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South Asia
ICH Materials 103
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Celebrating Festivals During a Global PandemicNepal was famously referred to as “the land where there are nearly as many temples as houses and as many idols as inhabitants” by Sir William Kirkpatrick in his book Account of the mission to Nepaul in 1811 CE. This quote holds testimony to the numerous festivals celebrated throughout the year until today to commemorate these idols and temples. Since the seventh century CE, one such ancient festival has had continuity to relieve Kathmandu Valley from a long drought. The god being appeased in this festival was Matsyendranath, the god of rain, from which the festival received its name Rato Matsyendranath Jatra.\n\nAccording to legend, the drought was relieved by bringing a Matsyendranath from Kamarup-Kamakhya (now in east India). The king sent his team—the priest Bandhudatta, a farmer, and the serpent king Karkotaka. The entourage returned successfully and entered the valley through Bungamati, where the locals greeted them with much adoration and built a temple for the serpent king to reside. However, being from Patan, the farmer insisted on having the residence of the deity at Patan too. Since then, the festival has been celebrated in Patan and Bugamati without interruption.\n\nThis festival is celebrated just before the monsoon season (mid-April to May) as a harbinger of the rains. The festivity extends over a month and is the longest among the many festivals Nepalis celebrate. Astrologers are consulted for the events involved in this festival. The local community constructs an elaborate eighteen-meter-tall wooden chariot, which is assembled and dismantled annually. The deity is placed in the chariot on a throne, and the indigenous inhabitants of Kathmandu Valley pull the chariot around Patan. As the chariot rests at various locations, locals venerate the deity, offering incenses, flowers, and other items. Some people light oil lamps to ask for the general well-being of their families. The priest escorting the deity inside the chariot hands out flowers and fruit to devotees. The light from the lamps makes the chariot glow. In the evening, people invite extended families and friends and indulge in a feast of traditional food and drinks and merrymaking. After completing the tour, the deity is carried in a palanquin to its second home at Bungamati.\n\nThis year, the global pandemic changed the events of this festival. The government, rightly prioritizing citizens’ health, requested the organizing communities to cancel the festival. However, the organizers were keen to celebrate at least a low-key festival because the initial processes had already begun. Furthermore, they opined that the festival was celebrated to overcome a disaster in the past, so it should continue to avoid further tragedies. The public, impatient with the chariot festival’s delay, forcefully started pulling the chariot, disregarding social-distancing measures ordered by the state. The sight of a large mob would entice the police to use force to disperse the crowd, leading to a violent clash. The organizing committee decided to make a symbolic movement of the chariot. All other festival activities were canceled, so a ritual will be conducted to ask the god for forgiveness for the mishaps of the festival.\n\nThis is a very unpleasant situation, which could be handled better by the state. A similar chariot festival in Kathmandu, Kumari Jatra, which falls around August, was not celebrated on a joint decision of the state and the organizers. However, at Patan, the situation was slightly different; the initial rituals had already commenced before COVID 19. The government should have regarded the people’s commitment to providing continuity to ICH even during such times of crisis.\n\nNepal is known for having more festivals than the number of days in a year. If the state had been more diplomatic, it could have set an example to the world by celebrating all festivals in the presence of only the concerned people and authorities while broadcasting a live telecast for people all over Nepal and globally. With such negligence by the state, festivals and other ICH of a country can be lost.\n\nPhoto : Armed Police Force stand guard in front of the chariot of Deity Rato Machindranath. Skanda Gautam/THTYear2020NationNepal
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A Tale of Two Curries: Culinary Tradition as a Form of Cultural Heritage'Like this,’ the old woman says, raking her fingers through red lentils clouding a stream of bottled water. We’re crowded together in the kitchen of the guesthouse I am staying in—consisting of not much more than a single gas burner, a rice cooker, a table, and a shelf full of an array of spices—in a village on the outskirts of Kandy, Sri Lanka. While my hostess demonstrates how she makes the dahl, she feeds hungry travelers, and her daughter marinates chicken for a second curry. The way the pair dance through their routine tells me they’ve done this many times before, I imagine both in the presence of foreign guests as well as in the comfortable silence of private company.\n\nThe cooking lesson my hostess gave me years ago has evidently stuck with me in memory, and in practice, as I try my hand at the recipes, I was taught. The preparation of food, after all, is not just a duty performed by people out of necessity but also a ritual cherished across cultures. It can unite the members of a household, each individual playing a role in the making of a meal, from sourcing ingredients to cooking the dishes to laying the table. Though their responsibilities might differ from culture to culture, the collaborative element of preparing to eat together is one that can bind the women and the men, the young and the old, the past and the present.\n\nRecipes themselves are more often passed between generations hand to hand rather than neatly written on recipe cards, as grandmothers and grandfathers teach their young ones to simmer and season a dish to perfection. It’s a part oral tradition and, part ritual, and in this manner, tradition can be maintained, not just the combinations of ingredients that come together in proper proportions, but the act of making something together, whether as a family, community, or patchwork group of temporary visitors.\n\nThat tradition can then become characteristic of an entire region or country, as can any cultural craft. But culinary customs have exceptional quality, as the tradition can be intimately experienced by family members and foreigners alike. Anyone who participates in local cuisine is invited to taste the past and present of a people in a single bite. As traditional meals feed the bellies and satiate the souls of entire nations and their visitors, tradition is kept alive not only in the art of making the meal but in those it substantiates in both body and spirit. This is how heritage is kept alive; when it continues to nourish people.\n\nHeritage is also invited to take a seat at modern tables when the keepers of local traditions share the customs they’ve inherited. When foreigners, for instance, take the initiative to learn the ingredients, recipes, etiquette, and conversation that circulate the kitchen in a culture that is not their own and they are permitted to do so, they are offered a glimpse at so much more than just local cuisine. They are personally introduced to a custom that has preceded even grandmothers’ generations, one that remains alive thanks to the conscious dedication to tradition and its maintenance. In this process, which we may be privileged to take part in as we travel, intangible elements of cultural heritage are shared, rehearsed, and solidified. A magical merger can happen between local and foreign, and between ancestors and today is made possible.\n\nSo it’s no wonder that something more potent than curry spice lingers at the table in Sri Lanka after we have prepared dinner and sat together to eat. The simple act of cooking and sharing a meal carries far more weight than I then realized, although I could feel it; a sense of being tied together with not only the people in the room but with those who built this tradition so long ago. This invisible connection remains uncompromised by the limited language and experiences people of different walks of life are expected to have in common. And it’s a sentiment I encourage travelers to seek to experience anywhere they go, no matter how different and far-flung those corners of the globe might be. When we explore culinary traditions and local teachings, we approach the vast and various nuances that characterize culture and ultimately participating in the preservation of tradition.\n\nMore of Issabella’s work is available at museandwander.co.uk\n\nPhoto : Split Red Lentil Seeds Ready for Curry CC BY-SA 4.0 Sanjay AcharyaYear2020NationSri Lanka
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Chariot Festival of Janabaha Dhyo in KathmanduChariot festivals are interesting events in Kathmandu Valley where various communities come together to worship and celebrate; Janabaha Dhyo Jatra (as known locally) or Seto Machindranth Jatrar of Kathmandu is one such festival. The festival starts on Chaitra Sukla Asthami according to the lunar calendar. This year, a three-day festival will be celebrated from 26 to 28 March 2018.\n\nSurrounded by various stupas and statues of gods and goddesses in Janabaha Temple is a statue of Janabaha Dhyo, one of the eighteen chief Vihara of Kathmandu. The deity is worshiped as a form of Aryavalokitesvara and worshiped both by Hindus and Buddhists. The divine white face and feet are only the visible part of the statue while the rest is covered in cloth and jewelry. The Buddhist priest community looks over the deity, temple, and rituals all year round.\n\nDuring the festival, Buddhist priests put the statue in a palanquin and carry the deity from the temple to a place near Sanskrit College in Jamal. Once there, the deity is placed on the wooden chariot that the farmer community in Jamal would have constructed days before the procession. The wooden chariot is believed to be the where a potter found the deity while digging for clay. Assembled without using any nails but ropes made up of beda plant, the chariot is about ten meters high with four huge wheels with a long wooden pole in the front. The wooden chariot is built using almost three hundred pieces of wood, and the construction technique gives it flexibility while the devotees pull the chariot with the help of the rope. The chariot is in a sikhara style; gajura is placed on top. The chariot is decorated with juniper leaves.\n\nThe chariot procession takes place with all its fanfare. Gurjuya Paltan, the traditional army band, also joins the procession, including traditional musical groups from various quarters of the city and belonging to different castes. The procession follows a narrow path from the Tindhara Pathasala and enters the dense city through the Bhotahity (entry point of the ancient city). The chariot journey ends a ta place called Lagan. From there, the deity is carried back to the temple in a palanquin.\n\nVarious activities are held during the chariot procession; devotees come to pull the chariot while crowds stand in the street to watch. With vibrant colors, the chariot seemingly provides euphoria everywhere it passes. Devotees also come to worship the deity and light butter lamps in the morning and at night when the chariot is at rest. After the procession, the chariot is dismantled and the wood is saved for the next year.\n\nPhoto : Statue of Seto Machchhindra CC BY-SA 3.0 Krish DulalYear2018NationNepal
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Siruwat: Narrating the Untold Journey of the Deities to the Himalayas during the Covid-19 PandemicThe Rai communities of the eastern hills of Nepal celebrate the Siruwat festival during April and May, on the Nepali first full moon day of the year. Siruwat is celebrated to mark the season of plantation, also called dhule puja, which means worshiping the earth or soil. It is believed that the deities travel to the Himalayas after they are worshiped to avoid the summer. The festival is also called Ubhauli, referring to deities’ movement towards the upper hills/Himalayas. Every Rai household practices this ritual. Deities are offered eggs, alcohol, chicken, water, and freshly harvested rice. There is a belief that if people do not perform this ritual, they will get sick and go mad. Therefore, even people who live far away or are traveling make efforts to return to their village to perform this ritual.\n\nMy family moved to Kathmandu about two decades ago, and although being five hundred kilometers away, at least one person from the family managed to go to the village every year for the ritual. This year, however, the community to which I belong was supposed to perform Siruwat on 9 May 2020 in my village. Yet, for the first time in history, many families like mine could not attend the ritual due to the nation-wide lockdown caused by the ongoing pandemic. The coronavirus has challenged the discourse of this supernatural belief. We are worried over our strongly constructed belief of the maladies connected with not performing the ritual. We ponder over questions like what would happen to our deities who are supposed to travel to the Himalayas after worshiping and whether they would wait for us until the lockdown is over to conduct the puja. Thankfully, this year we have not experienced peak summer yet. Maybe the gods are controlling nature and waiting for us to worship them. Could this be linked to the supernatural power of our gods—their control over nature and not to scientific reasons like climate change? This is an uncanny feeling for us.\n\nThe deities worshiped in Siruwat are believed to be sisters, brought as a dowry by a mother and transferred to a daughter once she gets married. The god of the family is called Purkha Hangma, which means the main goddess and is worshiped inside the house, and others are called Daije, which means brought in dowry and are worshiped outside the house. Since we could not perform the ritual on time this year, we had to make ourselves promise that we would re-worship them soon, and present them all with the traditionally offered items to get their blessings. Once the travel restrictions are over, the head of my family—my father, will travel to the village and perform the ritual. This time, it would be different. Wattongs, the old generations of the community would discuss, purify the previously worshiped gods, and apologize. Then they will fix the new date and time to complete the ritual.\n\nThe Covid-19 virus has challenged the fundamental aspect of honoring the journey of the deities to the Himalayas by hindering this ritual performance and has also alarmed the community against celebrating other festivals due to risks of viral transmission. Therefore, when people are adapting to their virtual presence in many activities, there is an urgent need to convince the community on finding alternative ways to perform rituals, such as doing it remotely instead of being physically present at the site. Like Siruwat, many other festivals—both communal and national, which are the cultural manifestation of communities, are under threat; re-performing or rescheduling them is a challenge, considering their complexities.\n\nphoto 1 : Prepared rice for mangkok© Mohan Rai\nphoto 2 : Preparing mangkok (rice from freshly harvested rice) and alcohol in gourd © Mohan RaiYear2020NationNepal
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Bangla New Year Welcomed with Mangal ShovajatraIn the morning of 14 April Bangladesh ushered in Bangla New Year 1425 on Pahela Baishakh, the first day of the Bangla calendar, by bringing out Mangal Shovajatra, a UNESCO inscribed ICH element.\n\nClad in colorful punjabis and saris, people from all levels of society took part in Mangal Shovajatra parades hoping rid themselves of past evils and begin a better future.\n\nThe biggest and most attractive Mangal Shovajatra parade was at the Dhaka University in the capital city Dhaka. Hundreds of people carried student and faculty artworks representing evil and good. Similar processions were brought out in all districts.\n\nMoreover, Baishakhi Mela (fair) displaying traditional food and artwork, cultural programs, and other events were held across the country.\n\nAt sunrise, thousands of people gathered at Ramna Batamul, the main venue of the Dhaka celebrations, where Chhayanaut, a cultural organization, has been holding an annual music soiree since 1965 to welcome the Bangla New Year.\n\nOther government and private cultural organizations held Pahela Baishakh celebration programs that included traditional music and performances along with recitations, contemporary songs, and dance.\n\nOn 14 April, the Bangladesh Shilpakala Academy held special programs at its open field in the afternoon and at the National Theatre Hall in the evening. The programs featured lathi khela (tricks with sticks), songs, dance, and acrobatics. The academy also held programs, in association with different organizations, at Mirpur, Uttara, and Old Dhaka in the morning.\n\nIn such events traditional troupes from Manikganj, Chapai Nawabganj, and other places displayed lathi khela and presented different folk music genres like gambhira. Renowned singers, dancers, and recitation artistes also performed at the program organized by the academy.\n\nAt the Bangbandhu International Conference Centre in Dhaka, over one thousand singers performed in a chorus in an open-air concert organized by the Shurer Dhara music school.\n\nThe Bangla Academy welcomed Bangla New Year through a program featuring a discussion and cultural show at Rabindra Chattar. The Bangla Academy also organized a five-day folklore workshop for folklore experts from Bangladesh, India, and the USA.\n\nBangladesh Small & Cottage Industries Corporation in association with Bangla Academy organized a ten-day Baishakhi fair featuring traditional sweets, books, craft items, and other culture events.\n\nSammilita Sangskritik Jote held a cultural program at Dhanmondi’s Rabindra Sarobar.\n\nThe Bangla year with its first month, Baishakh, was introduced during the rule of Mughal Emperor Akbar the Great (1542–c. 1605).\n\nThe day is a public holiday. All radio and TV channels air special programs while newspapers publish special supplements.\n\nWhile Bengalis celebrate Pahela Baishakh, the hill communities of the Chittagong Hill Tracts celebrated Baisabi. Baisabi is a term formed by the first syllables of the Baisuk Tripura festival, Marma’s Sangrain, and the Biju Chakma festival or Tanchangya’s Bisu.\n\nPhoto : People from all levels of society participate at the Mangal Shovajatra parade on 14 April welcoming the Bangla New Year © Snaul Haque/ New AgeYear2018NationBangladesh
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Significance of the Month of Shrawan in NepalThe Nepali annual calendar is full of life and filled with celebrations and festivals enjoyed by communities from different castes, ethnicities, and religions. Shrawan (July/August), the fourth month of the Nepali calendar, reflects greenery in the environment and in the lifestyle of women.\n\nThe entire month of Shrawan is dedicated to Lord Shiva, the supreme deity in Hinduism. Devotees offer their prayers and seek blessings from Shiva for success, prosperity, and a better conjugal life. Shrawan is filled with religious celebrations.\n\nLegend\nIt is said that samundra manthan (the churning of the ocean) took place during Shrawan. Through that process, a number of valuable rubies emerged from the sea along with the halahal (a deadly poison with the potential to destroy the world). Lord Shiva came to the rescue by consuming the poison himself. It is believed that his neck turned blue due to the poison’s toxic effects, thus earning him the name Nilkantha (the one with a blue throat). The other gods came to help Lord Shiva using the water from the Ganges. He wore crescent moon over his head to reduce the effect of poison and maintains the temperature of his body. It is also believed that Lord Indra came to help by showering him with rain to reduce his body temperature. This is why water (particularly of the Ganges), leaves of the bel plant (bilva leaves), and milk are offered to Lord Shiva during Shrawan to earn good fortune.\n\nFasting and Bolbam\nShrawan is one of the most sacred months of the year in the Nepali calendar, and people devote themselves to religious activities. Although devotees visit temples regularly, it is believed that offering prayers on Mondays during Shrawan has special significance. People perform pilgrimages, also known as bolbam, barefoot and in orange attire to bring pure water from the holy river and offer it in temples to Lord Shiva. There are different practices of fasting. Some avoid grains, salt, oils, and spices on this particular day only, whereas others avoid meat, garlic, onion, and ginger for an entire month. Mostly Hindu women and girls continue fasting during this month. A married woman observes a fast for their husband’s healthy life while unmarried women do so in the hope of finding a better life partner.\n\nHenna and Bangles\nNepali women and girls are often seen wearing green and orange attire, hennas, and bangles to mark this month. Nepalese markets are filled with brightly colored accessories and apparel for the whole month. The green color signifies not only the cultural spirit but also the environment, which is verdant after the monsoon season. Married women can be seen wearing colorful glass bead necklaces, known as potay, a symbol of marriage in the Hindu culture. The potay is an important piece gifted by a groom to his bride during the wedding ceremony.\n\nPhoto 1 : A holy pilgrimage bolbam ⓒ Riwaj Rai\nPhoto 2 : Bangles and glass beads necklace potay ⓒ Smriti Rai\nPhoto 3 : Henna ⓒMamta AcharyaYear2019NationNepal
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ICH in Public Transport: Truck Art in PakistanListed on the UNESCO Register of Good Safeguarding Practices, the Oselvar boat was resurrected from near-extinction when the Os Båtbyggjarlag Boat-Builders Guild, Os municipality, and Hordaland County founded the non-profit boatyard and workshop foundation Oselvarverkstaden in 1997 with the support of the Arts Council Norway. The Oselvar boat used to be western Norway’s main mode of transportation and, as predominantly known, it is a Norwegian cultural icon that symbolizes the kingdom’s leisure craft. On the other hand, Costa Rica’s carreta or traditional oxcart is the Central American country’s most famous craft. Inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2008 (though originally proclaimed in 2005), the traditional oxcart used to transport coffee beans in a ten-to-fifteen-day journey, from Costa Rica’s central valley over the mountains to Puntaneras on the Pacific coast. As a mode of transport, it lingers on a mobility that is built around agriculture, transcending a cultural aesthetics informed by rural imaginary. The presence alone of carreta is an explicit call to end deforestation and be much more mindful about climate change. The Oselvar boat of Norway and Costa Rica’s traditional oxcart are two living examples of the creative union between transportation and craft so that we may see public transportation as a cultural understanding of intangible heritage.\n\nThe South Asian nation of Pakistan, with its twenty-six national highways and three strategic highways, does not shy away from parading the abundance and importance of ICH in public roads. Pakistan’s truck art, the largest art industry in the country, is a living construction of identity by making visible a host of cultural signifiers, from religious piety to popular imagination. Albeit there is no economic benefit from decorating a truck, and even though such undertaking costs at least a whooping USD 2000 back in 2011, it has been the norm, according to Jamal J. Elias, for fleet owners to have their trucks decorated. Since 96% of the freight in Pakistan is carried by trucks, one can easily imagine the widespread presence of truck art. Focusing on the art in the craft of vehicular decoration, as well as on pleasure, protection, and suffering experienced by truck drivers, Anna Schmid contends that truck art is a form of popular culture in which central societal assumptions and values are contested in that truck art, by the very process of putting it in the public sphere, puts social mobility in a terrain bounded by semiotics or the study of signs and how these signs meaningfully interact with each other in religious, political, and cultural terms. Schmid draws truck construction by highlighting the specialized craftsmen principally responsible for it: blacksmiths (who attach a steel skeleton to the chassis to hold the body and the driver’s cabin), the body makers (who create the body composed of wooden pine slats held together by metal and wooden cross-pieces), lacquerers (who spray paint the body), upholsterers (who install the seat of the cabin), and the painters (who apply motifs and other necessary decorations).\n\nUnsuspecting the ethnic diversity of Pakistani society, on the basis of categorical decorative motifs such as explicit religious symbols and images, talismanic and fetish objects, talismanically or religiously loaded symbols, idealized elements of life, elements from modern life, the non-religious calligraphic program of the truck, Jamal J. Elias, a scholar who thoroughly examined the typologies and evolution of truck art and proposed five regional styles of truck art: Punjabi, Swati, Peshawar, Baluchi, and Karachi styles.\n\nTruck art is an exemplary case to theorize that the process of understanding ICH is a public work, a work that compels mediation and collective valuation. Something that transforms personal sentiments into public feelings. And what’s more interesting about the truck art of Pakistan, other than it being an industry of its own, is its direct connection to transportation—that a vessel practically meant to transport a commodity from one place to another actually carries something more than what it does, and it does beyond time and place, connecting cities and regions that ultimately become unknowable large-scale social processes. Indeed, when a symbol travels, its meaning exponentially multiplies.\n\nPhoto : Truck art ⓒ B.B.P. HosmilloYear2019NationPakistan
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An Overview of Shamanism in NepalIn Nepal, Shamanism was practiced before the arrival of Hinduism and Buddhism. Now it is integrated within both of these religions. Depending on the credo of a particular ethnic community, shamanistic rituals have no monolithic shape but the core value of shamanism is consistently upheld. Shamans are commonly known as dhami or jhakri though ethnic communities have various terms assigned for them. Traditionally, shamans act as mediators between the spirit world and the human world. They are healers, soothsayers, advisors, and priests. Shamans are common people who work as farmers or in some other day job, and they just happen to practice shamanism, typically in the evening.\n\nAmong many ethnic communities in Nepal, Tamang, a cultural and linguistically distinct community, practices shamanism. They believe spirits in the environment help shamans solve people’s problems. In the Tamangworld, spirits are present as microbes in our environment; this worldview is never written, only maintained by oral culture. Some even say that they learn some mantras in their dreams. It’s also very important to have a master and to learn more mantras from them. In addition to teaching mantras to his disciples, a master also helps shake the body and control trances. The disciple-master relation is important and is seen during rituals.\n\nTamang shaman rituals are impressive to watch as the shaman also renders a captivating dance performance during the ritual. The attire of white dress and feather headgear he wears helps bind the people’s gaze. He uses a garland of 108 rittha seeds and rudrakshya (seed of Elaeocarpus granitreus). They wear bells arranged like a belt, producing sounds when they shake during the rituals. Along with the attire they also require ritual objects like phurba (three headed dragger), tiger bones, and materials like incense, uncooked rice, and seed of oroxylum indicum tree (which is almost like white petals). Beating a drum made of deerskin is one of the most important ritual objects. By beating and shaking his body, the shaman goes into a trance where he communicate with the spirits and finds the cure or answer for the clients’ problems. After every ritual, the shaman tells the people the solution to their problems, which he finds during the rituals. Many people in remote parts of the country still rely on the shaman for cures where they don’t have medical facilities. But in places that have medical facilities some people still go to shamans if doctors cannot cure them.\n\nDuring janai purnima (full moon of August or September), shamans have a special day when they gather at holy sites and perform rituals. It’s also a day to boost power among the other shamans. There was a time when all shamans were men. Today, however, though not too significant a change, a small number of women are also shamans.\n\nPhoto : Shaman performing a ritual in a Samarthali Village of Nepal ⓒ Monalisa MaharjanYear2018NationNepal
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Communities Connecting Heritage: From West Bengal to WashingtonCultural exchange promotes cultural diversity and contributes to cultural sustainability. This was the key learning from the Communities Connecting Heritage (CCH) program supported by the US Department of State and administered by World Learning. Learning Together for a Brighter Future was a collaboration under this program, between banglanatak dot com, an Indian social enterprise working on culture and development, and the Smithsonian Center for Folklife and Cultural Heritage (CFCH) in Washington DC. Around twenty young cultural professionals from the USA and thirty-one young tradition bearers from the state of West Bengal in eastern India had varied exchanges on art, music, food, lifestyle, and globalization as well as the use of social media in popular culture. The Indian participants included traditional storytellers or patuas, who paint stories on long scrolls and sing them; artists practicing the ancient dokra metal craft; Baul folk singers; and theatre artists. There were also in-person visits to West Bengal and Washington DC by a five-member delegation from each side. The youngsters not only shared photos and videos explaining their culture but also discussed cultural sustainability; virtual workshops were held to develop skills in interviewing and recording, and effective storytelling. Finally, the Indian and American participants paired up to write blogs on shared interests and experiences; the subjects varied from discovering common concerns on raising a child to managing heritage sites. Commonalities were also found in the traditions, for example food items like sopapilla and luchi, and painting traditions like patachitra and retablo.\n\nDuring the CFCH delegation’s tour of West Bengal in February 2018, the Americans met the artists at the World Peace Music Festival Sur Jahan in Kolkata, visited cultural and heritage landmarks, and learned about community-based cultural industries. They also participated in a round table on heritage education for youth and an exhibition titled Through the Eyes of Young Americans that summed up their experience. From June to July 2018, the Indian delegation visited Washington DC. The city’s vivid cosmopolitan character, a mind-boggling array of cuisines, and a stunning nightlife mesmerized them. Engagement of community and the larger public in a weekend drum circle, weekly jazz concerts, DC Alley Museum, and the Smithsonian Folklife Festival left a deep impression. The patuas painted a scroll on the story of rights campaigns at the National Mall; the audience loved it and the song narrating the story. On 13 August 2018, a webinar was held to share the participants’ experiences and insights. As the program drew to a close, it had succeeded in bringing the multicultural roots and ethos of America to the young Indians’ hearts and sensitized the young Americans about Bengal’s cultural traditions. For detailed information, please check the webinar below and the event’s blog.\n\nPhoto 1 : Learning scroll painting at Patua village ⓒ banglanatakdotcom\nPhoto 2 : Bauls discussing music on the move with Catalonian musicians ⓒ banglanatakdotcom\nPhoto 3 : Indian team at the Lincoln Memorial in the USA ⓒ banglanatakdotcomYear2018NationIndia
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Happy Bangladeshi New Year! Pahela BaishakhPahela Baishakh is the first day of the Bengali calendar. It has been celebrated within urban and rural communities since Mughal emperor Akbar inaugurated it in the fifteenth century to align with harvest season and tax collection. Irrespective of its name or origin, it has become a celebration across all faiths, castes, classes, creeds, genders, or ages, which makes it a secular identity of Bangladeshis and a way to voice against communal fundamentalism and promote unity and solidarity. The colorful procession that is an integral part of today’s Baishakh celebration is Mangal Shobhajatra.\n\nMangal Shobhajatra literally means ‘procession of well-being’. The procession is a cultural affair deeply rooted in the Bengali tradition of making clay dolls, pots, and other decorative pieces. It is said that Charupeethh, the cultural organization first organized the procession in Jessore in 1985 to celebrate the Bengali new year with puppets, masks, and music. In 1989, the students of the Faculty of Fine Arts of Dhaka University observed Mangal Shobhajatra for the first time in Dhaka and used it as to overcome their frustration with the existing military dictatorship. The people behind it were Mahabub Jamal Shamim, Moklesur Rahman, and Heronmay Chanda.\n\nThe procession usually has three themes—one set shows oppression and evil, a second theme represents people’s courage and strength to overcome the said evil, and the last theme reflects peace and solidarity of the people. This year’s (1424 Banggabda/ Bengali year) theme was to look toward light with the slogan “Anandaloke Mangalaloke Biraja Satyasundara” from Rabindranath Tagore’s line.\n\nAs in previous years, this year’s Mangal Shobhajatra drew thousands of participants from different walks of life. The participants carried colorful masks and floats of flowers, birds, animals, sun, and other motifs while the sun stood as a calling to come toward lights, shunning the darkness. The symbolic sun with its two shades—one is bright and the other is dark—represented two shades of human nature. Fish and birds on the other hand highlighted the cultural heritage of the country while the elephant symbolized prosperity. After the procession, the masks are often given away or sold as part of a charity fund drive.\n\nIn 2016, the Intergovernmental Committee on Safeguarding Cultural Heritage of UNESCO registered the Mangal Shobhajatra on the Representative List of the Intangible Cultural Heritage of Humanity. It added a new dimension of celebration this year as the government of Bangladesh organized the procession across the country. West Bengal, India, also brought out the traditional Mangal Shobhajatra in 2017.\n\nphoto: Bangladeshi children with placard in at Pohela Boishakh celebration CC-BY-SA-4.0 Moheen ReeyadYear2017NationBangladesh
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Coral Stone Mosques of the Maldives: The Vanishing Legacy of the Indian OceanThe Department of Heritage of the Republic of Maldives held an exhibition to display architectural drawings showcasing Maldivian craftsmanship skills at Maldives National Museum of the Maldives from 28 May to 31 July 2017. The event also featured the illustrations on Maldivian coral carpentry by a renowned Maldivian architect, Mohamed Mauroof Jameel. In the opening ceremony of the exhibition, “Coral Stone Mosques of the Maldives: The Vanishing Legacy of the Indian Ocean” was launched. It is a book detailing the architecture and coral carpentry of coral stone mosques co-authored by Mohamed Mauroof Jameel and Yahya Ahmad, a Malaysian architect.\n\nThe coral stone mosques in Maldives embody the intricate carpentry skills of the Maldivian. Intricately carved, they are exceptional with their lacquerware; an architectural creation seen only in Maldives. Coral carpentry dates back to the Buddhist era in the twelfth century and continued till the introduction of masonry in the late eighteenth century. As the only long-lasting and easily available materials were coral stone and timber, coral stones became the primary building material for monumental buildings. Skilled workers would lift live reef coral boulders or Porite corals from the seabed, cut them into stone blocks while still soft, air dry, and then interlock them to build an edifice. The method of construction using coral blocks was the tongue and groove method, an excellent building technique used in the ancient Maldives. Coral stone construction became even more refined during the emergence of Islam, particularly when the cutting techniques of Swahili region in East Africa influenced Maldivian artisans. The fusion of Buddhist and Islamic cultures in Maldives is reflected in the architecture of the mosques.\n\nHowever, removing corals is now prohibited due to environmental implications. The physical setting of the Maldivian islands with faros (ring-shaped reefs) by reef sediments resulted in the formation of coral reef islands. It is believed that the traditional lifestyle of the people had almost negligible impact on the marine environment. Being a country with more territorial sea than dry land, Maldivians highly depend on resources from the sea. Henceforth, coral reefs are not only economically important to Maldives in terms of revenue since they also function as a buffer to shorelines from wave action and other oceanic processes. It is found that coral mining for coral carpentry could be highly destructive and is carried out at a high cost to the reef environment with a very small return of corals as building materials. Consequently, the Government of Maldives is controlling coral mining with legislation, mindful of the environmental implications of such practice.\n\nThe only coral stone mosques left are those that were built during the ancient times. Maldivians do not practice coral carpentry anymore; however, coral carpentry as a skill is still being transmitted for the future generations. The existing coral carvings and construction are safeguarded by the government and local communities. This heritage embodies spiritual values and history of the Maldivian communities.\n\nPhoto : Detail of coral carving on the premises of Male' Friday Mosque © Dominic SansoniYear2017NationMaldives
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Nepali Women and the Teej FestivalHindu Nepali women celebrate a huge festival—one of the biggest occasions in Nepal—known as teej. It takes place on the third day of Shuklapaksha in Bhadra (normally in August or early September). The mythical explanation of teej purports that Hamalay’s daughter Goddess Parvati went through a rigorous fasting for 108 years known as hari talika teej with the desire to have Lord Shiva as her husband. Having witnessed the willingness of the Goddess to be with him, Lord Shiva accepted her as his wife. Goddess Parvati’s spirit, devotion, and strong intention generally compose the story upon which teej festival is grounded. Inevitably, Nepalese women have come to see teej as a venue for them to show their devotion to their significant other. If unmarried, they celebrate teej as a symbolic prayer to someday have a good husband.\n\nIn a highly male-dominated society such as that of Nepal, this kind of festival rings the idea of female subjugation and puts women empowerment in question. Does teej, a Nepali heritage as it is, survive a misogynistic culture? How do women (re)create themselves in a festival created by men for men? To put these inquires in context, it should be noted that Nepali women have historically been regarded as inferior objects. In the old days, if married, women would not be allowed to visit their hometown; they would not be given easy access to basic needs of living such as communication and transportation. teej is, again, a festival created by men symbolically for men, but it also is, and absolutely a venue for women. Nepali women use this opportunity to be with others to share their sorrow, happiness, and other deep emotions in togetherness. It has been reported that women use Teej as an assembly to collect funds for women-centered causes, taking advantage of the big occasion to raise development issues.\n\nteej remains as an important festival in Nepal, a surviving cultural vein of the South Asian nation. It honors Nepalese folk life, folk songs, and ancient Nepali music. Wearing red attire with fancy ornaments, participating in singing, dancing, and eating dar (a particular food in Teej) are the main activities in the festival. These days, both women and men observe the festival, recognizing its cultural value\n\nPhoto : CONTRIBUTED BY ANIL GANDHARBAYear2017NationNepal