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weddings
ICH Materials 136
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Kyrgyz Traditional Wedding Customs and RitualsAs in other societies, the family may be the smallest social unit but holds the highest priority in Kyrgyz culture, so the making of a family is very important in Kyrgyzstan. This is why in Kyrgyz society wedding ceremony is an important event. The Kyrgyz traditional wedding requires an understanding of soiko saluu, kyz uzatuu, kalym, sep beruu, and nikahh kyiuu among others.\n\nThe traditional Kyrgyz engagement ceremonies include the following. The kuda tushuu tradition is the compulsory visit of the groom’s family to the bride’s house where the bride receives a pair of golden earrings (soiko saluu) from the groom’s family for the official engagement. In addition, the groom’s family needs to pay kalym (bride price); it can be in the form of either money or livestock. Moreover, there is kiyit kiygizuu (a gift exchange) of mostly clothes, between the bride’s and groom’s family. These are all the of the Kyrgyz people.\n\nAfter, there is the kyz uzatuu tradition, a custom to say goodbye to the bride by holding a feast and preparing sep (dowry). Accordingly, the bride is taken to groom’s house through a special rite and respect. However, the practice of ala kachuu (bride kidnaping without the bride’s consent) is not part of Kyrgyz traditions. Traditionally, bride kidnapping meant an arranged marriage when a loving couple agreed to marry but the bride’s parents were against the marriage. In today’s Kyrgyz traditions, however, the understanding of bride kidnapping is very much distorted. Therefore, the practice is illegal, which leads to criminal liabilities. A legal and socially acceptable Kyrgyz traditional wedding incorporates rituals in which the bride and groom marry with respect and honor.\n\nOther wedding customs and rituals are performed in the groom’s house, where the official celebration takes place, such as welcoming the bride and displaying her dowry. The groom’s family present a white scarf to the bride as a symbol of blessing. The bride usually spends several days behind koshogo (curtain) while the visitors come and present different scarfs to see the new bride. Lastly, in the nike kiyuu tradition, a Muslim ceremony, the mullah reads a prayer and asks the couple of their consent to marry.\n\nNowadays, a mix of traditional and western styles of wedding is common in Kyrgyz society, incorporating decorated cars, visits in famous sites, and a feast in restaurants.\n\nPhoto : Kyrgyz Wedding Rites. Inspection by the Groom. Circa 1860s. by Aleksandr L. Kun, 1840-1888Year2019NationKyrgyzstan
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Traditional Practices for a Sustainable PlanetPlastic waste has become one of the biggest problems of the today’s world. The modern lifestyles we have accustomed to, generate tones of non-degradable wastes, which are polluting our environment and degrading it at the faster pace. If we look closer, many traditional practices in different parts of the world might have solution for sustainable environment.\n\nOne of such practices that are being used by the various communities of Nepal is plates and bowls made out of leaves. The leaves from tree known as Saal (Shorea robusta) is commonly used for this purpose. Broad leaves, shiny at the front with natural impermeability to water makes it ideal to make plates and bowls out of it. Saal is tree is native to Nepal, India, Bangladesh and Myanmar. Not only leaves but also the timber from this tree is also very valuable as it is considered to be strong for the building materials.\n\nThese leaves are arranged and stitched with hands using thin stick made out of bamboo. Many communities have different names for these objects made out of leaves according to their frequent usability. The plates made out of leaves are called laypya in Nepal basha, bowl shaped structures made out of leaves known as duna and tapari in Nepali, bota (Nepal Basha)\n\nStill today these plates and bowels are used for many rituals, feasts and other purposes.\n\nIn past these plates made out of the leaves were the only options for the feasts when needed to feed large number of people. In old days, before the start of festivals families gathered to sew the leaves for the feast. Especially during the big feast like weddings, it was a common practice for the family members, relatives and neighbors, to lend hands for making leaves plates or laptya several months ahead. But now a days due to the cheaper, readily available and commonly available option of plastic and paper plates these leaves are being replaced. Due to the catering services and party organizers, these community engagements is fading out.\n\nBut due to the religious and cultural significance, in the ritual practices these leaves are still used. It may be due the belief associated these leaves being pure. In the markets the green leaves rolled together could still be seen.\n\nBut there has been comeback of the leaf plates and bowls not only in the traditional rituals and feasts but also in the fast-food restaurants. The fast way to sew the leaves plates and bowls with the machines makes it easier to produce many plates in a day. It is not only easier but also the leaves plates are available all around the year in market. It’s really interesting to see the roadside food stalls using leave plates and bowls in Nepal.\n\nThese traditional practices if integrated in today’s modern lifestyle can help to combat many problem today’s society is facing.\n\nPhoto 1 : Process of sewing leaves to make plates. © Monalisa Maharjan\nPhoto 2 : Vendor selling the leaf plates in the market. © Monalisa Maharjan\nPhoto 3 : Traditional food in leaf plates Laptya. @Monalisa MaharjanYear2020NationNepal
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Mithila Art of NepalVibrant colors, deception of animals, plants, and everyday life of people to the mythological narratives are the features of Mithila art. But the most important aspect of about this art is that women strictly have a monopoly over it. So this is the reason, we can see many everyday activities—washing, cooking, fetching water, combing hair, singing in choirs in groups—featured in this art. Mithila art also features Hindu gods and goddess; mythological events along with the animals, birds and plants.\n\nThe Mithila art got its name form namesake Kingdom Mithila also known as Videha Kingdom. The ancient kingdom of Videha extended form the region, which is now in North Bihar in India and eastern Terai of Nepal. In Nepal present day Janakpur city in is considered to be the seat of ancient Kingdom. The most famous king of this kingdom was Janak. He had daughter named Sita, who then got married to prince Ram of Ayodhaya, India. Ram and Sita are the pivotal character of Hindu mythology Ramayan. The marriage of Ram and Sita are also explicitly featured in Mithila art too. The people living in Mithila region are known as Mithil.\n\nMithila art had the humble origin. Mithili women used to decorate the walls of their mud houses with everyday characters and vibrant colors, mostly red, yellow, orange, blue, and black. The colors are made from the local clay, plants root, flowers, berries, etc. Due to its natural elements these paintings were temporary, stayed on walls for few months. Traditionally the paintings were done with raw cotton or lint wrapped in bamboo splint. Also women painted the walls regularly according to the seasonal festivals. According to the festivals the picture depicted also changes. Also due to the natural erosion, the decorations on walls need to be done regularly. So the young girls also get an opportunity to learn from their mothers, neighbors, and the elderly through decorating their houses, watching them and painting with them.\n\nMithila art also plays a pivotal role in weddings. Walls of brides’ homes are painted with various motifs, with each subject have special meaning, such as fish for fertility and good luck, parrot for love and many other with specific meanings. The rituals and festivals, which are being performed, the walls are painted accordingly which symbolizes the functions. Now Mithila art has exceeded walls of houses and courtyards boundaries of Mithila region. The art, which was a medium for the expression of women creativity, feelings and everyday life, is now an identity of Janakpur and whole Mithila region.\n\nThe introduction of Nepali handmade lokhta paper (made from the fibrous inner bark of the Daphne bholua shrub) in 1970s to Mithila art helped to transcend from walls to papers then to cups, mugs, t-shirts and now everywhere. Now it’s not just ordinary art but also has become livelihood of many women. Cups, mugs, plate, boxes, bags and many more; brightly painted in Mithila art could be bought for daily use.\n\nMithila art not only jumped the walls of the courtyards to everyday usable objects but had also brought changes in the objects that are drawn. In addition to the plants, animals and humans, the inclusion of the modern objects could also be seen in Mithila art as in the picture which depicts latest pandemic and deforestation. Although Mithila art is now known outside the Mithila region and even abroad, the traditional art in walls are decreasing. People’s choice of building cemented houses are losing its traditional wall paintings. Though for the tourism promotion purpose even the cemented walls in that region started see Mithila arts over the cemented walls.\n\nNOTE: The author thanks Ajit Shrivastay for the valuable information provided.\n\nPhoto 1 : Mithila Art 1 by Ganesh Shah (Deforestation and Covid19 depicted in Mithila art ) © Monalisa Maharjan\nPhoto 2 : Mithila Art 2 by Rita Kumari NayaYear2020NationNepal
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Pilgrimage to the St. Thaddeus Apostle MonasteryOn 17 December 2020, the rite and pilgrimage to St. Thaddeus Church were added to the Representative List of intangible cultural heritage with a joint nomination file with Armenia and Iran. It marks Iran’s sixteenth heritage element to be registered on UNESCO’s lists. The Pilgrimage to St. Thaddeus is a religious rite held in West Azerbaijan, Iran, at the Church of the Holy Qara (Black Church). Every year, thousands of Armenians from all over the world come to this historic site to perform this ritual.\n\nQara Church is one of the world’s oldest churches and one of the most significant Armenian churches. According to some scholars, it is the world’s first Christian structure, and it is located 20 kilometers northeast of Chaldoran city, next to a village of the same name. Qara means ‘black’ in Azeri, and the name comes from the fact that a portion of the church is black. The church’s main structure is made of black stones, which have been replaced with white stones following the reconstruction of some of the stones.\n\nThe Church of Thaddeus, along with the Dzordzor Chapel and St. Stepanos, was added to the World Heritage List as a collection on July 7, 2008.\n\nThis ceremony commemorates the martyrdom of Thaddeus, one of Christianity’s first apostles, and Santukhd, the first female Christian martyr.\n\nThaddeus, also known as Tataeus, was one of Christ’s apostles who visited Armenia in the year forty AD and preached Christianity. Many groups converted to Christianity because of his preaching, including Armenia’s King Sanatrok and his daughter Santukhd. However, the king later regretted it and became opposed to the new religion, ordering the assassination of Thaddeus, Sandakht (his daughter), and others.\n\nThe history of this ritual dates back to 1954, and it has been organized every year in St. Thaddeus Church by Armenians for 66 years with the presence of Armenians and Christians from Iran, Armenia, and other countries around the world. In addition to the Armenians, Assyrian families and some Catholic families also attended the ceremony.\n\nThe ceremony is a social and cultural event that incorporates religious, ethnic, and traditional motives. Every year in July, rituals, and pilgrimages to St. Thaddeus Church (Qara Church) are held. During these three days, ceremonies such as infant, child, and adolescent baptisms, weddings, candle lighting, and church bell ringing are held inside the church and in the surrounding area.\n\nPicture 1: © Mr. Mohammad Reza Domiri Gangi\nPicture 2: St. Thaddeus Monastery © Soheil Callage, CC BY-SA 4.0 , via Wikimedia Commons, Changed: Size, ContrastYear2022NationArmenia,Iran
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Appreciating the Traditional Music of the Maldives through Bodu BeruBodu beru (literally “big drum”) is the most popular and one of the oldest surviving forms of music and dance in the Maldives. The tradition is thought to have been brought to the Maldives by African slaves in the nineteenth century. Some people also believe that it evolved as an alternative to eleventh-century court music.\n\nBodu beru is usually performed by a group of fifteen to twenty people—composed of at least a lead singer and three drummers. Goat skin is commonly used as the drum’s membrane and the wood of coconut palm as the drum’s barrel; stingray skin is also used as a substitute for goat skin. The beat is hammered out with bare hands in a slow tempo, building up into a crescendo. This intensity continues before reaching an abrupt end. The song accompanying this drumming is called baburu lava or negro song. In the olden days, the lyrics were a meaningless combination of local and African words usually sung after a hard day’s work.\n\nNowadays, songs sung with bodu beru accompaniment are written in Dhivehi, the local Maldivian language. During musical shows, performers render a dance called baburu neshun or negro dance while wearing a sarong and white short-sleeved shirt. Bodu beru is popular at weddings, Eid occasions, and events held in relation to the circumcision of young boys. Also, with many tourist resorts realizing the commercial benefit of a relatively inexpensive cultural activity for their tourists, many bodu beru groups have been formed to perform in resorts. A current and more commercial revival has been led through an annual reality show/competition known as Boduberu Challenge. Some videos of the program are available here.\n\nPhoto : Bodu beru performance by young practitioners CCBY2.0 Shafiu HussainYear2017NationMaldives
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The Art of Embroidery: Subregional Networking on Multinational NominationThe art of embroidery is one of the ancient traditions of applied and decorative arts in Central Asia. The uniqueness and beauty of Central Asian embroidery, the abundance and diversity of its ornaments and techniques testify to the rich traditions of this art. Embroidery is widespread mainly in trade and handicraft cities and large villages along the Silk Roads in Central Asia. Each existing traditional schools have a unique symbol, style and color balance based on local knowledge and social practices.\n\nEmbroidery is common activity among women in Central Asia. Traditionally, women and girls embroider individually and in groups. Embroidery is passed down from generation to generation, mainly from mother to daughter, in the form of master-apprentice schools. Indigenous population in Central Asia wear embroidered items, it serves as a symbol of their devotion to their homeland and culture. It is especially found at craft fairs, festivals, contests, weddings and social festivities.\n\nNetworking on elaboration of the multinational nomination “The Art of Embroidery” in Central Asia was initiated by the NGO “Living Heritage” of Uzbekistan (“Umrboqiy Meros”) in May 2019. Main objectives of the networking were to strengthen collaboration among scholars and artisans in Central Asia and to promote joint safeguarding activities by inventory of traditional schools on art of embroidery in Central Asia.\n\nAd hoc working group has been created, which consisted of representatives from ICH stakeholders (governmental and non-governmental organizations, artisans and scholars) from Kazakhstan, Tajikistan and Uzbekistan. Offline and online meetings of the working group were organized from May 2019 to March 2020 on the monthly basis. In every meeting experts exchanged views on current status, development perspectives and safeguarding challenges of the art of embroidery in their countries.\n\nIt has been observed that element is practiced and transmitted almost in all the regions of three countries: Uzbekistan (especially in the centers of artistic embroidery such as Djizak, Fergana, Namangan, Nukus, Nurata, Bukhara, Samarkand, Shakhrisabz, Urgut, Tashkent, as well as other rural areas), Tajikistan(mostly in Dushanbe, Khujand, Kulob, Istaravshan, Bokhtar, Panjakent, Hisar, Gharm, Darvaz, Khorogh, as well as other cities and regional centres) and Kazakhstan (Eastern/Altay, South-Eastern/Almaty and Nothern/Mangystau and since last century in Western parts of the country). Annually, traditional textile festivals in Central Asia are being organized in Kazakhstan (“Korpefest”, “Kazakhstan oneri”, “Altyn sapa”), Uzbekistan (“Atlas Bayrami”, “Silk and Spices”, “Altin Kul”, “Raks Sekhri”, “Boysun Bahori”) and Tajikistan (“Diyori husn”, “Taronai Chakan”, “Idi Atlas”), where many masters from these countries and also from various regions of Central Asia participate and display their handmade art products. This kind of cultural events are proper places for exchanging knowledge and establishing dialogue among societies, groups and individual masters.\n\nThe multinational nomination “Traditional embroidery of Central Asia” was successfully completed and submitted to the UNESCO Headquarters in Paris in March 2020 by the National Commission of Uzbekistan for UNESCO. The nomination will be examined by the ICH Intergovernmental Committee in 2022.\n\nAs follow up activity, following institutional members of the working group became coordinators for ICHCAP/IICAS Survey Project on Silk Roads Handicrafts Workshops, which was started in July 2021: Kazakhstan National Committee for the Safeguarding of the ICH, Institute of Culture and Information of the Ministry of Culture of the Republic of Tajikistan and NGO “Living Heritage” of Uzbekistan.\n\nphoto : © Lutfiya MirzaevaYear2021NationCentral Asia
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GARBA, A CIRCLE DANCE OF INDIAWhile the circle is a quantifiable and concrete geometrical shape, the abstract idea of the circle has many different meanings, interpretations, and symbolic significance in Indian philosophical systems. These ideas have also culminated in varied manifestations of the concept into intangible cultural heritage. Garba is a ritual dance form where the knowledge and belief systems regarding the circle find choreographic expression. It is a social-community dance performed primarily by women in the Gujarat region in India. Performed during the nine-day Hindu festival of Navrātrī, the dance is primarily a celebration of feminine energy and an offering to the feminine divinity. It is also performed during the celebration of Sivaratri and weddings and in certain pregnancy rites.Year2011NationSouth Korea
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The Masters of Ceremonial Dishes in TurkeyIn Turkey, it is mostly traditional female cooks who prepare wedding dishes in most villages, although their numbers have declined. Traditional female cooks have almost always been at the center of my culinary eld research. I carried out an important part of this research in the villages and small towns of the Aegean (Izmir, Aydın, Manisa), Mediterranean (Adana), Marmara (Balıkesir, Çanakkale), and Central Anatolia (Çorum) regions between 1998 and 2018. e data I obtained by interviewing and observing techniques in groups that describe themselves as immigrants, natives, Alawis, Yoruks, or Turkomans in these settlements showed that traditional female cooks who prepare ceremonial dishes, especially for weddings, have some common equipment and knowledge. is equipment included the ability to control the material, cooking and presentation techniques of ceremonial food and to transfer the traditional knowledge, skills, and experience of food to future generations.Year2019NationSouth Korea
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Living in Harmony with Nature: Safeguarding Centuries — Old TechniquesThe yurt is not just a portable dwelling used by many nomadic peoples, but a pinnacle of nomadic creativity and a symbol of the national identity of the Kyrgyz people. Yurts have a plain construction, can be quickly assembled and dismantled by a few people, protect from the cold or from the heat of sun, and most importantly are entirely made of natural materials. This makes the yurt one of the best options for the promotion of eco-tourism and centuries-old traditions and crafts. No big life event in Kyrgyzstan goes without installing a yurt. Births, weddings, and funeral rituals are traditionally held in yurts. They are an integral part of all festivities, ceremonies, and important events from the local to national and international levels.Year2022NationKyrgyzstan
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The Impact of Tais in Timor-Leste: Culture with Unlimited SpaceCeremonial cloths known as Tais have been woven in Timor-Leste for generations. From the time of the Timorese ancestors, women have learned how to make Tais for use in traditional ceremonies, such as weddings. It is seen as important for women to transmit this knowledge for the future generations, and thus the technique has been passed down from mother to daughter for centuries. The weaving tradition is considered a key social function as it strengthens familial bonds. For Timorese, Tais is strongly connected with local tradition and its weaving is seen as not only a local practice but part of the national identity. The designs and techniques record a woven narration of the culture, lore, paradigms, and stories of Timor-Leste’s history.Year2022NationTimor
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WEDDING CEREMONIES OF THE FERGHANA VALLEYWedding ceremonies play an important role in social life of the Uzbek people. Embodying various traditions, rituals, and celebrations, weddings are important lifetime events since they mark the birth of a new family. But a wedding is not only a union of two young people and launching of a new life but also a solemn rite of entry into important social norms and a continuation of the family legacy.Year2015NationSouth Korea
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The Tradition of Acheik Weaving in MyanmarIn Myanmar, people wear traditional clothes, prominently acheik longyi (skirt) in events such as weddings, novitiation ceremonies, and national gatherings. When you find a lady wearing acheik longyi abroad, she is certainly from Myanmar. Myanmar people regard acheik textiles an important aspect of the identity of the people of Myanmar, representing tradition and practice of a thriving culture.\n\nLuntaya acheik is an indispensable item that projects the social status of women. The term lun means shuttle and taya means a hundred. Acheik, on the other hand, means connect, and it is also the term for tapestry weaving methods. So luntaya achiek is a kind of woven cloth with threads crossing under and over each other on plain textile using many shuttles. Acheik textiles have flourished since the nineteenth century CE. During the ancient period, achiek was used for royal costumes; ordinary people were not allowed to wear achiek. The highest ranking officials, royal services, and merchants could only wear achiek if the king rewarded them. Until now, achiek workshops are mainly based in Amarapura, Sagaing, and Mandalay in upper Myanmar.\n\nFor the weaving process, three of four raw silk threads are twisted tightly with the aid of a machine for tautness and smoothness. After that, silk-woven faces are removed by washing in boiling nut soap liquid. This step helps the fabric become softer than ordinary silk thread. While boiling the silk, colors can be added to dye the thread. And then, the dyed threads are washed with water and placed under the sun to dry. For weaving, the silk threads are kneaded onto bobbins, and then the bobbins are attached to the loom; the weavers will then weave the desired achiek patterns. Between one hundred and three hundred small bobbins are used to weave intricate and complex acheik designs. Traditional acheik have a lot of names according to the designs, depending on the color usage and the number of small bobbins. There are fifty-two kinds of classic achiek designs, and they are expensive as it takes many days of manual labor to produce achiek textiles.\n\nNowadays, cotton and silk are mixed and Achiek designs are modified to produce cheaper versions by weaving machine. Though handmade achiek textiles are expensive, Myanmar ladies proudly wear this classic design textile pattern for both special social and religious occasions. Since Myanmar people have worn acheik designs during special events and ceremonies since ancient times until today, Myanmar acheik continues to be a living heritage. The weaving practitioners relentlessly transmit their knowledge and skills to the young generation.\n\nPhoto 1 : Acheik fabrics CCBYSA3.0 Wagaung/Wikimedia\nPhoto 2 : Weaving acheik,/em> with small shuttles ⓒ La pyae\nPhoto 3 : Acheik weavers ⓒ La pyae\nPhoto 4 : Wearing acheik in a ceremony ⓒTheint kanmaYear2018NationMyanmar