Materials
handicraft
ICH Materials 248
Publications(Article)
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THE METALLIC THREAD OF MALAY EMBROIDERYHistorically, Malaysia (the Malay Peninsula) was known as the Golden Chersonese, and in the past, Malay populations lived in riverine and coastal settlements, which were some of the most important trading hubs in Southeast Asia. The Malay maritime empire was once a large kingdom, stretching from the coast of Vietnam and Cambodia to Southern Thailand, the Malay Peninsula, Singapore, Borneo, Sumatra, Riau, Sulawesi, and Southern Philippines. Across the Malay-speaking world, fabrics embellished with gold were for the rich and powerful, such as the ruler of the kingdom. Besides the golden fabric, songket, Malay embroideries were mostly used by nobility and royals. In the fifteenth century, the Melaka Sultanate instituted sumptuary laws governing the types of ornaments and colors for interior and soft furnishings, such as curtain fringes, bolster ends, cushions, prayer mats and other items. Across the Malay world, the numbers of dais, bolsters, and layers of siting mats, were associated with a certain hierarchy, varying across the regions.Year2018NationSouth Korea
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Memory and ICH in KyrgyzstanKyrgyzstan, a landlocked country the territory of which is more than 94 percent mountainous, is among the most attractive lands located at the heart of Asia on the ancient Silk Road trade routes. The cultural heritage of the Kyrgyz people has been greatly influenced by their nomadic history. Kyrgyz people occupy a unique cultural environment and have a rich ICH. The vitality of this cultural heritage is safeguarded and transmitted from generation to generation as collective memory, orally or through practice and expression.Year2021NationKyrgyzstan
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Kazakh Jewelry: Continuity of Nomadic TraditionsThe Kasteyev State Museum of Arts in Almaty has gathered a unique collection of Kazakh jewelry made during the eighteenth through twentieth centuries. These examples vary in form, type, and technique. The distinctive features commonly found on Kazakh jewelry make them true masterpieces which reflect a specific philosophical understanding of the world and demonstrate the great artistic abilities of the Kazakh people. Indeed, every element that comprises an individual piece of Kazakh jewelry, including its form, details, the material it was produced from, and patterns, has a specific purpose and meaning.\nKazakhstan’s abundant supply of nonferrous and precious metals, including gold and silver, encouraged the development of its metalwork for millennia. Casting, forging, molding, stamping, and embossing techniques emerged as early as the second millennium BC, during the Bronze Age, as did signatory traditional designs for jewelry worn by the Kazakhs both historically and today. Saka treasures discovered in different areas of Kazakhstan—the Issyk Kurgan and the Besshatyr, Kargaly, Altyn-Emel, Tagisken, Uigarak, and Berel burials—are true masterpieces.\nBy studying jewelry, scholars can discern a great deal of important social, economic, and cultural information about the people who wore them. The style of jewelry changed during the Migration Period when the Huns moved westward from 47 BC until the fourth century AD. Artisans applied fine metalwork to nearly all objects where metal was used, from jewelry and household items to harnesses.Year2022NationKazakhstan
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GANGNEUNG DANOJE FESTIVAL, ANCIENT EVENTS REVITALISING DOWNTOWNThe Gangneung Danoje Festival has maintained typical elements of ancient festivals that were held in May (seedtime) and in October (harvest time) during the Samhan period (around 300 CE). In the fifth lunar month, which includes Dano day, local people perform rituals for driving away evil spirits and welcoming the fortune and participate in traditional games and activities. The main deities of the festival are the mountain god, Kim Yusin, who was the general of Shilla and the United Three Kingdoms, and the royal tutor tutelary deity, Beomil, who was a Shilla monk. The first documented record of Dano folklore appears in the Samguksagi (A History of the Three Kingdoms). Other records indicate that Dano has commonly been referred to as ‘Suri’ in local dialects.Year2012NationSouth 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
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Crafts of Sonipat, HaryanaHaryana is a state in the Northern part of India. The region is famous for its historic connection with the ancient Indus valley civilization, stories of Mahabharata, and the three famous battles of Panipat. The state also boasts of a rich cultural heritage and is home to the Suraj Kund Mela held in Faridabad every year, one of the largest cultural gatherings in the world.\n\nThis article focuses on the craft of basket-making undertaken by the members of Self Help Groups, functioning in Tanda village of Rai block, Sonipat district, Haryana.\n\nIndia has a long tradition of basket weaving and it is a very popular craft in rural India. Basket weaving is the process of sewing or weaving materials into a shape with a cylindrical, circular or square base. The craft of basket weaving was introduced to Haryana by women of the Multani-speaking Audh community who had migrated from Pakistan during Partition and taken up this craft as a means of supplementing their meagre earnings. Traditionally, the raw materials were the locally grown date palm; phoos, a wild grass; and pula, thin leaves of the sarkanda plant—these were made into coiled baskets intended for domestic use by the womenfolk of the household. The products include a range of round-bottomed, cylindrical, and shallow baskets with and without lids. Some of the cylindrical baskets are nearly three feet high and have lids. The leaves are also plaited into strips and formed into bags and mats. The dry palm leaves, some of which are dyed so as to achieve a coloured pattern, are wound around a bunch of phoos or pula and sewn in place by threading the leaf through the lower coil; a big blunt needle is utilized to push the leaf through. (Ranjan, Handmade in India)\n\nPyari (name of the artisan), a resident of Tanda Village originally belonging to Punjab, moved to Haryana with her family in the late 1980s. She has inherited the skills to make beautiful baskets from her mother. Pyari, called Ammi (meaning mother in Hindi) by everyone, shared her techniques to make them and how she innovates with the designs during the process.\n\nThe basic raw materials used for the craft include Sarkanda or moonj grass– a type of grass grown abundantly in Haryana during winters, Khajur leaves(date palm leaves) that are soaked in water overnight to make them soft. To make new designs, colored Khajur leaves are also used as it adds unique patterns to the baskets.\n\nPyari is proud of her traditional skills and believes that they should be continued by the next generation. She is also concerned about the sustenance of the craft as most of the young people aren’t interested in such skills and may never understand the importance of the same.\n\nIndian crafts sector is the second-largest employer in the country after agriculture and the Sonipat administration is taking many active steps to keep the cultural heritage alive. It further aims to promote handmade crafts and make them accessible at the local, district, and national levels.\n\nHaryana has a rich cultural history that reflects inter alia in its crafts, textiles, and food. What’s interesting to witness about all the above crafts is the knowledge preserved by women who are involved in continuing these crafts.\n\nphoto 1 : Pyari bai (Artisan), Tanda Village, Sonipat, Haryana © Jyoti Shukla\nphoto 2 : Map of Sonipat district in Haryana, India\nphoto 3 : Basket Makers of Punjab(Courtesy of Special Collections_University of Houston Libraries)\nphoto 4 : Pyari bai (Artisan), Tanda Village, Sonipat, Haryana © Jyoti Shukla\nphoto 5 : (Left)Sarkanda leaves / (Right) Khajur (Date palm) leaves © Jyoti Shukla\nphoto 6 : Colorful Khajur leaves © Jyoti Shukla \nphoto 7 : Sarkanda baskets in the making © Jyoti Shukla \nphoto 8 : Final products: Sarkanda baskets © Jyoti ShuklaYear2022NationIndia
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Thailand’s ICH Video Documentary Series #3: ‘Loy Krathong,’ Paying Homage to the River GodLoy kratong is one of the representative festivals held throughout Thailand. An event is held every year on the day of the full moon in December of the lunar calendar, and a ceremony is held to honor the river (and water) goddess, Ganga.\n\nThe origin of the loy Kratong Festival is unclear, but it is most likely that it began during the Sukhothai Kingdom in the 14th century. Through the festival, people ask for forgiveness for using water to dirty the river, make a lotus-shaped basket made of banana leaves, place the basket on their forehead, pray, and float it on the river to make a wish. In northern Thailand, a festival is held under the name Yi Peng, which means “flying lantern,” hoping that the lantern will fly in the sky to blow away diseases and bad luck.\n\nAll of the school affiliated with the temple and local community members work together to prepare for the festival, and through the preparation of the event, community members, especially the younger generation, actively participate in the safeguarding and transmission of traditional culture. In addition, the loy Kratong events held throughout Thailand include the production of Kratong and competitions, which are effective in continuing public interest in handicraft traditions and delivering traditional Thai culture.\n\nThis loy kratong festival video is one of the 10 ICH Video Documentary Series. which is the result of the collaborative project between ICHCAP and Thammasat University in Thailand. Both organizations aim to raise visibility and strengthen the public’s access to ICH in Thailand through this project.\n\nPlease refer to the brochure for more information on the Thai ICH video documentary.\n\nphoto 1 : © ICHCAP\nphoto 2 : After the massive launch of Khom Loys the sky is filled with the lanterns at the YeePeng Festival in Sansai Thailand © John-Shedrick, CC-BY-2.0\nphoto 3 : Thai people setting their candle-lit krathongs in the Ping river at night during Loy Krathong © John Shedrick, CC BY 2.0, Changed: Size\nphoto 4 : © ICHCAP\nphoto 5 : Thai couple and child ready to set their candle lit krathong into the river during Loy Krathong © John Shedrick, CC-BY-2.0, Changed : size\nphoto 6 : © ICHCAP\nphoto 7 : © ICHCAP\nphoto 8 : © ICHCAP\nphoto 9 : © ICHCAPYear2022NationThailand
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Cultural Context of a CIOFF FestivalAccording to CIOFF policy, an international folklore festival will be fully accomplished as a meeting place for cultures when it is organized in the spirit of friendship and promoting a culture of peace. ICH is an excellent culture inherited over generations, a source of cultural development, and a manifestation of cultural diversity. The new management mechanism realizes the integration of ICH and tourism. The launch of “One Belt and One Road” strategy actually provides an important strategic opportunity for the protection and development of ICH. At the beginning of a new civilization cycle, to open a new window of civilization with people of the world. While there are four main cradles of civilization, which, moving from East to West, are China, India, the Fertile Crescent, and the Mediterranean, specially Greece and Italy, India deserves a larger share of credit because it has deeply affected the cultural life of most of Asia. India has also extended her influence, directly and indirectly, to other parts of the world.\n\nAn International Folklore Festival is one of the means to safeguard, to promote and to diffuse ICH, mainly through such genres of expressions as music, dance, games, rituals, customs, know-how of handicraft and other arts. To be a significant contribution to the maintenance and enhancement of cultural identity and diversity, a folklore festival has to be implemented in an appropriate cultural context. The reflections presented aim to develop a pertinent cultural context in existing and in new international folklore festivals. The following items constitute and describe what CIOFF sees as important elements of the term cultural context.Year2020NationSouth Korea
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TRADITIONAL MARITIME SKILLS AND KNOWLEDGE OF SOCIAL AND ECONOMIC DEVELOPMENTS IN INLE LAKEThe Inle Lake is the second largest freshwater shallows in Myanmar, located on the western edge of the Shan Plateau of the eastern part of the country. The estimated surface area is 44.9 square miles and the highest elevation is 2900 feet (880m). Inle Lake is a major tourist destination in Myanmar, attracting tourists by the picturesque beauty of the lake surrounded by mountains, houses standing on poles in the \nlake, beautiful floating gardens, and the cultural practices of the Intha fishermen. The main ethnic people of Inle Lake are Inthan while Pa Oh, Taungyo, Kayan, and Shan people also add to its diversity. \n\nThe people who live in Inle Lake are called Intha (people of lake). They live on the shore and on the lake, making a living by fishing, engaging in handicraft activities, cultivating on floating gardens as well as on \nthe delta of the lake. For transportation, the Intha people use wooden boats; for long trip they use long tail boats with engines, carrying local passengers and goods. Small boats are used for their daily activities.\n\nThe main economy of Inle depends on cultivation and fishing. The unique style of the Intha people is rowing the boat with one leg by standing. They paddle this way because reeds and water plants are many \nin the lake, and if they row sitting down on the boat they could not see reeds and water plants. There is no gender for this rowing style, from an early age; people are trained to paddle with their feet. \nYear2020NationSouth Korea
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Geometric Documentation of Heritage and CIPA's RoleTaking care of mankind’s cultural heritage is an obligation to us and to our future generations. Cultural heritage, tangible or intangible, is recognized by all civilized countries of the world as the most important carrier of historic memory for mankind. It bears the historic passage of our ancestors from this world and signifies the evolution of humanity through the ages. Hence, it is a carrier of historic memory for all mankind and an ark of national and global civilization.\nCultural heritage implies the monuments, but also every kind of document or evidence of civilization. It may be distinguished as tangible and intangible cultural heritage. Tangible heritage means all built heritage, including various artefacts. On the other hand, intangible cultural heritage includes all traditions, songs, poems, legends, handicraft, recipes, music, dances, etc. One cannot enjoy and appreciate tangible heritage without its connection to intangible heritage—they go hand in hand. An ancient temple means nothing without the knowledge of the rituals that were going on there. Hence, both must be protected together.Year2020NationSouth Korea
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Good Practices in Policies and Activities on Safeguarding and Promoting Traditional Crafts for Sustainable Development in Communities: Yurt-Making Craft in the Ysyk-Kol Region of the Kyrgyz RepublicA yurt is a traditional dwelling of many nomadic people, including the Kyrgyz. The yurt consists of a circular wooden frame covered with felt and wrapped with ropes. A standard yurt has a diameter of 6 m, with a total area of 30 m². The average height is up to 3 m, and the diameter of the tündük (the roof of the yurt) can be as wide as 2 m. It is portable and can be easily assembled and dismantled within a short period of time. Yurts are characterized as easily transportable, compact, ecological, and practical. Their use has been a part of Kyrgyz nomadic culture for millennia. Making a yurt is a complex craft in its own right, bringing together almost every other traditional Kyrgyz handicraft, including woodworking, felt-making, weaving, embroidery, mat-making, and many others.Year2023NationKyrgyzstan
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MADE51: UNHCR's Flagship Initiative to Bring Refugees into the Global Artisan Value ChainUNHCR works in 134 countries to protect and support 25.9 million refugees. Within this population is a vast, diverse and talented pool of artisans.\nWhenever refugees flee, they carry with them the traditions, skills, knowledge and craftsmanship that unite and define a people. From the expert leatherworking of the Tuareg in Burkina Faso to the fine embroidery of the Syrians in Lebanon, refugees long to sustain these artistic traditions and participate in the growing global artisan economy. There are opportunities for engagement. The artisan sector, behind the agricultural sector, is the second largest employer in the developing world. International trade in artisan crafts is now valued at over $36 billion per year, with 65% of handicraft exports coming from developing countries.1) This means that with the right support, refugee artisans can hold the keys to self-reliance in their own talented hands.Year2019NationSouth Korea