Materials
education
ICH Materials 336
Videos
(40)-
Folk knowledge and method of upbringing and educating children
The one and main principle for upbringing and educating children and youth is to direct them to have respect towards their elders and to follow and venerate their teachings. It is accustomed to employ the combination of variety folk upbringing and educating methods such as approving and supporting, encouraging and praising, disapproving and prohibiting, reproving and criticizing, serving as an example and causing to follow. Folk aphorisms, proverbs, folk oral literature, traditional games and toys are commonly used as well. Mongol herders have been educating and nurturing their children and youths from very young age by engaging in the labor activities which appropriate to their age, and working together with their parents and siblings; playing traditional games, engaging with nature and to make a disciple of well-educated person.
Mongolia -
To Be Manobo
▶ Play Video 6. To Be Manobo\nThis episode was first aired on Filipino television on June 6, 1996. This episode has been modified from its original format.\nAnimals were offered in the context of the Manobo cultural ritual.\n\nThe Manobo frin the largest of the ethnic groups of the Philippines in terms of relationships and number of linguistic divergences. The microsystemic environmental niches result in a wide distribution of the group, covering core areas from Sarangani Island to the Mindanao mainland in the provinces of Agusan del Sur, Davao, Bukidnon, Cotabato, and South Cotabato. Some of the groups occupy such a wide area that localized groups have assumed distinctive characters and formed separate ethnic grouping, such as the Bagobo, the Higaonon, and the Atta.\n\nA tentative—but more specific—classification that needs attention divides the Manobo into major groups that are then divided into subgroups as follows: (1) Ata subgroup: Dugbatang, Talaingod, and Tagauanum; (2) Bagobo subgroup: Attaw (Jangan, Klata, Obo, Giangan, Guiangan), Eto (Ata), Kailawan (Kaylawan), Langilan, Manuvu/ Obo, Matigsalug (Matigsaug, Matig Salug), Tagaluro, and Tigdapaya; (3) Higaonon subgroup: Agusan, Lanao, and Misamis; (4) North Cotabato: Ilianen, Livunganen, Pulenyan; (5) South Cotabato: Cotabato (with subgroup Tasaday and Blit), Sarangani, Tagabawa; (6) Western Bukidnon: Kiriyeteka, Ilentungen, and Pulangiyen; (7) Agusan del Sur; (8) Banwaon; and (9) Bukidnon. The various subgroupings are not precisely defined as of yet, except among the members themselves.\n\nSettlements are generally kin-based nuclear groups located on the ridges near the swidden fields. The communities are widely dispersed and placed on high ridges above mountain drainage systems. In some areas, long houses accommodate several families, usually including extended family memebrs. Leadership is entrusted to a highly skilled and socially powerful individual who builds up his following through various modes of alliances, including marriage. In a grouping, which usually comprises a traditional kindred community, one datu is recognized as the head. Datus are further grouped under a more sovereign datu, up through a political pyramid with a sultan and a rajah muda holding sway in a larger territory. Although the kin relationship is bilateral, a bias favors males for decision-making and leadership while women hold subordinate positions in society.\n\nHowever, the structure of leadership is gradually changing, with an overlay of the contemporary civil structures applied from the governor of the province down to the level of the sitio councilman, positions often assumed by better educated, younger-generation members of the community. The groups are largely Christianized though some local belief systems also survive. The national education system has largely penetrated the more concentrated areas and minimally the more inaccessible rural areas. Distinctly characteristic ethnic dress has mostly given way to commercial clothing, with ethnic materials retreating to the antique trade.
Philippines 1996 -
Te-er/Tengao: The Significance of the Compulsory ‘Rest’ Day of the Bontoks in Mt. Province in the Context of COVID-19 Pandemic
The sudden emergence of Covid19 pandemic dramatically impacted world systems. In the Philippines, the national government imposed the enhanced community quarantine (ECQ) and grappled with ways and means to contain the transmission of the disease and sustain the lives in communities. It promulgated the Bayanihan Heal as One Act which allowed local government units (LGUs) a latitude of protocols to implement in the town level. In the Mt. Province of the northern Cordillera Region, communities had been practicing community quarantine popularly called teer or tengao, the compulsory “rest” day according to different needs and contexts. Eric Zerrudo shares the study of Teer/Tengao, which was one of highly contextualized practice that emerged as an integral experience for a specific construct of ICH in the COVID 19.\n\nASSOC. PROF. ERIC BABAR ZERRUDO is the Director of the University of Santo Tomas Center for Conservation of Cultural Property and the Environment in the Tropics (CCCPET) and faculty of the Graduate School-Cultural Heritage Studies program. Concurrently, he serves as the national coordinator of the CBCP Episcopal Commission for the Cultural Heritage of the Church and heritage consultant for Department of Tourism and NCCA Philippine Cultural Education Program.
South Korea 2020-06-18 -
Awang Batil
Introduction\n\nIn Malaysia, there is a living traditional art where a storyteller develops the oral tradition, otherwise known as oral literature.\n\nOral tradition is the original source of Malay literature and translated into written literature. One of the practitioners of this oral tradition is known as 'Awang Batil'. Apart from specialised storytellers such as Awang Batil, there are other transmissions of oral literature throughout the country, especially in villages through folk stories or stories of elders that are collected, rewritten and made into collections for children to read.\n\n\nAwang Batil\n\nAwang Batil is a storyteller who provided entertainment and education to the people, especially to the villagers and local community. Awang Batil entertains and educates the community through many classic stories that he inherited. Through those stories, the community is entertained and educated.\n\nOnce upon a time, Awang Batil functioned as a story book, novel, radio, television, movie or video as it is now. He would travel from house to house, village to village, state to state including the state of Kedah, Penang and some areas in the Southern Region of Thailand, especially the Setol Region.
Malaysia -
ReCAPCILAC: A Co-Construction Experience for ICH Safeguarding
The Academic Cooperation Network on Intangible Cultural Heritage of Latin America and the Caribbean -ReCA PCI LAC-, has the mission of promoting the strengthening of capacities in the safeguarding of ICH, in response to the diversity and complexity of current social contexts. Following the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage, it intends to generate synergies between the different actors linked to the safeguarding of ICH with the aim of promoting joint inter- and multidisciplinary cooperation projects at the Higher Education level, involving the communities. Prof. Mónica Guariglio, Coordinator of ReCAPCILAC shares the network's experience in the region. \n\nMÓNICA GUARIGLIOC holds a law degree from the Faculty of Law, University of Buenos Aires. She teaches at the National University of Avellaneda and coordinates the Plural Council of the Network of Academic Cooperation in Intangible Cultural Heritage of Latin America and the Carribean (ReCAPCILAC).
South Korea 2020-08-01 -
Bhutanese Traditional Calligraphy (CLEAN)
#유네스코아태무형유산센터 #bhutanculture #bhutan #ichcap \n\nThe Art of Calligraphy and writing is not only the fundamental need of academic knowledge but it is also an essential skill required preserving and promoting religious teachings. It not only requires academic intellects but most important the hand-skill of calligraphy. The origin of the calligraphy as per Lam (Spiritual master) Ugyen Tenzin Yoezer, popularly known as Lopen Nado, who was then the Advisor to the Department of Education on Dzongkha Development in Bhutan says that, there was a natural system of using words and phrases in oral communications such as conversations, discussions, and official announcements, consistent with the general practice. Development of the system of communication through the writing of letters and documentation had not been widespread. During the second visit of Guru Padmasambhava to Bumthang was in the 8th century, he was accompanied by one of his 25 principal disciples’ names Denmang Tsemang. At that time Guru Padmasambava gave the sacred teachings of the Secret Mantra to the King Sindhu Raja, but it was said that there was no system of writing in the country that time. So, it was Denma Tsemang who transcribed the transmitted teachings for the King’s practices and thus the beginning of the tradition of writing in Bhutan.\n\nThereafter in the 15th century, Terton Pema Lingpa (1450-5121) transmitted the writing tradition to his heirs until the dawn of 17th century when Zhabdrung Ngawang Namgyal (1594-1651) established the State Government by initiating the Monastic Body where the Calligraphy section (Yig-zoi-de) was particularly set for the monks to impart and learn art of calligraphy. It was necessary not only or writing and learning for oneself but, for the woodblock engraving projects that was thriving in Punakha Dzong initiated mainly for the flourishment of the Buddhist teaching in the country. Later, the art was perpetuated and practiced by the successive Je Khenpos (chief abbot) and Druk Desis (temporal secular rulers) and Monarchs until now.\n\nGenerally, there are five types of calligraphy writing; U-chen (Block script), U-mey (Headless script), Len-tsa (Rajana script), War-tu (a type of Indian script) and finally the Jog-yig (the typical Bhutanese script). Amongst these scripts, Len-tsa and War-tu scripts are mainly used as decorative scripts, while U-chen is more common in writing Buddhist canons, ritual scripts and even for the formal corresponding letters and Jog-yig script is just for writing formal records and corresponding letters. Regarding U-mey script, though it is rare to its usage bring a Tibetan script but there are some calligraphers knowing how to write.\n\nHowever, the tradition of writing i.e. Calligraphy has been greatly hampered and left on the verge of dying tradition due to the emergence of computer technology and available fonts in the country. Yet, there are still well known and skilled calligraphers which are mostly used by His Majesty’s Kangyur Project for writing Golden Scriptures of Buddhist Canon and even by some individual Spiritual masters which have helped in reviving and revitalizing the art in the country.\n\nFor more information\nhttps://www.ichlinks.com/archive/elements/elementsV.do?nation=BT&page=1&urlAnchor=txt&elementsUid=13874511097589678075&mode=grid&searchText=Calligraphy&orderCd=B&countrys=BT
Bhutan 2023-07-01 -
Yig-zo (Calligraphy)
The Art of Calligraphy and writing is not only the fundamental need of academic knowledge but it is also an essential skill required preserving and promoting religious teachings. It not only requires academic intellects but most important the hand-skill of calligraphy. The origin of the calligraphy as per Lam (Spiritual master) Ugyen Tenzin Yoezer, popularly known as Lopen Nado, who was then the Advisor to the Department of Education on Dzongkha Development in Bhutan says that, there was a natural system of using words and phrases in oral communications such as conversations, discussions, and official announcements, consistent with the general practice. Development of the system of communication through the writing of letters and documentation had not been widespread. During the second visit of Guru Padmasambhava to Bumthang was in the 8th century, he was accompanied by one of his 25 principal disciples’ names Denmang Tsemang. At that time Guru Padmasambava gave the sacred teachings of the Secret Mantra to the King Sindhu Raja, but it was said that there was no system of writing in the country that time. So, it was Denma Tsemang who transcribed the transmitted teachings for the King’s practices and thus the beginning of the tradition of writing in Bhutan.
Bhutan 2019 -
Mongolian calligraphy
Mongolian calligraphy is the technique of handwriting in the Classical Mongolian script, which comprises ninety letters connected vertically by continuous strokes to create words. The letters are formed from six main strokes, known as head, tooth, stem, stomach, bow and tail, respectively. Mongolian calligraphy expresses ancient traditional literature, culture, knowledge, intellectual education and innate human sensuality through the brush strokes used in writing the Classical Mongolian script. It requires an equal combination of hand, eye and mental artistry and skill, using brush, ink, paper and strop. This calligraphic art is used for the distinct, vertically written Mongolian script comprising several patterns of writing: ancient, meticulous, stenography, ornamental and stylized. Traditionally, mentors select the best students and train them to be calligraphers over a period of five to eight years.
Mongolia -
Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China
Yuen Long Community Intangible Cultural Heritage Development Project is a proposal of the Life Encouraging Fund, a non-governmental organization based in Yuen Long district. This pilot project is an exemplar of an NGO working for community-based ICH education and transmission with a holistic development model. Kai-kwong Choi introduced activities of the project implemented by the Life Encouraging Fund.
South Korea 2020-11-14 -
Episode 5. I'm a school manager. How can I help teachers organize teaching with living heritage?
Teaching and Learning with Intangible Cultural Heritage in Asia and the Pacific\n\nLiving heritage is all around us. Bringing living heritage to school teaching will enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. Whoever you are — teacher, school director, student, parent, heritage practitioner — you have a vital role to play in this process. Check out this animation series to learn more!\n\nCredit: Produced in UNESCO-ICHCAP-APCEIU partnership, with additional support from Chengdu Culture and Tourism Development Group L.L.C.\nContent development : Vanessa Achilles, Duong Bich Hanh\nCoordination : Hangying Li\nProduction : GotU Agency https://gotu.agency/ produced by Nathalie Barbé\nContributors : Kyungah Bang, Khyam Bahadur Bishwokarma, Ritu Dikshit, Sheleg Geva, Alexander Golub, Makara Hong, Aigul Khalafova, Min Jung Kim, Montakarn Suvanatap Kittipaisalsilp, Mark Manns, Majer Massanov, Ichiro Miyazawa, Weonmo Park, Neerana Shakya, Nilesh Sharma, Milin Singthalamake, Nipuna Shrestha, Pavin Unakul, Viktoriya Zakharova.
South Korea 2021-08-12 -
Episode 4. I'm a parent/community. How can I help our school organize teaching with living heritage?
Teaching and Learning with Intangible Cultural Heritage in Asia and the Pacific\n\nLiving heritage is all around us. Bringing living heritage to school teaching will enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. Whoever you are — teacher, school director, student, parent, heritage practitioner — you have a vital role to play in this process. Check out this animation series to learn more!\n\nCredit: Produced in UNESCO-ICHCAP-APCEIU partnership, with additional support from Chengdu Culture and Tourism Development Group L.L.C.\nContent development : Vanessa Achilles, Duong Bich Hanh\nCoordination : Hangying Li\nProduction : GotU Agency https://gotu.agency/ produced by Nathalie Barbé\nContributors : Kyungah Bang, Khyam Bahadur Bishwokarma, Ritu Dikshit, Sheleg Geva, Alexander Golub, Makara Hong, Aigul Khalafova, Min Jung Kim, Montakarn Suvanatap Kittipaisalsilp, Mark Manns, Majer Massanov, Ichiro Miyazawa, Weonmo Park, Neerana Shakya, Nilesh Sharma, Milin Singthalamake, Nipuna Shrestha, Pavin Unakul, Viktoriya Zakharova.
South Korea 2021-08-12 -
Episode 6. I'm a student. What can I do to keep my heritage alive?
Teaching and Learning with Intangible Cultural Heritage in Asia and the Pacific\n\nLiving heritage is all around us. Bringing living heritage to school teaching will enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. Whoever you are — teacher, school director, student, parent, heritage practitioner — you have a vital role to play in this process. Check out this animation series to learn more!\n\nCredit: Produced in UNESCO-ICHCAP-APCEIU partnership, with additional support from Chengdu Culture and Tourism Development Group L.L.C.\nContent development : Vanessa Achilles, Duong Bich Hanh\nCoordination : Hangying Li\nProduction : GotU Agency https://gotu.agency/ produced by Nathalie Barbé\nContributors : Kyungah Bang, Khyam Bahadur Bishwokarma, Ritu Dikshit, Sheleg Geva, Alexander Golub, Makara Hong, Aigul Khalafova, Min Jung Kim, Montakarn Suvanatap Kittipaisalsilp, Mark Manns, Majer Massanov, Ichiro Miyazawa, Weonmo Park, Neerana Shakya, Nilesh Sharma, Milin Singthalamake, Nipuna Shrestha, Pavin Unakul, Viktoriya Zakharova.
South Korea 2021-08-12