ALL
lamb
ICH Elements 22
-
GHELAK-SHURBO, ghelak, oshi ghelak
A traditional kind of sup cooked with meat balls, oil, tomato, onion, potato, carrot.
Tajikistan -
Sankirtana, ritual singing, drumming and dancing of Manipur
Starting with ritual observances which involve singing and dancing in the temples of Manipur, Sankirtana encompasses an array of arts performed also in the home and the street to mark occasions of religious import and stages in the life of the Vaishnava people inhabiting the Manipur plains. The theology and lore of Krishna is central to these performances, but they assimilate in their rendering formal features carried over from music and dance in Manipur’s pre-Vaishnavite past. The core of Sankirtana practice is to be found in the temple, where it narrates through song and dance the lives and deeds of the Lord. These are typically presented in the round, in a hall (Mandapa) attached to the temple before devotees. The main repertoire consists of Nata Pala, which is performed all over the Manipur valley. The Ariba Pala and Manohar Sai Pala, less often in evidence today, are also temple-centred. Outside the temple, Sankirtana assumes forms such as the Holi Pala celebrating the festival of colours in springtime or Shayan performed in the winter months. Khubak Eshei is celebrated within the temple during the rains, marking the chariot festival of the Lord. In the setting of the home, Sankirtana is offered as prayer at all life-cycle ceremonies, such as the ear-piercing ritual (for both males and females in childhood), the donning of the sacred thread (for adolescent males), marriage, and the rites of passage at death. Thus pervading the life of the Manipuri Vaishnava, Sankirtana is regarded as the visible manifestation of God.
India 2013 -
Peking opera
Integrating singing, reciting, dancing and martial arts performing, Peking Opera is a comprehensive performing art of traditional opera. In mid 19th Century, having incorporated elements of various opera forms from both northern and southern China, Peking Opera came into being. It was first created by civilians. Its development was then greatly promoted by the royal family, and reached its peak in the capital city of Beijing. Peking Opera is the most widespread and influential among over 300 opera forms in China. Hence it is also called the “National Opera”. Beijing dialect is used in the singing and reciting of Peking Opera where rhyme is of great importance. There is also a strict set of rules and forms of libretto composition. Peking Opera is based on Xipi tune and Erhuang tune. Xipi tune is applied to express passion, joy and ecstasy, whereas Erhuang tune is used to depict sadness and grief. Music (singing) plays a key role in setting the pace of the show, creating a proper atmosphere, shaping the characters, and smoothing the progress of the story. Traditional musical instruments are used in Peking Opera shows, where the drummer plays the role of a conductor and the “Jinghu” player acts as the first violinist in an orchestra. Strings and pipes, such as Jinghu, Yueqin and Sanxian, are known for their tender and melodious sounds, which are called “Wen Yue”, or civilian music. Whereas percussions including Bangu and Daluo make brisk and powerful beats, which are called “Wu Yue”, or military music. Singing and dancing are equally important to the performance of Peking Opera, which is characterized by its formularized and symbolic style. Performers have to follow the established format of movements of hands, eyes, body, and feet. Peking Opera only requires simple stage settings and props, following the principle of abstract presentation of big items (for example houses and walls are not necessary on stage) and specific presentation of small items (tables, chairs, cups and saucers, for instance, are used as props on stage). The exquisite and skilful acting of the performers can also help to unfold a virtual yet vivid stage setting to the audience. The costume and headdress in Peking Opera are flamboyant. The facial make-up is exaggerative and delicate. The lively opera face shows the character’s personality and social identity with concise symbols, colours and patterns, expressing the traditional Chinese aesthetic ideals. The storylines of Peking Opera originate from history, anecdotes and folk legends. About 100 of more than 3,000 Peking Opera shows are still being performed frequently today, such as “The Twin Bliss of Dragon and Phoenix”, “The Tipsy Imperial Concubine”, and “The Orphan of Zhao”. Over the process of its transmission, over 30 schools of Peking Opera with different singing characteristics have been gradually developed. The most famous schools include the Mei School (founded by Mei Lanfang) and the Tan School (created by Tan Xinpei). The Mei School, a performance system named after Mei Lanfang, is regarded as a representative of China’s opera performance systems, and one of the three major opera performance systems of the world. Nowadays, it is mostly the practitioners of professional and amateur troupes who shoulder the mission of passing down Peking Opera. Beijing Peking Opera House, Tianjin Peking Opera House, and Shanghai Peking Opera House play the most significant role in the transmission and development of Peking Opera. Prestigious Peking Opera artists, such as Wang Jinlu, Tan Yuanshou, Mei Baojiu, Li Changchun, Zhao Baoxiu, not only inherit their respective schools in a creative way, but also shoulder the responsibility of training performers of a younger generation. The traditional performing art of Peking Opera is still well received by the public. In Beijing alone it attracts over one million audiences every year. Some Peking Opera fans can not only appreciate it, but also practice it. They are also making a special contribution to the survival and development of Peking Opera. Opera towers and guild halls dedicated to staging Peking Opera shows, such as Huguang Guild Hall in Beijing and Tianchan Yifu Stage in Shanghai, are important cultural venues for relative communities and their “spiritual wonderland”. The major mode of transmission of Peking Opera is to “conduct oral teaching and inspire true understanding of the trainee”. In the past, the master of an opera troupe applied such a method to train his disciples. Even today, this mode is still being extensively used in opera trainings. As an inheritor and practitioner, each Peking Opera performer has to go through a series of rigorous and systematic training at a young age. A trainee will gradually master basic skills including reciting, singing, dancing, and martial arts performing through taking oral instructions from the master, and observing the master’s behaviour. A performing artist of Peking Opera will need to constantly improve his or her artistic attainments through a long-term practice, so as to enrich and solidify the heritage. The representative bearers of Peking Opera typically have mastery of various forms of traditional Chinese culture, such as calligraphy and history, and they are very respected by the public. Peking Opera is unique in its perfect, romantic and abstract way of performing. It is the practitioners’ special expression of their feelings and aesthetic ideals. It is also an important symbol of Chinese cultural identity.
China 2010 -
Traditional knowledge related to making of meat products (chuchuk, zhorgoom, byzhy, olobo, tash kordo)
One of the main meat delicacies is a horse meat sausage called ‘chuchuk’. It was made out of horse intestine stuffed with horse meat and fat. Sheep meat and internal organs were used to make such delicacies as ‘jorgoom’ (made out of sheep lungs and stomach), ‘byzhy’ (a sausage made out of sheep liver, fat and blood) and ‘olobo’, that is sheep lungs filled with milk and boiled in water. Tash kordo is an ancient Kyrgyz dish. Literally, it means “food prepared on hot stones”. The separated and marinated meat is wrapped into the game skin and prepared in a hole in the ground about 1.5 m long and 70 cm wide, with stones at the bottom and sides hanged over the hot ashes.
Kyrgyzstan
ICH Stakeholders 1
ICH Materials 67
-
Benedictions
Benedictions\n\nMongolian well-wishing is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Briefly, benedictions (well-wishing) propitiate people’s future happiness and well-being through skilfully composed and recited poems. There are thousands of benedictions on various subjects. For instance there are benedictions recited while beating the sweat cloth of a saddle, while distilling milk vodka, while celebrating a birth, and while cutting an infant’s hair for the first time. Besides ancient benedictions, many contemporary benedictions are being kept at the ILL. These include benedictions for a new ger, weddings, a child’s first haircut, endowment practices, mare-milking ceremonies, foal-branding ceremonies, the People’s Revolution, and others for the military.
Mongolia 2012 -
Folk Short Songs
Folk Short Songs\n\nMongolian folk songs are divided in three different categories, such as long songs, short songs and the authors’ songs. Folk songs are shorter than other forms of expressions with average durations of one to five minutes, but there is a high volume of them. Thus, restoring, categorising, and digitising folk songs were the most time-consuming tasks compared to others. Within the framework of the project, just under forty-eight hours of songs were restored and digitised.
Mongolia 2012
-
Sounds from Mongolian Grasslands_Oral Traditions and Performing Arts in Mongolia
Sounds that Run in the Vast Grasslands of Mongolia_Oral Traditions and Performing Arts in Mongolia\n\nSince the early 1950s, the Institute of Language and Literature at the Academy of Science (ILL) has been sending survey teams one to three times a year to research and gather data on oral literature and local dialectics. These activities set the groundwork for officially establishing a new archive with written documents and magnetic audio tapes that could be used for research purposes and be maintained. Preserved on magnetic tapes are languages and dialects that have gone extinct, have lost their distinctiveness, or have been adsorbed into other languages or dialects.\n\nHowever, most of the magnetic tapes being kept at the ILL are more than sixty years old, and the expiration date on many tapes has already lapsed. Also, improper storage conditions have caused some tapes to dry out, cling to one another, or fracture. For these reason, it would be hard to transmit to the next generation. Accordingly, since 2008, efforts have been made towards restoring and digitizing superannuated magnetic tapes within the internal capability and capacity of the ILL. The lack of training, finance, and proper tools and technical equipment has, nevertheless, created several obstacles and the digitizing results have not been very successful.\n\nAt this crucial state, the ILL introduced a cooperative request to the Foundation for the Protection of Natural and Cultural Heritage (FPNCH), and the FPNCH proposed that ICHCAP continue the joint project and take measures for restoring and digitizing superannuated magnetic tapes and distributing and disseminating the data among the general public. According to the above decision, the FPNCH and ICHCAP implemented the Joint Cooperation Project of Safeguarding Intangible Cultural Heritage by Using Information Technology from October 2011 to April 2012.\n\nAs the first stage of the project, the Expert Meeting for Safeguarding ICH by Using Information Technology was held in the Republic of Korea to exchange information with experts for digitizing and restoring the analogue data. The experts of Mongolian National Public Radio, the ILL, and the FPNCH started the project after sharing restoration and digitization knowledge with the Munhwa Broadcasting Corporation (MBC) of Korea, the National Archives of Korea, and the Korea Film Council.\n\nAs the main outcome of the project, a total of 715 hours of superannuated magnetic tapes including epics, folk tales, tales accompanied by the morin khuur, traditional arts, khuumei, chor, long and short folksongs, and traditional customs were restored, digitized, and categorized. Among them, 128 audio clips were selected and reproduced in a ten-CD collection called Sounds from the Mongolian Grasslands. The collection also includes a twenty-page handbook in English or Korean. Through this project, the general public’s, involved organizations’, and domestic and international experts’ awareness about Mongolian ICH increased, and the archive and music contents of regional ICH were strengthened.
Mongolia 2012 -
Intangible Cultural Heritage Elements of Ferghana Valley
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.
Uzbekistan 2015
-
Sample Data Ⅱ : Nagaland, Orissa Cultural Atlas of India - Development of a web-based statewide database on the cultural resources of India
The early history of the Nagas is shrouded in obscurity and many theories abound of their origin and migration. How and when they came to settle in the north‐eastern region of India is an unsettled question. \nSeveral traditions exist within the multi‐ethnic Naga communities on their origins. \nAccording to the oral traditions passed down through songs, folklore and word of mouth the Ao emerged from six stones at Long‐terok, which exists to this day near Chungliyimti, the first legendry settlement of the Ao. ‘Long’ meaning stone and ‘Terok’ six, refers to the six stones from which emerged three pairs of male and female progenitors whom the Ao claim to be their ancestors. The Ao is distinguished with two phratries –Chongli and Mongsen. The Chongli claim that the three males and females who emerged at Longtrok were Tongpok and his sister Lendina, Longpok with his sister Yongmenala and Longjakrep with his sister Elongshe. They were the first human beings who emerged at Longtrok. \nEach male member along with his sister formed the three phratries of the Chongli. \nTongpok founded the Imsong‐Pongen clan, Longpok the Longkumer clan and Longjakrep with his sister founded the Jamir clan respectively. The three siblings intermarried and through these marriages, the Ao clans came into existence and a well‐ knitted clan exogamy marriage evolved that is followed to this day.
India 2009 -
Oral Traditions and Epics of Central Asia
In 2015, ICHCAP, IICAS, and the National Commission of the Republic of Uzbekistan for UNESCO co-organized an international symposium, gathering leading experts and scholars in the region, with the topic of ‘oral traditions and epics’ to uncover more profound issues on ICH in the region. As the nomadic tribes of Central Asia have always been migratory, oral traditions have been the core means of intergenerational transmission in their culture. Since ancestral cultural practices and wisdom have been transmitted across generations orally, it is crucial to discuss these issues for safeguarding living 142 heritage in Central Asia. This book is the collection of the papers from the symposium.
South Korea 2015
-
Nillaikalakki SilambamSilambam, a martial art originating from Tamil Nadu, South India, that focuses on stick twirling is one of many Indian traditional arts that have survived through the periods of Ancient India, Medieval India, and Modern India, including the British colonial era. It remained alive in other countries as well, including Sri Lanka, Myanmar, Malaysia, and Singapore. Silambam is an ancient Tamil martial art that carries many Tamil cultural values in its training and also during the transmission of the art from master to students.\nAncient Silambam’s cultural heritage and knowledge survived thousands of years through transmission to many generations, but the art is currently facing extinction. This drastic change is due to contemporary Silambam practitioners forgoing the values of the art and adopting elements of other martial art cultures, introducing new traditions such as belt grading systems, becoming more competition focused, and so on. The martial art with these newly adapted elements has been categorized as Sports Silambam. Many new Silambam organizations have been registered and even masters who have coached traditional Silambam are adopting these changes to train students toward success in competitions. Meanwhile, competition organizers offer handsome rewards to the winners in order to entice many young students to learn Sports Silambam. By focusing on the new approach geared toward competition, Sports Silambam masters fail to preserve the original combat techniques and cultural heritage values of authentic Silambam arts. While Sports Silambam is heavily and widely promoted, authentic Silambam masters and practitioners are struggling and facing hurdles to safeguard the intangible cultural heritage (ICH) of this particular ancient Silambam. Adding to the obstacles is the issue of finding the right disciples to ensure the knowledge is transferred to the next generations in the current era of mushrooming globalization.Year2020NationSouth Korea
-
TEXTILE BLOCK PRINTING OF UZBEKISTANTextile printing is the process of printing flowers, ornaments on cotton or silk fabric (chitgarlik) by hand using carved wooden stamps. This applied art has existed in Central Asia since ancient times and stems from the region’s cultural and commercial interaction. The art of textile block printing traveled along the Silk Road and flourished in the villages and towns of Central Asia.Year2019NationSouth Korea