pupils learn paper-cut. When I saw the eagerness for learning paper-cut in their eyes, I seemed to return to the first time I got scissors and felt excited beyond my words and was proud of my contribution to help my grandmother disseminate the art of paper-cut continuously. In order to better protect and promote the works, our practice members also made postcards of the paper-cut for the school, as creative cultural products loved by students and teachers. What’s more, this series of postcards become gifts as a microcosm of the school and even Chinese culture to exchange with universities in China and other countries.\n\nAs young people in the new era, bred in the precious cultural heritage left by the wise ancients, facing the impact of fashion culture and the risk of heritage loss, we should think about the inheritance and innovation of these cultures. My grandma once picked up a lot of fallen leaves when she was walking on the roadside, and carefully figured out their shapes and drew them as paper-cut patterns. In her eyes, there is no absolute consistency among all things in the world. Even the expression of leaf patterns on paper-cut has thousands of ways. People need to observe and think about the world carefully and then try to make these ideas become works of art. The changes between them may be the cultural power given to human beings. \n\nOut of love for ICH, in the previous summer vacation, I participated in a research project on ICH in southwest China organized by the school, whose purpose is to produce some creative products to help local people get rid of poverty. The destination is Guizhou, a gathering place of minority nationalities. I am very gratified to see that Miao children are still learning embroidery and silver ornaments with national characteristics. When interviewing the administrator of thousands of Miao stockade tourist attractions, I asked her how she viewed the inheritance of local non-heritage culture. She said that there are two ways: one is education, which means to let ICH into schools and children have more contact with such culture; the other is commercialization, on the basis of non-legacy culture to create cultural products adapting to the times. In the end, people can’t only get benefits but also better spread ethnic culture. The same is true for paper-cut. While retaining the essence of paper-cut, innovation to adapt to the times is the best inheritance, like Mr. Geng, one of the inheritors of Binzhou paper-cut, who applied the paper-cut elements to blue printed cloth which could make clothes and then sold them everywhere. Commercial operation not only brings him considerable income, but also promotes the culture of paper-cut.\n\nAs an undergraduate student, my strength is still very weak, but I hope that through my continuous learning of art, communication, and other professional knowledge, I can make great efforts to promote and innovate the ICH in my hometown. On this way, I can also meet more like-minded young partners, gathering and struggling together, continuing to carry forward this valuable traditional culture.

It's not just a story of a young man, but a story of mine and a group of friends about paper-cut.\n\nMy first memory about paper-cut in childhood is the paper-cut for window decoration and Fu (lucky) character paper-cut. I was born in an artistic family, where grandma and grandpa are the inheritors of a national intangible cultural heritage. Thus, from childhood I yearned for art and beauty very much. When five years old, I began to follow my grandma, held a pair of scissors and hollowed out a picture on a piece of red paper. In the end, a lovely rabbit stood vividly as revealed on the paper. Even though my action was clumsy and the work was not exquisite, my grandmother was very pleased with my love for traditional art. After years of exercise, I gradually learned to cut cornflower, shoe flower, regiment flower, and other complex patterns of works. Every Chinese New Year, my family sits together, singing operas, writing calligraphy, and creating many festive paper-cuts as New Year gifts to relatives and friends. When my paper-cut is praised and loved by them, it deepens my love for the traditional art of paper-cut and stimulates my enthusiasm in learning it.\n\nWith gradual growth, I realized that paper-cut as intangible cultural heritage was facing the risk of loss. Fortunately, the country and even the whole world have paid more attention to the traditional culture and gave great help to the inheritors. However, as a teenager who loves traditional art, I should do something for saving it. Then I called my friends to learn making paper-cut together. Taking the principle of disseminating and inheriting paper-cut culture into consideration, my grandma set up a paper-cut class which was free of charge and available to everyone. From the scale of only a few people to dozens of people, more and more man who love paper-cut, including young people, kids and their parents, participate in this activity. We created, exercised and participated paper-cut competitions and exhibitions together. Gradually, more people came into contact with paper-cut and passed on this art.\n\nNow I have entered the university and have more free time and ways to learn and disseminate the art of paper-cut. In the summer social practice activities in 2018, I led more than ten students back to my hometown, Binzhou, Shandong Province, to conduct a systematic survey of paper-cut art. After interviewing four paper-cutting inheritors including my grandmother, the students also learned the paper-cut skills from them and created a series of paper-cut which was our school—— Shanghai Jiao Tong University’s architecture. At the same time, we also went into a kindergarten to help the pupils learn paper-cut. When I saw the eagerness for learning paper-cut in their eyes, I seemed to return to the first time I got scissors and felt excited beyond my words and was proud of my contribution to help my grandmother disseminate the art of paper-cut continuously. In order to better protect and promote the works, our practice members also made postcards of the paper-cut for the school, as creative cultural products loved by students and teachers. What’s more, this series of postcards become gifts as a microcosm of the school and even Chinese culture to exchange with universities in China and other countries.\n\nAs young people in the new era, bred in the precious cultural heritage left by the wise ancients, facing the impact of fashion culture and the risk of heritage loss, we should think about the inheritance and innovation of these cultures. My grandma once picked up a lot of fallen leaves when she was walking on the roadside, and carefully figured out their shapes and drew them as paper-cut patterns. In her eyes, there is no absolute consistency among all things in the world. Even the expression of leaf patterns on paper-cut has thousands of ways. People need to observe and think about the world carefully and then try to make these ideas become works of art. The changes between them may be the cultural power given to human beings. \n\nOut of love for ICH, in the previous summer vacation, I participated in a research project on ICH in southwest China organized by the school, whose purpose is to produce some creative products to help local people get rid of poverty. The destination is Guizhou, a gathering place of minority nationalities. I am very gratified to see that Miao children are still learning embroidery and silver ornaments with national characteristics. When interviewing the administrator of thousands of Miao stockade tourist attractions, I asked her how she viewed the inheritance of local non-heritage culture. She said that there are two ways: one is education, which means to let ICH into schools and children have more contact with such culture; the other is commercialization, on the basis of non-legacy culture to create cultural products adapting to the times. In the end, people can’t only get benefits but also better spread ethnic culture. The same is true for paper-cut. While retaining the essence of paper-cut, innovation to adapt to the times is the best inheritance, like Mr. Geng, one of the inheritors of Binzhou paper-cut, who applied the paper-cut elements to blue printed cloth which could make clothes and then sold them everywhere. Commercial operation not only brings him considerable income, but also promotes the culture of paper-cut.\n\nAs an undergraduate student, my strength is still very weak, but I hope that through my continuous learning of art, communication, and other professional knowledge, I can make great efforts to promote and innovate the ICH in my hometown. On this way, I can also meet more like-minded young partners, gathering and struggling together, continuing to carry forward this valuable traditional culture.

The words of propitious omens are the shorter forms of benedictions used for expressing the best regards and happiness in people’s daily routine works and practices. The words of propitious omens are regarded as respect for others and widely used for greeting purposes. The words of omens are predicting the good things that can be happened in the future, and this makes the omens similar to benedictions but its function and use is different. The words of omens do not have different parts, as shorter as possible, words or poems which does not have any melody. The words of omens associated with any actions are always said same and its meaning has a connection to that actions. For instance: if somebody is writing a script, the omen word is said as “May the brush would sharpest”, if somebody is churning the Airag, the omen is said as, “More butter comes to the Airag” and so on.

Sastra or Sastra Sleuk Rith (manuscript written on palm leaves) is an important document that records the knowledge and words of wisdom in Cambodia for centuries. Sastra is the long format of palm leaf manuscripts, other known as Vean (short format), mostly documented Buddhist scriptures in Pali or bilingual Pali-Khmer. In addition, it also contains sermons, legal writing, etc.

#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

Mongolian calligraphy is the technique of handwriting in the Classical Mongolian script, which comprises ninety letters connected vertically by continuous strokes to create words. The letters are formed from six main strokes, known as head, tooth, stem, stomach, bow and tail, respectively. Mongolian calligraphy expresses ancient traditional literature, culture, knowledge, intellectual education and innate human sensuality through the brush strokes used in writing the Classical Mongolian script. It requires an equal combination of hand, eye and mental artistry and skill, using brush, ink, paper and strop. This calligraphic art is used for the distinct, vertically written Mongolian script comprising several patterns of writing: ancient, meticulous, stenography, ornamental and stylized. Traditionally, mentors select the best students and train them to be calligraphers over a period of five to eight years.

On 12 and 13 November 2020, ICHCAP and the ICH NGO Forum virtually held the 2020 ICH NGO Conference entitled “ICH and Resilience in Crisis.” The fifteen participants, including eleven selected presenters from ten countries around the world, discussed various cases and activities of each country applied under the Corona-era, and proposed solidarity for the resilience of ICH for a ‘New Normal.’\n\nSession 1: In the Vortex: COVID-19 Era, Roles of NGOs to Safeguard ICH\n\nSpecial Lecture 1: 'Resilience System Analysis' by Roberto Martinez Yllescas, Organization for Economic Co-operation and Development (OECD) in Mexico\n1. 'Uncovering the veil of immaterial cultural heritage towards and autonomous management of well-being as well as cultural and territorial preservation' by Carolina Bermúdez, Fundación Etnollano\n2. 'Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China' by Kai-kwong Choi, Life Encouraging Fund \n3. 'Indigenous Knowledge System as a vector in combating COVID-19' by Allington Ndlovu, Amagugu International Heritage Centre\n4. 'Enlivening Dyeing Tradition and ICH: The initiative of ARHI in North East of India' by Dibya Jyoti Borah, President, ARHI\n\nSession 2: Homo Ludens vs. Home Ludens: Changed Features COVID-19 Brought\n\n1. 'The Popular Reaction to COVID-19 from the Intangible Cultural Heritage among Member Cities of the ICCN' by Julio Nacher, ICCN Secretariat, Algemesi, Spain\n2. 'Innovation for Arts and Cultural Education Amid a Pandemic' by Jeff M. Poulin, Creative Generation\n3. 'Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan' by Ghiasuddin Pir & Meeza Ubaid, THAAP\n4. 'Shifting to Online Activities: Digital Divide among the NGOs and ICH Communities in Korea' by Hanhee Hahm CICS\n\nSession 3: Consilience: Prototype vs. Archetype for Educational Source\n\nSpecial Lecture 2: 'Geographical imbalance: the challenge of getting a more balanced representation of accredited non-governmental organizations under the 2003 Convention' by Matti Hakamäki, Finnish Folk Music Institute\n1. 'Crafting a Post Covid-19 World: Building Greater Resilience in the Crafts Sector through Strengthening Ties with its Community’s Cultural System' by Joseph Lo, World Crafts Council International\n2. 'Arts and Influence: Untangling Corporate Engagement in the Cultural Sector' by Nicholas Pozek, Asian Legal Programs, Columbia University\n3. 'ICH in the South-Western Alps: Empowering Communities through Youth Education on Nature and Cultural Practices' by Alessio Re & Giulia Avanza, Santagata Foundation for the Economy of Culture\n\n

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 lights of Saigon flickering with its city hues\nThe lights of Mỹ Tho flashing bright then dimmed\nI hope you get to come around with Nho writings\nAs I'll wait for as many moons as I could\n\nLullabies (Ru) within the family environment has a hypnotising function, where it's used to ease the child into sleeping. Southern Vietnam (Nam bộ) lullabies was formed and sustained through the many layers of Nam bộ culture. The environmental ecosystem and culture have given it a distinctive form that is expressed through lyrics, melodies, and rhytms.\n\n*Chữ Nho: Chinese character writing system

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).

The early history of the Nagas is shrouded in obscurity and many theories abound of their origin  and  migration.  How  and  when  they  came  to  settle  in  the  north‐eastern  region  of India is an unsettled question. \nSeveral  traditions  exist  within  the  multi‐ethnic  Naga  communities  on  their  origins. \nAccording to the oral traditions passed down through songs, folklore and word of mouth the Ao emerged from six stones at Long‐terok, which exists to this day near Chungliyimti, the first legendry settlement of the Ao. ‘Long’ meaning stone and ‘Terok’ six, refers to the six stones from which emerged three pairs of male and female progenitors whom the Ao claim  to  be  their  ancestors.  The  Ao  is  distinguished  with  two  phratries  –Chongli  and Mongsen. The Chongli claim  that the  three males and  females who emerged at Longtrok were Tongpok and his sister Lendina, Longpok with his sister Yongmenala and Longjakrep with  his  sister  Elongshe.  They  were  the  first  human  beings  who  emerged  at  Longtrok. \nEach  male  member  along  with  his  sister  formed  the  three  phratries  of  the  Chongli. \nTongpok founded the Imsong‐Pongen clan, Longpok the Longkumer clan and Longjakrep with  his  sister  founded  the  Jamir  clan  respectively.  The  three  siblings  intermarried  and through  these  marriages,  the  Ao  clans  came  into  existence  and  a  well‐  knitted  clan exogamy marriage evolved that is followed to this day. 

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 32 is 'Lacquerware Arts.'

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 38 is 'Funeral Ceremonies and New Beginnings.'

This book explores creative and historical traditional food of the world through the articles provided by sixteen authors from different countries. Food is a critical element in human life and is intimately linked to the history and identity of individuals and communities. Traditional food and food ways of a community, region, or an ethnic group have become unique practices through close interactions reflecting the diverse features of the community, including the natural environment, society, politics, economy, and culture. Traditional food and food ways are then firmly embedded in the community while they are transmitted, adapted, and recreated across generations. As such, traditional food is an indispensable element in communal life and is the root of life. This book presents information on ICH reflected in traditional food and allows readers to explore the intangible value of traditional food through historical backgrounds and stories concerning the food.