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ICH Materials 301
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BAKHSHI ART FESTIVAL TO REVIVE SILK ROAD CULTUREA wide range of festivals are held in Uzbekistan to generate public interest in intangible cultural heritage. This includes the recent International Bakhshi Art Festival, which was held for a week from 5 April in the ancient city of Termez. Bakhshi is a multi-genre art form that brings together singers, musicians, and performers of Doston, a Central Asian oral epic. Teams from seventy-five countries took part in this festival, which featured not only a wide range of performances but also an enlightening international conference.Year2019NationSouth Korea
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Dalian Maritime University – Safeguarding China’s Navigation CultureFounded in 1909, Dalian Maritime University (DMU) is a Project 211 National Key University and an International Maritime Organization (IMO) Centre of Excellence. Known affectionally as the “cradle of navigators,” DMU has, since its inception, produced more navigators than any other Chinese institution. DMU is, without doubt, the beating heart of China’s maritime industry. Following China’s ratification of the 2003 Convention on the Safeguarding of the Intangible Cultural Heritage of Humanity in 2004, and in recognition of the critical need to preserve China’s navigation culture in the face of globalization and social transformation, DMU established the Centre for Maritime History and Culture Research (CMHCR) in 2008. Charged with safeguarding China’s navigation culture, CMHCR has, over the past twelve years, grown to become home to more than twenty-one associated experts, drawn from disciplines as diverse as history, archaeology, heritage, languages and linguistics, translation and interpretation, marine engineering, navigation science, and technology. This short article will highlight the vital work of this safeguard\u0002ing pioneer.Year2021NationSouth Korea
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Virtual Heritage Tour in the Time of CoronaAs the whole world is still gripped with Covid-19 and most people are confined within the boundary of their houses. In this time, cultural heritage has an equal impact as other economic sectors. Especially in the places where people’s social practices and everyday life is connected with heritage it has been hit hard. In case of Nepal not only the festivals, religious and social ceremonies has been cancelled or limited to formal rituals. But also the everyday practices of people visiting temples and performing rituals has been stopped. In the meantime, people are also showing resilience towards this global pandemic and finding ways to get connected with cultural heritage.\n\nEvery year the birthday ceremony of Lord Buddha (also known as Buddha Purnima or Buddha Jayanti) is celebrated on the full moon of Baishak according to lunar calendar, which usually falls on April or May according Gorgian calendar. Budha Purnima is celebrated in most of the Asian countries with various rituals, ceremonies and prayers. This year, it was celebrated on 7 May, and due to the nationwide lockdown, many people had ceremonies in their houses and small ceremonies in the monasteries and temples. In past, major temples, which used to see a huge mass of people, were limited to a few, especially the caretakers, priests, few locals, and monks/nuns.\n\nOn this day, many people from all over the world used to visit Lumbini—the birthplace of Buddha, which was not possible this year. So the StoryCycle together with the British Council organized a Virtual Heritage Tour (VHT) to Lumbini. Even though this site contains the archeological remains of Stupas, Vihara, and Temples, it still has religious and spiritual linkages with people in present time. The VHT was curated with Mr. Anil Chitrakar as a resource person. Mr. Chitrakar is a social entrepreneur, and he regularly organizes heritage walks and gives inspirational talks on conservation and development. He has worked for the conservation and development of Lumbini over the last thirty years in various capacities.\n\nThe VHT included a brief tour of the site, which included Maya Devi temple (mother of Buddha), sacred garden, and Ashok pillar (erected by emperor Ashoka in 249 BC testifying to Buddha’s birth there) as well as other important sites associated to the Buddha’s life and after his death. Also included are lesser-known sites such as Kudan, the hall where Buddha met his parents and his son Rahul (for the first time) after he became Buddha. Ramagrama—one of eight Buddhist stupas was constructed after the death of Buddha with his relics. It is the only stupa that has remained unopened to date. Mr. Chitrakar also explained the greater plan of Lumbini that includes forty-four unique monuments representing Buddhism in different countries within its boundaries. The way forward after the construction of international airport there, as well as how this important Buddhist site could connect to other important Buddhist sites.\n\nThis was an interesting event, as Mr. Chitrakar explained not only the physical structures but also the intangible aspects of them. From the mathematical explanation of the construction of stupa, stories of the Buddha’s life, and King Ashoka in spreading Buddhism as well as to the simplified and brief teaching of Buddha. Even though virtual, this tour was able to realize the calmness of site and praise its nature with canals and cranes in the surrounding.\n\nThe event was scheduled for one hour, but lasted a bit longer since around hundred people participated. At the end of which there was a question-answer session. This event also had a sign language interpreter.\n\nThe event recording can be accesses via https://www.facebook.com/storycycle/videos/253552219340656/\n\nEvent Page: https://www.facebook.com/events/730005211072259/\n\nPhoto : Lumbini © Anil ChitrakarYear2020NationNepal
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Small Epics as an Important Element of Oral Epic Creativitiy of the Kyrgyz PeopleThe rich folklore of the Kyrgyz people is an important historical and cultural phenomenon developing over many centuries and spiritually and artistically valuable. As an inexhaustible source of people’s wisdom, it reflects the history, life and social, political and spiritual ideals of the people. The oral folklore is the basis of our unique cultural heritage. Due to the harsh conditions of the nomadic life, endless clashes with enemies and invaders, and long distances of migration, the Kyrgyz people have not preserved their spiritual culture in the stone monuments of architecture, papyrus or clay writings but have preserved it in their memory for more than two thousand years of history. Memory proved to be good enough for keeping millions of lines of epic songs and works, which have been passed from generation to generation and reached the present day.Year2015NationSouth Korea
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Masterpieces of Oral Tradition and Expression Kyrgyz Epic HeritageThe oral tradition of the Kyrgyz people is the basis of a unique intangible cultural heritage that reflects Kyrgyz cultural identity. Oral heritage, developed over centuries, depicts the history and culture of the Kyrgyz people. Their creativity has been proven to survive exclusively in an oral form for many generations. This oral tradition represents a unique layer of traditional knowledge, making it a valuable source of cultural and traditional values and evidence of the development of the sociopolitical history of the Kyrgyz people. Kyrgyz oral heritage takes a wide variety of forms, including songs, fairy tales, proverbs, and riddles. These can all be different in terms of content and structure. Depending on the genre, oral tradition can reflect history, legends, fairy tales, or lore, which can be important in educating younger generations about the value of peace, attitudes toward nature and people, and love for the motherland. Many traditional oral works portray the main characters as defenders of their native land, arousing a sense of pride, and also depict the rich nature of the Kyrgyz land, nourishing love for their home. Some elements of oral tradition such as songs and folktales tell the stories or the specificities and peculiarities of the everyday life of Kyrgyz people. Folktales also reflect the esthetic views of the Kyrgyz people and teach us to recognize beauty, rhythm, and skillful use of language.\nYear2020NationKyrgyzstan
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Memory and ICH in KyrgyzstanKyrgyzstan, a landlocked country the territory of which is more than 94 percent mountainous, is among the most attractive lands located at the heart of Asia on the ancient Silk Road trade routes. The cultural heritage of the Kyrgyz people has been greatly influenced by their nomadic history. Kyrgyz people occupy a unique cultural environment and have a rich ICH. The vitality of this cultural heritage is safeguarded and transmitted from generation to generation as collective memory, orally or through practice and expression.Year2021NationKyrgyzstan
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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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키르기즈사람들 제 5장 키르기즈 민족의 역사 (The History of the Kyrgyz Nation)유네스코아태무형유산센터는 국립아시아문화전당과 협력하여 키르기스스탄의 문화와 역사를 소개하는 도서 <키르기즈 사람들>을 발간했다. 키르기즈 민족의 다채로운 문화를 총망라한 최초의 국문 단행본인 이 도서는 키르기스스탄의 전 교육과학부 장관인 카니벡 이마날리예프(Kanybek Imanaliev)가 저술한 를 한국어로 번역한 책이다.\n\n오늘날 중앙아시아의 산악지역에 살고 있는 키르기즈 민족은 말과 유목 그리고 서사시와 관련된 문화유산을 중요시한다. 이 책을 통해 키르기즈 사람들의 삶과 예술 속에 문화유산이 어떤 의미를 갖는지 살펴볼 수 있다.Year2023NationKyrgyzstan
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NowruzFor thousands of years, Nowruz has been celebrated by the Persians. This ancient ceremony is celebrated every year on 1 Farvardin (the first month in Persian Calendar), roughly 20 April, to welcome the new year and the spring, which brings life back to Earth for a new beginning. However, preparations begin a few weeks before, and the actions and performances continue for almost two weeks.\n\nPreparing for New Spring\nNowruz preparations begin a few weeks prior to the new year, with a traditional spring cleaning called khaneh yekani. It is also customary to purchase new clothing for the family and maybe new furniture for the home as a way of welcoming the new year and spring.\n\nHaft Seen Table\nWhile preparing for Nowruz, the people create the Haft Seen Table, a special family activity that begins by spreading a special family cloth on a table and setting the table with the seven S (seen) items including:\n\nSumac: The crushed spice of berries for the sunrise and the spice of life\nSenjed: Sweet dry fruit of the lotus tree for love and affection\nSerkeh: Vinegar for patient and age\nSeeb: Apple for health and beauty\nSir: Garlic for good health\nSamanu: wheat pudding for fertility and sweetness of life\nSabzeh: sprouted wheat grass for rebirth and renewal of nature\nBesides these items, other symbolic items go on the Haft Seen Table, depending on the tradition of each family. For example, a mirror symbolizes a reflection on the past year, an orange in a bowl of water symbolizes Earth, colored eggs represent fertility, and coins for prosperity in the new year. Special flowers called Hyacinths symbolize spring, and candles radiate light and happiness. Families also put Qur’an or Shahnameh, an epic Persian story of colorful kings and princes written around 1000 CE by the great Persian poet, Ferdowsi.\n\nChahar Shanbe Suri\nIt is also a tradition to celebrate the last Wednesday of the old year, Chahar Shanbe Suri by lighting small bonfire in the streets and jump over the flame shouting “Zardie to az man, sorkhie man az to” which means “May my sickly pallor be yours and your red glow be mine” with which, the flame symbolically removes all the unpleasant and unwelcomed things of the previous year.\n\nQashoq Zani\nWhile others are jumping over the bonfire, others are busy performing Qashoq Zani, which is very much like Halloween. Children—with some of the adults—wander around the alleys making sounds by tapping a pan or pot to bring out the neighbors. The neighbors open their doors and give the children treats.\n\nFalgoosh\nA group of unmarried woman and teenagers huddled in the corners of dark alleys and stand falgoosh, listening to the conversations of passersby. The content of the first sentence of a conversation is regarded as an omen (fal) or portent for the future. This continues until there is no more wood to burn.\n\nTraditions\nIt is also a custom to make ash (a kind of soup) and serve it after the ceremony to end the Chahar Shanbe Suri program. After ending the ceremony, in a few days, all people around the country wait for the exact time of changing seasons, when the new year comes, the tahvil moment.\n\nThe Moment of Tahvil\nThe exact time of the new year is calculated by astrologists and occurs during the venereal equinox; this is tahvil. Throughout history, people have been informed when they hear “Haji Firooz” being sung. A special person crossing through their neighborhood and the singing and dancing would spread the news of Nowruz. He is dressed in a red satin outfit and has his face painted as a disguise. A few minutes left to tahvil, families and friends gather around the Haft Seen Table.\n\nTo Visit Elderly\nThe joyful moment of tahvil is delightful for people, and they want to share the good feeling with those beloved and close friends and relatives. The priority is to visit with the elderly on the new year, where they serve fruit, sweets, and nuts, and children receive small gifts or an amount of money called eidi from their grandparents. This is why children are so passionate for these visits. These visits continue depending on how busy the adults are or until the last day of the Nowruz holiday.\n\nSizdah Bedar\nOn 13 Farvardin, the last day of the Nowruz holiday, people will leave their places to spend the day in the countryside. It is called sizdah (thirteen) bedar (out) to accompany nature through the change of the seasons. They bring their sabzeh and get to tie grass and make wishes like making a wonderful spouse or wishing for money, and after that they throw it into running water.\n\nPhoto : Celebratory foods for Nowruz © Mohammad ShirkavandYear2020NationIran
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Women at the frontlineOn 24th of September 2021, through the narrow lanes of ancient city of Kathmandu mass of women was seen pulling the chariots of Kumari, Ganesh and Bhairav. This spectacular scene was an unthinkable of a decade back. Women play integral role in the Newa household and many traditional functions but in the public events women always occupy backstage.\n\nNow on the last day of weeklong street festival – Yenyā Punhi also known as Indra Jatra, the new traditions of pulling chariot by women have been started. On this festival along with chariot processions many other activities takes place in those seven days such as several mask dances, raising of wooden logs, procession with lamps around ancient city boundary, display of Bhairav deities in the streets and other smaller events.\n\nThe chariot processions of Kumari, Bhairav and Ganesh, represented by children holds a special place, as Goddess Kumari was the tutelary goddess of Malla King of Kathmandu Valley and this practice is still present. In past women never participated in the pulling any of the chariots, this might be due to several reasons such as the chaos while pulling, crowd and social taboo.\n\nThree wooden chariots of Ganesh, Kumari and Bhairav get pulled for three days, which starts from third or fourth day of the Yenyā Punhi festival. First day of chariot procession is done through lower quarters of ancient city, second day through upper quarters and finally on the last day through middle quarter. The last day of the whole festival is known as Nānichāyā.\n\nThe new tradition of pulling the chariot by women has been started on day of Nānichāyā since Nepal Sambat 1132 (2011 AD). Mrs. Nanihira Prajapati, coordinator of pulling chariot shares the story of women pulling chariot was an idea implanted by late Mr. Mohan Krishna Dongol. It was his support and idea that the women were able to pull the chariot and which is still continued. Last year the whole festival was halted due to Covid-19 and the chariot procession too.\nThe chariot pulling by women are now well organized and with much security. According to Mrs. Prajapati there are 13-core team, each chariot being looked by four core team members. Mrs. Prajapati is responsible for overall processions management. The security is also arranged with women police throughout the processions.\n\nThe organization committee has made mandatory to register for those interested to pull. After which they get a pass and a T-shirt, which is to identify actual chariot pullers. Some women are also trained before the procession by Maha, the person who sits at the front of chariot and directs the chariot.\n\nMrs. Prajapati shares her experience that when they started they were not organized as now. On first year they just pulled the chariot of Goddess Kumari, even they were suggested to pull just a short distance if it was difficult. With proud smile she further adds that they completed the whole route. Women, girls and teenagers all came to participate on that historic day. After the event they received much support and media exposure, and were encouraged to pull all the chariots from next year.\n\nFollowing the women taking lead in procession, the drinking of alcohol which flows from the giant Swait Bhariav Mask was started by women as well, designating fixed day for just women.\n\nYoung girls are also seen playing different traditional musical instruments on this festival as well as in several other festivals.\n\nNow days there are a considerable active participation of women in many festivals, not holding the backstage positions of cooking and making arrangements.\n\nphoto 1~2 : Women pulling chariots of Kumari, Ganesh and Bhairav during the festival of Yenyā 2021 (Indra Jatra) © Sandesh MunikarYear2021NationNepal
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Intangible Cultural Heritage: Enacting the past in the modern timesYenya Punhi (also known as Indra Jatra) is one of the most entertaining street festival of Nepal. Although it is celebrated in different cities where there is presence of Newa population. Kathmandu takes the claim to this festival as their main festival. Now this festival is even celebrated in different cities around the world such as London, Dallas, Baltimore, Sydney and Sikkim.\n\nYenya in Kathmandu is elaborate with multiple events taking place simultaneously indifferent corners of the city for eight days. Chariot processions of living gods and goddess, different mask dances, processions of people and deities, displays of Bhairav masks are some of the main events. So during this event every streets, courtyards and alleys in Kathmandu are filled with people, gods and festivities.\n\nIn the evening of the first day, people carry out procession called Upaku or palcha bi wonigu literally translated as – to distribute butter lamps. The family members of the decreased ones goes around the ancient city lighting incense sticks and placing butter lamps along the way at every cross roads and religious shrines. Some groups of people also follow the route singing bhajan (religious hymns) as well as young groups are seen with different traditional musical instruments.\n\nFrom the big temples to stupas, chaityas and even the smaller shrines along the procession route are decorated with flowers, lights and samayebaji (pile of beaten rice with different beans, meat and food items). Music, lights, religious hymns and people make the city into different ambience.\n\nThis event seems to be for entertainment but actually this is for those who passed away that year. Many people participating in the processions are dressed in white. According to the Newa ritual, the sons of the decreased member dress in white for the whole year. The local belief explains this ritual is to show the light to the soul of the decreased people the way to the heaven. And any wandering soul in the city gets way out.\n\nThe story of the procession route is as interesting as the event. Ancient city of Kathmandu used to be a walled city and people who go in upaku procession are walking around the outer boundary of the city. In 1769, Kathmandu was taken over by Shah king and then the walls were let to ruins, which is mentioned in the book Nepal Mandala by Mary Slusser.\n\nNow there are no physical traces of walls and gates but the intangible heritage like Upaku brings back the long lost physical memory of the city. These festivals and rituals are not just celebrating the present but also bringing back the memory of the past in present landscape. It is a way to tell the people of this generation about the past of the city.\n\nOral micro history is very important to know the people and place of the past, and it is even important in the context of country like Nepal. Rarely the history of people and ordinary structures are recorded. Kathmandu Valley is full of rituals, events and processions, which tell the stories of people and place from the ancient times. And in many instances the activities of the past gets recreated in the present context even though the lifestyles of people and urban morphology has changed in unimaginable ways. Continuity of intangible heritage is also the way to give continuity to the memories of place, practices and past.\n\nPicture 1: People taking part in procession, chanting religious hymns and placing lamps along the way. © Monalisa Maharjan \nPicture 2: Pile of unbaked clay pot with lamps placed on the road. © Monalisa Maharjan\nPicture 3: Temple decorated with flower, light and a pile of Samaybaji along the route of Upaku. © Monalisa Maharjan\nPicture 4: Small shrine with the offering of lights by the people on procession. © Monalisa Maharjan\nPicture 5: A decorated chaitya on the route. © Monalisa MaharjanYear2022NationNepal
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From Micronesia to YouTube: Pasifika Renaissance on Documenting Oral TraditionPasifika Renaissance was established in September 2014 in Japan as an NGO with a mission to preserve and promote cultural and historical heritage in the Pacific Islands. The organization aims to revitalize traditional culture and empower local communities. They work in three main fields: documenting, researching, and teaching about traditional cultures and cultural heritage; providing technical assistance to relevant agencies and organizations; and promoting tourism. You can find out more at the organization’s Facebook page, where they post cultural and historical information, including historical photos and educational materials, and share updates about their activities.\n\nThey are currently engaged in a major project to document oral traditions in Pohnpei State. Many older Micronesians have fond childhood memories of listening to stories told by elderly relatives before bed. This practice, however, has been largely lost in Pohnpei due to the spread of new media such as videos and games and the decline of the younger generation’s interest in traditional culture.\n\nTo document stories from knowledgeable elders and pass them down to younger generations, Pasifika Renaissance began filming those stories in 2015 and sharing the videos on their YouTube channel with kind permission from the Federated States of Micronesia (FSM) Office of National Archives, Culture and Historic Preservation. This method of documenting and sharing traditional knowledge through online media is rare in the Pacific Islands. However, we believe that it has a great potential for future applications due to the relative ease of use and the internet’s global reach. Our project has been welcomed and supported by traditional chiefs, elders, and other community members, who share our concern that traditional knowledge could be lost.\n\nTo date, Pasifika Renaissance has uploaded more than two hundred narrative videos. These stories include legends, traditional tales, historical events, customs, chants and songs from Pohnpei (9 videos), Pingelap (69), Mwoakilloa (11), Sapwuahfik (60), Nukuoro (25), and Kapingamarangi (25) as well as two island groups of Chuuk State: the Mortlock Islands (10) and Namonuito (16). They hope to add more videos from Pohnpei, where they began their work just this year in collaboration with the Division of Historic Preservation and Cultural Affairs, Pohnpei State Department of Land. The YouTube channel has attracted over 240,000 views. Of these views, 78.5 percent are from United States, where one-third of FSM citizens now reside, and an 12 percent of the views come from within the FSM. Pasifica Renaissance’s YouTube channel has now reached 640 views per day, which they believe suggests a keen interest in these stories.\n\nThey offer their appreciation to the storytellers and others who have supported this project as well as the generous donors such as the KDDI Foundation in Japan. They hope by watching these videos, people can continue to pass on these stories to their children and younger relatives. If you would like to contribute stories or know someone who is willing to share stories with the organization, please contact them at pasifika.renaissance@gmail.com or by phoning the above Division (320-2652). If you have a knowledgeable elderly relative or friend staying overseas and have the ability to record his or her story via cell phone, tablet, or digital camera, please let them know. Please follow Pasifika Renaissance on Facebook and YouTube channel to receive updates as this project develops. They plan to extend this project to other states in the FSM and other Pacific regions in the near future and hope to collaborate with researchers, government agencies, NGOs, and community members. Please get in touch, and let them know how you can help spread this “renaissance” movement.\n\nPhoto : Interviewing Mr. Rasner Elias, Pohnpei © NGO Pasifika RenaissanceYear2017NationMicronesia