Materials
cutting
ICH Materials 70
Publications(Article)
(7)-
CENTRAL ASIA CRAFTS SUPPORT ASSOCIATION’S RESOURCE CENTER IN KYRGYZSTAN—KYRGYZ CRAFT HERITAGE SAFEGUARDING: ISSUES AND ACTIVITIESTraditional crafts have long been a part of the traditional nomadic culture of the Kyrgyz people, who have historically lived in close connection with nature. For the Kyrgyz people, the natural world was once seen as an inexhaustible source of raw materials and inspiration for the creation of handicrafts.Year2011NationSouth Korea
-
Kalpak, a Traditional Headdress of Kyrgyz Men Drawing the Universe’s EnergyKalpak is the traditional headdress of Kyrgyz men. Symmetrically cut, it is purely made up of white felt, with black or red edges. Craftswomen describe the parts of the kalpak’s structure as fire, water, air, and soil, connecting to one another as north and south and east and west.\n\nThe top of kalpak is called the sun ray, a symbol of life. Tassels are added to the top to symbolize the roots of progeny. Lines and patterns, stitched on white felt, have their own semantic content. The kalpak’s color depends on the person’s age or status. Children often wear kalpak with green edges, the color of grass and leaves. Middle-aged men wear brown kalpaks, a reference to the color of soil and mountains. Young men of marriageable age wear red kalpaks. Very wise people or those known for their leadership and justness wear a white kalpak with white edges.\n\nHolders of traditional knowledge say that kalpak a headwear is not only to protect oneself from sun or rain but also to aid men in drawing energy from the universe. As an important part of the Kyrgyz people’s tradition, one can’t give another person his own kalpak, play with it, throw it up, or put it to the ground. It is treated with utmost respect and is usually presented as a gift to esteemed people and relatives.\n\nTo popularize the national headdress, 5 March is designated as the National Day of Kalpak in Kyrgyzstan. Conventionally on this day, schools have lessons on the kalpak, museums and theaters hold presentations on the historical origins of kalpak, and various flash mobs are organized with the participation of activists of youth movements and students to demonstrate the importance of kalpak in Kyrgyz culture. Consequently, kalpak is very popular among men of different ages, backgrounds, and social belonging. The cultural relevance of kalpak is reinforced by a huge number craftswomen producing it, making it available in all part of Kyrgyzstan.\n\nPhoto 1 : Traditional Kyrgyz kalpak cc by-sa3 Prosopee WikiMedia\nPhoto 2 : Kalpak, traditional headdress of Kyrgyz Men ⓒAigine Cultural Research CenterYear2018NationKyrgyzstan
-
Uzbek Culture and Traditions Associated with ChildbirthThe customs and rituals associated with childbirth and the period of chilla (forty days after childbirth) constitute the oldest layer of family and everyday rituals of Central Asians. Rites and traditions related to the birth of a child, along with the ancient mythical and magical beliefs, are still followed with the help of ancestors.\n\nFrom the first days of a child’s life, a sense of loyalty to the family and parents is of great importance and is observed in a number of customs and superstitions after the birth of a child in Uzbekistan.\n\nFeeding. Particular importance is attached to the first feeding of the child; it is associated with a number of customs and beliefs. Immediately after the birth, the mother feeds the child with colostrum, which is considered the most useful for the baby.\n\nFeeding newborn baby should start by applying the child to mother’s right breast so that the child would become right-handed. If a mother’s milk was a lot, she would not be allowed to speak about it to protect from jinx. If a mother had to pump extra milk, it could not be poured into a dirty place or place where animals could reach, to avoid the disappearance of mother’s milk.\n\nBabies are usually fed in a cradle, and mothers do not feed their child in the presence of her father-in-law or other male relatives of the husband. In general, to bare breasts for feeding even before women in daylight is not permitted because it was believed that breast milk could be lost.\n\nAzan. One of the important customs and traditions of the Uzbeks associated with the birth of a child is reading azan by old people in the presence of the child’s father and grandfather immediately (or after some time) after the birth of the child to his right ear and reading Ikamah to the left. This ritual is very important because sacred words should be the first to reach the hearing of the baby. Azan can be spoken by the child’s grandfather, father, or an adult Muslim. The child’s name must also be pronounced in the right ear during this ceremony. It is believed that after the azan, the child’s perception of sounds begins to function.\n\nBeshik to’y. In Uzbek families, the birth of a new child is always a great event that is always accompanied by a beautiful ritual—beshik to’y (the first laying of the baby in his own cradle). This event is usually conducted on the seventh, ninth, eleventh, or fortieth day from the birth. On this day, the relatives of the mother bring a cradle (beshik) with necessary accessories as well as traditional cakes, sweets, and numerous toys for the new child. All gifts are wrapped in a festive tablecloth (dastarkhan). Men are not allowed to attend; this is a purely women’s gathering. The sounds of traditional folk instruments (karnay, surnay, and drum) begin the celebration. Guests congratulate each other at the festive table. In a separate room, the young mother surrounded by aunts learns the first swaddling and placing the baby in the cradle.\n\nUnder the baby’s pillow, a knife (wishing to be brave) and a piece of bread (wishing to be provided with bread during his life) are put before the baby is put in the cradle. While the mother was nursing her baby, she is given bread, and this bread is taken by children around her. Various sweets were scattered next to the cradle, and the children eat them with the intention that the newborn’s life will be sweet and abundant.\n\nAqiqa. One of the most important traditions in Uzbekistan as a sign of gratitude to the Lord for the newborn child, it is desirable, if there is a material opportunity, to sacrifice a sheep. As mentioned in holy hadith, the sacrifice is best made on the seventh day after birth. The meat of al-‘akyq is distributed as follows: part is used by the parents, who sacrificed the animal, part is distributed as a charity, and the rest is shared among relatives.\n\nHair cutting. On the seventh day after the birth, it is desirable (according to Sunnah) to shave the child’s head. After that, hair should be weighed and corresponding to the weight of the hair amount, the silver is given as alms to the poor and needy people. Shaving the head strengthens the hair and scalp and improves vision, smell, and hearing, and the distribution of alms (sadaqah) helps support those in need; this is a manifestation of social solidarity among Muslims.\n\nAll the rituals and traditions related to childbirth in Uzbekistan are of paramount importance for a child to become a perfect person.\n\nPhoto 1 : Uzbek tradition associated with childbirth ⓒ Nosirbek Yusupov\nPhoto 2 : Uzbek tradition associated with childbirth ⓒ Nosirbek Yusupov\nPhoto 3 : Uzbek tradition associated with childbirth ⓒ Nosirbek YusupovYear2019NationUzbekistan
-
Coral Stone Mosques of the Maldives: The Vanishing Legacy of the Indian OceanThe Department of Heritage of the Republic of Maldives held an exhibition to display architectural drawings showcasing Maldivian craftsmanship skills at Maldives National Museum of the Maldives from 28 May to 31 July 2017. The event also featured the illustrations on Maldivian coral carpentry by a renowned Maldivian architect, Mohamed Mauroof Jameel. In the opening ceremony of the exhibition, “Coral Stone Mosques of the Maldives: The Vanishing Legacy of the Indian Ocean” was launched. It is a book detailing the architecture and coral carpentry of coral stone mosques co-authored by Mohamed Mauroof Jameel and Yahya Ahmad, a Malaysian architect.\n\nThe coral stone mosques in Maldives embody the intricate carpentry skills of the Maldivian. Intricately carved, they are exceptional with their lacquerware; an architectural creation seen only in Maldives. Coral carpentry dates back to the Buddhist era in the twelfth century and continued till the introduction of masonry in the late eighteenth century. As the only long-lasting and easily available materials were coral stone and timber, coral stones became the primary building material for monumental buildings. Skilled workers would lift live reef coral boulders or Porite corals from the seabed, cut them into stone blocks while still soft, air dry, and then interlock them to build an edifice. The method of construction using coral blocks was the tongue and groove method, an excellent building technique used in the ancient Maldives. Coral stone construction became even more refined during the emergence of Islam, particularly when the cutting techniques of Swahili region in East Africa influenced Maldivian artisans. The fusion of Buddhist and Islamic cultures in Maldives is reflected in the architecture of the mosques.\n\nHowever, removing corals is now prohibited due to environmental implications. The physical setting of the Maldivian islands with faros (ring-shaped reefs) by reef sediments resulted in the formation of coral reef islands. It is believed that the traditional lifestyle of the people had almost negligible impact on the marine environment. Being a country with more territorial sea than dry land, Maldivians highly depend on resources from the sea. Henceforth, coral reefs are not only economically important to Maldives in terms of revenue since they also function as a buffer to shorelines from wave action and other oceanic processes. It is found that coral mining for coral carpentry could be highly destructive and is carried out at a high cost to the reef environment with a very small return of corals as building materials. Consequently, the Government of Maldives is controlling coral mining with legislation, mindful of the environmental implications of such practice.\n\nThe only coral stone mosques left are those that were built during the ancient times. Maldivians do not practice coral carpentry anymore; however, coral carpentry as a skill is still being transmitted for the future generations. The existing coral carvings and construction are safeguarded by the government and local communities. This heritage embodies spiritual values and history of the Maldivian communities.\n\nPhoto : Detail of coral carving on the premises of Male' Friday Mosque © Dominic SansoniYear2017NationMaldives
-
The Dreaming Culture of the MandayaIn the Philippines, the Mandaya indigenous group is known for their gaudy and vibrant culture that has been preserved from successive generations and has withstood the colonizations that the country surpassed. The Mandaya people live in Mindanao, the second largest island in the Philippine archipelago, specifically along the mountain ranges of Davao Oriental. The term “Mandaya” comes from the word man, meaning “firs,” and daya, meaning “upstream.” In combination, Mandaya means “the first upstream people” and refers to the indigenous group’s language, traditions, customs, and beliefs.\n\nOne of the interesting aspects that makes the culture of the Mandaya distinct from other indigenous groups in the country is their culture of dreaming. The practice of weaving and the knowledge system on traditional medicine or healing in the Mandaya culture has been greatly influenced by dreaming. The Mandaya are famous for dagmay,their traditional textile, which they consider sacred. Dagmay designs are interconnected; cutting them will destroy the essence and sacredness of the fabric. According to the elders, dagmay was bestowed to the Mandaya through a dream by Tagamaling, a spirit linked to life and creation. It was believed that a Mandaya maiden dreamed of Tagamaling who taught her weaving techniques to create dagmay. From then on, the Mandaya believed that weaving is sacred, and a real Mandaya weaver will have to say a prayer before starting her weave. The Mandaya weavers only weave in tranquil areas in their houses.\n\nDagmay is a handwoven textile made from abaca. The abaca is the extracted fiber from banana leaves. Dagmay involves a mud-dyeing technique wherein practitioners submerge their tannin-dyed yarns into iron-rich mud for several days. First, they pound the bark of a tree and boil it with the abaca yarn. They then add the mud with a bluish color and let the yarn boil until their desired tone is achieved. With the intricate patterns and details of the dagmay, traditional Mandaya clothes have been known to among the most beautiful in the Philippine archipelago. The motifs of traditional Mandaya design include curvilinear, diamond, cross, trellis, and crocodile patterns.\n\nAnother Mandaya tradition influenced by dreaming is their knowledge system on traditional medicine or healing. In the Mandaya community, a spiritual leader called balyan has the ability to heal sick people through the use of traditional knowledge inspired from a dream, prayer called panawagtawag and organic medicines. The highest ranking spiritual leader, kalalaysan, can heal a dying patient. Within the Mandaya community, the ability to heal is not limited to spiritual leaders as it can be done by anyone. Anyone can dream of a cure, and he or she will become the healer of the sick people in the community.\n\nPhoto : A Mandaya Woman CC BY 2.0 Paul K / flickr.comYear2019NationPhilippines
-
Digital Data Establishment of Cultural Heritage in the Republic of KoreaThe Cultural Heritage Administration of Korea (CHA) is a governmental organization that plans and implements cultural heritage policy in the Republic of Korea. CHA has Director of ICT management in charge of plan and implementation of master plans for digitalization and information of cultural heritage and database construction and management of archival information about preservation and management of cultural heritage. This report introduces two main projects that are part of CHA’s digital data construction of cultural heritage: the “3D Database Construction of Cultural Heritage” and the “Seoul City Wall Time Machine”. Establishment of 3D Database of Cultural Heritage CHA has used cutting-edge digital technologies to document original forms of cultural heritage and their changes in order to obtain and use raw data for restoration of cultural heritage that is destroyed or damaged. CHA has also carried out state-led projects of digital archiving to collect, share and perpetually save archives produced by each governmental department and provincial government.Year2020NationSouth Korea
-
Tusau Keser (Cutting of Fetters) CeremonyToday, the issue of preservation and popularization of national traditions, customs, and rituals associated with the human life cycle is relevant. Kazakhs have many ceremonies that must be carried out throughout a person’s life. One such significant rite of initiation into a new life is the Tusau Keser ceremony.\n\nTusau keser is fetters cutting on feet, symbolizing the beginning of a new stage in a child’s life—the ability to walk and to learn about the world. Kazakhs believed that if this ritual was not performed, the child would often stumble and be insecure and awkward. This custom is carried out when the child first begins to walk. In most cases, this will be when the child turns one year old. Our ancestors believed that if this custom is not carried out, the future of the child would be bad and if it is held, then a bright future awaits and brings luck and happiness. To hold this ceremony, the child’s parents organize toi (party). To do this, the day before the ceremony, they send invitations to relatives and friends. The next day, the invited people come with gifts as well as sweets for shashu (a festive throwing of sweets). A festal dastarkhan is set for guests and a feast begins. After the festive table, the tusau keser ceremony itself begins.\n\nRite Attributes\nFor holding of a tusau keser a colorful flagellum is prepared—ala jip, or colored interlaced from several woolen threads of different bright colors. This flagellum is called tusau—fetters. The threads consist of three colors: white (a symbol of purity), green (a symbol of health and longevity), red (a symbol of wealth). There is also an old form of fetters called ala jip, which were made of white and black threads symbolizing the philosophy and reality of the world—good and evil, light and darkness, and warmth and cold.\n\nSuperstitions and Beliefs\nThe toddler’s legs are tied with black and white threads. These colors are chosen to distinguish black from white in the future, to be a respectable citizen, and not to cross the road from anybody. Some people, instead of a striped rope, tie the legs with the fatty intestines of an animal so that the child would be rich and authoritative in the future. Such a superstition exists to this day. Sometimes they use a rope woven from grass so that the child would grow up quickly, mature faster, have a large family, and so on.\n\nThere are two ways to decide who will cut the fetters of the child. One option is for the parents to choose. This right is mainly granted to a multi-child, energetic woman or grandmother. The person who cuts the fetters should be smart, energetic, and respected. Our ancestors believed that if such a person cuts the fetters, then the person’s energy will be transmitted to the baby. The person entrusted with this process must bring a knife and a rope. After the feast, everyone goes out into the street. A special carpet is laid. They put the baby on the carpet and the chosen person cuts the fetters. Then two people take his hands and lead him off the carpet. When the baby is led, the people throw gifts and coins in a solemn atmosphere. In some regions, special items like books, mirror, or a whip are placed on the carpet, and the child chooses one of the items to determine the future. For example, if the child chooses a book, he or she will become a scientist or enlightened person. And if the child chooses the whip, he or she will become belligerent man.\n\nA second variant to decide who will cut the fetter is a fast-walking competition among boys. The boy who wins first place will do the cutting. This is done to transmit the energy of this boy to the baby. The boy is then given gifts, most often a sledding horse or a foal.\n\nPhoto : Tusau Keser symbolizing the beginning of a new stage in a child’s life ⓒ Nazym MalibayevaYear2019NationKazakhstan