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household items
ICH Materials 53
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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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Virtual K-Culture: Promotion of Korean Culture During COVID-19Normally, the summer season is a busy time for the Korean Cultural Centre (KCC) in Canada’s capital city of Ottawa. KCCs are a global initiative that were started in 2009 by the Korean Culture and Information Service, a subdivision of South Korea’s Ministry of Culture, Sports and Tourism. As of this moment, there are 32 KCCs in 27 countries. The KCC in Canada was created in 2016 under the jurisdiction of the Embassy of the Republic of Korea to Canada and its mandate is “to enhance Korea-Canada relations by promoting mutual understanding between Koreans and Canadians through the sharing of Korean culture, and facilitating bilateral cooperation between arts and cultural institutions.” The KCC does this through a number of engaging and interactive cultural activities which include exhibitions, performances, film screenings, festivals, cultural/language classes and outreach programs. This all had to be put on hold due to the ongoing COVID-19 pandemic, which has resulted in the temporary closure of a number of cultural institutions around the world, including the KCC in Canada.\n\nHowever, the KCC has managed to find a way to continue to deliver their programming. According to Mr. Jung Joon Rhee, Public Relations Coordinator to the KCC and the Embassy of the Republic of Korea, the KCC shifted its activities online and created “Virtual K-Culture”.\n\n“We launched the ‘Virtual K-Culture’ initiative to bring light to the variety of digital cultural content produced by our partner institutions in Korea, and provide Canadians an opportunity to experience Korean culture from the comfort of their homes,” says Mr Jung Joon Rhee.\n\nVirtual K-Culture includes a combination of their longstanding initiatives such as the promotion of K-Cinema as well as new content. There are three components to the Virtual K-Culture series: audio-visual, participatory and educational.\n\nThe audio-visual content is focused on videos that showcase Korean culture such as art exhibitions and performances as well as film screenings.\n\nThe participatory content requires the contribution of the audience, for example, in the form of K-pop cover dances, which are then used by the KCC to produce compilation videos. Another example of the participatory content are food “webtoons” (a digital comic format that originated in South Korea) that teach the audience how to cook different Korean food while talking about the cultural history of the dish.\n\nThe educational content is aimed at enhancing people’s knowledge about Korea and Korean culture through such means as Korean language learning resources and hosting online Korean culture workshops.\n\nThe shift to virtual content was quite natural for the KCC.\n\n“We already had those digital channels to complement our offline activities prior to COVID-19, so it was just a matter of searching for content and items and executing them with our audiences in mind,” says Mr. Jung Joon Rhee.\n\nAs a global leader in the field of ICT (information and communication technology), South Korea is one of the most digitally connected nations in the world with nearly every household having high-speed Internet access. South Korea’s success with ICT is due to their government’s policies aimed at promoting the use of digital technologies as well as Koreans’ enthusiastic response to them. South Koreans have a “balli balli” (meaning hurry up/faster in Korean) approach to life which also transcends to their use of technology as the majority of people are known to be early adopters of new digital technologies and services.\n\nTherefore, it is no surprise that along with the KCC, other cultural institutions in South Korea have transferred their programming online. One notable example is the National Gugak Center (located in Seoul). The National Gugak Center is focused on promoting traditional Korean music and dance by offering classes and showcasing performances. With the Center being closed due to COVID-19 and all performances currently cancelled, the organization has started to host concerts on their YouTube channel.\n\nAs the future surrounding COVID-19 remains uncertain, the KCC in Canada is planning on prioritizing their digital outreach as they look for new ways to allow people to experience Korean culture while adhering to the regulations concerning COVID-19.\n\nPhoto : VKC Logo © VKZYear2020NationSouth Korea
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Increasing Community Involvement in Salak Yom FestivalHeld in the twelfth lunar month of Thai Buddhist calendar, Salak Yom Festival is a tradition of the Yong people in the northern province of Lamphun, Thailand. It used to be a merit-making rite of passage for young Thai women of marriage-ready age, but by mid-twentieth century it started to fade away due to the high cost of individual donations. Starting 2004, however, as a result of collaboration between many local enthusiasts and the Buddhist temple Wat Hariphunchai Committee, the festival was re-established on slightly different grounds. What was too much of a burden for the young brides-to-be was transformed into a communal activity. In the present time, tall and neatly decorated Salak Yom trees are the hallmark objects of the festival as they are prepared and donated by the members of local communities working together. A competition was initiated when the festival was reintroduced. Through provincial sponsorship, prizes were awarded to those who created the tallest and most beautiful trees. This increased the number of participating villages; and the trees have grown way taller compared to their original form.\n\nThe merit-making aspect of the contemporary version of the festival takes quite a peculiar form. Since the trees are decorated not only with colorful paper leaves and flowers, but also with various objects quite useful for everyday life—clothes, packaged food, household products, and even bank notes—as donations to the monks of the local monasteries. The monks, however, are not expected to keep all of those items but share them with those in need. Lottery decided which community’s donations are received by which monks. So during the last day of the festival, each community’s representatives are waiting in the tents erected precisely for this purpose while numerous monks are wondering around with papers saying whom exactly they are getting donations from this year. Despite the religious idea underlying this entire activity, its atmosphere resembles more that of a fair.\n\nThis year’s Salak Yom Festival was held from 3 to 5 September. The display of Salak Yom trees in Wat Hariphunchai was complemented by a parade, traditional crafts market, and traditional dance performances. The traditional dance performances, however, were unfortunately accompanied by pre-recorded music and lit by colorful projectors as the current organizers believed that the use of technology could help the festival become up-to-date.\n\nPhoto : Salak Yom trees being erected. © Eva RapoportYear2017NationThailand
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Siruwat: Narrating the Untold Journey of the Deities to the Himalayas during the Covid-19 PandemicThe Rai communities of the eastern hills of Nepal celebrate the Siruwat festival during April and May, on the Nepali first full moon day of the year. Siruwat is celebrated to mark the season of plantation, also called dhule puja, which means worshiping the earth or soil. It is believed that the deities travel to the Himalayas after they are worshiped to avoid the summer. The festival is also called Ubhauli, referring to deities’ movement towards the upper hills/Himalayas. Every Rai household practices this ritual. Deities are offered eggs, alcohol, chicken, water, and freshly harvested rice. There is a belief that if people do not perform this ritual, they will get sick and go mad. Therefore, even people who live far away or are traveling make efforts to return to their village to perform this ritual.\n\nMy family moved to Kathmandu about two decades ago, and although being five hundred kilometers away, at least one person from the family managed to go to the village every year for the ritual. This year, however, the community to which I belong was supposed to perform Siruwat on 9 May 2020 in my village. Yet, for the first time in history, many families like mine could not attend the ritual due to the nation-wide lockdown caused by the ongoing pandemic. The coronavirus has challenged the discourse of this supernatural belief. We are worried over our strongly constructed belief of the maladies connected with not performing the ritual. We ponder over questions like what would happen to our deities who are supposed to travel to the Himalayas after worshiping and whether they would wait for us until the lockdown is over to conduct the puja. Thankfully, this year we have not experienced peak summer yet. Maybe the gods are controlling nature and waiting for us to worship them. Could this be linked to the supernatural power of our gods—their control over nature and not to scientific reasons like climate change? This is an uncanny feeling for us.\n\nThe deities worshiped in Siruwat are believed to be sisters, brought as a dowry by a mother and transferred to a daughter once she gets married. The god of the family is called Purkha Hangma, which means the main goddess and is worshiped inside the house, and others are called Daije, which means brought in dowry and are worshiped outside the house. Since we could not perform the ritual on time this year, we had to make ourselves promise that we would re-worship them soon, and present them all with the traditionally offered items to get their blessings. Once the travel restrictions are over, the head of my family—my father, will travel to the village and perform the ritual. This time, it would be different. Wattongs, the old generations of the community would discuss, purify the previously worshiped gods, and apologize. Then they will fix the new date and time to complete the ritual.\n\nThe Covid-19 virus has challenged the fundamental aspect of honoring the journey of the deities to the Himalayas by hindering this ritual performance and has also alarmed the community against celebrating other festivals due to risks of viral transmission. Therefore, when people are adapting to their virtual presence in many activities, there is an urgent need to convince the community on finding alternative ways to perform rituals, such as doing it remotely instead of being physically present at the site. Like Siruwat, many other festivals—both communal and national, which are the cultural manifestation of communities, are under threat; re-performing or rescheduling them is a challenge, considering their complexities.\n\nphoto 1 : Prepared rice for mangkok© Mohan Rai\nphoto 2 : Preparing mangkok (rice from freshly harvested rice) and alcohol in gourd © Mohan RaiYear2020NationNepal
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The Journey Towards Knotted AccessoriesKnotting is, in essence, the act of tying a thread or a cord so that it does not come undone, while knot craft is the art of weaving together various shapes using threads or cords made through various methods in order to serve a certain physical or psychological purpose.\nThe origin of knotting can arguably be traced back to the advent of humanity itself. In primitive times, it was necessary to fashion cords and knots out of tree bark and grass for survival purposes in the context of the hunter-gatherer lifestyle; uses would have included tying or linking together hunting tools or carrying captured prey. With the advancement of humanity, however, knots surpassed their purely utilitarian purpose and evolved into craft items that are closely linked to everyday life, with the addition of various materials and crafting techniques. For example, each civilization has evolved its own knotting techniques and shapes influenced by its surrounding environment, to craft items such as belts or waist cords, baskets, and straw mats. Over time, knots have also become accessories worn for aesthetic purposes and ornamental items used to decorate the household, in addition to ritual items used in various ceremonies. In this regard, knots have surpassed their original survival and everyday life purposes to take on aesthetic and spiritual functions as well.Year2022NationSouth Korea
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Kazakh Jewelry: Continuity of Nomadic TraditionsThe Kasteyev State Museum of Arts in Almaty has gathered a unique collection of Kazakh jewelry made during the eighteenth through twentieth centuries. These examples vary in form, type, and technique. The distinctive features commonly found on Kazakh jewelry make them true masterpieces which reflect a specific philosophical understanding of the world and demonstrate the great artistic abilities of the Kazakh people. Indeed, every element that comprises an individual piece of Kazakh jewelry, including its form, details, the material it was produced from, and patterns, has a specific purpose and meaning.\nKazakhstan’s abundant supply of nonferrous and precious metals, including gold and silver, encouraged the development of its metalwork for millennia. Casting, forging, molding, stamping, and embossing techniques emerged as early as the second millennium BC, during the Bronze Age, as did signatory traditional designs for jewelry worn by the Kazakhs both historically and today. Saka treasures discovered in different areas of Kazakhstan—the Issyk Kurgan and the Besshatyr, Kargaly, Altyn-Emel, Tagisken, Uigarak, and Berel burials—are true masterpieces.\nBy studying jewelry, scholars can discern a great deal of important social, economic, and cultural information about the people who wore them. The style of jewelry changed during the Migration Period when the Huns moved westward from 47 BC until the fourth century AD. Artisans applied fine metalwork to nearly all objects where metal was used, from jewelry and household items to harnesses.Year2022NationKazakhstan
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Urushi Lacquer in Japan: Restoration of Cultural Properties and the Current State of Urushi ProductionAt present, there are 23 nationally designated urushi lacquerware production sites4) in Japan. Most of these regions are known for making everyday household items such as dishware. Urushi production sites exist all across the country, and have developed region-specific techniques that are adapted to the local environment and lifestyles. These techniques have been passed down by artisans.\nOn the other hand, urushi is also used in many traditional buildings. The urushi production sites involved in architectural applications are not limited to the abovementioned 23 areas. In recent years, there have been many instances of urushi reapplication during repair and restoration of buildings that are over 100 years old and nationally recognized as important cultural properties. This paper will summarize the current state of urushi application in repairing important cultural properties, and offer context to the issues raised in Japan’s domestic lacquer industry and supporting systems of production.Year2021NationJapan