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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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TRADITIONAL KNOWLEDGE CONTAINED IN KIMJANG, THE ANCIENT PRACTICE OF KIMCHI MAKINGThe tradition of storing vegetables harvested in autumn to eat throughout the winter is an ancient practice on the Korean peninsula that can be traced back to the Neolithic era when agriculture began. When buried in the ground for storage, the portions of vegetables that contain moisture would retain their freshness within even as the outer portions dried up. However, this method had the drawback of rendering large portions of the vegetable inedible. This led to the method of drying vegetables under the shade for prolonged storage. However, this method could not preserve the original flavor of the vegetables. Generations of trial and error in search for a better method of preservation led to the discovery of pickling in salt water.Year2013NationSouth Korea
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RITUAL CULTURE AND PALOV CEREMONYPalov, a tasty rice dish that incorporates meat, onions, carrots, herbs, and spices, comes standard on Uzbek menus. Prepared throughout Uzbekistan as an everyday meal, palov also has an important presence during festive events and rituals.Year2016NationSouth Korea
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Visiting the Boysun District, a Representative Cultural SpaceNestled in the southeastern mountains of Uzbekistan, Boysun developed into a cultural hub over centuries, since the age of the ancient Silk Road. Given its long history and outside influence through the famed trade route, the region’s cultural heritage evolved to become as diverse as the flora and fauna that inhabit the region. As a way of celebrating the diverse cultural heritage that dates back to the pre-Islamic days, the Boysun Bahori Festival was first developed as an annual spring festival in the early 2000s, with some interruptions on certain years.\n\nUNESCO officially listed Boysun culture as a Masterpiece of Oral and Intangible Cultural Heritage, and in the following year, the first festival was held. April was chosen as the optimal time for the festival as Boysun is unusually pleasant at that time, with flowering fields and green mountains creating a perfect backdrop for a festive environment.\n\nThe locals set up a yurt camp that includes workshops and stages for ensembles to perform. In addition, they set up makeshift arenas for traditional sports like wrestling, horse-related sports, and other activities, such as tightrope walking and acrobatics.\n\nIn April 2019, with the support of the Uzbek Ministry of Culture to explain well-known cultural spaces that I wanted to visit for a long time, I went to Boysun to interview some of the locals. During these interviews, some interesting insights about cultural heritage in the Boysun area were uncovered. According to the local community, much of the younger generation, both male and female, have tendencies to pursue careers or education in larger cities. However, in spite of decreasing number of young generation, community people expressed their satisfaction with living in the heritage city. They appear proud of the many rituals and traditional games that have remained a part of daily life.\n\nSuch customary knowledge is in traditional carpet weaving, craftsmanship, games, and rituals, which are still a part of Boysun communities. Some youth activities include stick-tossing games that are similar to jachigi, a Korean children’s game and commonly played throughout the world. In Boysun, I interestingly noticed that some practices have been influenced more by Zoroastrianism than Islam.\n\nDuring my visit, many of community members were absent in the village to visit Termez to participate and observe the International Bakhshi Art Festival, which was held for first time in Uzbekistan. Nonetheless through my visit to this unique cultural place, I felt deep aspiration of the people for safeguarding their own culture and heritage inherited through generations.\n\nPhoto 1 : Boysun entrance ⓒ ICHCAP\nPhoto 2 : Local people in Boysun District ⓒ ICHCAP\nPhoto 3 : Interviewing locals in Boysun ⓒ ICHCAP\nPhoto 4 : Prayer hall in the trunk of a tree that is hundreds of years old ⓒ ICHCAP\nPhoto 5 : Overview of Boysun District (seen from the entrance hill) ⓒ ICHCAPYear2019NationUzbekistan
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TWO-PART SINGING OF THE NUNG ETHNIC GROUP IN VIETNAMOf the fifty-four ethnic groups in Vietnam, the Kinh (also known as the Viet) people account for 85 percent of the entire population of Vietnam while the remaining 15 percent of the population is made up of the other fifty-three minorities. Within the group of minorities are the Nung people who have a population of around one million and reside in the northern mountainous provinces on the border with China.Year2015NationSouth Korea
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SINGAPO人—Discovering Chinese Singaporean Culture through Food, Festivals, and LanguageSingapore is a tiny Southeast Asian nation-state located in a region with many ethnic groups, of which the Chinese comprise only a small percentage of the overall population. Yet, the Chinese form the majority in Singapore, living alongside a significant proportion of non-Chinese. Over many years, this has led to a Chinese Singaporean identity that is complex and ever-changing.\n\nIn 2020, the Singapore Chinese Cultural Centre launched a permanent exhibition to encourage greater appreciation of the distinctiveness of Chinese culture in Singapore through examples of food, festivals, and languages. For the exhibition title to reflect Singapore’s linguistic diversity, the curators invented a word by combining English and Mandarin—the two most widely spoken languages in Singapore. The first element of the title “Singapo” is drawn from the country’s English name while the “人” element is the Chinese character for “person” (pronounced as “ren” in Mandarin). Hence, by reading the two elements together, the exhibition title “ SINGAPO人” sounds like “Singaporean!”\n\nTo provide the context, the exhibition begins with an examination of five key historical socio-geographical aspects about Singapore that led the local Chinese community to develop differently. They comprised the legacy of 150 years of British colonial rule, its location in tropical Southeast Asia, heritage of early Chinese migrants who were mostly from the southern coastal provinces of Fujian and Guangdong, the co-existence of a relatively large proportion of non-Chinese minorities, and Singapore’s reliance on global trade and connectivity for its economic survival.\n\nThese five aspects may be summarized into three basic driving forces that have shaped and continue to shape the Chinese culture in Singapore today. Firstly, there is Chinese heritage, which the early migrants brought to Singapore. These include their values (as reflected in festivals and practices), belief systems, language, customs, and food dishes that originated from China. Secondly, there are the cultural interactions among the different southern Chinese sub-groups (dialect groups) and between the Chinese community and the other ethnic groups in Singapore. These interactions ranged from the casual, such as attending to daily chores, to deeper levels of engagement, such as inter-marriage. These led to changes and adaptations to the way of life of the local Chinese. Thirdly, the Chinese community was also affected by how Singapore was governed. Whether during the colonial period or post-independence, all governments seek to shape society to achieve certain objectives. Hence, the impact of public policies and laws on cultural development is significant.\n\nIn other words, these are the three underlying key ingredients that give the Chinese Singaporean ‘recipe’ its distinct flavor. For instance, this is reflected in the way Chinese New Year is celebrated in Singapore. Firstly, the festival is a tradition that originated in China, and as such, is part of Chinese heritage (first ingredient). Although Chinese New Year does not coincide with the new year of the Gregorian calendar used in Singapore, it is nevertheless a public holiday and held in high regard by the local Chinese because it is a festival that emphasizes family togetherness and filial piety. Secondly, Singaporeans love to eat pineapple tarts and love letters during Chinese New Year. However, these snacks did not originate from China. Rather, they were made popular by the Peranakan (local-born) Chinese who often adopted Western techniques like the baking oven, and Western ingredients such as butter in their cuisine. This type of hybrid food is an example of cultural interaction (second ingredient) at work. Thirdly, during Chinese New Year, Singaporeans enjoy attending local festive events like Chingay and River Hongbao. These are large-scale public events organized by the state or state-sponsored organizations. This is an example of public policies (third ingredient) shaping the way in which Chinese New Year is celebrated in Singapore.\n\nHence, these three ingredients, found in many overseas Chinese communities, were present in the past and continue to exist in Singapore today. The influence of each ingredient varies with time, creating complex outcomes that shape Chinese Singaporean culture.\n\nFor more information about the exhibition SINGAPO 人, please refer to the SCCC website at: https://singaporeccc.org.sg/permanent-exhibition/\n\nPhotos 1~4 : The exhibition uses both physical and digital media content to engage visitors. © Low Sze WeeYear2021NationSingapore
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Cultural Heritage in Conflict AreasTo professionals in the sector of cultural heritage and stewards who recognize its significance to us all, tangible objects and intangible traditions both possess more power than many realize. There is a reason why in times of conflict, historic buildings and the rites and rituals related to these tangible elements are targeted as a means of violence: because as a direct line to identity, community, solidarity, belonging, unity, and connection to the past, both tangible and intangible heritage are an easy target for those who seek to obtain control by dismantling those rudimentary building blocks. Extremist groups, political regimes, and global institutions are all well aware that one of the most fundamental ways to injure a people is to separate them from the elements of cultural heritage that otherwise connect us, fill us up, and provide us with a sense of self, place, and purpose—and ultimately make us human.\n\nThe power that cultural heritage holds over entire nations, vastly spread ethnic groups, and displaced people across the globe does increase the vulnerability of the precious manifestations of that heritage—everything from architecture marvels to the surprisingly meaningful trinkets laying around peoples’ houses to the recipes, fairy tales, figures of speech, and traditional melodies passed down from generation to generation. But this strong influence can also be harnessed as a more positive asset, especially in the aftermath of conflict and trauma.\n\nAs communities heal from the wounds carved by violence and destruction in contexts like war, political upheaval, civil unrest, or natural disasters, cultural heritage may be a lifeline to which they can cling. Programs offered by global organizations like ICCROM and grassroots movements alike are mobilizing cultural heritage in the aftermath of destructive conflicts, fashioning it into a tool that will help to re-establish a sense of unity and identity. Honoring traditions by telling stories, revisiting significant locations, cooking recipes, and documenting intangible heritage offers an arena in which current pains can be momentarily soothed by the comfort of familiar customs and the reunification of a community. The education of local history has offered a similar sense of togetherness through the remembrance of a shared past, in which our identities the present day are so deeply rooted. But furthermore, history adds a layer of perspective, accounting for many of the grudges and lingering pains in which modern conflicts are often steeped.\n\nOutside of conflict zones, heritage can continue to pull its weight in the post-conflict recovery process. As refugees navigate displacement in new environments, collections at museums containing heritage objects that hail from their home countries can become touchstones of familiarity and opportunities for intangible heritage to be remembered and maintained. Through both the tangible objects themselves, which may hold particular significance and meaning to the people who come from the same cultural background, and through the elements of intangible heritage, memory, and identity that the items invoke, historical artifacts can be instrumental in establishing new communities and connections among immigrants and refugees.\n\nSeveral museums have recognized their role as meeting places offering programs in which displaced communities are trained as museum guides and deliver tours in their native languages, projects like this enable displaced people to be connected to their heritage while participating in the exchange of diverse cultural experiences within the museum. Although the tangible collections are the base of such initiatives, they also provide a venue for language, memory, culture, and identity to be expressed and kept alive.\n\nBoth on the ground as the dust settles in post-conflict zones and in widespread corners of the globe where displaced persons start new lives, cultural heritage has great potential to serve as a steppingstone as individuals and communities take steps forward in their healing process. In reconnecting individuals to the traditions, memory, community, shared history, and identity that shapes every one of us, heritage is undoubtedly powerful. But beyond this, in its appeal to the part of the human psyche that inherently yearns to belong to something, to know where we have come from, and to feel safely held by the cultures, which serve as a placeless home, some would argue that heritage is essential.\n\nPhoto : Science Photo Library, CC BY NTB scanpixYear2020NationCentral Asia
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From Micronesia to YouTube: Pasifika Renaissance on Documenting Oral TraditionPasifika Renaissance was established in September 2014 in Japan as an NGO with a mission to preserve and promote cultural and historical heritage in the Pacific Islands. The organization aims to revitalize traditional culture and empower local communities. They work in three main fields: documenting, researching, and teaching about traditional cultures and cultural heritage; providing technical assistance to relevant agencies and organizations; and promoting tourism. You can find out more at the organization’s Facebook page, where they post cultural and historical information, including historical photos and educational materials, and share updates about their activities.\n\nThey are currently engaged in a major project to document oral traditions in Pohnpei State. Many older Micronesians have fond childhood memories of listening to stories told by elderly relatives before bed. This practice, however, has been largely lost in Pohnpei due to the spread of new media such as videos and games and the decline of the younger generation’s interest in traditional culture.\n\nTo document stories from knowledgeable elders and pass them down to younger generations, Pasifika Renaissance began filming those stories in 2015 and sharing the videos on their YouTube channel with kind permission from the Federated States of Micronesia (FSM) Office of National Archives, Culture and Historic Preservation. This method of documenting and sharing traditional knowledge through online media is rare in the Pacific Islands. However, we believe that it has a great potential for future applications due to the relative ease of use and the internet’s global reach. Our project has been welcomed and supported by traditional chiefs, elders, and other community members, who share our concern that traditional knowledge could be lost.\n\nTo date, Pasifika Renaissance has uploaded more than two hundred narrative videos. These stories include legends, traditional tales, historical events, customs, chants and songs from Pohnpei (9 videos), Pingelap (69), Mwoakilloa (11), Sapwuahfik (60), Nukuoro (25), and Kapingamarangi (25) as well as two island groups of Chuuk State: the Mortlock Islands (10) and Namonuito (16). They hope to add more videos from Pohnpei, where they began their work just this year in collaboration with the Division of Historic Preservation and Cultural Affairs, Pohnpei State Department of Land. The YouTube channel has attracted over 240,000 views. Of these views, 78.5 percent are from United States, where one-third of FSM citizens now reside, and an 12 percent of the views come from within the FSM. Pasifica Renaissance’s YouTube channel has now reached 640 views per day, which they believe suggests a keen interest in these stories.\n\nThey offer their appreciation to the storytellers and others who have supported this project as well as the generous donors such as the KDDI Foundation in Japan. They hope by watching these videos, people can continue to pass on these stories to their children and younger relatives. If you would like to contribute stories or know someone who is willing to share stories with the organization, please contact them at pasifika.renaissance@gmail.com or by phoning the above Division (320-2652). If you have a knowledgeable elderly relative or friend staying overseas and have the ability to record his or her story via cell phone, tablet, or digital camera, please let them know. Please follow Pasifika Renaissance on Facebook and YouTube channel to receive updates as this project develops. They plan to extend this project to other states in the FSM and other Pacific regions in the near future and hope to collaborate with researchers, government agencies, NGOs, and community members. Please get in touch, and let them know how you can help spread this “renaissance” movement.\n\nPhoto : Interviewing Mr. Rasner Elias, Pohnpei © NGO Pasifika RenaissanceYear2017NationMicronesia
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A Festival of Tribal Traditional Craft and Culture in IndiaIndia has been known for centuries for its living heritage, tradition, and culture. The Rajasthan region is especially famous for its rich tribal tradition and craftsmanship. Different tribal groups have carried these traditions on since ancient times as the living heritage of the region. This practice is exemplified by the Aadi-Mahotsav, a three-day festival, which was most recently held in Udaipur from June 14 to 16, 2019. The festival demonstrates a discourse between the region’s tribal artists and the urban population in this cultural jamboree. The festival has earned a special importance in the conservation, exposure, and promotion of tribal traditions. \n\nAadi-Mahotsav is held by Tribal Area Development (TAD) and the Tribal Research Institute (TRI) in partnership with Bhartiya Lok Kala Mandal, Udaipur. The Aadi-Mahotsav starts in Udaipur, Rajasthan, on the second Friday of June and lasts for three days. The festival participants are children from tribal schools governed and run by TAD, tribal artists, craftsmen, musicians, singers, and other carriers of the intangible cultural heritage of Mewar, India, and other nearby villages.\n\nThe festival attracts all kinds of visitors: urban and rural residents, tourists, and collectors, representatives of businesses and cultural organizations, and so on. The festival traditionally opens with a sober procession of all the tribal artists, craftsmen, and participants of the festival in their traditional costumes. The participating artists welcome the distinguished guests at Bhartiya Lok Kala Mandal, the festival venue in Udaipur. More than 400 artisans, craftspeople, and experts from different districts of Rajasthan participated in the festival. \n\nTribal artists and students from tribal schools performed each day in the evening programs, while craftspeople, painters, and traditional healers displayed their tribal and rural products in the craft fair. Various conferences and workshops took place during the festival. These included a conference on arts and crafts for livelihood, as well as demonstrations of traditions, customs, and folk dances within the program framework. In addition, exhibitions and competitions for students like a talent hunt were included. \n\nAt the conferences and roundtables, participants and subject experts discussed the issues related to the current state of tribal culture in the region and in India more widely. Topics included the preservation of intangible cultural heritage, intellectual property rights, regional cooperation in developing the craft market, and cultural and rural tourism. During the festival, the Tribal Co-Operative Marketing Development Federation of India (TRIFED), an organization under the administrative control of the Indian government’s Ministry of Tribal Affairs, opened a permanent store at Lok Kala Mandal to promote and market tribal/rural traditional produce. \n\nAadi-Mahotsav, which demonstrates the idea of cultural and economic cooperation and harmony, contributes not only to developing tribal traditions, and the cultural and ecological tourism industry in the region but also to helping the tribal population to take active participation in the socio-economic development of India.\n\nPhoto : Aadi-Mahotsav, a three-day festival ⓒ Lokesh PaliwalYear2019NationIndia
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Kobyz: Kazakh Traditional Musical InstrumentKobyz (kyl-kobyz) is a sacred instrument embodying the spiritual world of a nomad. It is perhaps the most magical traditional musical instrument of Kazakh people. From being a sacred solo-instrument that sounded at the hands of nomads to moving to orchestras in large concert halls, kobyz went through a long journey onto the big stage.\n\nKobyz is made of a whole piece of wood, which is one of the most ancient ways of making musical instruments. It is an ancient belief that the living soul of a tree that is projected into the instrument is preserved only in the whole piece of wood. Kobyz is not a factory instrument, so it is always made by craftsmen. Making a high-quality kobyz is an extremely laborious process that requires considerable knowledge and skills. Many musicians admit that Kobyz is very selective and does not match with everyone. According to the local ethno-designers, kobyz might stop producing a proper sound if a person with negative energy is around it.\n\nKobyz Heritage: Importance of Revitalization\nMany valuable and interesting thoughts are contained in the ancient sounds and memories that come to life through the traditional musical instruments. As such, it contains morals about mutual respect, loyalty, justice, love for the motherland, and caring attitude towards elders. Therefore, it is necessary to carefully study and use those knowledge, traditions and customs in our lives today. Korkyt-ata himself, who is creator of kobyz and a legendary historical figure in Turkic world, became a symbol of national revival, the personification of high ideals of spirituality, morality, and love for the motherland.\n\nIt is believed that kobyz has a beneficial and healing effect to its surroundings. Traditionally, kobyz melodies were believed to have an ability to banish evil spirits, sicknesses and death. Sometimes the sound of a kobyz resembles a person’s speech coming from the depths of the soul. It is capable of transmitting the sounds of the wind, the voices of birds and animals, as well as the modern acoustics of the cities. However, the main point is a person’s feelings and soul hidden behind the melody. Having heard a kobyz play once, it is hard to forget its sound.\n\nSafeguarding and Popularization of Kobyz in Modern Musical Culture\n\nAncient ‘kyl-kobyz’ underwent several improvements, and the ‘kobyz-prima’ was born in the bowels of the orchestra. Like many folk instruments, kobyz defended its right to be placed among the popular classic instruments in an orchestra and has demonstrated its ability to adapt to any musical situation. the 20th century became a turning point for many ethnic groups with a predominant vector towards the tendency to rethink folklore within the framework of new aesthetic views. There was a transition from old traditions of solo performance to polyphonic orchestral sounding, which allowed the entrance into the big stage and entailed the improvements of Kazakh folk musical instruments.\n\nRevitalization of kobyz in the 20th century was contradictory: the pursuit of original traditions in national music was accompanied by the intensification of research in the field of folklore ethnography. However, people do not think of adaptation of traditional kobyz to contemporary time as a negative influence, rather they look at it with gratitude that this is how kobyz did not completely extinct as many other instruments. In fact, contemporary kobyz was constantly brought closer to the violin, which made it possible to present the instrument to the whole world, gain international recognition and move on to a new era – the era of reviving the “original ” traditional kyl-kobyz in the 21st century.\n\nphoto 1 : © Jean-Plerre Dalbera\nphoto 2 : “Playing on Kobyz-prima at friend’s wedding celebration” © Zhansulu Issayeva\nphoto 3 : “Kobyz-prima” © Zhansulu IssayevaYear2021NationKazakhstan
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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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The Task of Inventory, Safeguarding Intangible Cultural Heritage Experience from VietnamIn Vietnam, activities aimed at the safeguarding of intangible cultural heritage date from a much more recent period than the protection of tangible cultural heritage. This delay of over half a century in the development of preservation policies for intangible cultural heritage has been a big loss, which in some cases cannot be redressed. Because of the limited awareness of the full value of intangible cultural\nheritage, many ordinary people and culture owners have ceased practicing and transmitting their traditions. This has meant that there have been no inheritors to many traditions. Many oral heritage elements have disappeared forever, even from popular memory. The rapid change of socio-economic conditions has led to many changes in the spiritual and cultural life of communities. In the past, some intangible cultural heritage elements were considered backward or superstitious or belonging to the culture of the feudal class. As a result, culture bearers disavowed their heritage or were compelled to renounce their traditions. There are some social customs, forms of folk knowledge and technical skill that have become altogether extinct without any possibility of restoration or revival.Year2013NationSouth Korea