Materials
yak
ICH Materials 148
Publications(Article)
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YAKAN SONIC TEXTURES: A HERITAGE OF MUSICAL INSTRUMENTSThe Yakan is one of the major ethnolinguistic groups of the Philippines. Among the Yakan of Basilan in Mindanao, Philippines, instrumental music is given much importance. For instance, the kwintangan, an instrument of five to seven bossed gongs laid in a row, are used for courtship and celebrations.Year2010NationSouth Korea
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Lintas Nusantara: Dance Forms from the Malay WorldSingapore’s Malay Heritage Centre (MHC) organizes Lintas Nusantara, an annual dance festival that serves as a platform for dance masters and troupes from Singapore, Malaysia, Indonesia, and other countries in the region to showcase their work and capabilities and to facilitate cultural exchanges among the countries involved.\n\nTo commemorate the tenth anniversary of the festival, MHC will be launching a publication entitled Lintas Nusantara: A Spectacle of Dance and Music in October 2021. The publication will provide a visual record of all the dances performed at the festival and include several essays that aim to provide a deeper understanding of the various dance forms as well as their origins, development, and evolution.\n\nIt will cover a total of twenty-three Malay dance forms performed in Singapore, different states in Malaysia, and different regions of Indonesia. These dance forms include Zapin Sungai Kallang from Singapore; Mak Yong and Tari Asyik from Malaysia; and Pajaga Makkunrai (Bugis), Tari Golek Menak (Yogyakarta) and Tari Gending Sriwijaya (Palembang) from Indonesia.\n\nAs part of the publication’s aim to foster more extensive research into dances from the Malay Archipelago, it will feature twenty-seven essays by academics and researchers from Singapore, Malaysia, Indonesia, East Timor, and the Philippines. These essays will cover topics such as preserving dance and community traditions; spirituality in dance and movement; forging cultural and community identity through dance; cultural borrowings as expressed through music, costumes, and movements.\n\nLintas Nusantara: A Spectacle of Dance and Music will also include reflections regarding the importance of cultural exchanges in the growth and evolution of dance and music as well as the development of a dynamic Malay dance ecosystem from musicians Thow Xin Wei (Gamelan Singa Nglaras) and Fadhli Ramlee (aluNada Muzik) as well as an interview with Mr. Osman Abdul Hamid, a dance practitioner renowned for his artistic contributions to the Malay dance scene in Singapore since the late 1970s.\n\nThrough this publication, MHC hopes to provide an overview of the wide spectrum of Malay dance forms, contribute to existing research and documentation on Malay performing arts, and promote greater cross-cultural understanding and appreciation of the diverse dance forms from the Malay world.\n\nLintas Nusantara: A Spectacle of Dance and Music is a bilingual publication written in both English and Malay, and interested parties can send their inquiries to Jamal_Mohamad@nhb.gov.sg.\n\nPhoto 1 : Dancers from Guntur Mataram Dance Company (Jakarta) performing the Tari Golek Asmaradana Bawaraga. Photograph courtesy of Malay Heritage Centre\nPhoto 2 : Artist Seni Budaya (Singapore) performing the Tari Gending Sriwijaya with dancers from Universitas PGRI Palembang (Indonesia). Photograph courtesy of Malay Heritage CentreYear2021NationMalaysia
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The Recipe and History of Thai Tomyam KungTomyam kung, or spicy shrimp soup, is a typical Thai dish that became popular only 50 years ago. Tomyam kung is a hot soup made by mixing various ingredients, including herbs, in boiling water. The basic ingredients include ground cilantro root, lemongrass, galangal, torn kaffir lime leaves, lime juice, fish sauce, bird’s-eye chilies and shrimps. In addition, mushroom, tomatoes, and onions may be added depending on preference. \n\nThe word “tomyam” is a compound word in the Thai language. It consists of two words — “tom” and “yam,” which mean “boiling” and “mixing,” respectively. These two words refer to the Thai cooking process. \n\nTomyam is a traditional Thai dish originating from the country’s central region. The oldest recipe was found in King Rama V’s reign. It was stated that only snakehead fish and stingray should be used in tomyam pla, or spicy fish soup. There are some secondary sources referring to dishes that had similar ingredients and recipes to tomyam kung. However, they still lacked some of the important ingredients that are familiar in the dish today, such as lemongrass, galangal, and torn kaffir lime leaves.\n\nThe very first “tomyam kung” recipe appeared in a book, Khong Sawoei (Thai royal cuisine), written by Mom Rajawongse Kitinadda Kitiyakara. The writer cooked fresh shrimp soup for His Majesty King Bhumibol Adulyadej The Great (Rama IX), Her Majesty Queen Sirikit, the Queen Mother, and the prince and princesses at the Klai Kangwon Palace, Hua Hin, in 1962. The recipe started with the instruction to make a soup from shrimp shells and heads, seasoned with fish sauce, kaffir lime leaves, and lemongrass. This was then strained to retain only the broth, which was poured into a bowl of boiled shrimp and seasoned with lime juice. Ground chilies and more fish sauce were added before serving. \n\nThe precise flavor of tomyam kung has never been fixed; it can be seasoned according to the consumer’s preferred tastes. However, a basic recipe is as follows:\n\nSlice the lemongrass, galangal, tomatoes, chilies, mushrooms, and shrimp\nBring a pot of water to the boil on the stove \nAdd the sliced lemongrass, galangal, and kaffir lime leaves\nBoil for about 5 minutes and then add the shrimp\nAdd the sliced Thai chilies, mushrooms, and tomatoes\nFlavor by adding a little fish sauce and sugar (you can add more if desired)\nTake the pot off the heat and squeeze in the lime juice (if you do this before taking the pot off the stove, the heat will turn the lime juice bitter) \nThere are in fact types of tomyam kung: clear and thick. The clear soup is the original style, while coconut milk is added to make the thick variety.\n\nTomyam kung is a Thai national soup that very popular among both Thais and non-Thais. It has high nutritional value and is not too spicy. Its fragrance derives from vegetables and spices that are thought to help blood circulation, bringing good health. Tomyam kung is a very popular dish in every Thai restaurant. In addition, many popular snacks and instant noodles also use the flavors of tomyam kung. \n\nIn 2011, tomyam kung was inscribed by the Department of Cultural Promotion, Ministry of Culture on the list of National Intangible Cultural Heritage under the domain of Knowledge and Practices Concerning Nature and the Universe. Recently, the government of Thailand is seeking to have tomyam kung listed by UNESCO as part of the country’s cultural heritage.\n\nPhoto : Tomyam Kung ⓒ shutterstockYear2019NationThailand
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Datun JuludDatun Julud, or ‘long dance’ dance is an Orang Ulu traditional women's dance that is popular among the Kenyah tribe of Sarawak. It means ‘long dance’ in the language of the Kenyah Dayak. It was once performed during communal celebrations but now has become a dance of formal entertainment that is often performed in the rumah panjang (longhouse) to greet visitors and tourists, accompanied by the beautiful sound of Sape’.YearNationMalaysia
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EDUCATION FOR ARTISANS: A SUSTAINABLE FUTURE FOR CRAFT TRADITIONS*Most people assume that at Somaiya Kala Vidya we teach craft skills. When I say no, they quickly assume that we must be giving artisans designs. These two assumptions encapsulate the concept of artisans: skilled technicians capable of realizing someone’s concepts.Year2019NationSouth Korea
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GA:PYAKHAAN/ ASTHAMATRIKA NAACH: A SACRED MASK DANCE OF EIGHT MOTHER GODDESSESThe mask—a mystery in itself and a disguise that gets many names and forms along with the circumstances, context, beliefs, values and practices that always carry a story to be told. Nepal stands as one of the culturally rich nations with more than 365 different festivals celebrated annually, many of which have mask dance performances representing a specific religious deity. Ga: Pyakhaan or Asthamatrika Naach is one of many mask dances performed annually in the city of Patan, Nepal. The word astha means eight; matrika means mother goddess and naach means dance, thus, literally implying “dance of eight motherly goddesses.” This dance is performed during the Dashain festival from Ghathasthapana to Vijaya Dashami (first to last day of the Dashain festival) in the royal courtyard of Mul-chowk inside Patan Durbar. It is believed that these eight tutelary deities help in protecting the city from eight specific fears: threat from outsiders (historically from other states and kingdoms), wind, water, fire, natural disasters, enemies, thieves, and evil spirits. Thus, it is an annual ritual performed for wellbeing, peace and prosperity of county and citizens to protect them from unforeseen fears that might be faced in days to come.Year2020NationSouth Korea
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PROJECT “KALYAK – CHON-ALAI’S HERITAGE”A project to revive kalyak – the traditional female headdress, by involving the local community of Chon-Alay region, Osh province (Kyrgyzstan) to document and popularize, is being implemented by voluntary association “Uz Datkalar”, with the support of the Institute for Sustainable Development Strategy, public foundation. “Uz Datakalar” is a community of needlewomen of Sary-Mogol village, Chon-Alai region, Osh province.\n\n In the framework of the project, needlewomen of Kyrgyzstan visited the villages of Koono – Korgon, Yran – Kol, Kara-Kol, of Murghab region, Republic of Tajikistan. This is the village where ethnic Kyrgyz live. In the regional studies, needlewomen from Kyrgyzstan managed to record information on how to sew patterns on scarfs, the location of woven fringe, various methods of tying kalyak on the head, as well as to fix samples of skullcaps (kep takyya), dressing scarves (duruya jooluk), veils or wraps for the face (zhuz zhapky), towels (chachpak) and jewelry (asem buyumdary).\n\nFor the students of the schools of the village Sary-Mogol (Kyrgyzstan), 2 workshops were held on embroidering patterns of special dressing scarves (duruya) and frill embroideries (kyrgak) for headdress, on the basis of which 6 girls by themselves embroidered a dressing scarves “duruya jooluk” along their edges they embroidered a kyrgak.\n\nOn July 20, 2019, at the foot of Lenin Peak in Chon-Alai region, the “Journey to the Mountains” festival was held, at which “Uz Datakalar” participated and presented collection “Muras” (Heritage). In a theatrical performance, the ceremony “Seeing off the Bride” was performed using headdresses kalyak.\n\nIn order to show the skill of needlewomen working in the framework of the “KALYAK – CHON-ALAI HERITAGE” project, a network of special ART GALLERIES was opened in the villages of Daroot-Korgon, Kashka-Suu, Sary-Mogol (Kyrgyzstan). In this art gallery, all the conditions have been created so that women can learn the methods of tying kalyak , consolidate skills and spread their knowledge, improve all skills in manufacturing quality products, organize master classes for those who want to learn this type of art.\n\nPhoto : Community of Chon-Alay region, Osh province © AbdirahmanovaYear2020NationKyrgyzstan
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AlunAlun Dance Circle: 22 Years of Pangalay PraxisIn 1995, pangalay dance guru Ligaya Fernando-Amilbangsa stopped teaching. The lack of diligence among students of traditional dance had caused her to lose her enthusiasm. Hopeful dancers requesting lessons at first failed to convince her to change her mind. But in January 1999 she decided to teach again, having collected a long list of applicants in the intervening years. Thus began a weekly community dance workshop in her suburban home in Antipolo City, Mega Manila. For those who joined the weekly sessions, learning from a dance master was exhilarating, especially on the eve of a new millennium. In 2000 the excitement over pangalay and other traditional dances of the Sulu Archipelago inspired the motley group of dance students under teacher Ligaya to formally establish the AlunAlun Dance Circle (ADC), with their mentor as company artistic director. ADC is a nonprofit organization dedicated to preserving, conserving, and propagating pangalay, which, according to teacher Ligaya, has “the richest movement vocabulary among all Philippine dances, and the living link to the dance cultures in Asia.”Year2021NationSouth Korea
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ICHCAP ICH Video Documentary Series #6: Traditional Igal Dance in the PhilippinesIgal is a fast but gentle dance that is shared by the Sama people of Tawi-Tawi Island, located in the southernmost part of the Philippines, and the people of the western provinces of Mindanao. Igal is called Pangalay in Tausug and Pamansak in Yakan, all meaning ‘dance’.\n\nIgal has no specific choreography and is improvised without repeated movements. It is also rooted in the form of worship performed with the body. It expresses the ecstasy that accompanies the tauhid, that is, the manifestation of a divine being, and tries to become one with nature through dance and get closer to God. Igal is a dance of the moment. Basically, there is no song, and it proceeds in smooth and soft movements according to the sound of traditional instruments, and this music is an important element that inspires the dancer’s movements. While other dances move faster in proportion to the beat of music, the Igal dance moves slower as the music speeds up. Also, when performing the Igal dance, an ornament called Janggay is worn on the fingers, which maximizes the movement of the fingers to add elegance and artistry. The characteristic of dancing is to not stop moving the hands until the end of the dance, and to avoid excessive body movements.\n\nThe Igal dance is an important element that expresses the cultural identity of the Sama people, and it has inspired modern dance and contemporary art creations in the Philippines. In the Simunul region, local festival dances were created based on the Igal dance, and this phenomenon is an important part of the life of today’s generation, and it is an important example of vitality and reinvention handed down to tomorrow’s generation.\n\nThe Igal dance:\nhttps://www.youtube.com/watch?v=eViUTF7id68&list=PLXen1g2tAaHDVurZGxieuywxmvMjFfgPZ\n\nThis traditional Igal dance of the Philippines video is one of the 10 ICH video Documentary Series, which is the result of the collaborative project between ICHCAP and National Commission for Culture and the Arts(NCCA) in the Philippines. Both organizations aim to raise visibility and strengthen the public’s access to ICH in the Philippines through this project.\n\nVideos represent the most accurate method of capturing ICH as it exists in the real world, as well as being effective tools for communicating with the public. ICHCAP will endeavor to continue vividly documenting the scenes of ICH that are hidden across the Asia-Pacific region with the aim of raising the profile of ICH elements as treasures of humanity and introducing them to the public.\n\nPlease refer to the brochure for more information on the Philippines ICH video documentary.\n\nPicture 1~6: Traditional Igal Dance in the Philippines © ICHCAPYear2022NationPhilippines
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Kyrgyz Manas Epic Visualized through Motion Comic and Mobile ApplicationManas is the largest Kyrgyz epic and the name of its main character—the hero, who united the Kyrgyz. Manas is included in the UNESCO list of masterpieces of the intangible cultural heritage of mankind, as well as in the Guinness Book of Records as the most voluminous epic in the world. The Manas epic is divided into three parts: “Manas,” “Semetey.” and “Seytek.” The main contents of the epic are the feats of Manas. The Sagymbai Orozbakov (1867–1930) and Sayakbay Karalaev (1894–1971) Manas versions are considered classics. Modern scholars have not come to a consensus about when the epic originated. Hypotheses put forward indicate that it is connected with events of the Kyrgyz people of the ninth century. Some historians believe that the historical background corresponds to conditions of the fifteenth to eighteenth centuries but that it also contains more ancient ideas. Also, many historians point out that the epic time in Manas is not mythical, but historical.\n\nLast year, there was a youth hackathon event to create multimedia contents on intangible cultural heritage. Uluu Ash, a motion comic based on Manas, was made at this event. A motion comic is one in which sound or music is added to illustrations, and some pages show moving pictures, which is different from an animation with moving pictures throughout.\n\nAk Shumkar KUT public association, a Kyrgyz NGO, implemented the motion comic project with the support of the Institute for Sustainable Development Strategy, public foundation. During the hackathon, project participants developed a demo version of the mobile application named Manas, and a script was written for the motion comic. Later, the film working group, which included animators, artists, journalists, scriptwriters, musicians, and Manas reciters, continued to work and eventually made the film.\nUluu Ash, the film’s title, is one of the most important scenes in the epic. The glorious Kyrgyz Khan Kekötöy, having reached old age, leaves a testament to his son Bokmurun with instructions on how to make a burial and how to arrange all the posthumous rites. He also bequeaths to seek advice from Manas. Having buried Kökötöy, Bokmurun prepares a memorial service for his father. Manas takes over the entire administration. Many visitors from distant countries come to the ceremony. The Kyrgyz people gathered the representatives from Asia and Europe. The more important point in this ceremony was the advice of wise men and brave warriors at the end of the commemoration, which is described in the film.\n\nDuring the hackathon, an informal platform was formed to generate ideas for promoting elements of intangible cultural heritage among young people. This platform has its further development as a club for young creative minds to enhance comprehension and promote traditional culture. One of the products of the event was a mobile application of Manas. The application is informative and educational. It has been growing with subsequent addition and expansion of its content. This epic product is being made for the first time, and hopefully will provide a good example for young people to show the possibility that spiritual and cultural heritage may even now be the most vital element determining future and development prospects.\n\nphoto 1 : Capture from the Uluu Ash motion comic ⓒ Ak Shumkar KUT Public Association\nphoto 2 : Showing the Manas mobile application ⓒ Ak Shumkar KUT Public AssociationYear2019NationKyrgyzstan
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Nature, Learning, and Tradition in the Indian HimalayaThe parent organization of CEE Himalaya is the Centre for Environment Education (CEE), which was established in August 1984. CEE is a national institution with its headquarters in Ahmedabad and has been given the responsibility by the central government of promoting environmental awareness nationwide. It undertakes demonstration projects in education, communication, and development that endorse attitudes, strategies, and technologies that are environmentally sustainable. Based in the city of Lucknow in the state of Uttar Pradesh, CEE Himalaya has been working in the states of the Indian Himalayan Region (IHR) for over two decades. The mission of CEE Himalaya is to enhance understanding of sustainable development in formal, non-formal, and informal education through its work with schools, higher educational institutions, local and Indigenous communities, policy makers and administration, youth, and the general commu-nity. The primary objective of CEE Himalaya is to improve public awareness and understanding of environmental issues with a view to promote the conservation of nature and natural resources by integrating education with traditional streams of knowledge and cultural expressions. This approach demonstrates and grounds sustainable practices in rural and urban communities and facilitates the involvement of the business and public sectors to respond to the effects of climate change and variability.Year2018NationSouth Korea
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Nature, Learning, and Tradition in the Indian HimalayaThe parent organization of CEE Himalaya is the Centre for Environment Education (CEE), which was established in August 1984. CEE is a national institution with its headquarters in Ahmedabad and has been given the responsibility by the central government of promoting environmental awareness nationwide. It undertakes demonstration projects in education, communication, and development that endorse attitudes, strategies, and technologies that are environmentally sustainable.Year2018NationSouth Korea