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ICH Materials 23
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Cultural Revitalization: The Case of the BrandyWe would like to explore the idea of cultural revitalization within the context of traditional Quebecois dance. This will be done through a fairly well-known example—Brandy Frotté from the town of La Baie. In this short article, we will explore when and how this tradition was first collected and promoted and what has become of its practice over the past forty years.Year2013NationSouth Korea
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Mongolian Culture and HeritageThe culture of the Central Asian steppes expresses itself vividly in the lifestyle of traditional nomadic practices. Mongolian culture has been in practice in the nomadic life and the traditions surrounding the nomad’s home (ger). And it is present in religious celebrations, national festivals, art and crafts, music and dance, language and literature, which form the backbone of Mongolian intangible cultural heritage of Mongolia. Mongolia is filled with valuable cultural properties and intangible cultural heritage of humanity that have been kept or practiced for thousands of years.\n\nGer, Mongolian Traditional Dwelling\nThe traditional architecture of the Mongols differed strongly from that of the settled peoples of Asia and other continents. Centuries ago, there the ger, also known as a yurt, appeared. It still offers shelter to nomads in particular places in Central Asia. Its development and fundamental principles are determined by the specific features of the way of life of Mongol tribes, which made it necessary to evolve a light and collapsible structure to be used as a dwelling or for public functions.\n\nMongolian Language and Literature\nMongolian is the language of most of the Mongolian population and inner Mongolia. By origin, Mongolian is one of the Altaic family of languages, and the history of the Mongolian language is long and complicated. Significant literary work of early Mongolia includes The Secret History of the Mongols, which was published in 1228).\n\nMongolian Religion and Beliefs\nThe Mongols have practiced several religions, of which Shamanism and Buddhism were the most common. The faith in Mongolia is Buddhism, though the state and religion were separated during the socialist period, but with the transition to the parliamentary republic in the 1990s, there has been a general revival of faiths across the country\n\nMongolian Art and Crafts\nMongolian arts and crafts have been passed down across generations from the Paleolithic times to today, leaving behind deep impressions on all facets of life and conscious, aesthetic, and philosophical thinking. Highly developed Mongolian arts and crafts come from the second millennium BCE. The works included sculptured heads of wild animals with exaggerated features. Other items include knives, daggers, and other items of practical and religious use.\n\nMongolian Music and Dance\nMusic is an integral part of Mongolian culture. Among Mongolia’s unique contributions to the world’s musical culture are the long songs, overtone singing, and morin khuur (the horse-headed fiddle). The music of Mongolia is also rich with varieties related to the various ethnic groups of the country. Among the most popular forms of modern music in Mongolia are Western pop and rock genres and the mass songs written by contemporary authors in the form of folk songs.\n\nHorse Culture of Mongolia\nIt is famously known that horses play a large role in the Mongols’ daily and national lives. Common sayings are, “A Mongol without a horse is like a bird without wings,” and “Mongols are born on horseback” these are arguably true words. Even today, horse-based culture is still practiced by nomadic Mongolians.\n\nVisit https://www.toursmongolia.com/tours for additional information about Mongolian culture.\n\nPhoto 1 : Prairie meadow grass inner Mongolia traditional clothing © Batzaya Choijiljav\nPhoto 2~7 : © Batzaya ChoijiljavYear2020NationMongolia
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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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ICH Policy Brief MOVE 2023 APR01 UNESCO Trends\n* Mosul city employs local artisans to revive its landmark and culture\n* UNESCO reimagines African folk tales with Netflix together\n* Nominations to the Lists of the 2003 Convention for 2024 submitted from all around the world\n\n02 Asia-Pacific Trends\n* Documentation and digitization of Western Bengal’s traditional performing art form supported by the German consulate\n* A film featuring Cambodian tradition and culture released\n* 2023 ICH Brand Summit held in Guangzhou, China\n* Singapore National Arts Councils released Our SG Arts Plan (2023-2027)\n\n03 Korean Trends\n* Open call for elements to nominate to UNESCO Intangible Cultural Heritage of Humanity Representative List on the next cycle\n* MCST announced the Second Culture Promotion Plan (2023-2027)\n* KNUCH established the Center for World Heritage and Sustainable Development to train HIA professionals\n* Promotion of transmitting community for National Intangible Cultural Heritage kicks offYear2023NationSouth Korea
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ICH Policy Brief MOVE 2023 JUL01 UNESCO Trends\n* The Open-ended intergovernmental working group gathered to reflect on a broader implementation of Article 18 of the 2003 Convention\n* United States rejoined UNESCO as 194th member state\n* The Great Himalayan Exploration to document local ICH supported by Royal Enfield – the world’s oldest motorcycle brand\n* Iran firmly adheres to 2003 convention\n\n02 Asia-Pacific Trends\n* ‘2023 Cultural City of East Asian’ Opening Ceremonies\n* Indonesian ‘Batik’ and Korea’s Hyundai Motors collaborate to mark the 50th anniversary of diplomatic tie\n* Rising demand for cultural heritage tourism which helps local employment and local legacy safeguarding\n\n03 Korean Trends\n* Global meeting and announcement of ‘Seoul Vision’ for 20th Anniversary Celebration of the 2003 Convention\n* ‘Hanji, Traditional Knowledge and Technology’ selected as a candidate for UNESCO List nomination in 2024\n* Foreign corporates in Korea support the restoration, rehabilitation, and promotion of Korean heritage as part of social contribution\n* Korea Foundation held an exhibition highlighting female craftsmen in Pacific island countriesYear2023NationSouth Korea
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04 Leading the Safeguarding of Cultural Heritage in Niue : Mataginifale Women's GroupLeading the Safeguarding of Cultural Heritage in Niue: Mataginifale Women's Group\n\nMataginifale Women's Group (MWG) was established in the 1980s under the name of Avatele Women's Group. However, in the 1990s, its members decided to change its name to better reflect the unique status of the women, and named the organization after Mataginifale, a female warrior from Avatele born around 700AD. \n\nMataginifale is synonymous with tapa making, a cultural tradition not just in Avatele but in Niue as a whole. Therefore, the members agreed to adopt the word as the new brand for their group. "Brand" in this context should not be confused with "brand" here reflects Mataginifale's traits as a bold, adventurous, and confident artist that the next generations wish to emulate. \nYear2016NationNiue