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TattooingThe arc of cultural heritage is far broader than many realize. For many, the term calls to mind the physical remains of the past, often in the image of ancient buildings and ruins, or the history of a collective. If prompted to define what heritage encompasses in a personal sense, one might think of their own family’s lineage and ancestry. But in either sense, many of us understand heritage to be something outside of the self rather than something that we are a living part of. We are vehicles for living cultural heritage, not just ethnically, socially, or culturally, but physically. Tangible heritage might be best understood as very much alive, close to home, and applicable to each of us when we consider the body as a context for it.\n\nFrom the way we style our hair and the makeup we paint on our faces to the clothes we choose to wear and the adornments we dress up in, we all adopt insignias of culture and express our identities on the physical plain in modes that have been shaped by heritage. Tattooing is one of these mediums. Inking the skin as to permanently brand ourselves with a visual marker communicates something about who we are or what has touched our lives, to others as much as to ourselves. In this practice, the unseen intangible heritage and identity we know and feel is transformed into something tangible and corporeal.\n\nWe are hardly the first people to manipulate the body in such a way. Tattooing has a long history, a tradition adopted from ancient cultures from the Alps to Mongolia, from Greenland to China, from Egypt to Mexico, from Russia to the South Pacific. Whether marking the skin of a newly initiated member of a group, a tribe leader, a spiritual worshipper, a loyal warrior, or an outcast criminal, tattoos carried their potential to express diverse meanings into more recent history and the modern day. We’re all familiar with the sailor’s anchor, the Indian bride’s henna, the biker’s skull and crossbones, the adoption of the tribal tattoo or Chinese character in Western popular culture. But what stands out is not so much the range of meanings and contexts that tattoos might indicate, but rather the instinct to mark one’s skin in a permanent way, a tale as old as time.\n\nIt is striking to me that no matter where in the world these practices developed, so many diverse groups of indigenous ancestors were inclined to physically demarcate themselves and others, developing a technique of self-expression that would live on. I wonder why.\n\nMaybe they all recognized how powerful the skin can be as a medium for message-bearing. Upon this visible and undetachable bodily canvas, the way one is seen by others is manipulated from the first glance. As we dance through this ancient-turned-modern ritual today, whether the symbols we choose speak for themselves or inspire questions about who we are or where we’ve been, we consider ourselves branded for life.\n\nBut ‘for life’ and forever are not the same thing. In the past and at present, tattoos represent an attempt at permanence that is almost endearing in its falsehood. Though the ink on the skin itself may be unremovable, the skin and body itself is not eternal. The corpses discovered across Europe, Asia, the Americas and Oceania that attest to the long history of tattooing remind us that ‘undoable’ physical manipulations we make will last only as long as the body does. Whatever we regard as permanent is never really such, and after a time the tangible becomes intangible, whether we are referring to body or brick. Palpable proof becomes a fairy tale, man becomes myth. The physical is not perpetual, and tangible heritage does not last forever just because it takes material form.\n\nIt’s within this ongoing cycle of permanence and impermanence that cultural heritage is situated. Though we feel compelled to preserve the flesh of the past on personal and broader scales, matter is more delicate than we often accept, and the risk of disintegration is always looming. Tattooing is a poignant example of one of the most effective ways to retain the substance of the past as centuries go by: to keep it alive in practice, even if not in the exact form it once took, with the stories of where it came from accessible for inspiration.\n\nMore of Issabella’s work is available at museandwander.co.uk\n\nPhoto : Traditional Tattooing ToolsYear2020NationPacific Ocean,China,Egypt,Mexico,Russian Federation
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The festival of harvest: OnamOnam is a major harvest festival celebrated in the Indian state of Kerala. The 10-day Onam festival marks the onset of the first month according to the Malayalam calendar called Chingam and generally occurs in the months of August or September every year. Due to the COVID -19, the festival saw major restrictions, however, it was celebrated with much enthusiasm between 12th August until 23rd August 2021 keeping in mind all the COVID protocols.\n\nThe origin of the festival can also be traced from various regional sources. According to the folk song ‘Maveli Naadu Vaanidum Kaalam’, Mahabali was a very kind-hearted and generous king. Under his rule, there were no theft, lies, hunger, or jealousy among his people. It is said that people were so happy under his rule that they no longer felt the need to pray or make offerings to the Gods. He was beginning to rule all three worlds which infuriated Lord Indra and gods. To take control of the situation, Lord Vishnu took his fifth avatar of a Brahmin dwarf named ‘Vamana’. As Vamana, he appeared before Mahabali and made a wish for three feet of land for penance. In his first and second steps, he covered the heavens and the hell. Mahabali, seeing this, offered his own head for the third step. Impressed by this action, Lord Vishnu appeared as himself before Mahabali to bless him. Lord Vishnu granted a boon to Mahabali that he can visit his beloved people once a year. As a result, the homecoming of king Mahabali is celebrated as Onam.\n\nOnam combines elaborate festivities that include food, dance, cultural clothing, flower decoration, etc. Each house performs such functions with sheer enthusiasm and love for our culture while supporting agricultural practices. One of the most popular components of the festival is the food. Onam Sadhya is a multi-course meal that includes 26 different food items prepared with local ingredients. Some of the dishes include Rice, Avial (a dish prepared by cooking vegetables in mango and ground coconut), Olan, Sambhar, Rasam, banana and jaggery chips, Pappadam, followed by at least 2 varieties of Payasam (a milk-based sweet prepared with rice, wheat etc). These are only a handful of items prepared in the diverse state of Kerala also known as the land of spices.\n\nThe other aspects of the festival include elaborate decorations that include the extensive use of local and colorful flowers. Pookkalam (floor designs with flowers) are made every day of the festival and various games like Vadam Vali (tug of war), Puli Kali (folk art from Kerala), Vallam Kali (Boat Race), are played during the festival.\n\nThe festival is a great reflection of the cultural heritage of Kerala. Families are seen wearing traditional attires that include Kasavu/Set Sarees for women and Mundu for men. There is a tradition of gifting new clothes called Ona Kodi to other members of the family. The festival is celebrated with great energy with the enthusiasm of beginning a new year according to the Malayalam calendar in Kerala.\n\nThe author would like to thank and acknowledge the contribution of various people from Kerala including Aravind Nair, Kavya Nair, Mariam Rauf, Sarath Ninan Mathew, Vishnu Vijayan, and others who have shared valuable information about the festival.\n\nphoto 1 : Onam Pookalam © Yugaljoshi\nphoto 2 : Onam sadya © kavya_adigaYear2021NationIndia
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Intangible Cultural Heritage: Enacting the past in the modern timesYenya Punhi (also known as Indra Jatra) is one of the most entertaining street festival of Nepal. Although it is celebrated in different cities where there is presence of Newa population. Kathmandu takes the claim to this festival as their main festival. Now this festival is even celebrated in different cities around the world such as London, Dallas, Baltimore, Sydney and Sikkim.\n\nYenya in Kathmandu is elaborate with multiple events taking place simultaneously indifferent corners of the city for eight days. Chariot processions of living gods and goddess, different mask dances, processions of people and deities, displays of Bhairav masks are some of the main events. So during this event every streets, courtyards and alleys in Kathmandu are filled with people, gods and festivities.\n\nIn the evening of the first day, people carry out procession called Upaku or palcha bi wonigu literally translated as – to distribute butter lamps. The family members of the decreased ones goes around the ancient city lighting incense sticks and placing butter lamps along the way at every cross roads and religious shrines. Some groups of people also follow the route singing bhajan (religious hymns) as well as young groups are seen with different traditional musical instruments.\n\nFrom the big temples to stupas, chaityas and even the smaller shrines along the procession route are decorated with flowers, lights and samayebaji (pile of beaten rice with different beans, meat and food items). Music, lights, religious hymns and people make the city into different ambience.\n\nThis event seems to be for entertainment but actually this is for those who passed away that year. Many people participating in the processions are dressed in white. According to the Newa ritual, the sons of the decreased member dress in white for the whole year. The local belief explains this ritual is to show the light to the soul of the decreased people the way to the heaven. And any wandering soul in the city gets way out.\n\nThe story of the procession route is as interesting as the event. Ancient city of Kathmandu used to be a walled city and people who go in upaku procession are walking around the outer boundary of the city. In 1769, Kathmandu was taken over by Shah king and then the walls were let to ruins, which is mentioned in the book Nepal Mandala by Mary Slusser.\n\nNow there are no physical traces of walls and gates but the intangible heritage like Upaku brings back the long lost physical memory of the city. These festivals and rituals are not just celebrating the present but also bringing back the memory of the past in present landscape. It is a way to tell the people of this generation about the past of the city.\n\nOral micro history is very important to know the people and place of the past, and it is even important in the context of country like Nepal. Rarely the history of people and ordinary structures are recorded. Kathmandu Valley is full of rituals, events and processions, which tell the stories of people and place from the ancient times. And in many instances the activities of the past gets recreated in the present context even though the lifestyles of people and urban morphology has changed in unimaginable ways. Continuity of intangible heritage is also the way to give continuity to the memories of place, practices and past.\n\nPicture 1: People taking part in procession, chanting religious hymns and placing lamps along the way. © Monalisa Maharjan \nPicture 2: Pile of unbaked clay pot with lamps placed on the road. © Monalisa Maharjan\nPicture 3: Temple decorated with flower, light and a pile of Samaybaji along the route of Upaku. © Monalisa Maharjan\nPicture 4: Small shrine with the offering of lights by the people on procession. © Monalisa Maharjan\nPicture 5: A decorated chaitya on the route. © Monalisa MaharjanYear2022NationNepal
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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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ICH NGOs in Scotland and Their Contribution to the Development of Identity at a Local, Regional and National Level2014 is an important year for Scotland as it hosts a year of Homecoming, the Commonwealth Games, and an historic Referendum in September, where the nation will vote on whether to become an independent Scotland breaking away from the rest of the UK. The people of Scotland have a strong sense of national identity, which has undoubtedly played a part in the journey to the referendum. What Scotland projects internationally of this national identity can, however, be overly simplistic and one dimensional, and does not reflect the true richness and diversity of cultural life that exists in Scotland today. Scotland is best known for whiskey, golf, and castles, but there is much more beyond this with a rich cultural legacy creating a vibrant living culture, be it in the island cultures of Orkney, Shetland, the Western Isles, or in the Scottish Borders. Communities have distinct cultural traditions and practices that collectively make up identities on a local, regional and national level throughout Scotland. NGOs are central to the delivery of this cultural provision, with museums being just one example of community involvement, where over half the workforce for this sector is made up of volunteers working through NGOs. Museums Galleries Scotland is working in partnership with Traditional Arts and Culture Scotland to strengthen the networking among NGOs in Scotland and as a potential mechanism for future capacity building.Year2014NationSouth Korea
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Dao Mau: Ritual of the Mother Goddess in VietnamDao Mau, the Mother Goddess ritual, is an ancient Vietnamese ritual that has been around since the sixteenth century. For the first time, Dao Mau ritual was performed on 18 August 2017 in Sofia, Bulgaria. The performance was organized by the Embassy of Vietnam in Sofia in collaboration with the State Cultural Institute to the Minister of Foreign Affairs. The ritual pays tribute to three spheres of the universe: heaven, water, and earth (mountains and forests).\n\nLieu Hạnh is a leading Mother Goddess figure in Vietnam. Referred to as the Mother of the World, she is a nymph who descended to Earth, lived as a human, and became a Buddhist nun. The biggest annual festival celebrated is held in Phu Day Temple, Nam Dinh Province. The Mother Goddess ritual includes music, songs, dance performances; performers are dressed in traditional Vietnamese costumes.\n\nIt is believed that practicing this ritual maintains culture, history, and heritage as communally shared richness. The ritual encourages good nature in each individual and enhances the connection among community members. Worshipping the Mother Goddess is also a sign of appreciation to the role and contribution of women in society. Recognized by UNESCO, this Vietnamese ritual was inscribed on Representative List in December 2016.\n\nPhoto : Practices related to the Viet’s beliefs in the Mother Goddesses of Three Realms © UNESCOYear2017NationViet Nam
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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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Integrating Culture in Planning & Action for Sustainable Development : Role of ICH NGOsThe UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) and its Operational Directives outline the important role of NGOs in creating awareness on the Convention, generating space for dialogue and the exchange of good practices and challenges for inputs to programming and policy making at varied levels, and facilitating community participation in taking safeguarding measures through knowledge and tools support and capacity building. The contributions of ICH NGOs have been manifold, including building the capacity of communities, researching and documenting ICH, upholding distinct identities of places and communities through cultural tourism, facilitating transnational flow of creativity, strengthening cultural resources, and developing artist organizations. Now the ICH NGOs need to play a critical role in enabling the inclusion of cultural dimensions in the post-2015 development policy framework. So far culture is not identified as a goal in the proposed Sustainable Development Goals (SDGs). However, culture may be explicitly integrated as a target or as enabler in SDG goals like Poverty Eradication, Building Shared Prosperity & Promoting Equality, Quality Education & Lifelong learning, Gender Equality and Women Empowerment, Strengthening Global Partnership for Development, Ecosystems & Biodiversity, and Creating Peaceful and Inclusive Societies. Through knowledge sharing, networking, and mediating, they can effectively raise awareness among decision makers on the importance of the cultural dimension in development policies. By formulating innovative culture-based development projects with the participation of traditional bearers and practitioners, they can contribute to adoption of locally owned creative economy policies. Key areas of action will include mapping cultural resources; developing indicators on socio economic gains based on heritage, creativity, and cultural resources; and supporting capacity building for managing arts and strengthening the value chain.Year2014NationSouth Korea
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EpilogueThe legacy of Clifford Geertz’s symbolic anthropology has had a tremendous influence in critical heritage studies, particularly if we begin to think of “community” as the representation of the sociological and psychological thickness of time and people, a world in itself, or what he definitively penned in his germinal work The Interpretation of Cultures, “the strati!ed hierarchy of meaningful structures” (1973: 7). It is an imperative to honor the meaning of community in heritage work, both in its study and official protection, for without groups of people who live to de!ne and embrace and re-invent and share their cultural practices we will not be able to trace our linkages, belongingness, and identity. Traditional Food: Sharing Experiences from the Field is an evidence of the power of communities to transmit culture not merely inwardly, but also to other people across borders. This book underscores the anthropological value of unity, the appreciation of togetherness from Korea to Italy to Syria to Colombia to Mexico and the rest of the world through food.Year2019NationSouth Korea
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Tharu Basketry: Cultural and Economic SignificanceBasketry represents the oldest and the most widespread craft in the world. It is seen as an integral part of human civilization for its utilitarian purposes and sustainability. In Nepal, basket-making is one of the oldest practices of the Tharu community, and is connected to their various rituals from birth to death. The Tharu people are one of the indigenous ethnic groups who predominantly live in the Terai region stretching from east to west across southern Nepal. This group worships nature and natural products and is famous for its basketry crafts, Mithila and relief arts, and natural fiber floorings.\n\nA Tharu myth illustrates that Jasu, the first woman, taught irrigation and basketry to her counterpart Ishu, and thereafter the basketry tradition began. Intricately woven from locally available thatch grass, the baskets have evolved and are used in special ceremonies as well as more daily uses, ranging from storing valuables to carrying grains and vegetables. Woven basketry has an immense cultural significance to the Tharu people. It symbolizes the traditional skills of young unmarried Tharu girls who, when married, weave a series of baskets and take them to their in-laws’ homes as their precious dowry. Therefore, basket-making practice is considered a gift exchange system that binds two families together through marriage. This skill is transferred from mother to daughter.Year2023NationNepal
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THE ROLE OF PAPAYA PLANTS AS TRADITIONAL MEDICINE IN TIMOR-LESTEThe use of plant remedies in the treatment of ailments and diseases has been practiced by indigenous peoples for generations. In Timor-Leste, there are many plants commonly used as folk medicine such as papaya (known as ai-dila in the local language. It is a small, bushy tree with a hollow trunk, large palmate leaves, and oblong smooth-skinned fruits). In traditional practice, the most popular among Timorese communities is papaya as medicine to prevent various types of diseases. Medical papaya plants are potentially valuable medicine concerns on health reasons for both indigenous and modern communities in Timor-Leste. Therefore, it is crucial to protect its natural habitat. Realizing the importance of medical plant conservation has been ongoing for ages by the indigenous communities as intangible cultural heritage. This article focuses on the importance of conserving local practices (knowledge) about the role of papaya leaves as local medicine to prevent various types of illnesses.Year2020NationSouth Korea
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Pambabatok: A Tattooing Technique of the Butbut Tribe in the PhilippinesWhang-od Oggay, a 102-year-old woman from a mountain tribe in the Philippines, is a living instrument in the continuity of pambabatok, an endangered ancient tattooing technique that chiefly constitutes hand-tapping to create figures on the skin. Believed to be the oldest tattoo artist and the last linkage of her tribe to pambabatok, Whang-od became famous in the internationally when she was featured by Dr. Lars Krutak, an American anthropologist who was the host of Discovery Channel’s Tattoo Hunter in 2009. Pambabatok is argued to be at least a thousand year old intangible cultural heritage (ICH) element.\n\nWhang-od is called a mambabatok, derived from the root word batok that means “to hit”. For her hand-tapping tools, she uses a lemon thorn needle or siit that is attached to the end of a small bamboo stick and another shorter stick for tapping the thorn into the skin. The ink she uses is a mixture of water and soot. Pambabatok, compared to other conventional tattooing techniques, is relatively painful. It is done by applying rhythmic and repetitive pricks on the skin using her traditional hand tools. During my personal visit in Buscalan in 2015 to see Whang-od, I noticed that she will begin tattooing the tourists in the first light of dawn and she will only finish at dusk. There would be days when almost fifty people lined up to get tattooed by her. Sometimes she could not eat because of the blood and flesh that she had been tapping all day.\n\nThe traditional designs of her tattoos come from the symbols of nature and geometric figures significant to the Butbut tribe, an indigenous community living in the village of Buscalan, nestled in the lush terraces of the Cordillera Mountains of Kalinga, a province in the northern part of the Philippines. In the olden days, the tribe was known for their headhunting culture. Warriors battled for land and honor to protect their tribe and village. They would cut off their enemies’ heads and as a reward they would be inked with magnificent tattoos that exude valiance when they return triumphantly to their village. The females also received tattoos as a rite of passage and symbol of beauty. Their tattoos transform girls into women; the women thereafter become eligible for marriage and bearing children. The more tattoos women had, the more attractive they were to the men in the village. Some elders believed that the tattoos could also cure infertility and various illnesses. The culture of headhunting and combat slowly disappeared due to modernization and religious influences. Consequently, protecting the vitality of their ritualistic and performance-based practices never occurred to be a social agenda.\n\nWhen a journalist named Grace, niece of Whang-od, realized that the tattooing heritage will be completely lost when her aunt dies, the transmission of pambabatok. Recently, the National Commission for Culture and the Arts (NCCA) awarder her with the 2018 Dangal ng Haraya Award for Intangible Cultural Heritage to honor her contribution in raising awareness about the Butbut tribe and safeguarding an ICH element of the Philippines.\n\nPhoto : Whang-od Oggay © Royce Lyssah MalabongaYear2018NationPhilippines