Materials
environment
ICH Materials 330
Videos
(16)-
Cultural Space of Boysun, Uzbekistan
Representative List of the Intangible Cultural Heritage of Humanity, 2008\nCultural space of Boysun was proclaimed a Masterpieces of the Oral and Intangible Cultural Heritage of Humanity in 2001 and inscribed onto the Representative List of Intangible Cultural Heritage of Humanity in 2008.This film contains information about the Boysun district’s nature and the cultural processes related to craftsmanship, folk performance, traditional medicine, and others.Strong aspiration to preserve traditional lifestyles of the local people was observed during filming process in 2016 and 2017. An example of this is the increasing number of followers of the folk-ethnographic ensemble called Boysun.
Uzbekistan 2017 -
Session 2) Presentation 4: Building Ecosystem and Community Resilience in Asia and the Pacific Region, the Role of Indigenous Knowledge - The Case of Timor Leste
How Asian local and indigenous groups’ practices and cultural styles can play an essential role in strengthening the coastal ecosystems and international cooperation in the midst of on-going climate change. Through the examples of Timor Leste, we hope to find both indirect and direct solutions while maintaining international collaboration and the Sustainable Developmental Goals.
South Korea 2020-09-24 -
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 -
Shashmaqom music
Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.
Uzbekistan -
A Sound for the Spirits - The Buklog of the Subanons
▶ Play Video 4. A Sound for the Spirits The Buklog of the Subanons\nThis is a shortened version of the Travel Time episode “A Subanon Celebration,” which was first aired on Filipino television on March 21, 1996. This episode has been modified from its original format.\n\nAnimals were offered in the context of the Subanon cultural ritual.\n\nThe Subanon or Subanun people of the upstream may be found on the western Peninsula. The population core areas are in Katipunan. The known subgroups parallel the linguistic variations and micro-adaptations to social and physical environment and comprise: (1) Misamis, (2) Lapuyan, (3) Sindangan, (4) Tuboy, and (5) Salug.\n\nThe cultural and technological adaptation is upland riverine. They practice swidden cultivation on mountain slopes. The traditional settlement pattern is highly dispersed with a few residential structures on top of ridges near potable water sources. The houses are placed adjacent to cultivated fields. They favor locations near springs where water gushes out of rocks over contiguous to streams.\n\nRice is the preferred food crop, but fields are also rotated and intercropped, planted with corn, sweet potato, and cassava. Land problems and soil degradation have forced some of the people to recourse to wet rice agriculture where the topography allows. Metal craft and backstrap weaving are practiced. They have maintained trade with coastal peoples for centuries, as indicated by the presence of Asian stone and ceramic trade wares. Present-day Subanon are usually nonaggressive. There are indications that in the past, the people were required to provide a “soul companion” for an important deceased relative.\n\nUnique to the Subanon is their set of rituals, the buklog, the main feature of which is a huge dancing platform (buklogan). This structure is raised some 10 to 18 feet high and consists of a highly resilient platform supported at the corners by upright posts. A long pole is passed through the middle of the platform and extends upwards like a maypole. Below it is a short thick hollowed log that lies above a trench filled with empty jars functioning as resonating chambers. The pole rises and falls when dancers rhythmically bounce on the platform. The booming sound invites people to come and join in the ritual and festival. There is feasting, wining, and dancing lasting for days, with as many as two hundred people dancing on the buklogan continuously, day and night.\n\nThe ritual consists of a complex set of rites performed before the culminating event, usually near waterways, and which serve to propitiate spirits. The buklog is a prestige ritual that has a multitude of functions, such as celebrating well- being and a good harvest, and giving thanks to appease spirits after an illness. It may also honor personalities, welcome back homecomers, or praise a new timuay (leader). Finally, it is held to pay respects to the spirits of the dead, for the final sending of the spirit of the ancestor and the death anniversary of a grandparent.\n\nThe Subanen form a subgroup and are related to the Subanon but are concentrated in Siocon, Zamboanga del Norte.
Philippines 1996 -
4. The Water-Performance Installation Project—Art Practice for the Coexistence of Humanity and Nature in the Silk Roads Region
Dongjo Yoo, a renowned installation artist, focuses primarily on environmental projects, specifically projects related to water. His most notable work is the Water Performance Installation Project, an eleven-year project starting from 2014, involving eleven lakes and rivers in ten countries. Under the motto of “there is no ‘water’ in the presence of water, and there is ‘water’ in the absence of water,” the project has been a large success. To highlight the importance of the environment, Mr. Yoo is looking forward to expanding his project to areas along the Silk Roads where water is a scarce and valuable resource.
South Korea 2020-11-18 -
Indonesia Saman Highlight
Saman is the traditional dynamic religious performance art of the Gayo people in Gayo Lues and surrounding districts in Aceh province. The performers, always an odd number, sit on their heels and kneel in tight lines. They are led by a trainer or penangkat in the middle, flanked by two players on each side called pengapit and penyepit. The people at the ends of the line are called penupang. Saman movements symbolize the environment, nature and everyday life, e.g. leaves swaying in the wind, a buffalo bathing, digging in a rice paddy, pounding rice, etc. The verses and movements go on continuously in an ever-increasing tempo without a break until the performance ends. The Saman is also an important binding cultural mechanism among different communities and it is performed on many occasions.
Indonesia 2019 -
Mongolian traditional practices of the worshipping of sacred sites
Mongolian worship ceremonies are performed at sacred sites to invoke assistance from nature deities: in the summer for timely rain and abundant pastures, and in the autumn for the protection of humans and livestock from a harsh winter. The tradition maintains a variety of forms of intangible cultural heritage, and builds a sense of community and solidarity among the people, while strengthening awareness of the importance of protecting the environment. On a set out day, all the participants gather early in the morning at the site of the worshipping. Everyone comes in their ceremonial clothes along with the offerings to the deities.
Mongolia -
Traditional Mongolian Practices of Worshipping Sacred Sites
Mongolian worship ceremonies are performed at sacred sites to invoke assistance from deities of nature: in the summer for timely rain and abundant pastures and in the autumn for protecting humans and livestock from a harsh winter. The tradition maintains a variety of forms of intangible cultural heritage and builds a sense of community and solidarity among the people while strengthening awareness of the importance of protecting the environment. On a specified day, all the participants gather early in the morning at the worship site. Everyone wears their ceremonial clothes and brings offerings to the deities.
Mongolia 2017 -
Session 3) Presentation 1: The Role of NGOs in Safeguarding ICH and Environmental Sustainability
In Fiji, a boat is a central cultural element for the indigenous and local people. The traditional boat building skills and practices need to be attended in the light of safeguarding intangible cultural heritage. The situation of the significant reduction of the boatbuilding community not only poses a threat to the boatbuilding community but also to the marine environment as well. By revitalizing the traditional boat building skills and community, the Pacific Blue Foundation hopes to solve environmental sustainability and marine pollution in Fiji while promoting knowledge of intangible cultural heritage.
South Korea 2020-09-25 -
Ngatu, Cultural Wealth of the Kingdom of Tonga_Vali Kupesi
Tonga is well-known as one of the Islands in the Pacific to practice the art of ngatu making. From our ancestors, ngatu making has been passed down throughout the generations and it has become deeply embedded within our beautiful culture. Production of ngatu is predominantly a feminine working environment with only minor assistance from the men. The beauty of ngatu making is the various processes involved, time and patience given towards this art.\n\nVali Kupesi.\nDifferent types of kupesi designs and motifs are used to decorate one ngatu.
Tonga 2017-03-30 -
Ngatu, Cultural Wealth of the Kingdom of Tonga_Koloa 'a e Tonga
Tonga is well-known as one of the Islands in the Pacific to practice the art of ngatu making. From our ancestors, ngatu making has been passed down throughout the generations and it has become deeply embedded within our beautiful culture. Production of ngatu is predominantly a feminine working environment with only minor assistance from the men. The beauty of ngatu making is the various processes involved, time and patience given towards this art.
Tonga 2017-03-30