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ICH Materials 48
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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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Cham: Mesmerizing Buddhist Mask DanceDressed in vibrant colors with mesmerizing masks, monks of Buddhist monasteries perform dances known as cham. These dances are performed in Buddhist monasteries of Nepal, Bhutan, Tibet, and India. This dance is commonly known lama in Nepal. There are different types of cham dances depending on the lineage of the monasteries and places. As many mask dances and rituals, this dance is also performed depending on the waxing and waning of the moon.\n\nThese dances originated in Tibet and have influence of the Bon religion and shaman culture. This dance is believed to eradicate diseases and negativity in the community and village, but also influence good harvests. According to the Tibetan legends, after the introduction of the Buddhism in Tibet, the king wanted to build Buddhist monasteries, but the spirits of the Bon religion created obstacles. A well-known Buddhist tantric from Uddiyana (presently the Swat region) known as Padmasamvaba was called on for this purpose. He performed a vajrakilaya dance to pacify the local spirits stirred by Bon magic and were not happy with the Buddhist monastery. After clearing the obstacles through the Padmasamvaba’s cham dance, the monastery was built in 706 CE. Now four school of Tibetan Buddhism (Nyingma, Sakya, Kagyu, and Gelug) use cham in their rituals.\n\nEven though Padmasamvaba is credited as the first cham dance, there have been contribution from many spiritual lamas to further develop cham dances. Many stories on improving the dances tell stories of lamas seeing dances in the dreams in which they remembered all the choreography and taught to the disciples. This transference of the knowledge from masters to apprentices still continues. Some Dalai Lamas have contributed to the cham dance. A few to mention here are the Fifth Dalai Lama (Gyalwa Lobsang Gyatso, 1618–1682), who not only described the dance minutely in chams yig but also constructed Potala Palace that became a Tibetan Buddhist center. The Thirteenth Dalai Lama, (Thupten Gyatso; 1876–1933), who fled to Mongolia during the British invasion, had vivid dreams. Based on those dreams he created a cham known as white man from Mongolia. Now after the dispersion of Tibetan Buddhists all over the world, cham dances are also widespread along with them. But the cham dances differ according to the school of Buddhism and also the dates of the dances.\n\nCham dances can be performed only by initiated monastery monks. Even if they have initiation weeks before the start of the dance, the monks practice these dances and undergo associated rituals. Depending on the type of dance, they will have a set of masks and the clothes. Cham dances feature various characters, most of which fall under the following types: 1) God of the Tibetan pantheon; 2) tramen, goddesses or witches; 3) ging, low ranked gods; 4) mahakalas, or wrathful protectors; 5) clown and jokers called stsaras; 6) mythical characters; and 7) humans. Cham dances are purification processes in which the demons enter through ritual and remain as a deity. These dances used to be performed in secrecy, but now everything is open.\n\nVarious musical instruments create devotional and symbolic music for the dances. Even human thigh bones were used as musical instruments to remind the performers about mortality and impermanence. The function of music and dances in Tibetan religious ceremonies is always directed towards attaining enlightenment.\n\nPhoto 1 : Cham dances being performed by the monks of Shechen Monastry, Boudha, Kathmandu ⓒ Shechen Monastry\nPhoto 2 : Cham dances performed by the monks of Shechen Monastry, Boudha, Kathmandu ⓒ Shechen MonastryYear2019NationSouthwest Asia,Bhutan,India,Nepal
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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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KalpureganIntroduction\nThe vast land of Sistan and Baluchistan, the place with such a rich history associated with legends and narrations of great poets, is known as one of the few main genesis centers of pottery around the world.\n\nKalpuregan is an ancient village South of Sistan and Baluchistan Province with the most enchanting deserts, including the incredible vegetation and magnificent climate, which caused the unique lifestyle of the inhabitants that has penetrated through the veins of the culture recognized on the needlework and pottery of Kalpuregan design.\n\nThe Untold History\nHistory, as a diary of events, has recorded the origins of pottery and needlework in this region. Pottery in Kalpuregan dates to 3000 BCE, and the precise art of needlework of this region is estimated to be from 5000 BCE. In the past, only men did pottery, and women did needlework art. Today, both arts are performed by the hands of Kalpuregan women.\n\nSimilar Design and the Identity Behind\nThe art comes from the heart, and penetrates through the fingers onto the body of subjects, the warp and weft of carpets, and within the yarns of the fabric, to create forms to tell the history and the interaction between the people and their environment, to depict definitions, and identities, as the bones of the culture.\n\nLiving in the severe desert conditions has turned concepts such as alliance, integrity, and protection into the values of Kalpuregan society. The basic forms used in Kalpuregan needlework and pottery are simple geometric forms carrying a deep meaning and value, turning these spectacular arts in this ancient village so special.\n\nCircle: Represents unity and integrity and shows the connection between people and their living environment.\n\nZigzag: Represents how Baluchs stand against natural harshness, which you may not face in other ethnic groups.\n\nTriangle: Giving an offensive sense that in Baluch folk beliefs, it separates enemies and evil spirits because, in ancient beliefs, spirits are intertwined with the existence of Baluch.\n\nThe Pottery Design\nFrom the combination of the basic geometric shapes in the design of pottery, simple designs express the values among the traditional people of Kalpuregan. The values are derived from demanding lifestyles, unique living environments, failures, or wishes. Behind these forms, there are deep semantic concepts that express the depth of Kalpuregan artists’ perception of the environment and the nature of human existence and people’s tendency to self-fulfillment to reach a high level of aesthetics.\n\nThe closer he got to perfection, the more he resorted to his surrounding environment to solve his issues and became more in touch with the atmosphere. Following that, he sought to express his concepts and beliefs in nature. As a result, the combination of designs became more complex. And after combining a few simple shapes, he created more complicated forms to create abstract images of nature on artifacts to evoke the sense of being in nature.\n\nThe Needlework Design\nSince art is the reflex of human emotions and senses he receives from his living environment, it expresses the way it affects people’s thoughts.\n\nEven though they picture the environment, the way the lines and shapes are assembled are born of the artist’s mind. Among the forms created, shapes of flowers are the most used on the fabric.\n\nAlso, figures with sharp angles and triangle-based ones are common among other shapes originating from the nature and history of Sistan and Baluchistan. Especially through the people’s point of view that reminiscent of war scenes. Each line and form are the wage of the cultivation in the artist’s thought to have an abstract expression in the form of the visual structure.\n\nHow Similar but Different\nA comparison of needlework with Kalpuregan pottery shows the close relationship between these motifs. In addition to their structural similarities, in many cases, they also have common semantic domains. These characteristics are influenced by the nature, culture, beliefs, and rare wishes of Kalpuregan people. Women in both fields are the essential creators of these historical arts. Despite being inspired by nature over the centuries, these mothers, who are a symbol of birth and growth, have not limited themselves to imitating the environment and creating new designs. They are very creative. However, the role of animals is less used in both areas.\n\nSimple geometric forms are most present in various combinations due to the changes that occur through the minds of these artists. Visual qualities such as rhythm, repetition, symmetry, balance, and centralism have put both the Kalpuregan pottery and needlework art in order. In the end, the existence of many commonalities in both areas leads to the strengthening of cultural values. And will become the identity of the Baluch people in the Kalpuregan.\n\nPhoto : Kalpuregan designs © Mohammad ShirkavandYear2020NationIran
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Puerperal (Postpartum Period) Food as a Traditional Treatment MethodTraditional treatment methods and folk remedies are used in Turkey for treating diseases, besides modern medicine. Applications within traditional treatment methods are mostly related to food and drinks. \nFolk remedies are prepared from the roots, leaves, flowers and seeds of various plants including nettle, hibiscus, nigella, harmal, and camomile. Besides folk remedies, food eaten to maintain a healthy body and to treat diseases are a crucial part of traditional treatment methods. For example, colloquially, dead nettle is recommended to be eaten at least once in a year for healing. It is believed that trotter or calf bone which is boiled for hours is healing for broken bones. In making of these soups, garlic, which is essential in folk remedy is widely used. \n\nAccording to the data gathered from the field research I’ve carried out in various areas and with various groups in Turkey and my obser-vations from this field research, communities have a shared and strong belief that some meals have healing effects in puerperal period. In this special period, folk remedy which encourages the use of specific food as treatment is used. Current practices in folk remedy are transferred from generation to generation by midwives and mothers. In this article, I want to explore the foods which are believed to have remedial proper-ties during puerperal period and also are described as a prominent part of themselves by culture bearers.Year2019NationSouth Korea
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Sources and OriginsIn my earliest, groggiest memories, I can recall waking up to the ticking burner of a gas stove, the gurgle of a Bialetti cafetière beginning to boil, the grinding gears of a coffee machine crushing each bean to a fine powder, magic dust that became the first sip of the morning. To those who grew up in Italian households, rackety espresso mornings (and afternoons and evenings) echo memories of childhood, grandparents’ houses, or the kitchens of countless cousins. As a result of memories like this of an upbringing deeply infused with Italian culture, I feel Italian right down to my bones. I have Calabrian blood, brown eyes, Sicilian skin, an Italian passport; but I was born and raised far from the Mediterranean.\n\nMy grandparents moved to Canada in a wave of immigration of young people from all over post-war Italy to North America. In the decades that followed, European and Asian immigrants blew like dandelion fluffs across the vast Canadian landscape, rooting themselves into the fabric of a now very multicultural nation. Those seeds planted so many communities like my own, homegrown by expatriates in the image of the cultures and lifestyles they carried with them across the sea. There are so many people like me, the sons and daughters and grandchildren of that first generation, who still speak and act and cook and live under their influence.\n\nMy associations with morning coffee are a simple example of a wider tendency within us all: each person senses and conceptualizes the world according to their unique cocktail of intimate personal experiences. Comfortingly, our senses are pre-programed, predisposed towards the semblance of where we come from, what we grew up doing. But our origins stretch far beyond the place in which we grew up and the family that reared us, especially when many of our generation, born during waves of migration and globalization, grew up between countries and continents, or at least with distant homelands close at heart. We became who we are in a multitude of places.\n\nThese are the circumstances under which the process of self-identification becomes even more difficult than it already is. For those with scorched origins, those who understand dialects spoken but never written, those christened with names that the next-door neighbors of displaced homes couldn’t pronounce, unpacking one’s cultural identity is no easy feat. We are left to grapple with the conflicting inferences of how we look, what passports we hold, what language it feels most natural to curse in.\n\nHow can we possibly know who we are when there’s no singular trace of where exactly we come from? What is it that makes a person associate with a culture and consider their own? What permits them to wear that badge of identity rightfully? Is it a matter of language or lifestyle or geography or genealogy or gastronomy? Need it be justified and by whom?\n\nI would argue that following a distinct checklist of prerequisites in the interest of culturally profiling ourselves and others is surely one of the reasons so many of us feel so mixed up about who we are. Humans are messy beings and we live messy, sprawling lives. And the ongoing identity crisis within us all, especially those who can’t exactly pinpoint where we come from, simply won’t be solved by the validation by any number of other people.\n\nThe only broad response I can put forward is something like the cliché usually used in reference to relationships: when you know, you know. Each of us just knows what makes us feel at home, connected to who we are. We can feel, sense, hear, see and smell it all around us. We sweep our eyes across a room and a slideshow of recollected images play behind our eyes. Certain words bowl off of our tongues more easily than others in second and third languages because they are quotations of a linguistic background unique to each of us, selected from the dialogues of our entire lives. We might find ourselves at home with the landscapes and humidity levels and smells that resemble the setting of our grandparents’ stories rather than our own memories. Wherever we end up, wherever they might be, we are all painfully, inevitably connected to our origins. Our tie to them is a cord that can’t be cut, one that stretches with our efforts to pull away and always offers enough give to coax us back to the source.\n\nRead more from Issabella on cultural heritage and thoughtful travel at www.museandwander.co.uk.\n\nPhoto : Word cloud © Shutterstock / TupungatoYear2020NationItaly
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Capoeira, Its Value as ICH and the Open School Project: Experiences and ReflectionsAfrikan combat arts and sciences are the very oldest in the world as Afrikan people are the first human beings in the world. According to Hamblin, “the oldest discovered cemetery in the Nile Valley at Jebel Sahaba in Nubia (northern Sudan)—broadly dated to roughly 12,000– 9000—provides the earliest evidence of tribal warfare, for roughly half of the 59 skeletons at site 117 had flint projectile points among the bones, probably indicating death in battle; some had evidence of multiple healed wounds, perhaps indicating repeated fighting” (2006, p. 32). This site has since been more accurately dated to between 13,140 and 14,340 years ago (Graham, 2016). At another massacre site at Nataruk in contemporary Kenya were found a mixture of people killed with blunt instruments, sharp pointed weapons, projectiles, and so on. According to Lahr , “Ten of the twelve articulated skeletons found at Nataruk show evidence of having died violently at the edge of a lagoon, into which some of the bodies fell. The remains from Nataruk are unique, preserved by the particular conditions of the lagoon with no evidence of deliberate burial” (2016, p. 2). Researchers at Nataruk also found:Year2020NationSouth Korea