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new cloth
ICH Elements 18
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‘Nooruz’ celebration
Nooruz is the New Year by solar calendar in Central, South and SouthWest Asia countries. March 21 marks the start of the year in Kyrgyzstan. Nooruz meaning ‘new day’ when a variety of rituals, ceremonies and other cultural events take place. An important tradition practiced during this time is the gathering around ‘the Table’, decorated with objects that symbolize purity, brightness, livelihood and wealth, to enjoy a special meal with loved ones. New clothes are worn and visits given to relatives, particularly the elderly and neighbors. Gifts are exchanged, especially for children, featuring objects made by artisans. There are also street performances of music and dance, public rituals involving water and fire, traditional sports and the making of handicrafts. These practices support cultural diversity and tolerance and contribute to building community solidarity and peace.
Kyrgyzstan 2016
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Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz
It is the New Year by solar calendar in Central, South and South-West Asia countries. According to sources, Navruz was one of the biggest festivities among Iranian and Turkic peoples. Mahmud al-Kashgari in his work called "Diwanu l-Lugat al-Turk" mentions about many folk songs, which were dedicated to Navruz. Also, the information about Navruz festivity can be found in such works as "The remaining traces of past centuries" (written by Abu Rayhan al-Biruni), "Navruzname" (by Omar Khayyam), and those written by Alisher Navoi, Zahir-ud-Din Muhammad Babur and other scholars. In the territory of Central Asia Navruz festivity was associated with the beginning of the New Year. As such, the preparations for it began several days ahead. Wheat was germinated and from its sprouts sumalak was cooked, dumplings with greens and samosas with mint were prepared. Also folk games were organized (such as horseracing, uloq, kurash, etc.), promenades were arranged, songs about spring were sung, terma and dostons were performed (by bakhshis). On the first day of Navruz children, living in rural areas, gathered in groups and sang songs dedicated to Navruz before the doors of houses. And the owner of the house, hearing these songs, came out, gave presents to children, and treated them with food. In their turn, children distributed one part of the food among widows and orphans living in the village. All these traditions and customs are still alive.
Afghanistan,Azerbaijan,India,Iraq,Iran,Kyrgyzstan,Kazakhstan,Pakistan,Tajikistan,Turkmenistan,Turkey,Uzbekistan 2016
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Kalbelia folk songs and dances of Rajasthan
The Kalbelias are an itinerant community who ascribe their origin to Guru Kanni Pavji (one of the masters of the mystical Nath Sect) who granted them the gift of handling snakes. In traditional rural society, Kalbelia men would carry cobras in cane baskets from door to door in the village while their women would sing and dance and beg for alms. In so doing, they passed on mythological stories that revered the cobra and advocated non-killing of the reptile. So, if a snake inadvertently entered a home, then a Kalbelia would be hastily summoned to catch and take the serpent away through non-violent means, such as music, without killing it. Kalbelias have traditionally been a fringe group existing at the periphery of the mainstream society. Largely, the Kalbelias live in spaces outside the village where they reside in makeshift camps called 'deras.' With their belongings on the back of donkeys, and with a few hunting dogs of the 'Lohari' breed, the Kalbelias used to move their 'deras' from one place to another in a circuitous route repeated over time. With the experience and received wisdom of generations, the Kalbelias have acquired a unique understanding of the local flora and fauna, and are aware of herbal remedies for various diseases. This is also an alternative source of income for them. With the Wildlife Act in place, the Kalbelias have moved away from their traditional profession of snake handling. Now, their performing arts are a major source of income for them. Fortunately, their art forms have received widespread recognition within and outside India, and their economic status has improved. However, performance opportunities are sporadic and the whole community is not involved in it on regular basis. Hence, many members of the community work in the fields, or graze cattle to sustain themselves. Nonetheless the entire community is today known for its performing art tradition. The Kalbelias have a great tradition of song and dance which is a strong marker of their identity. Women sing and dance while the men play on musical instruments. The music and dance of the Kalbelia have a distinct relation to their earlier profession as snake charmers. The Poongi is the traditional wind instrument that the Kalbelia men play to a specific tune to capture snakes. Nowadays, women dancers try to replicate the rhythmic movements of a serpent’s body through their dance. Poongi, a two feet long wind instrument used by Kalbelia musicians, is unique to them. They make the 'poongi,' from locally grown gourds that impart a plaintive tonality to their music. Giving rhythm to the 'poongi' is the 'khanjari' - a percussion instrument made of wood and hide. Besides these, there are other instruments including the 'ghuralio' – similar to the harp but unique to the Kalbelias. When the Kalbelias go around the village from door to door, they sing from their wide repertoire of songs about the rites of passage in life. It is noteworthy that the highly entertaining Kalbelia songs also disseminate mythological knowledge to the people through stories. They have many traditional dances like the 'Loor', which is performed during the festival of Holi. During this joyous festival of colours, groups of Kalbelias perform in village squares and streets while playing with colours with the community. Moving from house to house, the Kalbelia men play the one-sided drum called the 'chang' or the 'daph'. Most of the 'Loor' dance songs are full of fun and gaiety. 'Matku' is yet another traditional dance performed by the Kalbelias routinely. In this dance, the dancer's upper torso is used more actively with flowing hand gestures. The men are traditionally attired in colourful ‘safas’ or turbans, white 'kurtas' and 'dhotis' (shirt and unstitched lower garment) and embroidered footwear called ‘mojdies.’ The women’s traditional costumes consist of a ‘ghaghra’ (pleated skirt) and a ‘choli’ (full-sleeved upper garment) that comes down till the knee. The ‘ghaghra’ or the pleated skirt is enlarged manifold by using eleven meters of cloth. The ‘ghaghra’ along with the upper garment called ‘jhumpher’ is richly embroidered with mirror work and embellished with silver thread. Other significant features of their make-up are the use of traditional tattoo designs and ‘kajal’ or kohl. Over a period of time, the Kalbelias have improvised on their costumes and jewellery. They have begun using new make-up techniques and have added more instruments to their music. Similarly Kalbelia jewellery has also undergone creative modification. They also use an embroidered colourful waistband called ‘patto’ decorated with small mirrors and cowry shells. There are colourful bangles, and ‘phoondi’ - tassels worn by women. This creative process of change has made the Kalbelia dance more vibrant and vigorous in its steps. The dancers have added many acrobatic features into their dance, like bending backwards to pick up a ring from the ground with their eyelids, and so on. Dancers spin in circles with swirling skirts to the beat of a percussion instrument, taking the dance to a crescendo.
India 2010
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Farmers’ dance of China’s Korean ethnic group
Farmers’ dance of China’s Korean ethnic group is a performing art danced at seasonal rites and festivals. It is one of the most representative artistic performances of the Korean ethnic group. It is also a symbolic artistic form showing nationality identity. The team leader waves a flag reading “farming, the root of the world”. Players with musical instruments of suona horns, small gongs, bell-shaped gongs, long drums, round drums and hand drums will play the instruments while dancing. They are accompanied by masked or unmasked farcical clowning dancers. Farmers’ dance is usually acted out in villages and fields. Farmers’ dance is closely associated with farming sacrifice ceremony. Before acting out the dance, players will hold a ceremony treading God of Land and sacrificing, to show respect to nature and pray for happiness and luck. Since it is generated in farming activities, farmers’ dance imitates manual labor with shrugging acts and walking field ridges. Farmers’ dance is widely known in the Korean ethnic group. People largely learn basic dancing skills through family influences and neighborhood exchanges. But to master superb dancing skills and music performances, players have to formally acknowledge seniors as teachers. Farmers’ dance art has been inherited under the mouth-heart teaching method. Players of lofty skills are highly respected and enjoy unusual prestige in communities. This plays a crucial role in passing along the art for generations. To date, people of Korean nationality in Wangqing County, Antu County, Helong City, Longjing City, Huichun City, Tumen City and Yanji City under Yanbian Korean Autonomous Prefecture, Wangqing County Farmers’ Dance Protection Development Association, China Korean Nationality Folk Protection Development Association, and 52 spreaders like Jin Mingchun are committing themselves to protecting and passing on farmers’ dance. The art has been handed down for six generations. Players spread from farmers to people of all walks in cities, enterprises and schools. Starting from the Korean Peninsula, farmers’ dance was introduced to China by Korean immigrants at the end of the 19th century. It has been innovated and improved in new environments by means of integrating agricultural production in high latitude areas and multi-ethnic group customs. Influenced by Han ethnic culture, “elephant caps” replace previous black cloth with red silk fabrics. Clustered waving belt is processed into two layers from the original single layer. “Elephant caps” are developed from original two varieties to current short, medium and long ones. Long “elephant cap” color belt is continually extended to amount to maximum 28 meters. Tossing “elephant cap” develops from “flat tossing” and “left-to-right tossing” to “vertical tossing” and “shaking dews”. Players also create “crossing circle skill” and “three-color-belt tossing skill”. As regards music, original four musical instruments are expanded to collaboration of wind instruments and stringed instruments. Women are admitted to play musical instruments, compared with previous whole-colored men players. All these contribute to cultivate Korean ethnic farmers’ dance of striking Chinese characteristics. Farmers’ dance is a product of arduous labor and wisdom of the Korean ethnic group over a long period of time. People of the Korean ethnic communities have realized it is their historic duty to carry forward farmers’ dance. So far, farmers’ dance groups of various sizes have spread all over villages of Korean ethnic groups. Most residential quarters and schools in Yanbian prefecture have also set up all sorts of farmers’ dance performance teams. Farmers’ dance teams, traditionally of 30 people each, will act on folk-custom festivals. One site will accommodate a number of teams at the same time. Farmers’ dance music, dance skills and players have been collected in Complete Works of China Folk Dance. Piao Yongguang, a famous scholar, has bought farmers’ dance into History of Korean Dance, furnishing theoretical basis for studying Korean history and ethnic features.
China 2009
ICH Materials 246
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ICH Video Production in the Asia-Pacific Region : Central Asia (Living Heritage : Wisdom of Life)
ICH Video Production in the Asia-Pacific Region : Central Asia\n\nRapid urbanization and westernization are changing the environments in which intangible cultural heritage is rooted. The importance of documentation that traces the effect of social changes on intangible cultural heritage is being emphasized as a safeguarding measure. Quality video documentation is an important resource that enables the conservation and transmission of existing intangible cultural heritage and raises its visibility.\n\nVideo documentation is the best medium to record intangible cultural heritage in the most lifelike manner, using the latest technologies. It is also an effective tool for communicating with the public. However, conditions for video production in the Asia-Pacific remain poor, requiring extensive support for quality video documentation.\n\nICHCAP has been working to build the safeguarding capabilities of Member States and raise the visibility of intangible cultural heritage in the Asia-Pacific by supporting the true-to-life documentation of intangible cultural heritage as this heritage is practiced and cooperating with experts, communities, and NGOs in related fields.\n\nSince 2010, ICHCAP has hosted annual Central Asian sub-regional network meetings with Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Mongolia to support the ICH safeguarding activities of Central Asia. Through their collaboration, ICHCAP has supported projects involving collecting ICH information, producing ICH websites, and constructing ICH video archives.\n\nAt the Sixth Central Asia Sub-regional Network Meeting in Jeonju in 2015, ICHCAP, four Central Asian countries, and Mongolia adopted a second three-year cooperation project plan on producing ICH videos to enhance the visibility of ICH in Central Asia.\n\nICHCAP developed guidelines and training programs for the project and invited video and ICH experts from the participating countries, and held a workshop in November 2015. After the workshop, focal points for the project were designated in each country, and each focal point organization formed an expert meeting and a video production team to produce ICH videos.\n\nInterim reports were submitted to ICHCAP in February 2016, and the first preview screening was held in Dushanbe, Tajikistan, during the Seventh Central Asia Sub-regional Network Meeting in May 2016. Since then, each country has carried out the project according to the project plan. ICHCAP met with each country between October 2016 to February 2017 to check on the project progress.\n\nAfter the final preview screening during the Eighth Central Asia Sub-regional Network Meeting in Bishkek, Kyrgyzstan, in 2017, final editing process took place in each country, and fifty ICH videos were completed by October 2017.\n\nAll photos introduced on this page along with fifty ICH videos are from the exhibition 'Living Heritage: Wisdom of Life' held in the Republic of Kyrgyzstan and the Republic of Korea. Designed for introducing various ICH in the five countries, this exhibition shows photos on representative twenty elements in each country collected during the process of on-site survey and documentation for ICH Video Production Project in Central Asia by experts participated in the ICH video production project.\n\nICHCAP will continue its ICH documentation projects in the Asia-Pacific region for the next ten years by expanding the scope from Central Asia and Mongolia to Southeast Asia, Southwest Asia, and the Pacific.\n\n\nPartners\nMongolian National Commission for UNESCO • National Commission of the Kyrgyz Republic for UNESCO • National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • National Commission of the Republic of Uzbekistan for UNESCO • National Commission of the Republic of Tajikistan for UNESCO • Foundation for the Protection of Natural and Cultural Heritage Mongolia • National Committee for the Safeguarding of the Intangible Cultural Heritage under the National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • School of Fine Art and Technical Design named after Abylkhan Kasteyev • State Institute of Arts and Culture of Uzbekistan • Tajik film • Tajikistan Research Institute of Culture Information • Korea Educational Broadcasting System • Asia Culture Center\n\nSupporters\nUNESCO Almaty and Tashkent Cluster Offices • Cultural Heritage Administration • Panasonic Korea • Turkish Airlines
Kyrgyzstan,Kazakhstan,Mongolia,Tajikistan,Uzbekistan 2017 -
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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Benediction of Geriin, Geriin Yuruul
Mongolian 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 1905 -
Benediction of Bringing Mare’s Forth, Guunii Urs Gargah Yuruul
Mongolian 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 1905
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Folk Songs of Nepal
CD3_FOLK SONGS OF NEPAL\n\nNepal is still extremely rich in folk songs, though these are less popular with younger generations. The music culture has traditionally been an oral culture passed down from guru to pupil. Many songs that have never been recorded or written down are thought to have been lost. Fortunately, several enthusiastic folklorists, musicians, singers, and researchers have made collections of folk song lyrics to promulgate them, focusing especially on the rarer and most endangered folk songs. We present here a few examples.
Nepal 2016 -
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
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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
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Intangible Cultural Heritage and the Sustainable Development Goals in the Pacific
The 2030 Agenda for Sustainable Development, adopted by the UN Member States on 25 September 2015, is an action plan for tackling the most challenging issues of our world today. The hope is that within the next fifteen years, the sustainable development goals (SDGs) will encourage universal efforts to end all forms of poverty and ensure that no one is left behind.\n\nThe methods and practices to accomplish these goals will vary depending on the context. In the Pacific region, incorporating intangible cultural heritage (ICH) is crucial to accomplish any of the SDGs since it plays an important role as a “driver, enabler and guarantee of sustainable development.\n\nAlthough each nation in the Pacific has its own diverse ICH, they all share a sense of longing for sustainable development and community well-being. Traditional and local knowledge have always played a pivotal role in protecting clean water supplies, coral reefs, and rainforests; healing the sick through traditional medicine; and building homes resistant to climate change. Ensuring the success of the SDGs in the Pacific will require an understanding of how ICH can be incorporated in the SDGs from the local perspective.
South Korea 2016 -
ICH Courier Vol.32 Lacquerware Arts
ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 32 is 'Lacquerware Arts.'
South Korea 2017
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Memory and ICH in KyrgyzstanKyrgyzstan, a landlocked country the territory of which is more than 94 percent mountainous, is among the most attractive lands located at the heart of Asia on the ancient Silk Road trade routes. The cultural heritage of the Kyrgyz people has been greatly influenced by their nomadic history. Kyrgyz people occupy a unique cultural environment and have a rich ICH. The vitality of this cultural heritage is safeguarded and transmitted from generation to generation as collective memory, orally or through practice and expression.Year2021NationKyrgyzstan
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TERRACOTTA CLAY ART OF MOLELA, RAJASTHANThe small sun-soaked village of Molela, located approximately fifteen to twenty kilometers from the city of Udaipur in Rajasthan, is home to a vibrant community of terracotta clay artists. Over the years, Molela has emerged as a focal point in the art of making attractive votive plaques or idols of gods, with terracotta. While the early creations were originally cast as standing idols of local deities and various forms of the Hindu god Vishnu, today these figures are often mounted on tiles or plaques and are hung from the walls of homes and temples. These votive figurines can be multicolored or can have a terracotta hue, as is represented in the various temples in Rajasthan and Gujarat.Year2014NationSouth Korea