Materials
festivals
ICH Materials 493
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TSAGAAN SAR: LUNAR NEW YEAR FESTIVALLunar month festival of the Mongols or holiday celebration of the first day of “White Moon” or “White Month” symbolizes the departure of winter and welcoming the spring of the new year. This festival and its rituals and traditions are unique and naturally accorded with a specific lifestyle of Mongolian nomadic culture. Therefore, during this festival, there are no gatherings of masses on the street to participate in folk parades and street carnivals as in urban cities and villages.Year2020NationSouth Korea
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The Spectacular Durga Puja of West BengalDurga Puja sits at the core of Bengali identity in India. It is also the biggest annual festival in the Indian state of West Bengal. Held in autumn, between September and October, Durga Puja is essentially a Hindu religious event, but the celebrations transcend all barriers of religion and creed, generating a night-long carnival of the masses for four to five days.\n\nThe phenomenon of Community Durga Puja, organized by residents of different localities, adds a unique social dimension to the festival. There are thousands of committees which organize Community Durga Puja across West Bengal. Teeming crowds zigzag their way through a maze of roads, streets, and lanes in the city of Kolkata all through the night. They come in droves—in cars, in taxis, and on foot—to catch glimpses of the idols, lights, themes, and the pavilions housing the deities called pandals. Over the years, the social-liberal polity of Bengal has accommodated a vast range of socio-cultural themes as well as various folk art and craft forms in the design of the idols, pandals, and illumination at the community Durga Pujas. The entire city of Kolkata becomes a public art space.\n\nThe photograph shows a pavilion celebrating intangible cultural heritage in the festival this year, held from September 26 to September 30. This Community Puja titled ‘Swarna Chitra’ is named after the leading woman scroll painter Swarna Chitrakar. Swarna is an exponent of Patachitra, a traditional storytelling art form of West Bengal where the artist sings the story while unfurling the scroll.\n\nPhoto : © banglanatak dot comYear2017NationIndia
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Vietnam’s Cultural Heritage Day, 23 NovemberCultural heritage in Vietnam is a valuable property of the Vietnamese people and the foundation for national traditions that have formed over many generations. With more than 40,000 cultural heritage elements and sites, Vietnam has highly respected treasures to be introduced to the rest of the world whenever possible. Taking care of cultural heritage means regarding what the past, present, and imaginable future have engendered to improve national identity.\n\nAfter Vietnam’s independence in 1945, and on behalf of provisional government of Democratic Republic of Vietnam, President Ho Chi Minh signed Decree No 65 on 23 November 1945. The decree formally mandates conserving antique vestiges, or what will later be known as cultural heritage. Based on the concept of conservation and to promote tradition and Vietnamese cultural heritage, the Prime Minister approved Decision No 36/2005/QD-TTg on 24 January 2005 to officially set 23 November as Vietnam’s Cultural Heritage Day. The November holiday is festive with many educational events that explain what it means to be responsible for protecting cultural heritage and why it is important to do so.\n\nTo celebrate this year’s Cultural Heritage Day, events are being prepared by relevant institutions. In the Ho Guom Cultural Information Centre, a photo exhibition on Vietnamese heritage will be held, featuring the winning photos of the 2017 Vietnam Heritage Photo Awards. The exhibition will take place in front of the center in Hanoi and will then move to other cities through March 2018. In the Vietnam Exhibition Centre for Culture and Arts,Green Heritage Culture and Tourism Week will be organized under the theme “The Convergence of Human and Nature”, gathering nationwide communities together to exchange and introduce their lasting cultural values.Year2017NationViet Nam
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2018 Auckland Tamaki Herenga Waka Festival: Celebrating Maori CultureThe Auckland Tamaki Herenga Waka Festival will be held on Auckland’s waterfront and harbor over the Auckland Anniversary Weekend, 27 to 29 January 2018. Traditionally, with Auckland being home to more than 180 ethnicities, the region has featured various types of Maori presence including Maori waka (canoes) during the weekend. And in the recent years, this tradition has been celebrated as a festival, a result from collaboration among the Mana Whenua; nineteen iwi (tribal groups) authorities of Tamaki Makaurau; the Auckland Tourism, Events and Economic Development (ATEED) on behalf of the Auckland Council.\n\nThroughout the three-day festival, many activities related to traditional and contemporary Maori culture will be featured. The activities are designed to boost harmonious understanding of the Maori culture to both children and adults by blending traditional and modern elements.\n\nThe program consists of music, games and craft activities, storytelling, and waka parades and rides. Sunday, 28 January, is the peak of the festival, hosting an array of waka activities such as waka paddling and a waka carving demonstration. On the same day, participants can visit village workshops to experience traditional arts and craft like toi (Maori arts), weaving, and carving. At the ANZ Viaduct events center, several art exhibitions will take place. There will also be a booth of modern digital games in the venue. Next to the Viaduct basin, people can experience waka sailing throughout the festival.\n\nThe festival has become a host of celebrated events during the Auckland Anniversary Weekend in just a short period of time. The 2018 Auckland Tamaki Herenga Waka Festival program is expected to be enjoyed by the locals and tourists, marking a scene to celebrate Maori history and heritage as well as the contemporary culture of Tamaki Makaurau.\n\nAdmission is free; however, partial payments may be collected in some tour zones and market places for food or souvenirs. The festival’s full program is available here.\n\nPhoto : Youth experiencing waka culture © Auckland Tamaki Herenga Waka FestivalYear2018NationNew Zealand
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Bangla New Year Welcomed with Mangal ShovajatraIn the morning of 14 April Bangladesh ushered in Bangla New Year 1425 on Pahela Baishakh, the first day of the Bangla calendar, by bringing out Mangal Shovajatra, a UNESCO inscribed ICH element.\n\nClad in colorful punjabis and saris, people from all levels of society took part in Mangal Shovajatra parades hoping rid themselves of past evils and begin a better future.\n\nThe biggest and most attractive Mangal Shovajatra parade was at the Dhaka University in the capital city Dhaka. Hundreds of people carried student and faculty artworks representing evil and good. Similar processions were brought out in all districts.\n\nMoreover, Baishakhi Mela (fair) displaying traditional food and artwork, cultural programs, and other events were held across the country.\n\nAt sunrise, thousands of people gathered at Ramna Batamul, the main venue of the Dhaka celebrations, where Chhayanaut, a cultural organization, has been holding an annual music soiree since 1965 to welcome the Bangla New Year.\n\nOther government and private cultural organizations held Pahela Baishakh celebration programs that included traditional music and performances along with recitations, contemporary songs, and dance.\n\nOn 14 April, the Bangladesh Shilpakala Academy held special programs at its open field in the afternoon and at the National Theatre Hall in the evening. The programs featured lathi khela (tricks with sticks), songs, dance, and acrobatics. The academy also held programs, in association with different organizations, at Mirpur, Uttara, and Old Dhaka in the morning.\n\nIn such events traditional troupes from Manikganj, Chapai Nawabganj, and other places displayed lathi khela and presented different folk music genres like gambhira. Renowned singers, dancers, and recitation artistes also performed at the program organized by the academy.\n\nAt the Bangbandhu International Conference Centre in Dhaka, over one thousand singers performed in a chorus in an open-air concert organized by the Shurer Dhara music school.\n\nThe Bangla Academy welcomed Bangla New Year through a program featuring a discussion and cultural show at Rabindra Chattar. The Bangla Academy also organized a five-day folklore workshop for folklore experts from Bangladesh, India, and the USA.\n\nBangladesh Small & Cottage Industries Corporation in association with Bangla Academy organized a ten-day Baishakhi fair featuring traditional sweets, books, craft items, and other culture events.\n\nSammilita Sangskritik Jote held a cultural program at Dhanmondi’s Rabindra Sarobar.\n\nThe Bangla year with its first month, Baishakh, was introduced during the rule of Mughal Emperor Akbar the Great (1542–c. 1605).\n\nThe day is a public holiday. All radio and TV channels air special programs while newspapers publish special supplements.\n\nWhile Bengalis celebrate Pahela Baishakh, the hill communities of the Chittagong Hill Tracts celebrated Baisabi. Baisabi is a term formed by the first syllables of the Baisuk Tripura festival, Marma’s Sangrain, and the Biju Chakma festival or Tanchangya’s Bisu.\n\nPhoto : People from all levels of society participate at the Mangal Shovajatra parade on 14 April welcoming the Bangla New Year © Snaul Haque/ New AgeYear2018NationBangladesh
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Hanji: A Korean Heritage Connecting Tradition and ModernismThere is a rich tradition of hand papermaking in East Asia that is still alive today. In Korea, hanji (traditional paper) making remains a distinguished cultural activity. According to many studies, such as the one conducted by Minah Song and Jesse Munn,1. different methods and materials in making hanji are tested to gauge permanence and durability. This is done because traditional Korean paper serves many functions, from it being a primary element in architecture and interior design to the versatility of hanji in art-making and recreation. More importantly, conservation of traditional hand papermaking in Korea is given attention because hanji is culturally symbolic of Korea being a nation of literacy, a nation that believes in the power of reading and writing. Aimee Lee, a leading hanji researcher, has carefully documented many ways in which hanji may be perceived: as a traditional process in a highly digital world, as a practice appropriated in North America, as an art made by hand, and as a performance of conservation. All of these lenses bring to the fore how intentional the process is and how meticulous one has to be to make a paper according to traditional knowledge.\n\nFrom 5 to 7 May 2018, the most traditional city of Korea, Jeonju, saw the return of the Hanji Culture Festival. The festival was a reminder of hanji importance, but it also showed the evolution of hanji, specifically on how hanji can be integrated into modern life. On the first day of the festival, p’ansori singer Nani Kim and calligraphist Lucia Choi opened the event with performances. The twenty-fourth National Hanji Craft Competition Awards Ceremony followed. The works of the competition winners as well as those of invited artists were on display for the entire run of the festival. The festival certainly was not short on performances: a hanji puppetry called “Ariari Puppet Play” was showcased. If not the most, one of the most anticipated segments of the festival was the 2018 Jeonju Hanji Fashion Competition and Show. It was a very special part of experiencing how important hanji is because it educated people on the transformative capability of hanji: that Korean traditional paper can actually be transformed into textile.\n\nLike other traditional handicrafts, hanji takes an important place in Korean heritage, allowing the possibility of witnessing timeless values that hold the nation together. It is for this that appreciation and conservation of hanji should be in place especially now that traditions are situated in global societies run by high technology.\n\nNotes\n1. Song, Minah and Munn, Jesse. 2004. “Permanence, Durability and Unique Properties of Hanji.” The Book and Paper Group Annual v23. American Institute for Conservation of Historic and Artistic Works. Last accessed on 31 May 2018. http://www.ifides.com/images/LOCHanjiTest.pdf\n\nPhoto : Korean hanji CCA jaredYear2018NationSouth Korea
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PASOLA FESTIVAL: Sumba Tribe Horse Riding ContestPasola is a Sumba Tribe horse riding contest from Sumba Island of East Nusa Tenggara, Indonesia. It is followed by Marapu groups which is the local religion of Sumba community. This festive is a peak of Nyale tradition where they plead for successful harvest as well as a thankful ceremony to ancestors. The celebration of Pasola in Marapu’s belief is considered to maintain the harmony between ancestral and humankind. They believe that ancestors can give the blessing and the prosperity for them and bring harmony.\n\nThe word of Pasola comes from “sola” or “hola”, which means Javelin woods. The affix ‘pa’ when added, the meaning changes to be wooden javelin game. So, pasola or pahola means a game throwing the wooden javelin while fast-riding horse between two opposing groups. The game of pasola is held on four settlements in West Sumba Region i.e. Kodi, Lamboya, Wonokaka, and Gaura. This game is performed between Februarys to March every year in alternation.\n\nThe Process of Ceremony\nPasola is commenced by Nyale tradition. Nyale tradition is a thanksgiving ceremony for pleasant harvest season and plenty of Eunice Fucata (a species of sea worm) on the coast is the indication innate in the festival. It is held at a full moon when the Nyale (sea worm in Sumba Language) comes out to the seashore. The ethnic chief called Rato will predict the moment once the sea worms come out when the sun is rising in the morning. When the Rato finds the first sea worm, its shape and color is examined. If the worm is fat, healthy, and colorful, it is predicted that they will influence the benefit and gain successful harvest that year. It also means that Pasola Festival can be performed. In contrast, if Nyale is thin and unhealthy, it is the believed that misfortune will occur and Pasola is forbidden to be organized.\n\nPasola is a Sumba Tribe horse riding contest from Sumba Island of East Nusa Tenggara, Indonesia. It is followed by Marapu groups which is the local religion of Sumba community. This festive is a peak of Nyale tradition where they plead for successful harvest as well as a thankful ceremony to ancestors. The celebration of Pasola in Marapu’s belief is considered to maintain the harmony between ancestral and humankind. They believe that ancestors can give the blessing and the prosperity for them and bring harmony.\n\nThe word of Pasola comes from “sola” or “hola”, which means Javelin woods. The affix ‘pa’ when added, the meaning changes to be wooden javelin game. So, pasola or pahola means a game throwing the wooden javelin while fast-riding horse between two opposing groups. The game of pasola is held on four settlements in West Sumba Region i.e. Kodi, Lamboya, Wonokaka, and Gaura. This game is performed between Februarys to March every year in alternation.\n\nThe Process of Ceremony\nPasola is commenced by Nyale tradition. Nyale tradition is a thanksgiving ceremony for pleasant harvest season and plenty of Eunice Fucata (a species of sea worm) on the coast is the indication innate in the festival. It is held at a full moon when the Nyale (sea worm in Sumba Language) comes out to the seashore. The ethnic chief called Rato will predict the moment once the sea worms come out when the sun is rising in the morning. When the Rato finds the first sea worm, its shape and color is examined. If the worm is fat, healthy, and colorful, it is predicted that they will influence the benefit and gain successful harvest that year. It also means that Pasola Festival can be performed. In contrast, if Nyale is thin and unhealthy, it is the believed that misfortune will occur and Pasola is forbidden to be organized.\n\nThe arena of Pasola Festival undertakes in large terrain. It consists of two groups and each group has more than 100 spear-armed knights. The spear is created from dull-tipped wood with diameter of 1.5 cm. This game can harm the victims even though the spear is dull. According to the Marapu’s faith, if there is a victim during the contest, it is believed that the rule is broken or mistake has been made so ancestors will punish them. During the Pasola, some knights will be injured and the blood will come out from his body. This blood is opined as valuable for soil fertility and successful harvest. If death occurs during the Pasola, it is a signal that there was a custom violation carried out by society on the Pasola arena previously.\n\nPasola has become a service way and loyal acclamation to ancestors and a core of Marapu. It can be a liaison of brotherhood between two opposing groups and the community. It is a thanksgiving manifestation and happy expression of inhabitant due to abundance harvest. Today, Pasola is a milestone of Sumba tourism development because this culture attraction has been appealing number of domestic and foreign tourists.\n\nPhoto : Pasola Festival ⓒ Novie Charleen Magne_shutterstockYear2020NationIndonesia
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The Giant Lantern Festival of the PhilippinesOwing to its Catholic traditions, the Philippines is perhaps one of the few countries in the world that celebrates Christmas the earliest and the longest. The country marks the Christmas holidays starting from 1 September. Shopping malls and shops will start displaying Christmas decorations; families will start to put up Christmas trees in their houses; and Christmas songs will be heard almost everywhere.\n\nSan Fernando, a city located in the province of Pampanga, is known as the Philippine Christmas capital. The city is famous for its colorful and handcrafted lanterns that had been part of the province’s Christmas traditions since the 1900s. The Christmas lantern is called parul sampernandu in Kapampangan, the local language of the Pampanga province or parol in Filipino. The origin of the word parol came from the Spanish farol, which means lantern or light. The lanterns symbolize the Star of Bethlehem, thus most lantern designs from San Fernando incorporate a star caricature. In the Catholic tradition, the Three Kings are believed to have followed the Star of Bethlehem that led them to find the Child Jesus in a manger.\n\nEvery December, the Giant Lantern Festival (Ligligan Parul in Kapampangan) is held in San Fernando. The lanterns are transformed like gigantic glowing stars with rotors that synchronize thousands of dancing lights and the sound of Christmas melodies. Usually the giant lanterns are about six meters tall and hung up in the air. Decorated with thousands of light bulbs, capiz shells, and fiberglass, the giant lanterns are stuck to polyvinyl plastic. It is a festival for the eyes; people flock at night to witness the grand salvo of lights and sound.\n\nThe Giant Lantern Festival is also a competition where various barangays in Pampanga compete to win for the most beautiful giant lantern in the province. The locals take pride in their province’s competition as it is where they showcase their creativity and knowledge in crafting the intricate designs of giant lanterns. Tracing back to the country’s colonial history, the lantern-making tradition in San Fernando Province is influenced by the Spanish. The Spanish encouraged the local people to have lantern processions in honor of Our Lady of La Naval or the blessed Virgin Mary. In the past, the people would have a nine-day novena called lubenas, which was usually held before Christmas. The religious tradition has evolved to become the Giant Lantern Festival where people flock to witness the spectacular yuletide festival.\n\nPhoto : 2012 "Ligligan Parul" Giant Lantern Festival CCBYSA3.0 Ramon FVelasquez / WikiMediaYear2018NationPhilippines
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Bali Arts Festival: Safeguarding Cultural Heritage in a Tourism-Oriented SiteEvery year for the past thirty-nine years, Bali hosts the Bali Arts Festival (Pesta Kesenian Bali), a traditional performing arts celebration featuring artists from all over Indonesia. Starting from 10 June with a magnificent parade where all Balinese regencies are represented, the festival continues until 9 July with several daily performances, all open and free for the public. Held in Taman Budaya in Denpasar, the festival venue represents a beautiful ensemble of traditional architecture pavilions.\n\nMost participating performing groups come from Bali to demonstrate rare art forms from the distant parts of the island or compete in mostly popular genres, which include barong, legong, kecak, and various mask dances. Safeguarding these arts being the main objective of the festival, it has contemporary music, dance, and theatrical styles that reflect the motifs and patterns of traditional culture. Along with performing arts that are indisputably central to the festival, traditional Balinese foods and crafts, and even ways of conducting religious ceremonies are also showcased.\n\nThe Bali Arts Festival started in 1979 as a provincial initiative of Ida Bagus Mantra in response to rapid expansion of the tourism industry, attempting to prevent the extinction of traditional Balinese arts. It proved to be successful; and a series of various district and regency contests helped galvanize cultural life while dance and art schools were opened with government support. The festival remains mostly a local communal event allowing performers, artists, and craftsmen from different regencies to meet and occasionally compete with the support of the spectators from their own villages. Amidst the overwhelming growth of tourism industry in Bali, a condition that brings compounding threats to sustaining traditional cultural production, the presence of foreign tourists in the festival remains rather insignificant.\n\nPhoto : Traditional Balinese dancers preparing themselves for performance © Eva RapoportYear2017NationIndonesia
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Nepali Women and the Teej FestivalHindu Nepali women celebrate a huge festival—one of the biggest occasions in Nepal—known as teej. It takes place on the third day of Shuklapaksha in Bhadra (normally in August or early September). The mythical explanation of teej purports that Hamalay’s daughter Goddess Parvati went through a rigorous fasting for 108 years known as hari talika teej with the desire to have Lord Shiva as her husband. Having witnessed the willingness of the Goddess to be with him, Lord Shiva accepted her as his wife. Goddess Parvati’s spirit, devotion, and strong intention generally compose the story upon which teej festival is grounded. Inevitably, Nepalese women have come to see teej as a venue for them to show their devotion to their significant other. If unmarried, they celebrate teej as a symbolic prayer to someday have a good husband.\n\nIn a highly male-dominated society such as that of Nepal, this kind of festival rings the idea of female subjugation and puts women empowerment in question. Does teej, a Nepali heritage as it is, survive a misogynistic culture? How do women (re)create themselves in a festival created by men for men? To put these inquires in context, it should be noted that Nepali women have historically been regarded as inferior objects. In the old days, if married, women would not be allowed to visit their hometown; they would not be given easy access to basic needs of living such as communication and transportation. teej is, again, a festival created by men symbolically for men, but it also is, and absolutely a venue for women. Nepali women use this opportunity to be with others to share their sorrow, happiness, and other deep emotions in togetherness. It has been reported that women use Teej as an assembly to collect funds for women-centered causes, taking advantage of the big occasion to raise development issues.\n\nteej remains as an important festival in Nepal, a surviving cultural vein of the South Asian nation. It honors Nepalese folk life, folk songs, and ancient Nepali music. Wearing red attire with fancy ornaments, participating in singing, dancing, and eating dar (a particular food in Teej) are the main activities in the festival. These days, both women and men observe the festival, recognizing its cultural value\n\nPhoto : CONTRIBUTED BY ANIL GANDHARBAYear2017NationNepal
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Dance of Fools: The Awa Dance Festival in Tokushima, JapanThe Awa Dance Festival, also known as the Awa Odori Dance Festival, is the largest traditional festival in Tokushima Prefecture, Japan, and has over four hundred years of history. It is held in mid-August every year. Awa is the old administration name for Tokushima, and odori means dance. As a folk dance in the region, Awa odori originated from a Buddhist practice. It is generally believed that a collective dance style was added to a priestly dance to honor the spirits of ancestors, leading to today’s Awa odori.\n\nThe Awa Dance Festival is held as part of the Obon Festival, a major Japanese holiday. This year, festival will be held for four days, from 12 to 15 August. The main celebration starts around 6:00 p.m. in city centers and continues until 10:30 p.m. People dance in parks and stage areas and parade through the streets. Large crowds come from around the country to see and enjoy Awa Odori, which is also called “dance of fools” after old Tokushima saying:\n\nThe dancing fool and the watching fool are both fools, so why not dance?\n\nAt this time of year, over a thousand groups of choreographed dancers (ren) from around Japan register for the festival. Other non-ren dancers also gather to present voluntary performances. Spectators are also free to join the festivities. As such, Awa Odori can be better enjoyed through collective dance steps. Typically, men dance in a powerful style while women dance in a more graceful fashion.\n\nTo spur the excitement, ren dancers play hayashi, an essential part of the festival, with traditional musical instruments, such as with flutes, drums, kane gongs, and three-stringed shamisen lutes. This combination of flute and percussion instruments is called norimono. The kane player leads the group; flutes produce melody; drums provide a rhythmic base, signaling the start of the festival.\n\nDuring the festival, visitors can enjoy Awa Odori performances on stages in city centers. The Awa Odori Kaikan is one of the main indoor stages, where outstanding groups present Awa Odori demonstrations. The most notable feature of the festival is that it encourages all people, not just ren dancers, to participate in the festival; people voluntarily establish and join related associations and promote the festival themselves, which have led to the festival’s success. To take part in the festival and have a chance to dance on stage, one can join the Niwaka Ren to learn choreography.\n\nPhoto : Group of female dancers at the Awa Odori Matsuri in Tokushima. CCBY3.0 Stemu2000 (Wikimedia Commons)Year2018NationJapan
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Jeju Fire Festival Reenacts Old Pastoral TraditionsThe twenty-second Jeju Fire Festival will run for four days from 7 to 10 March 2019 at places across Jeju, including Jeju City Hall Square and Saebyeol Oreum in Aewol-eup.\n\nThis year, the festival has the theme “Light up the world with wildfire and dreams.” The first day will begin with a torch lighting ritual at Samseonghyeol. The torch will be conveyed along a route from Samseonghyeol to the KAL intersection, Gwangyang intersection, and Jeju City Hall Square. In addition to the torch ceremony, various events will be held at the city hall, including writing wishes on paper and a music concert.\n\nThe second day will see a number of programs taking place, including a prayer ritual for the prosperity and development of the Jeju city, a sheaf making contest, and diverse cultural and media art performances staged by delegates from other countries. There also will be a large full moon ceremony where visitors can wish upon the moon, which will be followed by putting the torch to a field, a torchlight parade, and a sheaf burning event.\n\nOn the third day, various traditional cultures of the island will attract visitors. One of them is majoje, a ritual of praying for the health of horses, which is representative of the pastoral culture of the island. Others include neokdungbegi, the traditional yutnori (board game) of Jeju, and deumdol-deulgi (stone lifting), a coming of age ceremony of the residents. A forum on how to develop the festival is scheduled as well. In addition, there will be a burning of a pig sheaf to hail the year of the pig according to the Chinese zodiac. Then, the oreum will be set alight, which is the highlight of the festival, to pray for good fortune in the new year.\n\nEven during the 1970s, farming households in Jeju raised a couple of cows to plow the land and carry the harvest from the fields to their homes or village market. In the off-season, farmers in each town took turns to manage the fields for their livestock. They set the pastures alight to get rid of old grass and harmful pests between late winter and early spring, so their livestock could graze fresh quality grass. The fields were set alight all over the hilly areas, and it created a spectacular sight. The Jeju Fire Festival is a modern interpretation of the ancient pastoral traditions of the island.\n\nPhoto : Jeju Fire Festival ⓒ Jeju CityYear2019NationSouth Korea