Materials
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ICH Materials 1,057
Publications(Article)
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The Present Situation of Transmitting Traditional Tug-of-War in JapanThe custom of traditional Japanese tug-of-war, or tsunahiki (綱引), can be outlined as follows:\n\n• It is practiced on different annual events, such as Ko-syogatsu (小正月), or New Year celebration around 15 January according to the lunar calendar), Obon festival (盆)celebrated around 15 August, the Boys’ Festival on 5 May (端午節句), or the fifteenth night of August of the lunar calendar (八月十五夜).\n• The tug-of-war ropes are made of either straw, kaya (kind of cogon grass often used as traditional roofing materials), or shobu (菖蒲 or sweet sedge).\n• A village is divided into two groups of farming and fishing areas, eastern and west-ern areas, and upstream and downstream areas, and in some cases, the two groups are subdivided into smaller groups such as children and young adults as well as men and women.\n• The rope is tugged by these groups, or dragged around, slammed against the ground, or sometimes cut into pieces.\n• The purpose of this traditional event is said to forecast the volume of the coming harvest, to ward off evil spirits, or to pray for a peaceful life.Year2019NationJapan,Cambodia,South Korea,Philippines,Ukraine,Viet Nam
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Historical Ukrainian Game: “Tug the Devil” and ReflectionsTugging rituals and games survived in Ukraine from different epochs, keeping a deep ethnological sense and didactic use. Through decades and centuries, tugging traditions, which later formed the basis of different sport competitions and educational exercises related to tugging, have been modified, reflecting changed environments and social demands. As a rule, they constituted an important part of rural street (open-air) life and entertainment as well as public festivals associated with calendar or religious holidays, like Kolodiy, Masliana, and Stritennia (Pancake Week, Shrovetide, and Candlemas Day, respec-tively) and Midsummer Day, Christmas, Easter holidays. A lot of popular customs from pre-Christian (pagan) times passed to the Christian holidays and have continued until now. Obviously, as a recognized researcher of folk life, V. Skurativsky, wrote, the ethnographic term “street” to mean the ancient traditional form of youth entertain-ment that originated from the places of young people’s meetings.Year2019NationJapan,Cambodia,South Korea,Philippines,Ukraine,Viet Nam
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Quan họ Bắc Ninh folk songsQuan họ Bắc Ninh folk songs that have been created and supplemented for generations, are alternating response songs between male and female singers who have resided on the two banks of the Cầu River in ancient Kinh Bắc region.\nOn September 30th, 2009, Quan họ Bắc Ninh folk songs were inscribedon the Representative List of the Intangible Cultural Heritage of Humanity by the Intergovernmental Committee for 2013 UNESCO Convention on Safeguarding of intangible cultural heritage, taken place in Abu Dhabi, the capital of the United Arab Emirates.\nYearNationViet Nam
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ForewordTug-of-war is a universal game that pits two teams against each other in a test of strength. Although the sport is prac-ticed in different forms depending on the environment and culture of each country, it has promoted community solidarity and unity around the world. Dangjin has a unique folk tradition called Gijisi tug-of-war. It is believed that the tug-of-war was first held about five hundred years ago to overcome a devastating disaster by encouraging harmony and cooperation among the residents. Later, it reflected the local rope-mak-ing methods of fishing villages, and the city has supported large-scale tugging war events for the community. The local tradition has been well preserved and passed on to the present day.Year2019NationJapan,Cambodia,South Korea,Philippines,Ukraine,Viet Nam
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Traditional Tug-of-War as Shared Intangible Cultural Heritage in East AsiaThe tug-of-war is one of the most well-known intangible cultural heritage elements that represent the Republic of Korea. Tug-of-war games were widely enjoyed by people across the country before the 1930s and 1940s. During the 1960s, the tug-of-war came under the protection of the Cultural Heritage Conservation Policy and has been appointed and is being managed by local and national governments. Locally, eight tug-of-war traditions have been inscribed on the national inventory list. Moreover, compared to other ICH element studies, of the element has been significantly researched.\n\nTug-of-war is a cultural heritage element of many East Asian nations, and these nations are preparing to nominate the element to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. In this context, the goal of this paper is to discover universal traits in tug-of-war traditions in East Asia. However, besides the Republic of Korea and Japan, there is insufficient research on tug-of-war traditions in the region, which limits the scope of this presentation. In case of China, despite the existence of various records on tug-of-war in literature, the tradition as it exists in China today seems to be more of a sports match than a ritual event. I would also like to mention that this paper is a draft based on document records, the Internet, and the academic symposium hosted by Gijisi Tug-of-War Conservation Institute.Year2019NationJapan,Cambodia,South Korea,Philippines,Ukraine,Viet Nam
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Traditional Korean Tug-of-War and CommunityGijisi tug‐of‐war is one among many traditional Korean tug‐of‐war games. \nPlaying Gijisi tug‐of‐war forms a temporary community as well as a trans-mission community. In exploring the formed community, this article will discuss how the communities are formed, the features they have, and the meaning such temporary communities have. In addition, this article will examine how continuous and conventional communities enable the Gijisi tug‐of‐war event to take place. While doing so, different features of the tug‐of‐war communities will be discussed by comparing the characteristics of the Gijisi tug‐of‐war community with the Jul Nanjang, a special market held for the tug-of-war. Although different and both have changed, the characteristics of contemporary traditional transmission commu-nity will be clarified. Such comparative research might give Gijisi tug‐of‐war to find its unique position among traditional tug‐of‐war games.\nBased on the name, Gijisi tug‐of‐war, one may assume that the people who create such a spectacular would be residents in Gijisi‐ri or even residents of Dangjin, which includes Gijisi‐ri. However, participation in the tug‐of‐war is not restricted and is open to visitors from the whole country as well as foreigners. As such, a community for playing tug‐of‐war is temporarily formed. In other words, it is a temporary com-munity that is formed in a specific time and space.Year2019NationJapan,Cambodia,South Korea,Philippines,Ukraine,Viet Nam
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Saint Giong (Thánh Gióng) The Legend-Based Practice of Vietnamese CultureSaint Giong (Thánh Gióng), one of the Four Immortals (alongside Tan Vien, Chu Dong Tu, and Lieu Hanh) worshipped by the Vietnamese people, is a historical hero dating back to the early time of the Viet nation.1 The story of Saint Giong has been transmitted through many generations as a legend that invokes the bravery and community solidarity of the Vietnamese people in fighting against foreign invaders. Today, the tremendous legacy of Saint Giong is manifest in the spiritual belief, the annual ceremony, and the temple where past and present collide.Year2020NationViet Nam
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Learning Context in Museums: An Analysis of the Exhibition of Traditional Crafts at Ho Chi Minh City MuseumIntangible cultural heritage is one of training contents at university level for students who are majored in Cultural Heritage Management, led by Cultural Heritage Management Faculty, Ho Chi Minh University of Culture. Besides conspectus knowledge, basic knowledge of the major, students also access to specialized modules such as: Identifying the values of intangible cultural heritage, research methodology in investigating intangible cultural heritage, Inventory of intangible cultural heritage, forms of intangible cultural heritage… \n\nOne important learning method of these major modules is experiment, field work and access to public through activities: \n\n+ Observational thinking: learning through observation of activities executed by the others or self - experienced, thinking and concluding the understanding from experiences; \n+ Conceptualization: learning through establishing concepts, synthesize, justify, and analyze what we have observed; \n+ Practical experience: learning through activities, behaviors, specific and hand-on acts, \n+ Experiment: learning through experiments, propose solutions for issues and make decision. \n\nLearning - through - experiment methodology is put on specific learning contexts. In this paper, we want to mention to the role of the Museum – as an effective learning context, a buffering step from theory to practice to access the public. This learning context is analyzised based on the exhibition of traditional crafts at Ho Chi Minh city Museum, and based on contextual models of learning proposed by two proffesssors of Oregon University: John Howard Falk and Lynn Diane Dierking.Year2018NationViet Nam
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Rice and Livelihood Diversity for the Ethnic Minorities of the Northern Highland of Viet NamThe chapter is part of a UNESCO book about intangi- ble cultural heritage (ICH) in relation to the Sustain- able Development Goal 2 (SDG2): Zero Hunger. This chapter starts with an introduction to the Centre for Sustainable Rural Development (SRD), a Vietnamese organization that ran a project related to ICH and SDG2. The chapter continues with an introduction to the geographical and social context of the project, as well as three case studies describing the effect of the project activities on farmers’ lives. The chapter ends with two essays contextualizing the project in the larger issue of community resilience for climate change, and agrobiodiversity for food security.Year2020NationViet Nam
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ICH and Gender (Vietnamese)“ICH and Gender” introduces the mutual relationship between gender norms and ICH and emphasizes that understanding the intimacy between ICH and gender is important for effective ICH safeguarding and gender equality.Year2017NationViet Nam
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Tugging Rituals and Games in Asia, beyond BordersTugging rituals and games can be found all around the world, constitut-ing a panhuman cultural phenomenon. Especially in Asia, tugging rituals and games are related to rice farming, with most instances located within the farming cultures of Northeast and Southeast Asia. The practice of tug-ging rituals and games is universal and widespread, held to pray for rain or a good harvest or to foretell whether the year’s harvest will be good or bad. While many sim-ilarities exist among each tugging event based on the climate or environment, there is also a distinctness, individuality, and creativity specific to each region, making tugging rituals and games worth preserving as a common element of the intangible cultural heritage of AsiaDue to rapid urbanization and industrialization, however, today the tugging rituals and games of each country are in danger of their transmission being suspended, and there is even a lack of awareness of how important it is to safeguard tugging rituals and games as a part of intangible cultural heritage that is closely linked with agri-cultural rituals. In addition, while there have been previous case studies on tugging rituals and games of Asia, they are mostly limited to specific regions or rarely provide in-depth research, making it difficult to consider the connections between each region.Year2019NationJapan,Cambodia,South Korea,Philippines,Ukraine,Viet Nam
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Punnuk: Unwinding after the Harvest, the Tugging Ritual in the PhilippinesThe punnuk is a tugging ritual of the village folk from three communities in Hungduan, Ifugao in Northern Luzon, Philippines. It is performed at the confluence of Hapao River and a tributary as the final ritual after the rice harvest. Its consummation brings to a close an agricultural cycle and signals the beginning of a new one. \n\nThe punnuk is a ritual of pomp and revelry. Garbed in their predominantly red-col-ored attire of the Tuwali ethno-linguistic subgroup, the participants negotiate the terraced fields in a single file amidst lush greens under the blue skies. The tempo builds up as the participants reach the riverbank, each group positioned opposite the other. The excitement is sustained through the final tugging match, and the sinewy brawn of the participants is highlighted by the river’s rushing water.Year2019NationJapan,Cambodia,South Korea,Philippines,Ukraine,Viet Nam