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Mongolian traditional art of Khöömei
The exact origin of the Khöömei art is unknown, but researchers suppose that it could have been developed in connection with argil (a throat timbre) epic telling vocal technique, shamanic calling and the play of the wooden tsuur flute. The history of Mongolian Khöömei dates back hundreds of years. The popularity of Khöömei among Mongolians has arisen as a result of close interaction between natural environment and human culture. Ethnomusicologists studying Khöömei mark it as an integral part in the ancient pastoralism that is still practiced today. This art has developed to mimic and imitate the sounds of animals, nature, wind and water. The wonder of the Khöömei art is its simultaneous melodies-overtone. In this way the Khöömei is a phenomenon which differentiates from other traditional arts based on human vocal organs. This is the reason of calling the Khöömei performer as “Human-Music” (Khun khugjim) which highlights its specificity from a “normal singer”. The meaning of Khöömei for its community is enormous. As the traditional art form, Khöömei is in close cohesion with the daily life of the Mongolian nomads. They perform Khöömei in the variety of social occasions ranged widely, from grand state ceremonies to the household festive events, associated with respective rituals, and customs. Khöömei is not only performed in social events, because Khöömei performance is often found during the herding, and even when lulling the baby, as well as in the evenings in the ger (Mongolian traditional yurt) in domestic context. Hence, Khöömei is an essential part of the identity, pride and continuity of Mongolian society. Therefore, it provides the concerned community with sense of unity and harmony, as well as continuous creativity. One of Khöömei’s social functions is that, it is used as a traditional pedagogic instrument in the social and art education and upbringing. This is because during the Khöömei transmission, a comprehensive knowledge, philosophy and wisdom on the correlation of human life and nature are transmitted at the same time. As an art form created and developed by the Mongolians, Tuvinians and other ethnic groups, and regarded as the classic art of nomadic civilization, Khöömei is one of the core performing arts that shape the Mongolian national arts in today’s Mongolia. Thus, it shows great influence on ensuring the visibility and enhancement of the living art of Mongolia. Khöömei is born by variety of ethnic groups as Khalkh, Bayad, Dörvöd, Uriankhai, Zakhchin, Tuva, Tsaatan in different locations, therefore there are a number of sub-classifications of Khöömei style, reflecting the special features and local flavors. This diversity is what constitutes the richness of Khöömei composition, and thus, each communities concerned are proud of their own unique styles and techniques while expressing themselves with such diversity. The governments of Mongolia, Russian Federation and PR China have been undertaking variety of measures for the effective enhancement and spread of Khöömei tradition, such as holding international meetings, workshops, competitions and performances on Khöömei. This shows the significance of Khöömei for the bearers and their will to safeguard, transmit and develop it in multinational level, which also promotes international interaction, mutual respect and intercultural dialogue. Researchers classify Khöömei’s vocalization into 2 styles: -The Kharkhiraa (deep Khöömei) vocal emission: The singer sings a drone in a normal voice, then he inhales deeply and, simultaneously pressing on his pharynx and abdomen, he produces a deep harmonic sound which vibrates one octave lower than the fundamental note produced. What you hear is in a very low-pitched register. The singer actually vibrates not only his vocal cords but also his arytenoid cartilage. It is this deep harmonic sound that is heard in the foreground and that characterizes the kharkhiraa style, although in some variants a melody of high-pitched harmonics can be heard above the fundamental sound. -The Isgeree Khöömei (whistled Khöömei) emission: Also called Nariin Khöömei, Uyangiin Khöömei, Altain shingen Khöömei. The singer sings a drone in a normal voice, then he inhales deeply and, still pressing simultaneously on his pharynx and abdomen he produces a harmonic sound, which vibrates several octaves above the fundamental sound. A melody of harmonics with a very high-pitched whistle can then be heard. In both cases, the harmonic melody is sung in the same fashion. The singer modulates his mouth cavity by opening and closing his lips or by moving his tongue backwards, sticking its tip on his palate, or else by moving the central part of his tongue from front to back, its tip against his bottom teeth. To this are added techniques aiming to enrich the tone colour and others of ornamental character. Moreover, all these techniques can be combined. Inside more than 20 techniques, we can find the Bagalzuuriin Khöömei (throat Khöömei) Tsuurai Khöömei (echo Khöömei) Khamriin Khöömei (nasal Khöömei) or Dangildakh Khöömei (syllabial Khöömei). The singers use the Shakhaa vocal emission to sing the magtaal praise songs with a throat timbre as well. It is necessary to intensifying and deepening the Khöömei research and studies particularly on the originality and authenticity of the heritage in order to identify and reveal the deeper form, techniques and specifications furthermore.

#epic #vocal #shamanicnomadism #grand state ceremonies #household festive events #rituals #customs

Mongolia 2010

Ganggangsullae
Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Korea and the rest of East Asia, engaged in rice farming for several millennia, have formed a rice culture that can be compared to the wheat culture of Europe. Ganggangsullae is one of the most representative seasonal rituals of Korea’s rice farming culture, which permeates nearly every aspect of life among Koreans. Ganggangsullae gives hints about the origins of recreational music and dance emblematic of the Korean peninsula, as it used to be widely performed in the southwestern coastal region of the peninsula and is closely linked to inland circle dances accompanying music, including Notdari Bapgi (Walking Over a Human Bridge) and Wolwoli Cheongcheong (Moon, Moon, Radiant Moon). A combination of various recreational elements based on the basic form of holding hands to form a circle while singing and dancing, Ganggangsullae has been named as such since the refrain “ganggangsullae,” whose exact meaning is unknown, is repeated with every bar. It was originally performed by unmarried youngsters aged between 15 and 20, and sometimes allowing the participation of recently married youngsters. But, when it was designated as a state cultural heritage the community members, largely women in their 40s or 50s, rendered the performance. Since then, Ganggangsullae has been handed down by middle-aged female members of the community, displaying proficient skills, rather than the creative vividness and dynamics of youngsters when they perform it. Traditionally, Ganggangsullae was performed on Korea’s representative seasonal occasions, including Seol (the lunar New Year), Daeboreum (the first full moon day of the year), Dano (the fifth day of the fifth lunar month), Baekjung (the fifteenth day of the seventh lunar month), Chuseok (the fifteenth day of the eighth lunar month), and Junggu (the ninth day of the ninth lunar month), with the one on Chuseok being the largest. As such, Ganggangsullae has been developed into a performance most commonly conducted on Chuseok (Korea’s Thanksgiving). Under the bright full moon, dozens of young village women hold hands to form a circle and sing and dance. While the sun symbolizes men, and the moon, women, and women’s physical features are represented by a round shape, Ganggangsullae assumes the characteristics of the law of imitation, one of the laws of magic, reflecting primitive aesthetics. Because the dancing is strenuous, only young women are allowed to perform, but it is also their privilege as women of child-bearing age. Ganggangsullae is a ballad dance unique to Korea. The songs are poems written by ordinary people and a lead singer set the pace. Fellow performers follow the lead with the next lines in a song. Besides folklore and folk dance, folk music is also incorporated in the performance as traditional Korean music instruments such as a drum and an hour-glass shaped drum accompany the dance, adding to the entertainment. Ganggangsullae is so exciting and dynamic that participants often lose themselves and end up performing from the early evening when the moon rises until the moon sets. Depending on the tempo set by the lead singer, the music is categorized into gin (slow) Ganggangsullae, jung (middle) Ganggangsullae, and jajeun (quick) Ganggangsullae. The tempo of the dancers’ movement also varies according to the music. During interludes, games reflecting life in farm or fishing village are played. They include imitating the Korean terrapin (one person goes into the circle to dance and the next comes in and imitates her), gathering brackens, tying herrings, treading on roof tiles, rolling and unrolling straw mats, catching a mouse (picking the tail), playing gatekeepers, riding palanquins, and looking for a handkerchief. The archetype of Ganggangsullae is found from agricultural folk customs of Mahan, a Korean state that existed 2,000 years ago, according to ancient Chinese historical texts. In the history of man, it is not common to see an intangible cultural heritage handed down for such a long time. This long transmission of Ganggangsullae implies that expectations for the role of women both in the society and in the family have continued for such a long time as well. Traditional Korean society was male centered, and young women were not allowed to sing aloud or go out at night. On Chuseok, however, women could freely sing and enjoy outdoor amusements under the full moon, venting their long-suppressed emotions through Ganggangsullae. The festival guaranteed women a chance to break away from usual restrictions and enjoy the festive mood. Throughout its history, Ganggangsullae also had other functions. It is said that in 1592, Admiral Lee Sun-sin had women perform Ganggangsullae at night around a fire. The flickering shadows fooled the invading Japanese into overestimating the size of Lee’s forces, who ultimately prevailed. Also, listening carefully to the song verses, one can notice that there are many lines criticizing the society. In particular, the words written under the Japanese colonial rule reflect the Koreans’ resistance to the occupation forces. Ganggangsullae is rarely performed in today’s rural villages since most young women have left for cities. But thanks to its national designation as an Important Intangible Cultural Heritage and state-level cultural and educational policies, Ganggangsullae has spread outside its traditional base in the southwestern region of the Korean peninsula. Today, Ganggangsullae is part of the music curriculum of elementary schools and is performed at many secondary schools and universities as well as public festivals across the country. In recent years, research has been conducted regarding the application of Ganggangsullae in the field of art therapy. Ganggangsullae is expected to help those suffering from psychological problems such as depression. Also, new possibilities are being explored as an alternative therapy to help obese women lose their weight and as a means to enhance the well-being of lonely senior citizens.

#seasonal rituals #dance #music #women #moon

South Korea 2009

Nachi no Dengaku, a religious performing art held at the Nachi fire festival
achi no Dengaku is a performing art expressed by the local people through ritual dancing to flute music and beating drums to wish for an abundant harvest of rice crops. The repertoires, manner of dance and music have been fixed through its long tradition. In 1976 it was designated as an Important Intangible Folk Cultural Property, and is currently recognized as an important cultural heritage that represents trends in Japanese people's way of living. It is performed on a stage of approximately 4m square, temporarily installed during a festival in ""Kumano Nachi Taisha,"" a tutelage shrine in the region. The festival is known nationwide as the Nachi Fire Festival, and Nachi no Dengaku is recognised as an important tradition that is a key component of the festival. Nachi no Dengaku is performed by one flute player, 4 drummers with drums around their waists, 4 players of ""Binzasara,"" a musical instrument that is only used during Dengaku, and 2 others. The flute player performs at the side, while 8 to 10 performers appear on stage and dance in accordance with the drums and Binzasara. They change their formation in various ways, by swapping positions, dancing in a circle or symmetrically. There are 22 repertoires, each performed in 45 minutes. The Binzasara is 8cm by 2cm, 1cm thick and is made by stringing together around 70 wooden plates. The dancer holds each handle of the Binzasara, and dances while making a sound by moving the wooden plates like a wave.

Japan 2012

Ethnosport
Ethnosport is a form of preserving the gaming heritage and is a system for restoring ethno-motor skills lost in urbanization. It is aimed at solving the problems of encouraging and developing traditional types of physical activity that form the basis of traditional games. Ethnosport activities form motor skills that only those who lead a traditional lifestyle possess. Based on this main position, ethnosport can be defined as an institutional form of a single socio-cultural space for organizations involved in the development of traditional types of physical activity. Types of ethnosport are formed according to ethnicity - for example, Russian ethnosport, Uzbek ethnosport, French ethnosport, etc. They represent the entire set of games and motorical activities that exist in a particular ethno-cultural environment. The certain types of traditional competitions is also could be named as ethnosport.

#traditional game #physical activity #sport

Uzbekistan

Killimangalam Weaving Cooperative Society
The Kurava community migrated from Tamil Nadu and settled along the banks of the Nila River where they followed mat weaving traditions for many generations. Unfortunately, because of low financial returns and scarce raw materials, the community to lost interest in traditional weaving, leaving only one practitioner, Mr. U. Chami, who took the tradition forward for many years through the Killimangalam Weaving Cooperative Society. However, due to ill health at the age of 72, Chami left weaving behind. But before retiring, he taught traditional weaving skills to a non-native Kurava—Mrs. P. Prabhavathi. Today, Prabhavathi still holds Chami in high regard for his initiatives to train interested people, even those from outside the community. This willingness to train others laid foundation for the craft’s survival. For his efforts, Chami was recognized with the Master Craftsman Award by the Textile Ministry of India in 1992.

India

Waa'gey
Waa’gey is a community-based organization that uses traditional skills to confront the social, economic, and environmental challenges faced by the people of Micronesia’s most remote outer islands in the Pacific. We pursue the preservation of native knowledge, technologies, and arts both to protect our distinctive outer islands’ identity and to solve specific problems relating to import dependency, urbanization, climate change, and unemployment.\nWaa’gey organizes the efforts of volunteers to pass specialized local knowledge from community elders to young people. Traditionally, this occurred as a matter of cultural and familial course in the outer islands. Today, with the introduction of the cash economy and a surge in emigration to the urban centers on high islands, continuation of such instruction must be deliberate. On-going Waa’gey projects include making dugout canoes, learning traditional way-finding navigation skills using stars and ocean swells, and developing handicraft carving skills as well as specialized skirt weaving.

Micronesia

Heritage of Korkyt Ata: epic culture, folk tales and music
The epic culture, folk tales and music of Korkyt Ata are based on twelve heroic legends, stories and tales and thirteen traditional musical compositions shared and transmitted across the generations through oral expressions, Performing artss, cultural codes and musical compositions. Korkyt Ata appears in each story as a legendary figure and wise individual, a sage of minstrels whose words, music and expressions of wisdom relate to traditions of birth, marriage and death. In the musical compositions, the main intonations are reproduced using a musical instrument called the Kobyz through the sounds of nature, and imitation soundscapes are characteristic of this medium (such as the imitation of a wolf’s howl or a swan’s note). The musical compositions are all interconnected by the epic stories that accompany them.

Kazakhstan

Cultural space of Boysun
Cultural space of Boysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Boysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Boysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

#cultural space #region #nomadic traditions #turkic #eastern iranian #blacksmiths #traditional crafts #customs #rituals

Uzbekistan

Cultural space of Boysun District
Cultural space of Baysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Baysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Baysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

Uzbekistan

Pedagogy for ICH and the COVID-19 Pandemic
While we seem to have been prepared for a critical pedagogy for ICH including both the challenges and opportunities ICH education may pose for teaching learning, it seems we actually took for granted so many of our assumptions as well. Neel Kamal Chapagain draws some implications for our future pedagogy in terms of making it flexible through this presentation. \n\nNEEL KAMAL CHAPAGAIN is the Director of Centre for Heritage Management, Ahmedabad University – a centre dedicated for advancing critical but holistic education on heritage management in the Asia-Pacific region. An architect by training, a native of Nepal, Professor Chapagain is interested in deeper issues of education and engaged in exploring contextual learning at all levels of education.

South Korea 2020-07-02

2019 Asia Pacific Youth Intangible Heritage Storytelling Contest
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.\n\nThis exhibition displays the twenty-nine winning works of the contest organized by ICHCAP. The winners came from ten countries in the Asia-Pacific region, including India, Vietnam, Nepal, China, and Bangladesh. The contest was held in two categories (Young Practitioners and General Youth) for Asia-Pacific youth aged between 18 and 35. The winners shared their own stories as young practitioners in the form of an interview or essay or told stories about ICH they met in their everyday lives or on their travels. The entries were submitted in the form of photo essays or videos, and the descriptions are available both in Korean and English. Videos are provided with English subtitles.\n\nThis online exhibition covers various ICH elements, including traditional dance, crafts, art, music, martial arts, medical practices, and native languages. And instead of simply explaining such heritage, the youth reflected their insights, voices and passion in their stories about the history and culture of the people and communities they met and the safeguarding and transmission of ICH.\n\nMoushumi Choudhury, the Grand Prize winner in the Young Practitioners category, shared her story of becoming the first female Chau dancer by breaking the glass ceiling in the predominantly male dance genre in India. Saurabh Narang, the Excellence Prize winner in the General Youth category, was fascinated by the Siddis in India, which is an ethnic group of African origin, after he first heard of their existence from a man he came across while travelling. Maya Rai (Nepal), who learned about crafts and education from her two mothers, is now working at the Nepal Knotcraft Centre. Tiancheng Xu (China), who learned acupuncture from his father who was an acupuncturist, is currently studying how to introduce robotics and digital technology to acupuncture at university. Their stories will help the viewers have bright expectations about the roles and possibilities of the future generation for ICH safeguarding and sustainable development.\n

Bangladesh,China,Indonesia,India,South Korea,Myanmar ,Nepal,Philippines,Viet Nam 2019

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

Rogon Ni Sum e Mag Nu Waab(History of Yapese Tying Techniques and Patterns)
This is the history of how Yapese learned several tying patterns and techniques and about where they came from. It was read by Alukan, Bapilung, and Gaangin from the Old Age Program in Yap back in the late 1970s. The tying techniques, along with other traditional knowledge and skills, were handed down from up above, or, some may say, from heavens. The canoe was a gift from above as a means to pass knowledge and skills from heavens to humans in Yap. It is said that the canoe was lowered down on Gacham, a savannah in Tamil municipality. Native Yapese called it “canoe of knowledge” (ba m’uw i llowaen). Even today, you can still see the figure of the canoe and its outrigger that have turned into red dirt. In Yapese traditional culture, knowledge and skills are considered resources of a village. The chief of the village has the authority over the person or the village possessing the knowledge and skills. Therefore, people have to get approval from the chief of the village to learn or access such knowledge and skills. Yapese have used several old tying techniques up until today that are considered to have come from a spider. Legend has it that a nameless man from Nimar village in Weloy municipality observed and mastered all kinds of tying patterns and techniques from the spider on a canoe. These tying patterns and techniques are said to have been applied by the man to build a huge community meeting house named Wedbon in the northern part of Rull municipality. The people from Rull municipality asked this tying master from Nimar village if he could share his knowledge to help build the community meeting house, but he did not consult his chief in advance. The chief was furious that the tying master had never asked for his approval, and scolded him for not taking the proper steps. From then on, all other requests by other communities were channeled through the chief for his approval. Makiy village in Gagil municipality and Malon village in Maap’ municipality gained the approval from the chief to get the knowledge. The techniques and pattern later spread to the southern part of the island, namely Lamear and Ngariy villages in Rull municipality. Soon after, they were passed on from Ngariy to Kanif village in Dalipe Binaew municipality.

Micronesia 1970

Melgobengbeng (Yapese Men’s Sitting Dance Chant)
Melgobengbeng is a traditional Yapese chant performed during men’s sitting dances in Balebat village, Rull municipality in Yap, Federated States of Micronesia. This chant talks about how Paluwlop traveled afar by canoe to retrieve the head of his father, who was killed by cannibals in a land that early native Yapese referred to as Moroes (believed to have been a part of modern-day Papua New Guinea). Paluwlop’s father was killed and his head was saved and placed on a roroew, a local food stone platform, for the high chief of that land. The chant also talks about the obstacles Paluwlop and his crew of siblings encountered during their long expedition.

Micronesia 2015-03-02

Melgobengbeng (Yapese Men’s Sitting Dance Chant)
Melgobengbeng is a traditional Yapese chant performed during men’s sitting dances in Balebat village, Rull municipality in Yap, Federated States of Micronesia. This chant talks about how Paluwlop traveled afar by canoe to retrieve the head of his father, who was killed by cannibals in a land that early native Yapese referred to as Moroes (believed to have been a part of modern-day Papua New Guinea). Paluwlop’s father was killed and his head was saved and placed on a roroew, a local food stone platform, for the high chief of that land. The chant also talks about the obstacles Paluwlop and his crew of siblings encountered during their long expedition.

Micronesia 2015-03-02

Phong Hoa Ca Vinh (Ru - Lullabies)
The genre Ru tends to perform within the familial environment, with a hypnotising nature that tends to be use to lull children.\n\nNam Bộ (Southern Vietnam) is the area resides on the south side of Vietnam, including six provinces in the East and 13 provinces in the West. On a geographically level, the land of Nam Bộ is a stable region, in contrast to its cultural environment that is constantly changing and evolving.\n\nNam Bộ is home to various ethnic communities, such as the Việt people, the Kh'mer people, the Chăm people, the Hoa people, the Châu Ro people, the S'tiêng people, the Mạ people...And so, this has created a legacy to Nam Bộ folk performances and culture on this land. However, project "Phong hoa ca vịnh" only limits to the performance traditions of the Viet people, specifically the genres of ru, hò, and lý.\n\nFrom what was described about the early 20th centuries, it is evident how Nam Bộ art performance scene has rapidly transformed. No longer the time where lovers freely conversing their hearts by the rivers, all has sank into oblivion. Even the ru melodies have stopped lingering on the mother's lips, lost within the memories of her children. Culture and its nature of constantly evolving have opened up a contemporary cultural space that can response with today's society. The cyberspace, despite being "unreal", but it's meaningful enough to create an environment that filled with the poetry of ru, the melodies of lý, the bustling groove of hò - Where they have gathered a range of humanly emotions.\n\nLullabies (Hát ru/ Ru) was created on the basis of the native landspace. There's an evident link between the genre of ru with other folk music genders, but also deep within the layers of historical and cultural memories. The ru of Nam Bộ was formed and passed down via the cultural foundation of Nam Bộ. This natural ecosystem and culture have given birth to a distinctive genre, where it's expressed through the lyrics, melodies, and sonic possibilities.\n\nThis project is sponsored by the British Council under the program Heritage of Future Past- A 2018 project which aims to conserve and cultivate the archive of Vietnamese music and film, especially focusing on the untapped values of these mediums that are under the threat of being forgotten. You can learn more about the Heritage of Future Past program via this link: https://www.britishcouncil.vn/cac-chuong-trinh/nghe-thuat/di-san-ket-noi.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

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Viet Nam 2021

Our Cultural Expressions: Indigenous Sounds of Fiji
Our Cultural Expressions: Indigenous Sounds of Fiji home\n(2017 Fiji-ICHCAP Digitization Project of ICH-related Analogue Audiovisual Materials)\n\nSince its foundation in 1904 as a national museum, the Fiji Museum has safeguarded and promoted various cultures and heritage of Pacific islands. The Fiji population consists mostly of iTaukei (native Fijians), Fijians of Indian descent, and Rotumans. The Fiji Museum has collected and shared tangible and intangible cultural heritage of such various ethnic groups through various methods to widely promote Fiji’s cultural heritage.\n\nIn 2017, ICHCAP carried out the Digitization Project of ICH-related Analogue Materials in cooperation with the Fiji Museum, which resulted in the digitization of five hundred hours of analogue materials. Based on this, ICHCAP has published an audiovisual collection, titled “Our Cultural Expressions: Indigenous Sounds of Fiji”, which contains selected digitized materials that well represent Fiji’s traditions. The Fiji Museum not just contributed to the digitization of analogue materials, but also supported the production of the collection to help more people discover the precious materials.\n\nThe Fijian collection consists of nine CDs and one DVD. The collection lists eighty tracks of chants, children’s songs, dance music, hymns, and folk songs of everyday life of Fijians that were recorded in the 1970s. The collection also features a video on mat weaving that was recorded in 1997. The video introduces mat weaving, which is considered an important element in the culture and life of Fijians, and its social and cultural significance. The collection is expected to be widely utilized in ICH-related research and also in education and transmission of the knowledge at schools.\n\nThe digitization project is meaningful in that it has restored analogue materials in Fiji, which were at risk of severe damage, to enhance academic values and raise public awareness of the materials. ICHCAP will continue its efforts to identify valuable materials in the Asia-Pacific region and provide a better access to ICH information through related projects.

Fiji 2017

native