ALL
mask dance
ICH Elements 43
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Rigma Chudruk Cham: Dance of the Sixteen Wisdom Goddesses
Rigma Chudruk Cham is a pacifying dance, performed solely by monks wearing exquisite costumes to represent the sixteen goddesses that make various offerings to enlightened beings. Generally, the dance has two types: Rigma Chudruk Cham and Rigma Chudruk Nga Cham. Though the costumes are identical, these dances can be easily differentiated by the instruments they use. The first Rigma Chudruk Cham performs with Drilbu, bell, and Daru or Damaru, a small two-headed drum. The latter dance exclusively plays Nga drums with Ne-tok, drum-stick. The dance is known by various names across different Buddhist traditions: Rigma Chudruk Cham; Khandro-mai Cham Dance of Dakinis; Zhe-wai Cham pacifying dance; Dorji Lhamo chudruk sixteen Vajra Dakinis; Choe-pai Lhamo Chudruk Sixteen Offering Goddesses; and Dodyon-gi Lhamo Chudruk Sixteen Pleasurable Goddesses. The sixteen goddesses not only bestow wisdom but also entertain and bring enjoyable offerings to the enlightened spiritual beings. These goddesses are generally classified into three groups: Outer, Inner, Secret Offering Goddesses. The first group consists of four members: 1. Gegmo-ma, Skt. Lasya, Goddess of Grace 2. Threngwa-ma, Skt. Mala, Garland Goddess 3. Lu-ma, Skt. Gita, Singer 4. Gar-ma, Skt. Nirti, Dancer The second group has also four members: 1. Meto-ma, skt. Pushpe, Flower Offering Goddess 2. Dhugpe-ma, Skt. Dhupa, Incense Offering Goddess 3. Nangsel-ma, Skt. Aloka, Lamp offering Goddess 4. Drichab-ma, Perfume Offering Goddess The third group has five goddesses: 1. Piwang-ma, Violin player 2. Lingbu-ma, flute player 3. Ngadum-ma, Drum player 4. Zanga-ma, Skt. Muranyyaze, Clay-drum player 5. Zuk Dorji-ma, Skt. Vajra Dakini, Vajra Form Goddess The last group has three. 1. Ro Dorj- ma, Taste Vajra Goddess 2. Rek-ja Dorji ma, Feeling Vajra Goddess 3. Choying Dorji ma, Skt. Dharmadatu Vajra Dakini, Vajra Goddess of unfabricated awareness.
Bhutan -
Nga-zo: Buddhist Drum Making
Shagzo or the traditional art of woodturning is an ancient art that has been passed down for generations. Shagzo is vibrantly practised in Bhutan and the master artisans are known as Shagzopa. Bhutan’s abundant and wide range of woods like tashing (Juglans regia), hashing (Taxus baccata), baashing (Picea spinulosa), tsenden shing (Cupressus corneyana), sermaling shing (Acer camphellii) and etometo (Rhododendron arboretum) have enabled the Bhutanese Shagzopa to create a variety of exquisite functional and decorative products like turned wooden bowls, cups, plates, and containers of various shapes, sizes and colours unique to Bhutan. Skilled wood turners also craft traditional hand drums that are beaten during religious ceremonies. Since Bhutanese tradition is deeply rooted in the teachings of the Buddha, use of drums and drum sticks are a part of the rituals performed everywhere. Used in all religious ceremonies and rituals, the Bhutanese traditional drum known as Nga, and the Nge-tog (drumstick) are indispensable articles found in every temple, monastery and home. An ancient instrument of musical offering, the beatings of the Nga symbolizes the subjugation of evil, indicates the fluctuation of tunes and wordings, and regulates the pace of other instruments during rituals and propitiation ceremonies.
Bhutan -
Hahoe Byeolsingut Tallori (Mask Dance Drama of Hahoe)
National Intangible Cultural Heritage, Republic of Korea Byeolsingut refers to a ritual held to pray to the village guardian for the peace of the village and good crop every three or five or ten years. In Hahoe Village in Andong, the villagers have performed this ritual for about 500 years, once (December 15) every 10 years or on special occasions. The rite is composed of eight acts, i.e. Gaksiui Mudong Madang (Boy Dancer Act), Juji Madang (Head Monk Act), Baekjeong Madang (Butcher Act), Halmi Madang (Old Woman Act), Pagyeseung Madang (Depraved Monk Act), Yangban Seonbi Madang (Act of Nobleman and Scholar), Hollye Madang (Wedding) Act, and Sinbang Madang (The First Night Act). The play includes ridicule of depraved monks, satires about nobles, and other humorous content. It is believed that the mask for a newly-wed woman symbolizes the village guardian. Thus, the mask is shown to people only during Byeolsingut. A total of eleven masks in ten types made of alder wood are used for the play. The original masks were designated as National Treasure No. 121 in 1964. The play is performed to the accompaniment of pungmulkkun (a farmer’s music band composed of kkwaenggwari (small gong), taepyeongso (conical wooden oboe), sogo (small drums), buk (drums), janggo (hourglass-shaped drum), and jing (large gong). This play performed in Hahoe ends without the post-event rite of burning the masks used as in mask play events that are held elsewhere. It is regarded as a valuable source of material in relation to how mask plays were performed in the country.
South Korea -
Lake Nub Tshona-patra: The Great Lake in the West
Nub Tshona-patra literally means "The Great Lake in the West" and is beautifully situated between the ancient trade route of Haa and Tibet. From some sources, "Nub" may also be known as Nob, which means Norbu (precious treasures). Nub Tshona-patra is considered one of the most sacred and revered lakes in Bhutan. It is believed that the lake is so large that two types of vegetation grow on the lake. On the Tsho-gu (head of the lake) grow plants commonly known as Chukar meto (Rheum nobile), which grow only in mountainous regions such as Jomolhari, while on the Tsho-ju (tail of the lake) grow Dungshing plants (Abies densa), which grow in low regions such as the Haa Valley. Nub Tshona-patra is one of the holiest lakes in Bhutan and can be hiked from Haa on many different routes. The most common routes are from Kipri in Uesu gewog, from Karjena in Kartsho gewog via Changzur Nyela to Drakna Trashiding-kha Gonpa and also from Tokey in Bji gewog. Nub Tshona-patra can also be reached through Jula Pass, Talila Pass, from Miri Pun Suum and from Norbugang in Samar gewog. The river that flows through Dozam at the foot of Chana Dorje (Vajrapani bodhisattava) hill is fed by Lake Tshonapatra. This river feeds the Haa fishery at the foot of Chana Dorji hill. This river flows through Nakha Tashigang and Shubji in the Sangbay Gewog and joins the Amochu further downstream. The river from Baytsho also flows along this river. The sanctity of the lake brings about the fact that Terton (treasure revealer) Sherab Mebar (1267-1297?) came to Bhutan from Kham in Tibet in the 13th century at the age of thirteen, settled in Paro Pangbisa and established the Pangpa Ugyen Guru Temple as his seat. Even today, this two-story temple is considered very sacred. According to oral traditions, he was destined to recover treasures from a lake in western Bhutan. He was also destined to visit Bumthang and the Jawar Tsedrag Goenpa (temple). To find the treasures, Terton Sherab Mebar traveled to Haa. After finding the lake (now Nub Tshona-patra), he unveiled many treasures including gold, religious artifacts and religious instruments such as dung (trumpet), Nga (drum), Nge-tok (drumstick) and a pair of Rol-mo (cymbals), among others. Terton was prophesied to visit Nub Tshona-patra seven times. When Terton came across a huge lump of gold in Nub Tshona-patra, it turned into a giant frog as big as a hill and swallowed (and held) all the water of the lake in its mouth. He asked a carpenter to carve the gold nugget into a pillar to be used in Paro Dzong. The carpenter was instructed to take the splinters and fragments of the pillar as payment for his work. However, the carpenter tried to shear off too much of the column in order to receive his wages. The Terton feared that the column would be too short, and when he tried to talk to them about shearing too much out of concern, a drop of water fell out of his nose and spilled into the lake, drowning them all along with the gold. Some locals believe that those who cut off the gold pillar were his one hundred and five monk disciples from the village of Pangbisa, while others say that his team consisted of thirty-two strong men who were farmers and carpenters. The angry deity of the lake Tshodag/Tshomen (mermaid) sensed this and began to pursue the Terton. While he was running for his life, religious instruments such as cymbal, trumpet, drum, drumstick and a sickle fell from him, and lakes sprouted in the place where the treasures fell. Locals know these lakes as Drum Lake (Nga-tsho), Drum Lake (Dungtsho, in Jarey), Drumstick Lake (Ngetok-tsho), Cymbal Lake (Roel-tsho, in Rigona), and Sickle Lake (Zoutsho), which are now found in the Haa Shongana region (also known as Shokuna), including Nub Tshona-patra in Tshona Diga. Ngatsho and Ngetok tsho are located close to each other at Tsoo. Yak herders spend their summers in Tsoo. Locals believe that the Terton also spent time meditating (thukdam/tsham) in Yatokha, the area behind the hills of Ngatsho and Ngetok tsho, to see clear visions and find hidden treasures. Some sources say that the Terton also dropped other treasures such as religious artifacts and religious instruments made of gold, turquoise, silver, shells and a vase during his escape, which led to the formation of Ser-tsho, Yu-tsho, Ngyul-tsho, Dungkar-tsho and Bumpa-tsho (in Jarey Damshog). The terton Sherab Mebar turned into a bird and the angry deity into a falcon. When they reached Tergola (which means "gateway to hidden treasures," as it was believed that many treasures were hidden behind this mountain pass), the deity of the mountain (Tsan) negotiated peace between the Terton and the angry deity of the lake. Some consider this Tsan or Drak-tsen to be Ap Chungdu. Some sources also indicate that the negotiation actually took place in Lab-dza of Tshellu-tsho. It was agreed that both Terton and the deity would not enter their respective territories. Terton and the descendants of his followers would never set foot in Haa Shongana. Similarly, the lake deity agreed not to cross Tergola. Thus, all connections between the people of Haa Shongana and Paro Pangbisa were severed, even though these two places are considered to be close to each other. Even today, when the descendants of the Terton people in Pangbisa cross the Tergola Pass, it rains even when the weather is fine, and people die when they enter the Haa Shongana region. Animals also die when they cross the border, or if animals are traded between these two places, they do not survive. However, some of the locals believe that this border does not apply to livestock. To resolve the conflict between the two, the mountain deity erected five Do-tshams (boundary stones) between Gangche-la and Zou-tsho (Sickle Lake) to mark the border. It is believed that the boundary was initially marked with dried yak and sheep dung, which later turned into stones. The cairns are still preserved today. The Do-tshams are located in Ramzur, under the Uesu gewog. The stone mounds look as if they would collapse at any time. But if you actually touch them, it is not easy to dismantle them or break them into the ground. People say that stones and pebbles can be added to the piled up structures, but they should not be removed or disintegrated. When the Terton died, he left the only Rol-mo treasure (basin) and a Phurpai ku (three-sided ritual dagger statue) in the Pangpa Ugyen Guru Temple. The Phurpa ku can be seen in this temple to this day as one of the Nangten (sacred religious objects). It is said that after the death of Terton, his Kudung (sacred body) was taken from Pangbisa to Rinpung Dzong (fortress). However, the people of Pangbisa wanted to reclaim the Kudung, and when they tried to steal the Kudung through the U-tse (central tower) of Rinpung Dzong, the "head" detached from the Kudung, and the headless Kudung was left in Rinpung Dzong, which later burned in a fire tragedy. Today, the skull of Terton is revered as one of the most important sacred relics of the Pangpa Ugyen Guru Temple. In lieu of formal punishment, the people of Pangbisa had to cede the only treasure, the Rolmo, to the Rinpung Dzong. This cymbal can be visited today as one of the most important sacred relics of the Rinpung Dzong. The cymbal is shown to the public once a year, on the first day of Paro Tsechu, to give blessings, and it is also used to determine the timing of the mask dancers during Tsechu. The other cymbal that belongs to this treasure was newly made; therefore, this pair of cymbals sounds slightly different from the other normal pairs of cymbals. Some believe that the Nub Tshona-patra was originally located in the village of Sangbay Ama in the Sangbay gewog before it was settled in its present location. People say that a mermaid carried the lake in a dung-chung (slender container made of bamboo used to store salt) and planned to move the lake to another location because the lake's location was either dirty or it was time to move away from Sangbay Ama. On the way to the present location of the lake, the mermaid stopped for a night at a Norgi-jangsa (settlement of cattle herders). It is believed that the mermaid gave cattle to the Nublang cattle as a reward for the kindness shown to her by this local herdsman. Today, this particular breed of Tha-nor (low altitude cattle) exists only in the Sangbay gewog of Haa. Before the lake was built on the present site, the place was a Bjobi-lakha (nomadic settlement). The mermaid asked the shepherds to move their camp so that the lake could settle there. The mermaid found that even the next morning the shepherds had not moved away. So, the mermaid emptied the Dung-chung that contained the lake's water, drowning all the shepherds along with their camps. It is believed that some lucky people on a clear day can see the entire Nogi-jangsa, including dogs, yaks and people. Legend has it that once a woman from Tshaphel village was washing clothes on the lakeshore and polluted the lake. Nothing happened to her for five years. But in the sixth year, the lake "consumed" and she drowned along with her livestock and camp. To this day it is believed that at Nya-chhu, the source of Haa fishing, people come across pieces of clothing or Bjob's hat. It is believed that it is a bad sign to find such items. Locals also believe that whenever the waters of Lake Nyaku-na appear in Tshaphel, people either die or mysteriously disappear. It is believed that Dungkar Aekhil (a shell with a right head) appears to those who have good luck when visiting the lake. Lam Duetsi from Dumchog village in Uesu is said to have seen this shell while visiting the lake. Local people believe that a hundred cattle once drowned in the lake because the water of the lake appeared so calm that the cattle mistook the water of the lake for the ground. Later, about nine tethers that were used to tie the cattle were found at the water source that feeds the fishery in Haa.
Bhutan
ICH Stakeholders 1
ICH Materials 266
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Lkhon Khol Wat Svay Andet
Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana.\nLkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.
Cambodia -
THE ART OF MASKS MAKING - UP IN HAT BOI
As a UNESCO category 2 center, ICHCAP organized the youth ICH storytelling contest with the aim to support ICH safeguarding activities of young practitioners. Youth practitioners play an essential role, as ICH relies on direct transmission among community members. Their activities and involvement will hopefully contribute to raising awareness of ICH worth protecting. The story below won the Grand Prize of the 2019 Asia-Pacific Youth ICH Storytelling Contest. \n\n---------------------------------\nThe Hát Bội is Vietnamese intangible traditional performing art which has taken shape, developed during Vietnam history and is still preserved. The Hát Bội is form of traditonal opera which has a 500 old year long history of development in Vietnam. It contains features close to the culture in many other countries in Asia. My name is Anh Quan, I am sophomore of The Ho Chi Minh City University of Culture in Vietnam. \n\nWhen I started in junior high school, I had opportunity to study and enjoy The Hát Bội. These images, stage, eyes, gestures of The Hát Bội are so excited. But I strongly impress by artists’ face. This emotion is always with me in my thoughts. When I have been a student. Immediately, I go to The Ho Chi Minh city Hát Bội Theater to learn more about this art. Hát Bội relies on the principles of symbolization and stylization. These principles prodoundly influence Hát Bội typical dance/ gesture and makeup by which Hát Bội in distinguished from other traditional performing arts. Being the essences of Hát Bội, gesture and dance are perfomrmed based on several rules of symbolization and stylization with the aim of sophisticatedly expressing the feeling and emotion of characters and other implications of plays. These artists of Hát Bội have to understand very well about principles of symbolization and stylization and when they makeup and. Makeup is definitely the outward essence Hát Bội indicate the specific and personality of every character. The articial materials for making-up a disguise includes as followings: Multi-colours-lipsitcks, powder in multi-colors, the balckening-wax or the ash-like-black powder, the zinc-powder in golden-red– a mixture of the deep-red and golden powder, powder in blue, in green, and in yellow. With many special kinds of professional tools, such as: Tooth sticks, fingernail like kinife flat which look like a spoon – flat and made of wood.\n\nI observe artists makeup , I dream that i can makeup like them. I want to pursue my dream of being one of characters of Hát Bội. With the help of Thanh Bình Artist, I have fulfilled my dream. I feel virtuosity, sophistication and passion of Thanh Binh Artist when he makeup for me.\nThe face painting in an original feature in Hát Bội as well as in some forms of opera in Southeast Asia .The make-up in Hát Bội ( chiefly for male personages , rarely for female ones) includes three main parts : painting the complexion, drawing lines on the face and pasting false beards. There is nothing called the realistic things to identify but absolutely living - symbols in the art of the Hát Bội with its speical ways of disguiting for whole characters at all.\n \nLooking at the face makeup, the audiences can understand wether a character is good or bad, loyal or disloyal, etc. Below are some basic colour used in Hát Bội makeupnRed: Loyal, unyielding personnWhite: artful flatterernGreen: intelligent person or person with venturesome spirit or short lifenYellow: gentle and virtuous personnBlack: Furious and vigorous personnThat is the dialectics of the art of theatrical masks attained by masterly (mask makers, makeup, artist). nThe above special things may be generally get a common concept for us all to comprehend some intersted – things in many kinds of the characters and characteristics in traditional culture and art of the Hát Bội. \n\nThe Hát Bội has any characters. Currently, plays of Hát Bội are mainly performed at the temple (or shrine). The young generation do not strongly like the traditional art include The Hát Bội. Few young people are passionate about traditional art, this situation make the training for young people quite so difficult. For make youth generation learn more about The Hát Bội. Over the past years, The Ho Chi Minh city Hát Bội Theater has organized program called “The school stage” to introduce The Hát Bội to pupils and students.\n\nThis program around the content: history of formation and development of The Hát Bội, dance, and makeup art. Besides that, performance of historical topics, excerpts about children to raise patriotism, hope students have the opportunity to learn more about The Hát Bội. I think this working is very well for young people. That thing will make me and young people will love and have positive emotion with the traditonal stage. I hope The Ho Chi Minh city Hát Bội Theater always create other program to performance for community. To get deeply understanding about Hát Bội, warmly welcome to The Ho Chi Minh city Hát Bội Theater – Vietnam. I am so happy when I have chance to get experience and share excited valid content of The Hát Bội for every body. Vietnam also has so many traditonal arts. The Hát Bội is one of them. For protecting and delivering The Hát Bội, I think the young generation have to focus on studing intangible culture of country. I aslo contribute a little working for do that. I hope other young person will do that like me. I am going to keep my passion to learn more about traditonal of Vietnam also the other coutries over the world. Vietnam - a friendly destinaton always warmly welcome all of you, we have so many stories to talk with you. When you meet me together, I am going to “play” the Hát Bội for you. Because I really become “an actor” of The Hát Bội by my heart in my dream.
Viet Nam 2019
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Southeast Asia ICH Video Documentary (Philippines)
Southeast Asia ICH Video Documentary (Philippines)\n\nThe environment surrounding intangible cultural heritage (ICH) is changing rapidly in the face of waves of rapid urbanization and globalization. In the face of such changes, documenting actual scenes of ICH in video form presents one of the most effective ways of identifying trends in ongoing developments and raising the profile of ICH. However, achieving this requires robust support and coordinated efforts due to the relative inadequacy of the conditions for producing such documentary material in the Asia-Pacific region.\n\nThe International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO (ICHCAP) shines a light on the ICH of Asia-Pacific and introduces its value to the public through video projects depicting ICH. ICHCAP conducts joint projects with member states to portray real-life scenes of ICH alongside experts, communities, NGOs, and other stakeholders in various countries. As a result, it has produced fifty videos on the ICH of Central Asia through the phase-one joint project on Central Asia and an additional fifty videos through the phase-two video project on the ICH of Southeast Asia. These videos are being screened through broadcasting companies and at film festivals in each country, in addition to distribution via YouTube and other\nchannels.\n\nVideos represent the most accurate method of capturing ICH as it exists in the real world, as well as being effective tools for communicating with the public. ICHCAP will endeavor to continue vividly documenting the scenes of ICH that are hidden across the Asia-Pacific region with the aim of raising the profile of ICH elements as treasures of humanity and introducing them to the public.\n\nThis collection includes 10 ICH videos produced by the NCCA in collaboration with ICHCAP.\n\nBuklog: Thanksgiving Ritual System of the Subanen\nPiña Handloom Weaving / Hab\u0002Eon Nga Piña\nThe Feast Of Our Lady Of Peñafrancia\nIfugao Mud Dyeing: The Traditional Dyeing Process Of The Ifugao In Northern Luzon\nParul Sampernandu: The Giant Lantern Tradition Of San Fernando City, Pampanga\nIgal: The Traditional Dance Of The Sama In Tawi-Tawi\nLepa: The Traditional Boat Building Of The Sama In Tawi Tawi\nPoong Nazareno: The Feast and Traslacio of The Black Nazarene Of Quiapo, Manila\nMoryonan: Penitential Ritual Of Marinduque\nMoryon: Mask Making In Marinduque
Philippines 2019 -
Webinar: Life, Environment, and ICH along the Silk Roads & Strategic Meeting on Silk Roads ICH Networking
Webinar: “Life, Environment, and ICH along the Silk Roads”\n\n<Day 1>\n\n1. 'The Need to Shift from Global to Local' by Helena Norberg-Hodge\n2. 'On Cooperative Mechanism for the Silk Roads ICH toward Sustainable Development' by Seong-Yong Park\n3. 'Vitality and Sustainability of the Silk Roads ICH Festivals' by Alisher Ikramov\n4. 'The Water-Performance Installation Project—Art Practice for the Coexistence of Humanity and Nature in the Silk Roads Region' by Dong-jo Yoo\n\nㅇ Panel Discussion\n\nSession1 : Online Strategic Meeting on Silk Roads ICH Networking\n: Case Studies on the Vitalization of the Silk Roads ICH: ICH Festivals & Sustainable Development\n\n1. 'Case of Tajikistan : Role of Festivals for ICH Safeguarding Within Local Communities' by Dilshod Rahimi\n2. 'Case of Kyrgyzstan: Influences and Effects of ICH Festivals on Local Communities' by Sabira Soltongeldieva\n3. 'Case of Kazakhstan: ICH Festivals’ Influence and Effects on Local Communities' by Khanzada Yessenova\n4. 'Andong International Mask Dance Festival: Realization of Folkloric Values and Transmission of ICH' by Ju Ho Kim\n5. 'Case of Turukmenistan : Future of ICH Safeguarding' by Shohrat Jumayev\n\n<Day 2>\n\nSession2: Cooperation and Solidarity for Operating the ICH Network along the Silk Roads\n\n1. 'On the Feasibility of the Silk Roads ICH Network' by Sangcheol Kim\n2. 'Operational Issues of the Network' by Alim Feyzulayev\n3. 'Cultural Context of a CIOFF Festival' by Philippe Beaussant\n4. 'ICH Festivals in Specific Goal and Task' by Kaloyan Nikolov\n5. 'Identifying Ways to Develop Intangible Heritage Festivals through Community Networks (Focusing on the Case of the Gijisi Tug-of-War Festival)' by Daeyoung Ko\n\nㅇ Panel Discussion\n\nSession3: Collaborative Work and Benefits through Activities of the Silk Roads ICH Network\n\n1. 'Scope and Definition of Collaborative Work through Activities of the Silk Roads ICH Network' by Kwon Huh\n2. 'Cooperative Measures for Festivals in the Silk Road Region' by Jahangir Selimkhanov\n3. 'ichLinks: Information-Sharing Platform as a Key Base for Safeguarding and Use of Intangible Cultural Heritage in the Asia-Pacific' by Sangmook Park\n4. 'Case Study: Silk Roads Heritage Corridor - Afghanistan, Central Asia, and Iran' by Krista Pikkat\n5. 'UNESCO Silk Road Online Platform' by Mehrdad Shabahang\n\nㅇ Panel Discussion
South Korea 2020
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2019 Sub-regional Meeting for ICH Safeguarding in South Asia
The 2019 Sub-Regional Meeting for Intangible Cultural Heritage Safeguarding in South Asia: ICH in Education: Towards Joint Collaboration for Promoting ICH in Formal and Non-Formal Education jointly organized by ICHCAP and UNESCO Dhaka Office, was held from 24 to 26 June 2019 in Dhaka, Bangladesh.\n\nThis report is composed of nineteen presentation papers delivered at the meeting by national representatives, NGOs, and UNESCO Offices in Bangkok and Dhaka. In addition, the outcome document of the meeting is also affixed to put it on record the adopted recommendations of the participants in moving forward together.
South Korea 2019 -
2022 Living Heritage Series: Water
ICHCAP published the book Living Heritage Series, Water: Interconnectivity between Intangible Cultural Heritage and Science in collaboration with the i-WSSM.\n\nThe subject of this publication is water. This book was made with contributions of nine authors with stories about ‘water management’ and ‘water and culture’ of the Asia Pacific region. The objective of the publication is to expand the boundary or interface of water centering on Sustainable Development Goals (SDGs) 6, Clean Water and Sanitation.
South Korea 2022
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ROYAL WEDDING CEREMONY IN BHUTAN: SAFEGUARDING A DYING CULTUREMarriage in a Bhutanese context is a social event that encompasses several Buddhist rituals; it does not end simply with exchanging vows and rings and kissing the bride. The centuries-old traditions in Bhutanese marriage ceremonies are much richer and involved; however, despite this, these traditions have been disappearing over the years.Year2011NationSouth Korea
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ICH INVENTORY MAKING IN BHUTANBhutan is considered one of the culturally and spiritually richest countries in the world. Culture and traditions being resultant of the evolution of human civilization, they have developed according to the socioeconomic needs and conditions of the Bhutanese people, as well as within the physical and environmental constraints and opportunities of the place or the region. But most importantly, their origin is deeply rooted in Buddhism.Year2013NationSouth Korea