Materials
wood
ICH Materials 607
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Sivisivi,Ceuceu (wood carving) of figurines, large sculptures
Fiji
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Students from School taught by heritage practitioner O. Yeruult to demonstrate wood engraving of Mongol ger No.45
Art Council of Mongolia/ beating fleece, students from school
Mongolia -
Traditional design and practices for building Chinese wooden arch bridges(4)
(4)Xian Gong Bridge
China -
Wood Inlay and Outlay, Punjab
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Pakistan
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Traditional Craftsmanship of the Mongolian Ger and Associated Customs
Traditional Craftsmanship of the Mongolian Ger and Associated Customs (Representative List of the Intangible Cultural Heritage of Humanity, 2013)\nThe Mongolian ger is composed of wooden frames, canvas, and ropes. The wooden frames comprise the crown, roof poles, wall lattices, door, and two pillars; each wooden element is produced by separate, specialized carpenters. The traditional craftsmanship of the Mongol ger reflects the nomadic culture and national identity of Mongolia.
Mongolia 2017 -
Eer—A Kyrgyz Saddle(KOR)
This film is about traditional Kyrgyz saddles. A saddle-making expert shows the technology behind saddle manufacturing and how to cover the saddle with leather and make ornaments. Specialists also talk about the history of the associated Kyrgyz saddle traditions.\n\n키르기스 전통 안장 ‘에르’ 제작기법\n이 영상은 키르기스의 전통안장에 관한 내용이다. 안장 제작 전문가가 안장 제작 기술과 가죽으로 안장을 감싸는 방식, 그리고 장식품을 만드는 과정과 제작 방법, 키르기스 안장 전통의 역사에 대해 얘기한다.\n\n공동제작\n· 유네스코아태무형유산센터(ICHCAP)\n· 유네스코키르기스스탄위원회\n\n협력기관\n· 한국교육방송공사(EBS)\n· 국립아시아문화전당(ACC)
Kyrgyzstan 2017 -
Eer—A Kyrgyz Saddle
This film is about traditional Kyrgyz saddles. A saddle-making expert shows the technology behind saddle manufacturing and how to cover the saddle with leather and make ornaments. Specialists also talk about the history of the associated Kyrgyz saddle traditions.
Kyrgyzstan 2017 -
Commonalities and Diversity of Asia-Pacific Intangible Cultural Heritage: For Asian Values and Safeguarding Strategies of Lacquer Crafts\t
Keynote Presentation\t\nCommonalities and Diversity of Asia-Pacific Intangible Cultural Heritage: For Asian Values and Safeguarding Strategies of Lacquer Crafts by Ki-dong Bae (Professor Emeritus, Hanyang University)\n
South Korea 20210218
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Rali songs and explanation
This track about the Rali rituals and songs combines speech with singing. This is included as a particularly interesting way to present intangible cultural heritage. Subhadra Devi gives instructions, in Hindi, about why and how the goddess Rali is worshipped each spring. Rali is identified as a form of Parvati, with her husband Senkar a form of Shankar, in the annual spring ritual for unmarried girls to gain a good groom by celebrating the marriage of goddess Rali to Senkar, with her brother Bastu in attendance. Subhadra Devi describes the rituals and the appropriate songs in dialect. She begins with the song for gathering spring flowers and making garlands for Rali each morning. Then, she moves on to the song about assembling objects for rituals. She goes on to describe how observant girls fast over four Mondays and go from household to household singing in order to gather donations for their Rali ritual. She then offers an example of this sort of song, in which the theme of male migrant labor common in the hills spills into mythological domains here, with Rali’s brother Bastu off to Delhi, while Senkar has gone to work in Chamba, each offering to send her gifts. Subhadra Devi ends by singing an example of the sort of devotional song or bhajan sung by grown women at the auspicious ending of the Rali ritual, when the goddess is carried to a pool to be submerged. This song addresses the mulberry tree from whose wood a flute for Krishna might be made. It describes the unfinished fates of those who haven’t ever given alms, fasted on ritual days, constructed raised stands for wayfarers to rest under shady trees, or given daughters in marriage. Recorded and collected by Kirin Narayan
India 1982 -
Sang sa (Solo of the tính tẩu lute)
According to the census data of 2009, the Thái ethnic minority in Vietnam had a population of about 1.5 million people, making them the third populous group in Vietnam, mostly residing in Sơn La and Điện Biên provinces. Thái people have a rich treasure of folk culture such as myths, poems, hát khắp folk songs, xòe dance, and bamboo pole dance. The tính tẩu is a typical musical instrument of Thái people. The tính tẩu is used to accompany the ritual singing, especially in the Then ceremony of the ethnic minorities like the Thái, Tày, and Nùng. In addition, the tính tẩu is also used to accompany love-exchange songs and the xòe dance of Thái people. The tính tẩu is a plucked stringed instrument made up of a head, neck, resonator, surface, bridge, and strings. The neck and the head are made of a piece of wood with a total length of about eighty to ninety centimeters. There are two tuning pegs. The round and thick resonator is made from the cover of an old gourd. The instrument surface is covered with bamboo. The bridge is a piece of bamboo with grooves for the strings to fall into. The tính tẩu has between two and three strings depending on each region and on musical functions.
Viet Nam 1964 -
Solo of the kèn
According to statistics data in 2009, the Cao Lan people (known as Sán Chay) in Vietnam had a population of 169,410 people, residing mostly in Tuyên Quang province. The Cao Lan ethnic minority has a treasure of poetry, folk music, and dance such as sình ca (unique folk singing), múa trống (drum dancing), múa xúc tép (small shrimp catching dancing), múa chim gâu (cuckoo bird dancing), etc. The musical instruments of Cao Lan people are various, including thanh la (small knobless gong), não bạt (small cymbals), drums, bells, and wind instruments. Kèn is a wind instrument performed in festivals and ritual forms. Kèn consists of four parts: the body, the bell, reed stake, and the reed. The body is a cylindrical hollow tube made of hard wood about thirty centimeters in length. On the body, there are seven pressing holes on the front and one hole on back near the stake. The instrument bell is made of a frustum-shaped thin wooden piece. The smaller of the bell is attached to the big end of the tube. The stake is attached to the small end of the tube. The reed is made of a reed pipe or worn nest attached to the stake. Its sound is strong, a little discordant at high pitches and a little cracked at the low end. The register of the instrument is two octaves. Kèn is played by men only. This track is a medley of extractions that are often played in the rituals, such as hành quân (army operation), kèn Khắp, and đưa Phật (Buddha greeting).
Viet Nam 1959 -
Ahir Goal geet with Algoza
This is a narrative of the Ahir people of Madhya Pradesh. It is performed with a algoza, a fingerhole trumpet. Circular breathing is employed along with the singing. An Ahir Goal geet are sung at weddings and happy occasions by the Ahir community around Jabalpur. This extract is from a narrative that can be sung all night long. It is about a devout woman and her in-laws. Her husband goes away and asks her to “rest with the mother-in-law, play with the sister-in-law, and seek help from the brother-in-law.” As she is expecting a child, she asks her mother-in-law to call the midwife. Instead, the mother-in-law sends her to the forest to collect wood without tying the bundle. Gods send a snake to tie her bundle, and she returns. The child is born but the in-laws do not give her water or milk. The great rivers of India, the Ganga and the Yamuna, turn their course and come to her to provide water, and a cow comes to provide milk. These miracles continue until she is reunited with her husband.
India 1982
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Paglami-lamihan Soundscapes 2
The Yakan inhabit the island of Basilan just off the southern tip of the Zamboanga Peninsula of western Mindanao, particularly in the municipalities of Tipo, Lamitan, Sumisip, and Tuburan, and the islands of Sacol, Malanipa, and Tumalutab east of Zamboanga. The Yakan belong to the widespread Sama group, and their culture has become too specialized to be distinguished as a distinct group.\n\nThe Yakan’s language is closely related to the Sama, but their culture is more land orientated rather than the sea based. Agriculture consists largely of upland rice, although copra is also widespread. The main religion is Islam with syncretic elements from traditional and indigenous beliefs.\n\nThe Yakan are well-known for their elaborate dress, which is similar for males and females. For instance, both wear trousers. Noteworthy articles include the kandit, a fifteen-meter-long red sash worn by men, and the pinantupan, the women’s overskirt. Textile weaving done on the backstrap loom is much sought after, especially because of the intricate and beautiful motifs. The Yakan is one of the few groups that use tapestry loom producing the sophisticatedly woven pis syabit (headscarf for men) and seputangan (head cloth for women).\n\nThe Yakan have a rich musical tradition based on the pentatonic scale. Their musical instruments are usually made of bamboo, wood, and metal. The daluppak is a digging stick with a bamboo clapper. The kopak-kopak is a bamboo clapper on a stick. The kwintangan kayu is a percussion instrument consisting of five wooden beams suspended horizontally. The ends of the beams are tapered, and these are beaten. It is associated with planting and played to enhance plant growth. The wooden tuntungan is a suspended wooden ercussion plank with jar resonators, played with a pole during the harvest season for the purpose of giving thanks. The gabbang is a bamboo xylophone with five bars. The suling is a bamboo mouth flute used by men in courting. Another used by men to express love or admiration is the kulaing. The kulintangan or kwintangan consists of five bronze gongs arranged according to size and used during celebrations. The agung is a large deep gong used in ensemble performance.\n\n<Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble>
Philippines 2015 -
Paglami-lamihan Soundscapes 1
The Yakan inhabit the island of Basilan just off the southern tip of the Zamboanga Peninsula of western Mindanao, particularly in the municipalities of Tipo, Lamitan, Sumisip, and Tuburan, and the islands of Sacol, Malanipa, and Tumalutab east of Zamboanga. The Yakan belong to the widespread Sama group, and their culture has become too specialized to be distinguished as a distinct group.\n\nThe Yakan’s language is closely related to the Sama, but their culture is more land orientated rather than the sea based. Agriculture consists largely of upland rice, although copra is also widespread. The main religion is Islam with syncretic elements from traditional and indigenous beliefs.\n\nThe Yakan are well-known for their elaborate dress, which is similar for males and females. For instance, both wear trousers. Noteworthy articles include the kandit, a fifteen-meter-long red sash worn by men, and the pinantupan, the women’s overskirt. Textile weaving done on the backstrap loom is much sought after, especially because of the intricate and beautiful motifs. The Yakan is one of the few groups that use tapestry loom producing the sophisticatedly woven pis syabit (headscarf for men) and seputangan (head cloth for women).\n\nThe Yakan have a rich musical tradition based on the pentatonic scale. Their musical instruments are usually made of bamboo, wood, and metal. The daluppak is a digging stick with a bamboo clapper. The kopak-kopak is a bamboo clapper on a stick. The kwintangan kayu is a percussion instrument consisting of five wooden beams suspended horizontally. The ends of the beams are tapered, and these are beaten. It is associated with planting and played to enhance plant growth. The wooden tuntungan is a suspended wooden ercussion plank with jar resonators, played with a pole during the harvest season for the purpose of giving thanks. The gabbang is a bamboo xylophone with five bars. The suling is a bamboo mouth flute used by men in courting. Another used by men to express love or admiration is the kulaing. The kulintangan or kwintangan consists of five bronze gongs arranged according to size and used during celebrations. The agung is a large deep gong used in ensemble performance.\n\n<Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble>
Philippines 2015
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PRACTICE OF CONSTRUCTING THE MONGOLIAN GERThe ger, a traditional dwelling created by nomadic Mongolians, is specifically designed to fit their way of life. Its semi- sphere shape helps the ger endure storms and tempests. It has solutions for heat control and ventilation. It is flexible in terms of size and design, and it is portable and lightweight. At the same time, it is also comfortable to live in and easy to build and dismantle. Moreover, the ger is used as a measure for time and directions.Year2013NationSouth Korea
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Mongolian Culture and HeritageThe culture of the Central Asian steppes expresses itself vividly in the lifestyle of traditional nomadic practices. Mongolian culture has been in practice in the nomadic life and the traditions surrounding the nomad’s home (ger). And it is present in religious celebrations, national festivals, art and crafts, music and dance, language and literature, which form the backbone of Mongolian intangible cultural heritage of Mongolia. Mongolia is filled with valuable cultural properties and intangible cultural heritage of humanity that have been kept or practiced for thousands of years.\n\nGer, Mongolian Traditional Dwelling\nThe traditional architecture of the Mongols differed strongly from that of the settled peoples of Asia and other continents. Centuries ago, there the ger, also known as a yurt, appeared. It still offers shelter to nomads in particular places in Central Asia. Its development and fundamental principles are determined by the specific features of the way of life of Mongol tribes, which made it necessary to evolve a light and collapsible structure to be used as a dwelling or for public functions.\n\nMongolian Language and Literature\nMongolian is the language of most of the Mongolian population and inner Mongolia. By origin, Mongolian is one of the Altaic family of languages, and the history of the Mongolian language is long and complicated. Significant literary work of early Mongolia includes The Secret History of the Mongols, which was published in 1228).\n\nMongolian Religion and Beliefs\nThe Mongols have practiced several religions, of which Shamanism and Buddhism were the most common. The faith in Mongolia is Buddhism, though the state and religion were separated during the socialist period, but with the transition to the parliamentary republic in the 1990s, there has been a general revival of faiths across the country\n\nMongolian Art and Crafts\nMongolian arts and crafts have been passed down across generations from the Paleolithic times to today, leaving behind deep impressions on all facets of life and conscious, aesthetic, and philosophical thinking. Highly developed Mongolian arts and crafts come from the second millennium BCE. The works included sculptured heads of wild animals with exaggerated features. Other items include knives, daggers, and other items of practical and religious use.\n\nMongolian Music and Dance\nMusic is an integral part of Mongolian culture. Among Mongolia’s unique contributions to the world’s musical culture are the long songs, overtone singing, and morin khuur (the horse-headed fiddle). The music of Mongolia is also rich with varieties related to the various ethnic groups of the country. Among the most popular forms of modern music in Mongolia are Western pop and rock genres and the mass songs written by contemporary authors in the form of folk songs.\n\nHorse Culture of Mongolia\nIt is famously known that horses play a large role in the Mongols’ daily and national lives. Common sayings are, “A Mongol without a horse is like a bird without wings,” and “Mongols are born on horseback” these are arguably true words. Even today, horse-based culture is still practiced by nomadic Mongolians.\n\nVisit https://www.toursmongolia.com/tours for additional information about Mongolian culture.\n\nPhoto 1 : Prairie meadow grass inner Mongolia traditional clothing © Batzaya Choijiljav\nPhoto 2~7 : © Batzaya ChoijiljavYear2020NationMongolia