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Suri Jagek (observing the sun), traditional meteorological and astronomical practice based on the observation of the sun, moon and stars in reference to the local topography
Suri Jagek, literally translated to ‘observing the Sun’ is the traditional Kalasha meteorological and astronomical knowledge system and practice based on the observation of the Sun, Moon, Stars and Shadows with respect to the local topography. The practice of Suri Jagek demonstrates the relationship of the Kalasha people with their surroundings and the capacity of their immediate geographical context to sustain their way of life. Suri Jagek is a knowledge system which connects a long history of “events” to topographical locations. The system is a complex structure of empirically observed accumulated knowledge and is repeatedly referenced to allow the Kalasha people to predict the appropriate time for the sowing of seed, animal husbandry and natural calamities. It is also used to govern the Kalasha calendar by determining dates of important social events, festivals, feasts and religious ceremonies. It draws greatly from the rich cultural heritage and social practices of the people, therefore functioning in the capacity of a repository of the history of the people and the region at large. Visual cues existing within the periphery of the topography are used to mark the specific positions of the rising and setting Sun, and hence the collective markings are used to record the positions of the Sun throughout the year. Observatories called ‘Suri Jagaekein’, are chosen in each village to observe the rising Sun, and a separate location is assigned to observe its setting. The specific positions on which the sun casts its shadows are also marked in some people’s houses on walls or poles etc. Individual localities have their own specific knowledge, generated using the common processes of marking the positions of the Sun. Qazis, who are authorities on matters pertaining to religion, history and indigenous models of conflict resolution, farmers, some shepherds and a few village elders are the knowledge bearers of Suri Jagek and the observations at the Suri Jagaekein made by various community members are shared in communal gatherings. A general consensus is reached in a Jirga (communal forum); however, presently this is only practiced in the Rukmu valley on the 16th of December. Knowledge related to the constellations of stars, meanings of various types of rainbows and the study of clouds as well as shadows are all in the wider ambit of Suri Jagaek. The Libra constellation known as Tarazu is considered particularly important during the Spring period coinciding with the month of Amaal Mastruk. When the constellation is observed in its clarity during the month, it is indicative of the ground softening the next morning; a time considered vital for the planting of crops.

Pakistan 2018

Falconry, a living human heritage
Falconry is the traditional art and practice of keeping, training and flying falcons to take quarry in its natural state, and has been practised for more than 4000 years. It is one of the oldest relationships between human and bird. It probably evolved in the steppes of Asia, and spread via cultural and trade links to other countries, first to Europe, North Africa and East Asia and later in the 16th century to the rest of the world. The practice of falconry in early and medieval periods of history is documented in many parts of the world. The falcon and her prey have evolved together over millions of years; their interaction is an age-old drama. The falconer’s task is to bring the actors together on nature’s stage. Falconry as intangible cultural heritage is integrated into communities as a social recreational practice and a means of connecting with nature. Originally a way of obtaining food, falconry has acquired other values over the centuries, and is identified with camaraderie, sharing, and expressions of freedom. Nowadays falconry is practised by people of all ages in local communities in more than eighty countries. Falconry expresses itself in multiple cultural domains, in particular ‘social practices, rituals and festive events’, as well as ‘knowledge and practices concerning nature and the universe’. These include traditional skills, traditional knowledge about the biology and behaviour of birds and the environment, the making of traditional falconry equipment, as well as linguistic and artistic expressions found in idioms, painting, sculpture, poetry, rituals and music. Falconry has its own set of culturally-shaped traditions and ethics; while falconers come from different backgrounds, they share universal values, traditions and practices. Falconry is transmitted from generation to generation as a cultural tradition by a variety of means, such as mentoring, learning within families, or formalized training in clubs and schools. The process of transmitting falconry heritage activates not only the historical memory of the falconry community but also enriches its cultural identity. In recent times falconry has seen a renaissance. Falconry provides modern man with links to nature and strengthens local identities. It is an important cultural symbol in many countries. The modern practice of falconry aims at safeguarding not only falcons, quarry, and habitats but also the practice itself as a living cultural tradition.

#falcon #bird #traditional tools #falconry #hunting #falcons #birds #traditional knowledge

United Arab Emirates,Austria,Belgium,Czech Republic,Germany,Spain,France,Hungary,Italy,South Korea,Kazakhstan,Morocco,Mongolia,Pakistan,Portugal,Qatar,Saudi Arabia,Syria 2016

Saba Samee
Saba Samee has a Masters in the Archaeology of Buildings from the University of York, UK. Her undergraduate degree is in B. Architecture from the National College of Arts, Lahore. She is currently employed at the Institute for Art and Culture – IAC, Lahore, where she serves as an Associate Professor and Coordinator for the School of Culture and Language. \n\nShe has received numerous trainings with UNESCO, ICCROM and UNITAR in conservation, heritage management and WHS nominations. As part of THAAP team, she has worked extensively in projects awarded by UNESCO, UKAID, MEDA-USAID, Norway and Dutch funding agencies, gaining experience in conservation and mapping built heritage. She is experienced in working on conserving the WHS sites of Lahore Fort and Makli, as part of the Heritage Foundation of Pakistan team. Internationally, she has acquired conservation experience in Spain as part of the DIADRASIS team. As part of the IAC Research team, she has conducted diverse research initiatives, such as projects regarding development through culture, poverty alleviation and community empowerment through cultural and creative industries, and plans regarding integrated heritage site management. \n\nMs. Samee has presented research papers in diverse national and international conferences and is a published author of a number of research papers, book chapters, and articles. Her research interest focuses on the relationship and values of People associated with their Places.

Pakistan

NATIONAL INSTITUTE OF FOLK & TRADITIONAL HERITAGE (LOK VIRSA)
The National Institute of Folk & Traditional Heritage, popularly known as Lok Virsa, was established by the government of Pakistan in 1974 with a mandate to collect, document, preserve, and disseminate Pakistan’s tangible and intangible cultural heritage. Within three decades, Lok Virsa has grown from a fledgling endeavor, to creating a science of folklore into a developmental complex whose projects and activities span over the roots of the entire nation. nThe Research Centre of Lok Virsa encourages research in regional languages, folk literature, cultural history, arts, crafts and various aspects of folklore such as folk songs, seasonal songs, work songs, folk romances, folk tales, children games, legends, nursery rhymes, children tales, animal fables and legends attached to mountains, lakes, rivers, ruined castled, traditional festivals, superstitions and beliefs, customs and rituals, celebrations at birth, weddings and funerals among others.\nLok Virsa calls upon all master artisans, folk musicians, folk dancers and performers from the rural areas and remote regions of the country at the Artisans-at-work festival, popularly known as Lok Mela, each year. Over 100,000 eager participants come to visit this festival. Lok Virsa supports craftsmen and musicians by giving cash awards and proud recognition to them as living national treasures.

Pakistan

THAAP and Institute for Art & Culture, Lahore, Pakistan
IAC highly values the traditional knowledge of our people and seeks to contemporize it with input from the latest technological knowledge. IAC believes in integration with community, building long term industrial linkages and National and International partnerships. This Liberal Arts education platform will not only impact the education sector in Pakistan but also reach out to the neighboring countries and contribute towards global scholarship. By incorporating a trilingual approach, which includes English, Urdu and their Mother Language, the students recognize culture and art education not as a foreign stimulus but the one they are inherently connected with.

Pakistan

Wool Spinning, Tharparkar, Sind
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Pakistan

Wood Carving, Swat, KPK
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Pakistan

Session 2: (1) Illustrative examples of living heritage in education-Teaching & Learning with Living Heritage: O Madeiro in Geography, Music and Art Classes (Spain)
UNESCO organized, in collaboration with ICHCAP an intersectoral online expert meeting on ‘Education-related indicators in the Overall results framework (ORF) for the Convention for the Safeguarding of the Intangible Cultural Heritage and their relationship with SDG 4. This online meeting held in three sessions in December 2020, generated important knowledge on the interface between living heritage and education, identified examples to illustrate the relationship, and provided advice for future monitoring and reporting in these related fields.\nThe public webinar aims to raise awareness for the benefits and challenges of monitoring living heritage in education by sharing the results of the above-mentioned intersectoral expert meeting. It will include a brief presentation on the education-related indicators of the ORF and how they can inform the monitoring system of SDG 4. Speakers will be invited to share their experiences and discuss the benefits of this intersectoral monitoring to inspire relevant stakeholders from the education and culture fields to undertake their own initiatives in this innovative intersectoral field. \n

South Korea 2021-01-26

Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan
Ghiasuddin Pir & Meeza Ubaid introduces the activities of THAAP, the only UNESCO accredited NGO under the Convention 2003 from Pakistan, initiated the process of community-based inventorying (CBI) of Intangible Cultural Heritage (ICH) among the Kalasha community. THAAP, in collaboration with UNESCO, funded by the Embassy of Switzerland, has worked towards inclusive documentation processes of forty-five intangible cultural heritage from the five listed ICH domains. Furthermore, THAAP endeavored at cultural education activities in Kalasha.

South Korea 2020-11-12

3rd APHEN-ICH International Seminar Diversity and Distinctiveness: Looking into Shared ICH in the Asia-Pacific
Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.

South Korea 2021

2020 ICH NGO Conference : ICH and Resilience in Crisis
On 12 and 13 November 2020, ICHCAP and the ICH NGO Forum virtually held the 2020 ICH NGO Conference entitled “ICH and Resilience in Crisis.” The fifteen participants, including eleven selected presenters from ten countries around the world, discussed various cases and activities of each country applied under the Corona-era, and proposed solidarity for the resilience of ICH for a ‘New Normal.’\n\nSession 1: In the Vortex: COVID-19 Era, Roles of NGOs to Safeguard ICH\n\nSpecial Lecture 1: 'Resilience System Analysis' by Roberto Martinez Yllescas, Organization for Economic Co-operation and Development (OECD) in Mexico\n1. 'Uncovering the veil of immaterial cultural heritage towards and autonomous management of well-being as well as cultural and territorial preservation' by Carolina Bermúdez, Fundación Etnollano\n2. 'Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China' by Kai-kwong Choi, Life Encouraging Fund \n3. 'Indigenous Knowledge System as a vector in combating COVID-19' by Allington Ndlovu, Amagugu International Heritage Centre\n4. 'Enlivening Dyeing Tradition and ICH: The initiative of ARHI in North East of India' by Dibya Jyoti Borah, President, ARHI\n\nSession 2: Homo Ludens vs. Home Ludens: Changed Features COVID-19 Brought\n\n1. 'The Popular Reaction to COVID-19 from the Intangible Cultural Heritage among Member Cities of the ICCN' by Julio Nacher, ICCN Secretariat, Algemesi, Spain\n2. 'Innovation for Arts and Cultural Education Amid a Pandemic' by Jeff M. Poulin, Creative Generation\n3. 'Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan' by Ghiasuddin Pir & Meeza Ubaid, THAAP\n4. 'Shifting to Online Activities: Digital Divide among the NGOs and ICH Communities in Korea' by Hanhee Hahm CICS\n\nSession 3: Consilience: Prototype vs. Archetype for Educational Source\n\nSpecial Lecture 2: 'Geographical imbalance: the challenge of getting a more balanced representation of accredited non-governmental organizations under the 2003 Convention' by Matti Hakamäki, Finnish Folk Music Institute\n1. 'Crafting a Post Covid-19 World: Building Greater Resilience in the Crafts Sector through Strengthening Ties with its Community’s Cultural System' by Joseph Lo, World Crafts Council International\n2. 'Arts and Influence: Untangling Corporate Engagement in the Cultural Sector' by Nicholas Pozek, Asian Legal Programs, Columbia University\n3. 'ICH in the South-Western Alps: Empowering Communities through Youth Education on Nature and Cultural Practices' by Alessio Re & Giulia Avanza, Santagata Foundation for the Economy of Culture\n\n

South Korea 2020

Sufi Traditions of North India
CD3_SUFI TRADITIONS OF NORTH INDIA\n\nQawwali is a musical genre that shares general traits with the light classical music of North India and Pakistan but distinguishes itself by its religious function. The term Qawwali applies both to the musical genre and to the occasion of its performance, the devotional assembly of Islamic mysticism - or Sufism - in India and Pakistan. The practice of Qawwali extends throughout Muslim centers of the Indian subcontinent, but its roots are North Indian. Qawwali music is performed by qawwals, professional musicians who perform in groups led by one or two solo singers. Qawwals present mystical poetry in Persian, Hindi, and Urdu, alternating solo and group passages characterized by repetition and improvisation. Handclapping and drumming on the barrel-shaped dholak accompany the singers, and a small portable harmonium played by the lead singer highlights the song’s melody. Amir Khusro Dehlavi of the Chishti order of Sufis is credited with fusing the Persian, Arabic, Turkish, and Indian musical traditions in the late-thirteenth century in India to create Qawwali as it is known today. The word Sama is often still used in Central Asia and Turkey to refer to forms very similar to Qawwali, while in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is Mehfil-e-Sama.\n\nQawwali is performed at the dargah, the shrines of Sufi saints, as well as in Sufi mehfils, which are commissioned performances. The structure and order of the songs vary in both these contexts. As will be seen, in many forms of Qawwali, an object of love, such as a god or a husband or wife, is portrayed and worshipped. Qawwali was popularized by Nusrat Fateh Ali Khan, a Pakistani performer. And it has started to enter mainstream popular music thanks to the recent public interest in Sufi music. It is thus no longer purely devotional. There are many silsilas (orders) of Sufism and hence many forms of Qawwali. The recordings in this album are mainly of the Chishtiya silsila – the followers of the Sufi Saint Khwaja Moinuddin Chishti. Nizamuddin Auliya, also a Sufi saint, was his follower. The texts were written by Amir Khusrau and contain many references to these saints. This Qawwali party consists of seven or eight members. The group joins as a chorus and claps to add percussion. These recordings were made at Sufi shrines in the late 1970s by Regula Qureshi, one of the most famous scholars of this genre. Since they were recorded in a crowded area on the field, the tracks have disturbances and ambient noise. However, as recordings from an actual authentic context, they carry a lot of value.

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India 2016

Pakistan