Materials
healing
ICH Materials 115
Publications(Article)
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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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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 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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MUSE SG Magazine Showcases Singapore’s Intangible Cultural HeritageThe National Heritage Board of Singapore (NHB) recently published the first issue of a two-part series of MUSE SG that focuses solely on Singapore’s intangible cultural heritage (ICH). MUSE SG is NHB’s outreach magazine that features museum and heritage related articles and is distributed to museums, schools, libraries, and public institutions free-of-charge.\n\nFor the two-part series on Singapore’s ICH, NHB has partnered with History Society students from the National University of Singapore (NUS HISSOC) to conduct research and co-create content. The partnership is part of NHB’s youth engagement efforts to interest the younger generation in different aspects of Singapore’s heritage.\n\nThe first ICH issue of MUSE SG introduces readers to the different categories of ICH as defined by UNESCO and explains how the ICH elements in these categories have become an integral part of Singapore’s multicultural identity. The issue is part of NHB’s continuing efforts to promote greater public awareness and appreciation of Singapore’s ICH.\n\nThe National Heritage Board of Singapore (NHB) recently published the first issue of a two-part series of MUSE SG that focuses solely on Singapore’s intangible cultural heritage (ICH). MUSE SG is NHB’s outreach magazine that features museum and heritage related articles and is distributed to museums, schools, libraries, and public institutions free-of-charge.\n\nFor the two-part series on Singapore’s ICH, NHB has partnered with History Society students from the National University of Singapore (NUS HISSOC) to conduct research and co-create content. The partnership is part of NHB’s youth engagement efforts to interest the younger generation in different aspects of Singapore’s heritage.\n\nThe first ICH issue of MUSE SG introduces readers to the different categories of ICH as defined by UNESCO and explains how the ICH elements in these categories have become an integral part of Singapore’s multicultural identity. The issue is part of NHB’s continuing efforts to promote greater public awareness and appreciation of Singapore’s ICH.\n\nVats containing soy beans undergoing fermentation in the production of soya sauce at Tai Hua Food Industries, 2020. Image courtesy of National Heritage Board, Singapore\nIt also features articles on selected ICH elements including traditional Malay dance, traditional Eurasian cuisine, traditional crafts such as effigy making, the production of soya sauce, the practice of rearing songbirds, the ancient healing practice of Ayurveda, and local practices in the commemoration of Easter.\n\nThe second ICH issue of MUSE SG, to be published in January 2021, will focus on the practices and rituals of Jewish Passover by the local Jewish community and the Zoroastrian faith as practiced by the Parsi community in Singapore.\n\nIt will also cover dondang sayang (a poetic art form associated with the Malay and Straits Chinese communities in this region), traditional Chinese music, traditional Nanyang breakfast (comprising toast with kaya spread, half-boiled eggs and a cup of hot tea or coffee) and the craft of Indian goldsmithing.\n\nTo access the first ICH issue of MUSE SG, please click on the following link: https://www.roots.sg/learn/resources/publications/education-and-community-outreach/MUSE-SG-Volume-13-Issue-01\n\nPhoto 1 : Muse Cover © NHB\nPhoto 2 : Vats containing soy beans undergoing fermentation in the production of soya sauce at Tai Hua Food Industries, 2020. Image courtesy of National Heritage Board, SingaporeYear2020NationSingapore
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Thruebab, the Blessed Rainy Day in BhutanAmong fifteen national festivals celebrated in Bhutan, Thruebab or Thrübab is considered a grand event observed not only by the Bhutanese but also by Tibetans. It is a spiritual event that roughly falls between 20 and 25 September coinciding the early date of the eighth month of the Bhutanese calendar. Based on the etymology of Thruebab (thrue—wash, bath, holy water; bab—descend), the Buddhist term literally means “holy water descending”. Due to climate change, however, there is an unexpected shower and sometimes not a single drop of rain (or holy water as it were) from the sky. Regardless, the day of Thruebab is widely known as Blessed Rainy Day. The significance of the day is well connected to the view of both astrological and philosophical texts of Tibetan Buddhism. A special star, believed to be Rishi, is formed by crystal (chu-shel) and a gemstone (ketaka). With similar precious stones, an image of Vairocana Buddha was said to be erected by the great yogis with prayers to fulfill the wishes of all sentient beings. While the star Rishi revolves around the mythological mount Meru, it’s calculated that the star reaches directly above the Buddha’s figure exactly on the early date of the eighth lunar month emitting divine water drops from the collusion of rays from the star and from the Buddha’s crest. Both the rays and water drops permeate the streams and rivers of the world with immense healing power and blessings.\n\nThruebab, as an officially declared holiday, is observed by the whole of Bhutan. Various media platforms predict the beginning of the descent of the holy water and cover the entire event. However, the descent may happen early morning, after dawn, or sometimes even at noon. If it happens early in the morning, people would fill a container of flowers with the water falling down and keep it outside their house to receive the light of Rishi. As the descent happens, people use the water in taking a bath and drinking. Although Thruebab is primarily a spiritual event, people also take advantage of it to celebrate. They would take shower in open streams, ponds, or water taps and wash their clothes. Elderlies merrily shout Thrue! Thrue! Thrue! It means “cleanse us of sins and diseases”. Taking a bath is certainly the highlight of the day.\n\nThe program is then followed by making offerings and prayers. After supplication, family members gather in the dining room to eat rice porridge called thugpa as served either by the mother or eldest daughter. After this, families either visit temples and monasteries or go out for a picnic with relatives, friends, and neighbors. While men often play traditional games like archery, women sing and dance to give the game more elements of entertainment. Thruebab is considered as an integral part of intangible cultural heritage of Bhutan, fortifying social cohesion among the people. It engages people with religious activities and connects them to natural resources.\n\nPhoto : CONTRIBUTED BY YESHI LENDHUPYear2017NationBhutan
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Community Participation in Documenting Traditional Knowledge: A Case Study in Tezpur, Assam, IndiaTraditional knowledge refers to the body of knowledge, indigenous practices and believes build up by of ethnic and local communities through generations of living in close contact with nature and transmitted through oral tradition and first hand observation from one generation to the other. Traditional knowledge is the essence of the identities and world views of indigenous and other people and constitutes the collective heritage and patrimony of the communities. With the advancement of science and technology and spread of modern education, a unique situation evolves. On one hand, the tradition bearers are trying to cope up with the modern advancement and development even at the cost of their traditional knowledge. On the other hand, the policy makers and educationist are now started to realise the importance of the traditional knowledge and traditional cultural expressions to maintain and preserve the colourful and diversity of cultures throughout the world. Moreover, this diversified knowledge are also in focus because of rising importance of “sustainable” and “green” development. \n\nAssam in the North East India with its variety of ethnic communities as well as other local populations presents a huge corpus of traditional knowledge. Assam being rich in natural resources also presents a unique situation of its varied manifestations by the ethnic communities through beliefs and religious practices, ceremonies, cultural values, food habits, traditional medicines and healing practices, arts and crafts forms, traditional technologies and house patterns. However, with changing socio- economic and environmental conditions the traditional knowledge system of the indigenous population is being under threat. \n\nTezpur University, specifically, the Department of Cultural Studies (known as the Department of Traditional Culture and Art Forms during its inception in the year 1996) have been involved in the study, documentation and research of Intangible and tangible cultural heritage of the region. The department have been engaged in field visit and research projects on various issues of ICH. However, through the project in question, an attempt was made to document the community traditional knowledge of Tezpur area of Assam, India with active participation of the women of the families as active partners and data collectors. It was executed by Tezpur University on a pilot basis in collaboration with Tezpur Mahila Samiti - a women organization working for wellbeing and economic development of women. Before starting of this project, periodic awareness programmes were undertaken by the museum, Department of Cultural Studies, Tezpur University among the common people regarding importance of heritage and need of its preservation.Year2018NationSouth Korea
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Advances and Challenges in Safeguarding Traditional Medicine in CuraçaoSitting on an unwalled cement floor with a coconut frond roof (a recently imported trend in outdoor architecture), a group of about thirty people listened on while a man explained how over one hundred years ago his grandfather gave leaves of the plant they were just now talking about to his donkeys, for strength. This would help them carry their loads much more easily. The fact that it thundered for several seconds at the exact moment the man finished talking was taken as a natural sign of confirmation. Some agreed somewhat jokingly about the thunder; others were quite clear this was a confirmation and matter-of-factly went on with the rest of the conversation; still others wanted the rest of the group to at least reflect on such a relationship with nature a little longer before continuing.\nThis is one of the latest settings in which traditional medicine, espe-cially herbalism is being explored, safeguarded, revitalized, transformed and shared. The group is Bo salú ta den bo kurá (Your health is in your yard) and meets every third Sunday of the month in a space donated for the meetings those Sundays. Medicinal and nutritional qualities of local herbs are discussed, traditional healing wisdom shared, planting methods are shown, local natural products sold and networking happens among healers, agriculturalists, healthy living advocates, community activists, retirees, people from all walks of life. The place is Curacao, and although this kind of exchange is relatively new it is based both on traditional forms and on traditional wisdom, combined with the latest information from the internet, connections to international networks, and environmental science.Year2019NationSouth Korea
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Heritage, Folk Medicine and Kaviraji Treatment in BangladeshBangladesh and a significant part of South Asia possess a vibrant and thriving medical pluralism. Medical pluralism has been turned into an intrinsic feature of its medical system in historical and contempo-rary contexts (See, Rashid, 2017, Misra, 2010, Leslie, 1980, Banerji 1981; Sujatha 2003, Sujatha& Abraham, 2009). Multiple medical systems such as Biomedicine (the term used for allopathic medicine), Ayurvedic, Yoga, Unani, Siddha and Homoeopathy (AYUSH), Naturopathy, Kaviraji and other folk traditions are widely practiced in this region for primary health-care. Traditional medical practices (TMPs) involving the use of different medicinal plants vary greatly from place to place, region to region and community to community, as they are influenced by factors such as economy, culture, religion, education, ethnicity and environment. The cultural phenomena of super natural belief also plays a significant role in building different perceptions among different rural and ethnic om-munities on various statuses and conditions of their health, as many of these people view their illness as possession by evil spirits. Visits to shrines or shamans (a person who acts as an intermediary between the natural and supernatural worlds, using magic to cure illness) for folk methods of healing, are still observed in many places. Research shows that whether educated or not, rich or poor; some people still use folk medicine for specific diseases.Year2019NationSouth Korea
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Testimony of a Traditional HealerCurrently I am seventy years old and for more than fifty years I have practiced that what we call in our region, ‘the conspiracy’. I have not studied for that, and I consider that I received a gift which allows me, to relieve and heal other “humans and animals”. When I was young I had contact with healers or “bonesetters” of fire or blood, as they might be called. They were generally farmers or people very close to the nature. I was born, and I still live in Auvergne in the centre of France, and I come from a rural area.This is how I tried to practice, my only intention was to relieve patients suffering, and it worked. Initially, people came mainly for burns (to calm the fire) or to stop bleeding. They also came for zona (skin disease). I used my gift for forty years, with a few people coming to visit me each week. They came as a result of recommendations from friend and family, by word of mouth.The act of healing is done discreetly, whereby someone who has the ability, does not speak publicly about it or promote it. Other people would often say: “He’s a healer!”, and would sometimes add: “He is strong, and it indicates that he has other capacities that go beyond the role of “fire cutter”.Year2019NationSouth Korea
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Discussion on the Three Presentations Regarding the Shaman Heritages of Southwest AsiaThe three presentations were great. Through them, I was able to learn new things about the shamanism in India, Bhutan, and Turkey. Because I don't’ know the shamanism in each of the three areas, I will ask basic questions which came up as I read the presentation script. These questions will make up my discussion about the presentation. My first question regards the cultural struggles of shaman healing in India. In the presentation, the presenter presumes that some shaman tradition are authentic and some are not. What is authentic shaman tradition, and how are authentic and false shaman tradition classified?Year2013NationSouth Korea
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Characteristics and Current Status of Japanese ShamanismThe major veins of definitions regarding shamanism in Japanese academic discourse can be summarized as follows. The shaman is an individual with the magico-religious professional capacity to directly engage with spiritual being while under an altered state of consciousness (trance) to fulfill various roles and functions such prophecy, oracle, divination, performance of rituals and healing. Shamanism is a magico-religious phenomenon constructed of a supernatural worldview, rites, clients and followers centered around the shaman. It is believed to have existed in continuity from the prehistoric era to the present day (Sato, 2010). Buddhist monks, Catholic priests and Protestant pastors belong to the priest category of religious actors who offer prayer and conduct rituals on behalf of individuals or the society directed at spiritual beings in a unidirectional relationship and under a normal state of consciousness. On the other hand, Shamans are religious actors who perform various roles in direct interaction with spiritual beings.Year2013NationJapan
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Mak YongThis ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.YearNationMalaysia