Ataur, the Bioscope man with his father

Technology of baking bread with flour, milk, oil, salt, and yeast. Fatir is special festive bread for celebrations. It is eat-en with qurutob, shurba and shakarob dishes as well.

Jaggery (Htan Nyat) is very important sweet food stuff in Myanmar which is boiled the toddy palm sap(Htan Yee) so that can be made solid jaggery.It's colour ranges from yellow to brown.Toddy palm tree(Htan Pin) are growing especially in Rural Area of Central Dry Zone of Myanmar such as Mandalay Region, Magway Region and Sagaing Region.The jaggery production can be found as the traditional production in most villages from Kyauk Pa Daung, Myin Gyan, Taung Thar, We Laung, Ye Sa Gyo, Pa Kok Ku, Meik Ti La, Poppa, Bagan and Nyaung Oo township. Other growing areas of Toddy palm tree(Htan Pin) are Lower Myanmar such as Tha Nin Thar Yi Region, Ayeyarwady Region, Dawei, Yebyu, Thaton Districts.\nHere, I would like to express about a traditional jaggery production from Zee O village. Zee O village located in Myay Thin Twin Group,Nyaung Oo Township in Mandalay Region. It locates on the south of Old Bagan and about 25km from Nyaung Oo city. For their seasonal livelihood, they pratice traditional way of jaggery making process through their ancestors for long time ago. Among 200 households of Zee O village, 100 are doing jaggery production. We can see the jaggery production as traditional food for their economic life.\nAccording to the different region, collection time of the toddy palm sap(Htan Yee) is not same. In Zee O village, the sap from male toddy palm (Htan Pho) can only be collected from February to June and the sap from female toddy palm (Htan Ma) can only be collected from April to September. nTo collect sap from the toddy tree,the toddy palm climber uses special tools such as small ladder (Yin Swee) fixed to the upper part of a toddy tree and portable ladder (Yin Htaung) used in connection with the fixed ladder and etc. The work of collecting to sap starts early in the morning. The toddy climber climbs the toddy tree via special ladder attached to its trunk and brings down the pots that have filled with the toddy palm sap overnight, replacing them with empty pots at noon.\nFirst of all,heat the pots(Myu Oe) with dry the toddy palm leaves. Afer heating,the pot are roped.And then,poured the slaked lime into the pot. The one of the important things of the toddy climber is the knife(Dar Hnee) which is needed to sharp.\nSo,the toddy climber grinds the knife before his functions. The toddy climbers of Zee O village are distinct from other places of the toddy climbers. For testing knife is sharp, he cut his hairs himself. And then,he carries about ten pots(Myu Oe) with shoulder-yoke and the sharp knife attached to his waist and goes to the toddy palm trees.\nThere are two ways of collecting toddy juice(Htan Yee) depends on male and female toddy tree. A bit of wood(Ka Laing) is wedged into the top of the toddy palm tree to provide seating while he cuts the flower clusters. When the toddy-udders(Htan Nosh) of male tree become blossom, the climber has to clip the toddy-udders toddy-udders with wooden stick or pounding soften that can get much toddy sap. After that,the toddy climber tied nine or twelve toddy-udders cutting for sap into the pots.\nToddy farmer cut female toddy palm's stalks that have fruits for sap collection. He pounds the base of toddy palm's stalk with a small iron hammer (Zauk Khauk). Toddy farmer slice a little to each fruit to collect toddy sap.\nThe sap has to be filtered leaving behind the sediment of lime(Hton Yee Kyi) is put into a stainless steel boiling pan and boiled for about 45 minutes. According to the different region,the kilns for boiling toddy palm sap are different types.In Zee O village, the kilns are made by digging into the ground so that can work for five boiling pans at the same time. While the sap are boiling, the worker has to stir with flat wooden laddle continuously and also has to be added the seeds or powder of castor oil plant so that it cannot be split into the ground. The boiling and stirring has to be continued to get the suitable condition for moulding of toddy palm syrup was obtained. After that, toddy palm syrup was cooled to make granules by hands. Then,it is also dried for about 15 minutes and jaggery is obtained. nAfter that, export jaggery to the buying centre. The buying centre has to put out to dry with the sun. And then,prepare to trade other regions. Especially, Zee O village trade with Nyaung Oo township and Yangon region.\nThere are some animals to disturb the jaggery production such as mouses,squirrels,butterflies, bats,ants,crows and so on. They suck toddy sap,bite the pot's rope and fruit clusters,throw away faeces into the pot.\nJaggery is completely organic without any chemicals.It is used for Myanmar traditional food such as Mont-lone-yay-paw, Mont-lat-saung,Mont-kywe-thae,Thar-ku-yoo,Mont-lat-kout; etc.\nThere has many nutritional values of jaggery. They are protein, fat, carbonhydrate, energy, calcium, phosphorus, iron, mineral, carotine,vitamin and so on.In medical benefits, jaggery treats cold and cough,purified blood,relieves bone and joint pain,strengthens immunity etc.So,jaggery(Htan Nyat) is very useful for snack and traditional medicine.

Local Food preparation refers to process of harvesting through subsistence, the tools created for food preparation (such as that of fafa), and the preparation itself involves many people working together. Preparing fafa is important for many special occasions and is only carried out by men with clean hands; therefore, the men cannot have another job which would be considered unclean. Fafa comes in many different forms, including fafa fiti (pounded taro balls with a toasted coconut sweet sauce) also called sranomtuh (the pounded fafa with the sugarcane mixed with coconut milk), erah (pounded soft taro with banana and coconut cream fat solidifies around making a thin shell), srono kutak (srono-piece or part of it, kutak is soft taro, pahsruk is hard taro, it is a type of fafa that does not require water, hard working fafa, not mix. It’s difficult to pound and is very sticky), suklac (type of fafa made of bananas and taro and is purple in color), fafa spirit, also known as fafa ngun (spirit, like a ghost, something translucent and you cannot really see), fafa pot, likasringsring, among others (refer to sarfert). Some food preparation is according to the moon calendar. For example, planting and harvesting any crops during full moon is the best time. The texture of the soil is ideal during this time. Sometimes even the first three days of full moon. Torch fishing or molok (an animal for eating) is best done during full moon.

Bhatiyali Song\nBhatiyali music is inspired by the confluence of nature and life. It is the music of mystic rivers and the lives of boatmen. The boatmen also hum songs of leisure and peace, performed while comfortably rowing downstream. The songs gained popularity in the Mymensingh and Sylhet districts of Bengal (now in Bangladesh), as well as in the Sunderban area. These songs are performed solo and in chorus.

Serenicumu literally means “bumping songs,” a genre of popular music that is widespread throughout Fiji today and is performed in villages as well as at local resorts and hotels. These songs are covers of or are influenced by styles from Europe and America as well as from other Pacific islands or the Caribbean (particularly reggae). They are often performed at informal yaqona drinking sessions and are also associated with informal dance types broadly termed tauratale or danisi (taken from the English word ”dance”).\n\nThe exact origin of the genre is obscure. Serenicumu is said to be associated with the first legally allowed sales of beer to Indigenous Fijians in the 1920s in Suva, and it is suggested that this genre originated from parties where men bumped their drinking glasses together. Another source further adds that this music was originally called sere ni cumu saqa (saqa meaning “barrel” or “tankard”) and that it referred to the practice of Fijian men sitting in a circle at a table and resting their heads against their tankards of beer. Many serenicumu songs still performed today date from World War II―an intense period of creativity for this genre―when soldiers from the US, Aotearoa (New Zealand), and Australia interacted extensively with Fijians.\n\nCurrently, musicians distinguish two main styles of serenicumu: trio and sere bass (also called sere makawa or “old songs,” even though they may be fifteen or more years old). Sere bass performance features a large group of bass vocalists (bass/besi) in addition to three solo voice parts: tatabani/tatabana, domo tolu/vakababa, and laga/lagalaga in descending order in terms of their vocal range. Only the three solo parts are heard in trio. The types and roles of the instruments, their tuning, and their playing techniques have also changed over time. The technique of vadivadi (plucking), which characterized sere bass guitar performance in the past, has been replaced by various “scrumming” (strumming) for the rhythm guitar and a range of left- and right-handed techniques for the lead guitarist. The only chords used in sere bass were dua(tonic), rua (subdominant), and tolu (dominant), whereas trio also featured warning (seventh), minus (minor), and flat (supertonic) chords.\n\nAnyone can participate in sere bass performance, which makes it ideal for use at large social gatherings. Trio performers are expected to perform to a high standard and are usually heard at small social functions such as yaqona drinking sessions.\nThe tempo tends to be slower and the overall pitch lower in sere bass when compared to trio. Sere bass, being closer stylistically to meke, tends to be preferred by older people (those in their mid-40s and above) and provides them with a means to connect with and celebrate their cultural roots. Trio, which tends to be popular with those in their 20s and 30s, exhibits a greater degree of Westernization than sere bass, but it is still regarded as being part of the serenicumu oral tradition that has been passed down through the generations and that continues to change as new songs are continually added to the repertoire and old ones fall into disuse.

CD6_FLUTE TUNES OF THE HERDSMEN OF NEPAL\n\nCattle rearing is a major occupation for people residing in the rural areas of Nepal. Herdsmen go to the forest with their cattle for grazing. They carry a flute with them so that they can play music for several purposes, such as expressing their feelings, guiding the cattle, and passing time. As the herdsmen move to the forest after eating in the morning and come back at dusk, their only friend for the entire day is the flute. The bamboo flute is very popular all over Nepal as various styles of folk music can be played on it. The sad tunes coming from the flute lure all the herdsmen or workers into the calm and peaceful environment of the forest, where it is easier for them to express their emotions.

Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.

Title:\n(English) Silk Roads ICH Survey Report – Festivals\n(Korean) 실크로드 무형유산 설문조사 보고서 – 축제\n(Russian) Доклад по исследованию нематериального культурного наследия Шелкового пути – фестивали\n\nLanguage: English/Korean, Russian/English\nType: Survey Report\n\nThis survey report was conducted as part of the effort to identify the status of ICH festivals across the Silk Road region and further identify the challenges that should be resolved with regard to each festive event. This report presents the findings of the survey concerning ICH festivals, which was carried out in 2020 on the governments and cultural institutions across Silk Road countries, including the Republic of Korea. The valid sample, consisting of 347 respondents from nine countries, were statistically analyzed and described herein

This survey report was conducted as part of the effort to identify the status of ICH festivals across the Silk Road region and further identify the challenges that should be resolved with regard to each festive event. This report presents the findings of the survey concerning ICH festivals, which was carried out in 2020 on the governments and cultural institutions across Silk Road countries, including the Republic of Korea. The valid sample, consisting of 347 respondents from nine countries, were statistically analyzed and described herein.