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barefoot
ICH Elements 3
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Datun Julud
Datun Julud means ‘long dance’ in the language of the Kenyah Dayak, ‘Hivan Joh’ for the Kayan tribe and ‘Arang Kadang’ for the Kelabit tribe. Traditionally, Datun Julud is performed by a group of women in the Orang Ulu customary receptions. This dance, that symbolizes happiness and gratefulness to the Great Angel, is said to have been created by the king of the Dayak Kenyah tribe in Apo Nayan called Nyik Selong who is brave in playing with weapon that it is difficult to compete him. However, he still doesn’t have an inheritor. In the end one of his daughters-in-law conceived and gave birth to a would-be inheritor. As a sign of gratitude all the longhouse residents were in festivities and danced with graceful movements. Datun Julud normally begins as a solo performance by a female dancer barefooted, and she dances spontaneously with movement akin to the movement of a flying hornbill. Bird’s feathers are inserted in between the fingers of both her hands. All the dancer’s body parts move except the head to avoid too many movements around the heavy copper earrings. With slow and graceful moves the dancer performs according to the beat and music of ‘Sapedan Jatung Utang’. Her dance steps concentrate on the feet movement that is as if ‘walking on ground’, while the hand movement is as if ‘floating or flying in air” If performed in a longhouse, the performance is normally encircling the living room of the village head and sometimes in the whole longhouse, followed by the people who are there then. After performing another female dancer takes her place and this continues until all the females have taken their turns. Nowadays, Datun Julud is a part of the dances usually performed at a longhouse and in celebration events to receive visitors and tourists.
Malaysia -
Quỹa Hiéng Festival of the Red Yao
The Red Yao people call the year-end ceremony Quý Héng ceremony. This is the biggest ceremony of the year, taking place from December 23 - 24 to January 5. On the beautiful morning before New Year's Eve, the homeowner sets up an altar consisting of 3 altars - Bứa Héng (ancestor altar); Sáng Chà phin (altar to worship the gods and ghosts of the ancestors of the shaman profession); Sám Háng (altar to worship sentient beings). Each ceremony is led by a priest. The offerings at each herd are different: Bứa Héng - a boiled chicken with the entrails removed, 5 cups of wine, ban paper, two incense sticks, a bowl of rice wrapped in a piece of cloth, a silver ring placed on a piece of cloth; Sáng Chà phin - a boiled chicken, a cup of mineral water, 5 cups of wine, 3 bowls of rice with a silver ring on top; Sám Háng - 5 cups of water, 5 cups of wine, 5 cups of rice with a pair of bamboo chopsticks placed on top, a boiled chicken, incense, candles. Ritual of getting water at the beginning of the year: after New Year's Eve, the homeowner prepares a packet of salt, and a cup of water and departs in a certain direction. Going to the water source, after praying, they put a packet of salt there and then took a cup of water and brought it to the ancestral temple. The fire dancing ritual takes place in each family, from the 2nd to the 5th of January. During the ceremony, firewood is burned, and the priest prays and worships the gods. All village boys participating in fire dancing sit and worship from the beginning of the ceremony, on chairs around the fire. When the firewood burned down into a pile of glowing embers, each couple jumped in, barefoot, jumped up, and rolled over the pile of embers.
Viet Nam -
Gạ ma do Forest Worship Ritual of the Hà Nhì
“Gạ ma do” is “female pig forest” - one of four sacred forests in each Hà Nhì village. “Gạ ma do” is held on the first Dragon day of January. The main rituals are presided over by the shaman, including: "Ga Tu Tu" - cấm bản; Water offering procession at the source, and forest worship ceremony. Before the Dragon Day, the priest holds a Cấm bản ceremony. Early in the morning of the Dragon day, the shaman Cả held a ceremony to worship the Water God at the upstream stream. After that, young men carry water, firewood, pots, chopping boards, knives., etc to the sacred forest to make offerings to the forest. All participants must walk barefoot to pay homage to the forest god. When the participants gather at the temple to worship the forest god, someone will go and set up climbing trees and ban the forest at the forest gate. Offerings include a 1-quintal black pig, 1 rooster, 1 stick of sticky rice, sticky rice, red-dyed eggs, wine, ginger juice, incense, and gold coins. Chickens and pigs are placed in front of the offering table. After the shaman sends offerings to the gods, the pigs, and chickens are taken to be feathered and processed into whole-boiled chicken dishes. The pig keeps the head and entrails to boil and offer. After worshiping, the villagers eat "fortune" in the forest. Two days before and after the "Gạ ma do" worshiping ceremony, they hold the "Dứ Dò Dò" ceremony at the shaman's house to give thanks. The entire process has strict regulations and abstinence. The remainder of the pig is brought home and divided equally among households in the village. Families use pork to make offerings to their ancestors and contribute thanksgiving offerings at the village shaman's house.
Viet Nam
ICH Materials 21
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Datun Julud
"Datun Julud" means "long dance" in Dayak Kenyah language, "Hivan Joh" in Kayan, and "Arang Kadang" in Kelabit. It is traditionally danced by a group of ladies on ceremonious occasions, by the Orang Ulu people of Borneo. The Datun Julud was said to have been created by a Kenyah prince called Nyik Selung, to symbolise happiness and gratitude. A solo dancer, a barefooted woman, usually begins the dance, moving spontaneously with a fluid motion to emulate a hornbill in flight. Gracefully, gently, the dancer moves her arms, legs and torso, careful to keep her head erect and motionless so as to keep her earrings - heavy brass ornaments that dangle from elongated earlobes - from swaying too much. The dancer is usually dressed in a colourful sarong and an elaborate headdress, which is adorned with protruding tufts symbolising the deities. To represent the wings of the hornbill, she holds beautiful fans made out of the feathers of the sacred bird. After she is done, another woman takes her place, and this goes on until all the women in the longhouse have each taken their turn. On various occasions, the dance is performed by a group of up to four women. The Datun Julud is often accompanied by the beautiful sounds of the sape, a traditional lute peculiar to the Orang Ulu community or "upriver people" of central Borneo. Today, the Datun Julud has become a dance of formal entertainment that is often performed in the rumah panjang (longhouse) to greet visitors and tourists.
Malaysia -
Datun Julud
"Datun Julud" means "long dance" in Dayak Kenyah language, "Hivan Joh" in Kayan, and "Arang Kadang" in Kelabit. It is traditionally danced by a group of ladies on ceremonious occasions, by the Orang Ulu people of Borneo. The Datun Julud was said to have been created by a Kenyah prince called Nyik Selung, to symbolise happiness and gratitude. A solo dancer, a barefooted woman, usually begins the dance, moving spontaneously with a fluid motion to emulate a hornbill in flight. Gracefully, gently, the dancer moves her arms, legs and torso, careful to keep her head erect and motionless so as to keep her earrings - heavy brass ornaments that dangle from elongated earlobes - from swaying too much. The dancer is usually dressed in a colourful sarong and an elaborate headdress, which is adorned with protruding tufts symbolising the deities. To represent the wings of the hornbill, she holds beautiful fans made out of the feathers of the sacred bird. After she is done, another woman takes her place, and this goes on until all the women in the longhouse have each taken their turn. On various occasions, the dance is performed by a group of up to four women. The Datun Julud is often accompanied by the beautiful sounds of the sape, a traditional lute peculiar to the Orang Ulu community or "upriver people" of central Borneo. Today, the Datun Julud has become a dance of formal entertainment that is often performed in the rumah panjang (longhouse) to greet visitors and tourists.
Malaysia
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Intangible Cultural Heritage NGOs' Strategy in Achieving Sustainable Development: The Relationship between Safeguarding ICH and Education
This book is a collection of the eight selected NGOs’ ICH safeguarding activities in accordance with achieving Sustainable Development Goals, especially Goal 4: Quality Education. With the inclusion of NGOs from Azerbaijan, Bangladesh, Bhutan, India, Indonesia, Mongolia, and the Philippines, this book provides an opportunity to look into the current ICH safeguarding status and environment of the seven countries and to seek measures to overcome the many different challenges involved with ICH safeguarding.
South Korea 2018 -
2012 Field Survey Report: Intangible Cultural Heritage Safeguarding Efforts in Myanmar
Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some South-East Asian countries (2009-2012), this summary provides a brief overview on the ICH situation in Cambodia, Thailand, Viet Nam, Indonesia, the Philippines, Laos, and Myanmar . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Apart from the main topic, information on the situation of intellectual property related to ICH safeguarding in each country is included. This survey report offers a large sample of the diverse ICH situations in South-East Asian countries. Each country has a different background on the issue of intangible heritage. \n\nFor instance, Indonesia is the only country participating in the field survey that has a programme in the Register of Best Practices. Viet Nam developed ICH-related definitions in its Law on Cultural Heritage; whereas the Philippines has a strong legislative background and solid network of public structures protecting cultural heritage. Cambodia recognises the link between cultural heritage and development of national economy and runs relevant activities on promoting traditional culture while maximizing its economic benefits to the country. For Laos, training local artists rather than researchers in ICH safeguarding, including IPR, is deemed to be essential, as the artists are the important resources that master their arts. Among the South-East Asian participants, Thailand and Myanmar are the newest to approach ICH safeguarding. Although all countries are concerned about the threats ICH faces, most countries participating in the survey haven’t defined ICH and haven’t established national ICH lists. Meanwhile, drawing up an inventory of traditional cultural expressions in different forms—register, cultural map, or database—is a common activity in these countries. Moreover, each country expresses a high degree of motivation and encouragement for safeguarding ICH, sharing experiences, and promoting international cooperation.\n\n- Ratified the ICH Convention in 2006; conducted survey in 2009.\n- As of June 2013, has two elements on the RL and one accredited NGO.
Myanmar 2012
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Nature, Learning, and Tradition in the Indian HimalayaThe parent organization of CEE Himalaya is the Centre for Environment Education (CEE), which was established in August 1984. CEE is a national institution with its headquarters in Ahmedabad and has been given the responsibility by the central government of promoting environmental awareness nationwide. It undertakes demonstration projects in education, communication, and development that endorse attitudes, strategies, and technologies that are environmentally sustainable. Based in the city of Lucknow in the state of Uttar Pradesh, CEE Himalaya has been working in the states of the Indian Himalayan Region (IHR) for over two decades. The mission of CEE Himalaya is to enhance understanding of sustainable development in formal, non-formal, and informal education through its work with schools, higher educational institutions, local and Indigenous communities, policy makers and administration, youth, and the general commu-nity. The primary objective of CEE Himalaya is to improve public awareness and understanding of environmental issues with a view to promote the conservation of nature and natural resources by integrating education with traditional streams of knowledge and cultural expressions. This approach demonstrates and grounds sustainable practices in rural and urban communities and facilitates the involvement of the business and public sectors to respond to the effects of climate change and variability.Year2018NationSouth Korea
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Intangible Cultural Heritage of Traditional Wrestling Styles in Central AsiaThis article contains a brief summary of the major traditional wrestling styles that have been preserved by local populations in Central Asia, namely Turkmen goresh; Tajik gushtingiri; Uzbek kurash; Kazakh kuresi, and Balban kurosh. Each of these sports are considered as traditional wrestling styles, recognized at national level, while some of them have gained popularity at international level. Promotion of such national sports provides an opportunity to share national values and highlight national identity through intangible cultural heritage (ICH).Year2020NationSouth Korea