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january 15 on the lunar calendar
ICH Elements 10
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Trần Thương Temple Festival
The Trần Thương Temple Festival is held from August 18 to 20 (lunar calendar), at Trần Thương Temple - the place to worship Hưng Đạo Đại Vương, his family and generals who contributed to the resistance war against the Yuan-Mongol army and also the place where Hưng Đạo Đại Vương chose to build a food warehouse, providing food for the army. The festival features many traditional rituals such as: The ritual to ask Đức Thánh Trần for people to open the Temple and organize the festival; The local people's worship and worship of the Saint; releasing flower lanterns at Trần Thương Lake; the spiritual ritual on the anniversary of Đức Thánh Trần... The most special feature of the festival is the food distribution ritual held on the night of January 14 and early morning of January 15 with the following rituals: The ritual of carrying food from the food warehouse into the temple for the ritual; the torch lighting and incense offering ritual by delegates and people and the ritual of carrying food into the secret ritual at the back palace, to recreate the history of "distributing military food" to reward the army of the Trần Dynasty when they defeated the Yuan-Mongol invaders for the third time.
Viet Nam -
Lăng Sương Temple Festival
The Lang Suong Temple Festival is held at Lang Suong Temple, Trung Nghia Commune, Thanh Thuy District, Phu Tho Province; on the birthday of Duc Thanh Tan, January 15. In addition to the main festival, the Lang Suong Temple Festival is also held on the death anniversary of the Holy Mother on October 25 (lunar calendar). On the morning of January 15, the hamlets carry the offerings to the temple and gather into a procession of the commune, marching from the temple to the Da River with the purpose of taking Da River water to perform the ceremony and welcoming the adoptive mother of Thanh Tan from Ba Vi to attend the birthday party of the Saint. The community organizes a unique "water procession" ceremony with hem customs such as kite flying, abstaining from calling "hanh". They also organize the Saint procession, the army running game, the cow sacrifice ceremony in the form of a folk performance. The performance process here is both a performance of the legend of Tan Vien such as the Saint procession, the army running game, the cow sacrifice ceremony... and carries the meaning of agricultural beliefs such as the "water procession" to the temple. The offerings to the gods include raw pork, grilled beef, wild chicken, sticky rice, boiled liver, grilled meat, stewed meatballs, and bamboo-tube rice, reminiscent of the simple cooking methods of the Van Lang - Au Lac people. During the festival, there is a phenomenon of looking at "the wind blowing the flags" to recognize that the saints and gods have "returned" to the community. In addition, there are many cultural and artistic activities, folk entertainment games such as: Tug of war, volleyball, crossbow shooting, cockfighting, fire pulling and rice cooking competitions, throwing balls... Lang Suong Temple Festival is an affirmation and continuation of the preservation and promotion of the role of the cultural hero - Duc Thanh Tan Vien Son - formed in the early period of Vietnamese culture and civilization. With its unique spiritual values, Lang Suong Temple Festival was included in the List of National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism in 2018.
Viet Nam -
Songpa Sandae Nori (Mask Dance Drama of Songpa)
National Intangible Cultural Heritage, Republic of Korea Sandae Nori refers to a mask dance performed in the central region of Korea. It is part of Sandae Dogamgeuk, which used to be performed in Seoul and Gyeonggi-do. It is composed of dances, pantomime, and gags, and is performed on the lunar calendar dates of Daeboreum (January 15), Dano (May 5), Baekjung (July 15), and Chuseok (August 15). Songpa was a commercial center of Gyeonggi-do. It is said that the play was frequently performed at the time Songpa Market reached its prime about 200 years ago and has continued to develop and to be one handed down to the present day. The play is composed of seven acts. Prior to the commencement of the play, members of the troupe march, playing music, to the site of performance to entertain spectators along the way. The overall composition, dances, and masks used are similar to those of Yangju Byeonsandae Nori (Mask Dance Drama of Yangju), but certain masks, dances, and characters distinguish it from the other. In Songpa Sandae Nori, 33 masks made of gourd, pine skin, and paper are used.
South Korea -
Suyeong Yaryu (Mask Dance Drama of Suyeong)
National Intangible Cultural Heritage, Republic of Korea Yaryu is a custom of Ogwangdae (mask dance drama) that was first performed in inland areas of Gyeongsangnam-do but spread to Suyeong, Dongnae, and Busanjin. Yaryu literally means playing in an open field. This mask play was performed by non-professionals such as villagers. Suyeong Yaryu is performed by villagers when the full moon rises on the night of January 15 on the lunar calendar after holding a sacrificial rite for mountain guardian deities, village spring water, and the spirit of General Choe Yeong. Two hundred years ago, a naval commander had a troupe of clowns in Bamma-ri, Chogye (present-day Yulji-ri, Deokgok-myeon, Hapcheon-gun, Gyeongsangnam-do) play a round of merrymaking for his troops in a naval compound. This is said to have been the origin of Suyeong Yaryu. The performance is composed of four acts: Nobleman’s Dance, Yeongno Dance, Dance of an Old Couple, and Lion Dance. Prior to the play, the troupe marches, playing music, to entertain spectators along the road to the site of performance. At the end of the performance, they collect the masks used and burn them as a rite of praying for the peace of the village. Characters appearing in the performance are 11 in all, four from the noble family, a son of the head of a clan, Malttugi (a servant), Yeongno (a therianthropic character), an old woman, a concubine of an old man, a lion, and a tiger. The performance includes a satire about nobles and deals with the problem of concubines. In contrast with the other Yaryu, it does not have a leper dance, but it does include a lion dance, which is missing from the other Yaryu. Suyeong Yaryu is a play performed by masked performers. It is a ritual and satirical play with artistic quality performed by villagers.
South Korea
ICH Materials 53
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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 -
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
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ICH Courier Vol.46 Traditional Performing Art to Greet the New Year
Communities in the Asia-Pacific region greet the New Year at different times depending on region and religion. Communities celebrate a new beginning with traditional songs and dances. This volume introduces traditional performing arts to celebrate the beginning of the New Year in Japan, Nepal, Micronesia, and Myanmar.
South Korea 2021 -
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
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Indigenous Knowledge, Food Diversity and Nutrition Sufficiency: A Case Study of Tharu Indigenous Knowledge of NepalNepal is a multiethnic, multilingual, and multicultural country with rich cultural heritage located between India and China. The 2011 census recognized 125 caste and ethnic groups and 123 different languages. The new constitution of the Nepali federal republic has further recognized all the spoken languages as national languages. The National Foundation for Development of Indigenous Nationalities (NFDIN) recognized fifty-nine indigenous nationalities residing in Nepal in 2002 (NFDIN 2011). However, in the 2011 census only forty-seven indigenous nationalities were reported (CBS 2012). Among them, Tharu is the second-largest indigenous group with a population of 1.7 million residing in various districts of southern Nepal (CBS 2012).Year2020NationNepal
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3 Harvest and Landscapes"In this region of many “lands” surrounded by water, knowledge of the land and its harvests is tied closely to identity and heritage. This section’s themes thus offer a closer look at how the knowledge of caring for the land and harvests is a way of feeling for the Pacific islanders. This ICH, in addition to coloring people’s interactions on the land and carrying expressions of respect, is a means of ensuring sustainability and prosperity.\nPacific islanders depend largely on the land and their harvests from it for their survival, but these also hold deeper meaning for life. To the people of Vanuatu, for instance, laplap soso'ur is more than an edible delicacy: it is a feature of their cultural identity and a means to bring people together across societal levels. Similarly, in Palau, the mesei taro fields are valuable property, but they are also much more in that these pieces of land are deeply connected to the identity of the people, particularly women, and figure prominently in the colorful oral histories of the Palauans. Both of these cases, along with the other themes in this section, reflect the profound value of ICH related to the Pacific islands and their harvests."Year2014NationSouth Korea