Materials
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ICH Materials 607
Publications(Article)
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WATER PUPPETRY: A GLANCE FROM VILLAGE TO CITYPerformed in villages and closely attached to water rice agriculture, water puppetry is a unique performing art and is the intangible cultural heritage of the Viet people in the Northern Delta region of Vietnam. Created in the tenth century, the first historical record on water puppetry was inscribed in an ancient stele in 1121 called the Sung Dien Dien Linh in the Long Dọi Buddhist Temple of Ha Nam Province. The inscription reads that water puppetry was performed to entertain the king on the occasion of his longevity ceremony.Year2011NationSouth Korea
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SAFEGUARDING DONG HO WOODBLOCK PRINTING IN VIETNAMDong ho woodblock printing originated in Dong Ho Village, Song Ho Commune, Thuan Thanh District, Bac Ninh Province, about 35 km east of Hanoi. The colors, color processing, printing paper, woodblock carving, and manual printing techniques, as well as the skills of craftspeople give dong ho woodblock printing its famous “naïve soul.” Printing colors, paper, and woodblocks are handcrafted from natural materials. Each color is printed on a separate woodblock, so the number of woodblocks used depends on the number of colors needed. In a multicolor print, craftsmen print colors in the following order: red, green, white, yellow, and finally black. After applying each color, craftsmen hang paintings to dry before printing another color.Year2016NationSouth Korea
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The Commonality and Diversity: For the Asian Values of Lacquer Crafts Culture and Its Safeguarding StrategiesKey matters on modern significance of intangible heritage and its safeguarding Intangible heritage is living cultural heritage which can express human’s wisdom and sensibility intactly by this time. Even though some of them already disappeared, are about to disappear and would disappear not before long, there still remain many of them in our thoughts and experiences. Such heritage is the infinite future resources and traces of the past that human can enjoy in this digital era. The traditional cultures can play a more important role for us in feeling human’s emotions and humanity in the digital era because they contain old human’s memories, and can be an economic means as well. These intangible heritages, in essence, may have the same function even though their forms are different. In particular, we can see that certain cultures spread to neighboring regions, which led to the creation of a new form of culture in a community that accepted them. This process is important as an asset for sharing humanity and at the same time becomes a meaningful source for each community to have its cultural identity as an expression of diversity of human thought.\nTherefore, how to preserve the shared or coexisting intangible heritage among cultural communities is a key topic in the international society today. Meantime, there have been some cases in which even though they are the same kind of heritage, certain heritages in some areas were inscribed on the list of World Heritage but others were pushed aside, in spite of their equally excellent values. In today’s fast-changing society, if culture is neglected even a little bit, it will disappear. Then, if it disappears, total amount of culture in that society will eventually shrink, which means that the future values will be lost. What is called culture inevitably comes to vanish without those who use it, no matter how creative it is. In order to preserve traditional heritage that may disappear at any time, it is an essential process to persuade the society, develop modern utility and seek for strategic methods, deeply thinking of its future value of such heritage.Year2021NationSouth Korea
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PRACTICE OF CONSTRUCTING THE MONGOLIAN GERThe ger, a traditional dwelling created by nomadic Mongolians, is specifically designed to fit their way of life. Its semi- sphere shape helps the ger endure storms and tempests. It has solutions for heat control and ventilation. It is flexible in terms of size and design, and it is portable and lightweight. At the same time, it is also comfortable to live in and easy to build and dismantle. Moreover, the ger is used as a measure for time and directions.Year2013NationSouth Korea
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OTCHIL, LACQUERWARE CRAFTS OF KOREAThe geography of Korea is ideal for growing lacquer trees. Optimal climate, topography, and soil conditions can be found across the country, and the lacquer produced is of the highest quality. This led to lacquerware crafts being highly valued in Korea over the years, and a uniquely Korean culture of lacquerware being developed.Year2017NationSouth Korea
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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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Commonalities and Diversity of Asia-Pacific Intangible Cultural Heritage: For Asian Values and Safeguarding Strategies of Lacquer CraftsIntangible heritage is living cultural heritage which can express human’s wisdom and sensibility intactly by this time. Even though some of them already disappeared, are about to disappear and would disappear not before long, there still remain many of them in our thoughts and experiences. \n\nSuch heritage is the infinite future resources and traces of the past that human can enjoy in this digital era. The traditional cultures can play a more important role for us in feeling human’s emotions and humanity in the digital era because they contain old human’s memories, and can be an economic means as well. These intangible heritages, in essence, may have the same function even though their forms are different. In particular, we can see that certain cultures spread to neighboring regions, which led to the creation of a new form of culture in a community that accepted them. This process is important as an asset for sharing humanity and at the same time becomes a meaningful source for each community to have its cultural identity as an expression of diversity of human thought. \n\nTherefore, how to preserve the shared or coexisting intangible heritage among cultural communities is a key topic in the international society today. Meantime, there have been some cases in which even though they are the same kind of heritage, certain heritages in some areas were inscribed on the list of World Heritage but others were pushed aside, in spite of their equally excellent values. In today’s fast-changing society, if culture is neglected even a little bit, it will disappear. Then, if it disappears, total amount of culture in that society will eventually shrink, which means that the future values will be lost. What is called culture inevitably comes to vanish without those who use it, no matter how creative it is. In order to preserve traditional heritage that may disappear at any time, it is an essential process to persuade the society, develop modern utility and seek for strategic methods, deeply thinking of its future value of\nsuch heritage. To preserve the intangible heritage, it is necessary to build the favorable environment in which communities with such technological culture can keep working on new creative works. For this, each society has to make continuous efforts in cooperation with communities not to wither this\nheritage away. These efforts are important not only in terms of the transmission of tradition but also as cultural resource to form sustainability for a society in the digital era. Here, we should pay keen attentions to preventing such intangible heritage from being fossilized, remaining fixed cultural system and eventually being eliminated. Intangible heritage should exist as one culture, but its way of expression should adapt to the senses and demands of a new generation by constantly making creative transformation. By doing so, the original form can be also preserved as a part of diversity. In other words, the practical benefit based on tradition is a prerequisite for the transmission through generations.Year2021NationSouth Korea
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PASOLA FESTIVAL: Sumba Tribe Horse Riding ContestPasola is a Sumba Tribe horse riding contest from Sumba Island of East Nusa Tenggara, Indonesia. It is followed by Marapu groups which is the local religion of Sumba community. This festive is a peak of Nyale tradition where they plead for successful harvest as well as a thankful ceremony to ancestors. The celebration of Pasola in Marapu’s belief is considered to maintain the harmony between ancestral and humankind. They believe that ancestors can give the blessing and the prosperity for them and bring harmony.\n\nThe word of Pasola comes from “sola” or “hola”, which means Javelin woods. The affix ‘pa’ when added, the meaning changes to be wooden javelin game. So, pasola or pahola means a game throwing the wooden javelin while fast-riding horse between two opposing groups. The game of pasola is held on four settlements in West Sumba Region i.e. Kodi, Lamboya, Wonokaka, and Gaura. This game is performed between Februarys to March every year in alternation.\n\nThe Process of Ceremony\nPasola is commenced by Nyale tradition. Nyale tradition is a thanksgiving ceremony for pleasant harvest season and plenty of Eunice Fucata (a species of sea worm) on the coast is the indication innate in the festival. It is held at a full moon when the Nyale (sea worm in Sumba Language) comes out to the seashore. The ethnic chief called Rato will predict the moment once the sea worms come out when the sun is rising in the morning. When the Rato finds the first sea worm, its shape and color is examined. If the worm is fat, healthy, and colorful, it is predicted that they will influence the benefit and gain successful harvest that year. It also means that Pasola Festival can be performed. In contrast, if Nyale is thin and unhealthy, it is the believed that misfortune will occur and Pasola is forbidden to be organized.\n\nPasola is a Sumba Tribe horse riding contest from Sumba Island of East Nusa Tenggara, Indonesia. It is followed by Marapu groups which is the local religion of Sumba community. This festive is a peak of Nyale tradition where they plead for successful harvest as well as a thankful ceremony to ancestors. The celebration of Pasola in Marapu’s belief is considered to maintain the harmony between ancestral and humankind. They believe that ancestors can give the blessing and the prosperity for them and bring harmony.\n\nThe word of Pasola comes from “sola” or “hola”, which means Javelin woods. The affix ‘pa’ when added, the meaning changes to be wooden javelin game. So, pasola or pahola means a game throwing the wooden javelin while fast-riding horse between two opposing groups. The game of pasola is held on four settlements in West Sumba Region i.e. Kodi, Lamboya, Wonokaka, and Gaura. This game is performed between Februarys to March every year in alternation.\n\nThe Process of Ceremony\nPasola is commenced by Nyale tradition. Nyale tradition is a thanksgiving ceremony for pleasant harvest season and plenty of Eunice Fucata (a species of sea worm) on the coast is the indication innate in the festival. It is held at a full moon when the Nyale (sea worm in Sumba Language) comes out to the seashore. The ethnic chief called Rato will predict the moment once the sea worms come out when the sun is rising in the morning. When the Rato finds the first sea worm, its shape and color is examined. If the worm is fat, healthy, and colorful, it is predicted that they will influence the benefit and gain successful harvest that year. It also means that Pasola Festival can be performed. In contrast, if Nyale is thin and unhealthy, it is the believed that misfortune will occur and Pasola is forbidden to be organized.\n\nThe arena of Pasola Festival undertakes in large terrain. It consists of two groups and each group has more than 100 spear-armed knights. The spear is created from dull-tipped wood with diameter of 1.5 cm. This game can harm the victims even though the spear is dull. According to the Marapu’s faith, if there is a victim during the contest, it is believed that the rule is broken or mistake has been made so ancestors will punish them. During the Pasola, some knights will be injured and the blood will come out from his body. This blood is opined as valuable for soil fertility and successful harvest. If death occurs during the Pasola, it is a signal that there was a custom violation carried out by society on the Pasola arena previously.\n\nPasola has become a service way and loyal acclamation to ancestors and a core of Marapu. It can be a liaison of brotherhood between two opposing groups and the community. It is a thanksgiving manifestation and happy expression of inhabitant due to abundance harvest. Today, Pasola is a milestone of Sumba tourism development because this culture attraction has been appealing number of domestic and foreign tourists.\n\nPhoto : Pasola Festival ⓒ Novie Charleen Magne_shutterstockYear2020NationIndonesia
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Traditional Pottery Makers of Kathmandu ValleyIn many traditional ceremonies and rituals, the use of baked clay pots and objects in Nepal is common. Even for everyday uses, these potteries include those for cooling water, cooking, flowers, curd, and many more. Until a few decades back, these potteries were more commonly used in everyday life. Pots for storing water and grains, for steaming, for carrying water, and even for washing clothes were made of various potteries. Today, many of these traditional potteries have been replaced by durable modern materials, such as plastics.\n\nBecause of the extensive use of the pottery in daily life, there used to be quarters in the cities and villages within Kathmandu Valley dedicated to pottery making. Now there are only a few places within the valley that have continued to make pottery using ancient techniques. These places are now famous due to the influx of tourists.\n\nOne of the most famous quarters for pottery in the valley is pottery square in Bhaktapur that is known to locals as Kumha Twa. Kumha are pottery makers, and twa is the quarters. Walking through this quarter we can see people making shapes out of clay on pottery wheels. Some giving finishing touches while some are busy drying pottery goods in the sun. This quarter also has communal kiln for baking. This quarter seem like an open-air museum for the pottery making, which has been continued for several generations.\n\nMr. Krishna Shyam Prajapati, 44 years old, is one of the pottery makers of the square. He has worked in this profession since the age of 13 or 14. He learned pottery-making skills from his father and his father learned from his father. This continuity has been going on for generations. According to Mr. Prajapati in the old days, they used to make pottery hand-operated wheels that had to be with the help of pole. Now, most pottery makers use electric motor wheels.\n\nThe pottery is made from the black clay, which is abundant in the valley. The clay from the field is smashed and smoothed with the help of feet. When it is smooth enough, it is ready for making pots and other things. Now machines have taken over much of the manual work. After the pottery is shaped, it is sundried and later baked in a kiln. In old days, hay was used to make fire, but now the kilns are fueled with wood. These kilns are communal, people take turns baking their pottery.\n\nWith the arrival of tourism, pottery makers shifted from the traditional pottery to products targeting tourists. The souvenirs like bells, candle stands, miniature animals, and many wares are commonplace. But with the pandemic, the lack of tourist has hampered the pottery business, so pottery makers like Mr. Prajapati have shifted back to traditional products. He has been sustaining his business in the pandemic by making piggy banks commonly known as khutruke.\n\nThe pottery-making business has been directly and indirectly affected by modernization. Consumers prefer to use plastic products instead of clay ones due to durability and economic circumstances. Also the massive growth in the city is creating difficulty for the pottery makers to get the required clay.\n\nThough tourism has given a boost in business and pottery square has contributed to tourism in the city, there is a need to recognize and value the traditional profession by state and contribute in the future sustainability.\n\nPhotos 1~4 : Pottery souvenirs displayed in shops. © Monalisa MaharjanYear2021NationNepal
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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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Oral Tradition of Maldharis of Banni Grasslands, IndiaKutch is a frontier district in the state of Gujarat, India, situated near the border of India and Pakistan. It is surrounded by Great and Little Rann of Kutch on the North, South and East and the Arabian Sea on the West. In the beginning of the twelfth century, Kutch was ruled by Chavda, Sama, Sanghar, Kathi and Solanki dynasties. Banni grasslands of Kutch, comprising of around 3000 sq.km area, is one of the biggest grasslands of Asia. This grassland acts as breeding and nesting ground for more than 250 bird species, including resident, winter migratory birds.\n\nGujharat is a culturally significant and unique oral tradition of the maldharis or pastoralist community of Banni grasslands in Kutch, which are folk riddles spoken in Sindhi language and are based on the seven traditional folk tales of Sindhi literature. These riddles include descriptions of the local flora and fauna, various elements of the surrounding landscape such as water, grasses, mountains, land etc, and also words related to activities associated with animal breeding. It originated around 1010AD and was practiced widely during the Sumra dynasty.\n\nGujharat is spoken in a poetic form and hides within itself a hidden words or paya or thip. When a maldhari composes a gujharat, he hides within it at least 2 to 10 payas. In order to decode a gujharat, the audience has to first guess the hidden words. The coded word is generally a common noun such as animal, man, woman, city, soil, wood, water etc. and the aim is to decode the proper noun for that common noun. Once the audience finds the hidden words, they have to start naming all the words related to that particular paya (common noun). Both wit and linguistic skill of the maldharis is tested while decoding the gujharat. Once the noun has been decoded, the narrator of the Gujharat concedes defeat and cries mari vai which means the gujharat is now dead. He then decodes the entire message in the poetic form. This poetic explanation of the Gujharat is called Sail.\n\nThe hidden meaning in a Gujharat is called Jhorni. Once the riddle has been broken, the one who narrated the gujharat speaks jhorni in a poetic form. Jhorni has to be spoken in a specific tone so that the sentiments and emotions of the Gujharat are conveyed to the audience.\n\nTraditionally, the maldharis or pastoralists of Banni grasslands would spend their evenings in the choupals (public gathering areas) and have sessions of performing gujharat, while the audience would have fun by decoding them. When the maldharis would gather while their cattle herds grazed in the grasslands at night, the gujharat sessions would go on all night long, with all the villagers participating enthusiastically. Rehan is a place of public gathering where male members of the community would originally gather to conduct Gujharat sessions. Nowadays, such gatherings also take place in Otaq, a room for male guests located adjunct to the main household. Special Mach Kacheri, a performing session of Gujharat is often organized in the Otaq. Mach Kacheri is also organized around a bonfire on a wintery night in open spaces in the village or forest. Maldharis often organize picnics called tola in the forest as well as near tad or sources of water, where singing of Sufi Kalam along with Gujharat takes place.\n\nGujharat are a unique oral tradition in the sense that they are one of a kind in the world. The whole process of constructing and solving the riddles is, in itself, a means of recreation and entertainment for the local pastoralists. However, the original objective of this oral tradition has deeper roots. The main aim of this oral tradition was to educate the local maldharis about the different elements and resources found in the cultural landscape of Sindh. The riddle decoding process would require the audience to speak out all the different names for the natural resources or animals in their region, which would make the riddle interesting while at the same time educate the audience regarding the flora, fauna, traditional knowledge systems and other resources of Banni. Since most of the maldharis did not receive any formal education, the mode of communication had to be oral, and in a way that would be easily accessible and understandable to the general public.\n\nGujharat has immensely helped in oral transmission of Sindhi folk tales to the newer generation. All the various aspects of heritage, be it natural or cultural, have been widely expressed through language, specially through the riddles in Gujharat. Due to intergenerational transmission over the years, gujharats have also been able to preserve oral histories, folk tales and have also recorded significant historical events in the region. The names of any extinct species of birds of animals are also preserved In the memory of the locals, through Gujharat. It is due to this reason that this type of oral tradition is considered unique and one of its kind in the world.\n\nPicture 1: A typical Gujharat Session in Banni © Aanchal Mehta\nPicture 2: Kambh: The traditional pose of sitting for Gujharat session © Aanchal MehtaYear2022NationIndia
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ICHCAP ICH Video Documentary Series #5: The Moriones Festival and Traditional Mask Making Techniques in the PhilippinesThe Moriones Festival is a Lenten tradition held annually on the holy week on the island of Marinduque, Philippines. In the 16th century, Spanish missionaries brought the Roman Catholic faith to the Philippines, and since then, Christian beliefs, rituals, practices, and various related cultures have been absorbed into the Filipino culture throughout the various island regions. Catholics participate in the Moriones Festival in honor of the Passion of the Christ, asking God for mercy with their hearts and praying for their family’s well-being and prosperity.\n\nOne of the most eye-catching elements of this festival is a mask in the form of the faces of Roman military commanders or soldiers in the Bible. During the festival, people wear these masks and parade through the streets dressed as soldiers. Mask makers start making masks by taking pre-orders from November, four months before the festival. Delicately sculpting wood to express detailed features requires considerable skill, creativity, and artistry of the artisan. In the past, the mask was made in a large, crude form that covered the entire head, but as time went on, the size decreased and various flower decorations were added on to the head. In the early days of the Moriones procession, the majority of participants were local adult males. Today, it is an event in which the entire community participates, and men and women of all ages wear masks and participate in the festival.\n\n1. Moryonan Lenten Tradition\nhttps://www.youtube.com/watch?list=PLXen1g2tAaHDVurZGxieuywxmvMjFfgPZ&v=Ar6nKtFcZ58&feature=emb_title\n\n2. Mask Making for Moryonan Lenten Tradition\nhttps://www.youtube.com/watch?v=uYzJ_PXG_ns&list=PLXen1g2tAaHDVurZGxieuywxmvMjFfgPZ\n\nThis Moriones Festival of the Philippines video is one of the 10 ICH video Documentary Series, which is the result of the collaborative project between ICHCAP and National Commission for Culture and the Arts(NCCA) in the Philippines. Both organizations aim to raise visibility and strengthen the public’s access to ICH in the Philippines through this project.\n\nVideos represent the most accurate method of capturing ICH as it exists in the real world, as well as being effective tools for communicating with the public. ICHCAP will endeavor to continue vividly documenting the scenes of ICH that are hidden across the Asia-Pacific region with the aim of raising the profile of ICH elements as treasures of humanity and introducing them to the public.\n\nPlease refer to the brochure for more information on the Philippines ICH video documentary.\n\nPicture 1: The Participants Gathered for a Meal after the Moriones Festival © ICHCAP\nPicture 2: Children Enjoying the Festival in Moriones Masks © ICHCAP\nPicture 3: Child Unmasked at the Moriones Festival © ICHCAP\nPicture 4: Reproducing the Bible's Story at the Moriones Festival © ICHCAP\nPicture 5: Moriones © ICHCAP\nPicture 6: A Procession of Carrying the Statue of Jesus at the Moriones Festival © ICHCAP\nPicture 7~10: Moriones © ICHCAPYear2022NationPhilippines