ALL
region
ICH Elements 384
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Art of Đờn ca tài tử music and song in southern Viet Nam
Đờn ca tài tử is a musical art that has both scholarly and folk roots. It developed in southern Việt Nam in the late nineteenth century. People in southern Việt Nam consider Đờn ca tài tử to be an indispensible spiritual cultural activity and a highly valued part of their cultural heritage. It is performed at numerous events such as festivals, ‘death anniversary' rituals such as the Death Anniversary of the Ancestors held annually on the twelfth day of the eighth lunar month, and celebratory social events like weddings and birthdays. The performers express their feelings by improvising, ornamenting and varying the ‘skeletal melody’ and main rhythmic patterns of these pieces. The audience can join practicing, making comments or creating new song texts. Đờn ca tài tử is played on a variety of different instruments, including the moon-shaped lute, two-stringed fiddle, sixteen-stringed zither, pear-shaped lute, percussion, monochord and bamboo flute. Its repertoire is based on twenty principal songs and seventy-two classical songs.
Viet Nam 2013 -
Practices of Then by Tày, Nùng and Thái ethnic groups in Viet Nam
Then a ritual practice indispensable in Tày, Nùng and Thái ethnic groups' spiritual life, reflects concepts about human beings, natural world and the universe (the Earth realm, the 3-layer Heaven realm). Then ceremonies describe a journey in which Then Master (Male/Female) controls ghost soldiers travelling from the Earth realm to the Heaven realm, the residing place of the gods, to offer worshipping items and show their praying requests for peace, bad luck relief, illness treatment, good crops, new house inauguration, initiation/title-conferring ritual (cấp sắc), blessings and happy new year. Then Masters start the journey by singing and plucking the tính lute (two or three-string lute). Depending on worshipping purposes, Then Masters will arrange worshipping trays to pray different native Gods, among whom Ngoc Hoang is the highest God. Then Masters often use a summoning tablet, a seal, a demon-expelling sword, a yin and yang rod, a bell, a fan and items such as pork, chicken, wine, rice, fruits and votive papers to perform Then ceremonies in the believer’s house, outdoor or at Then altar of the Master’s house. While practising, Then Master wears ceremonial dress, sings the language of his ethnic group and plays the tính lute, shakes the chùm xóc nhạc (rattle-bells), waves a fan. In some ceremonies, a female dancing group will accompany. Then rituals performances express Tày, Nùng and Thái’s cultural identities, from customs to musical instruments, dance and music. Then is always transmitted orally while its rituals are being conducted, reflecting the succession between generations.
Viet Nam 2019 -
Khon, masked dance drama in Thailand
Khon is a highly-refined performing art that combines multiple artistic elements: musical, vocal, literary, dance, ritual and handicraft. It may have combined features of ancient genres: court ritual, martial art, and the shadow play. It tells the story of Ramakien – the localized Thai version of the Ramayana epic. Its many episodes depict the life of Rama, his journey in the forest, his love for his wife Sita, his army of monkeys, the fights with the army of Thosakan (Ravana), king of the giants, and his final victory. The dancers wear elaborately embroidered costumes. The giants and monkeys all wear masks that cover their entire head. The colours and shape of each mask are unique to each character. The drama is enacted through dancing, accompanied by a piphat classical xylophone ensemble, singing, and narration. Each major type of characters has a distinct mode of dance expression. The dance postures and movements, the music, and the repertoire have been handed down from generations since the 15th century. The masked dance performances form part of social practices such as royal cremation, cremation of high-ranking persons or revered monks, and celebration of sacred sites and temples. Dancers, musicians, craftsmen and other members of Khon community annually perform a ceremony to honour Khon masters of the past, teachers, and deities. During this ceremony, new members are initiated into the community. Khon performance is continually evolving with new interpretations, and the adoption of modern technology for stagecraft, whilst retaining its traditional intensive dance training and ritual.
Thailand 2018 -
Aitysh/Aitys, art of improvisation
Aitys (in Kazakh language), Aitysh (in Kyrgyz) is an improvised competition of two akyns, the form of oral poetry performed in a singing manner, poetic contest of improvisations or a poetic duel of wits. The element is performed to the accompaniment of traditional musical instruments: Kazakh dombra or Kyrgyz komuz. Two akyns compete with each other in improvisation of verses on topical themes in a wit-sparkling manner alternating humour and deep philosophic reflections. During the competition two akyns sitting opposite each other develop a song-like dialogue catching up the opponent’s words and performing in turn their improvisations on the spur of the moment. Songs performed during the aitysh-aitys are improvised on whatever topics which come up depending on the wish of the audience. The winner of the competition is the one considered to have demonstrated the most musical skills, rhythm, originality, resourcefulness, wisdom and wit. The element is very popular among people and is considered as a “folk tribune”. In fact, all regions of the countries have bearers and practitioners who often represent their local communities at the poetic competitions raising up topical and urgent problems of social life and criticizing all kinds of vices. The element is practiced at various events from local festivities to nation-wide events. Aitysh/Aitys presents the art of a dialogue participated not only by the performers but by their listeners as well. It is an essential part of life for the communities of tokmo-akyns and aityskers.
Kyrgyzstan,Kazakhstan 2015
ICH Stakeholders 23
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Kyrgyz Komuz community
Master Nurak Abdrakhmanov (1947-2014) remained in the memory of modern Kyrgyz as a great composer, performer, and master of making the instrument. He began searching for his komuz teaching system back in the Soviet period when he worked as a music teacher in Ak-Talaa Village in the Naryn region. He was not satisfied with the formal education programs used in the schools. Master Nurak learned early on that that the European twelve-note system did not cover the musical subtleties and possibilities of komuz, saying that the system reduces what is possible with komuz in thirty ways. Master Nurak believed that learning komuz in a traditional and cultural way helps with learning how to play komuz more quickly and easily.
Kyrgyzstan -
Chau Dance Community
Chau, a form of folk dance, is an energetic and vibrant art form which finds its roots in martial arts. Popularly, there are three types of the Chau dance known among the indigenous people of Chotonagpur Plateau region. While the Seraikella Chau is popular in Jharkhand and Mayurbhanj Chau in Odisha, the Purulia Chau is popular in the western plateau regions of West Bengal. In 2010, Chau dance was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The dance is believed to date back to over a century, though the specifics of its origin cannot be definitely ascertained. The Purulia Chau dance comprises of rhythmic drum beatings, powerful acrobatic movements, and somersaults.\nMs. Mousumi Choudhury, Chau dancer, is the first female chau dancer of Purulia. Her father is a renowned Chau dancer- Ustad Jagannath Choudhury.
India
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IWAMOTO Wataru
He started his professional career in Ministry of Education, Science and Culture of Japan in 1977. He worked from 2001 to 2009 at UNESCO where he assumed various posts such as Director of the Division of Secondary, Technical and Vocational Education, and Director of the Division of Social Science, Research and Policy at the Headquarters. Back to Japan, he organised at Nagoya in 2014“UNESCO World Conference on Education for Sustainable Development” as Advisor, Ministry of Education, Culture, Sports, Science, and Technology. \n Mr Iwamoto took function of Director- General of IRCI in April 2016. He is also Visiting Professor of Chubu University and Lecturer of National Graduate Institute for Policy Studies.
Japan -
Gulnara Ibragimova
Ms. Gulnara Ibragimova is the manager of the “International Education Center” at the Educational Complex “Ilim” a UNESCO Associated School. She is also the focal point for the UNESCO Associated Schools Network in Kyrgyzstan.\n\nEducational Complex “Ilim” was established in 1993 and has a long institutional history. Since 1995, it is part of the UNESCO Network of Associated Schools (ASPpnet). Currently, it coordinates the network activities in Kyrgyzstan among its 15 members. The Complex itself includes primary, secondary and high schools as well as kindergarten.\n\nThe school aims to ensure that students have a full conceptual understanding of the subjects they study and helps them to develop new skills that can be applied in real life. Since “Ilim” joined the ASPnet schools Network it also became a key promoter of UNESCO values in the country. It implements multidisciplinary projects related to intercultural learning, human rights, sustainable development, etc.\n\nGulnara is responsible for maintaining international communications, implementing supplementary education programs, and cultural exchanges, and developing academic mobility - attracting foreign teachers, with the aim of convergence educational standards, improving the quality of education as well as the organization and implementing of international cooperation projects with UNESCO. She is also responsible for maintaining contacts with the National Commission of the Kyrgyz Republic for UNESCO in the realization of joint activities and reporting.\n\nIn 2020-2021 she has supported a pilot project of UNESCO “Integrating the Living Heritage into Education in Asia and the Pacific Region” in Kyrgyzstan, by identifying schools for the project and monitoring their work progress. \n\nFrom 2013 to the present, she is also the director of the “Koldo Shop” Public Foundation, which work is aimed at supporting people from socially vulnerable segments of the population, and these are people with disabilities, single mothers, pensioners, and large families with financial difficulties. The Foundation created a trading and educational platform for artisans from this target audience. \n\n
Kyrgyzstan
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SHILPAKALA ACADEMY
The Bangladesh Shilpakala Academy (Bangladesh Academy of Fine and Performing Arts) is the apex institution in the field of culture. Located in the heart of the capital city Dhaka and overlooking the historic Ramana Park, an oasis to the bustling city of nearly fifteen million people, the academy is a huge complex of three magnificent buildings that bear the hallmarks of modern architectural beauty.\nThe Academy is a statutory body under the Ministry of Cultural Affairs. It was established in 1974, under the Bangladesh Shilpakala Academy Act. Its main objective is to safeguard and foster national cultures as well as intangible cultural heritage in Bangladesh. The duties and responsibilities of the academy include promoting arts and national culture as well as creating necessary facilities for their development. The activities of the academy also include organizing workshops, seminars, discussion meetings, short-term specialized training sessions; providing scholarships and financial grants for talented artists; and organizing competitions in the various fields of fine and performing arts, and it regularly holds the Asian Biennial Art Exhibition. Recently it has completed a project in cooperation with UNESCO Dhaka for safeguarding Baul Songs, the only intangible cultural heritage element of Bangladesh on the Representative List. The academy is the premier venue for the expression of traditional and contemporary arts and culture of the people of Bangladesh, and it is planning to extend its collaborative activities internationally, especially through the Asia-Pacific region.
Bangladesh -
World Martial Arts Union(WoMAU)
Encouraged by the substantial development of the Chungju World Martial Arts Festival, twenty-eight martial arts organizations concluded an Agreement to promote exchange and cooperation between martial arts communities beyond the boundaries of border, culture, and race across the world. Based on the Agreement, the World Martial Arts Union(WoMAU) has been established on 2 October 2002 in Chungju, Korea as a nonprofit incorporated association under the permission of the Korean Ministry of Foreign Affairs.\nWoMAU has been accredited as an official partner of UNESCO with consultative-status in 2009 and as an advisory NGO to the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage in 2010. As of 2020, it consists of 67 member organizations from 46 countries.\nSharing the recognition that martial arts with unique movements and features of a region is an important part of the cultural heritage of that nation, WoMAU members aim to contribute to the realization of justice and building world peace through martial arts.
South Korea
ICH Materials 1,240
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Main Puteri
Main Puteri (the play of the spirits) is a ritualistic healing ceremony in which Tok Puteri—a Malay Shaman serves as an intermediary between the inhabitants of the real and the nether worlds. In this ceremony, the puteri (spirits) are able tone act a play to treat the patients who usually need to revitalise their psychic energy (angin) and spirit (semangat). Many Kelantanese believe that illnesses purportedly due to ghost, evil spirits or witchcraft are the ones that are most susceptible to this ceremony. Patient of these illness commonly lack soul substance and are manifested by their state of depression and general withdrawal. Auditory hallucinations are taken to be evidence of ghost possession.\nThis ceremony employs the performance elements of traditional musical ensembles, dance movements and dramatic dialogue during the process of healing. The musical ensemble resembles those of a Mak Yong musical ensemble: rebab, a pair of gendang, and a pair of gongs. Additional instruments such as serunai, gedombak, geduk, canang from the Wayang Kulit performance are also used in some ceremonies. These musicians play to accompany the chanting, singing and the movements of the Tok Minduk and Tok Puteri. Tok Minduk—nwho can also be the Rebab player—is Tok Puteri’s partner and sounding board tone gage and guide Tok Puteri to the relevant spirits.
Malaysia -
Young girl playing on kyl-kiyak, Issyk Kul region, Kyrgyzstan
Kyrgyzstan
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Uzbekistan Cultural Space of Boysun (Highlight)
Cultural space of Boysun was proclaimed a Masterpieces of the Oral and Intangible Cultural Heritage of Humanity in 2001 and inscribed onto the Representative List of Intangible Cultural Heritage of Humanity in 2008.\nThe current film contains information about the Boysun district’s nature and the cultural processes related to craftsmanship, folk performance, traditional medicine, and others.\nStrong aspiration to preserve traditional lifestyles of the local people was observed during filming process during 2016 and 2017. An example of this is the increasing number of followers of the folk-ethnographic ensemble called Boysun.
Uzbekistan 2017 -
Kishuthara (The Silken Kira (Bhutanese women dress)
Kishuthara (the silken kira), is a native intricate patterned silk textile woven on Thakshing (backstrap loom). particularly Khoma Gewog (block) under Lhuentse Dzongkhag (district) where it become the production hotspot of the Bhutanese woven textile in the country.
Bhutan 2021-11-28
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Yapese Intangible Cultural Heritage: History, Legends, Myths, and Performing Arts of the Federated States of Micronesia
Yapese Intangible Cultural Heritage: History, Legends, Myths, and Performing Arts of the Federated States of Micronesia\n\nDVD1 Yapese Traditional DancesΙ\nThis selection features a traditional Yapese men’s standing dance and women’s standing dance. The former is intended to pay tribute to a local god named Yalfath , the one who gives life, customs, and resources. The latter is a unique women’s standing dance, which was taken from the tale of a friendly crab from the shore of Ngariy village, Rull municipality.\n\nDVD2 Yapese Traditional DancesⅡ\nThis selection features a Yapese women’s bamboo dance as well as women’s sitting dance from Rumuu’ village in Fanif municipality. The former was performed during village gatherings and ceremonial events that entailed various traditional games for young locals in the village. The latter talks about the women’s roles and responsibilities in their homes and in the village.\n\n---------------------------------\nYapese Intangible Cultural Heritage: History, Legends, Myths, and Performing Arts of the Federated States of Micronesia home\n(2017 Federated States of Micronesia-ICHCAP Digitization Project of ICH-related Analogue Audiovisual Materials)\n\nThe Yap State Historic Preservation Office (YSHPO) is a national research institute established to record and preserve the history and cultural heritage of Yap State, one of the four states of the Federated States of Micronesia (FSM). FSM has great cultural diversity, as the country consists of Pacific island groupings located between Palau and the Marshall Islands. Even in the same state, cultural differences can be found among residents of major, small and reef islands. Yap State, in particular, is known for its well-maintained traditions and practices. For instance, the Yapese still use stone money, the largest physical currency in the world. YSHPO has recorded and safeguarded various cultures and history in the Yap island.\n\nIn 2017, ICHCAP carried out the Digitization Project of ICH-related Analogue Materials in cooperation with YSHPO, which resulted in the digitization of five hundred hours of analogue materials. Based on this, ICHCAP has published an audiovisual collection, titled “Yapese Intangible Cultural Heritage: History, Legends, Myths, and Performing Arts of the Federated States of Micronesia”, which contains selected digitized materials that well represent FSM’s traditions. YSHPO 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 FSM collection consists of eight CDs and two DVDs. The collection lists twenty tracks of ICH-related stories, legends, and myths of everyday life of the Yapese that were recorded in the 1960s. The collection also features a video on major dances performed during Yap Day, an annual holiday celebrated since 2007. Each CD contains photos about live performances to provide a better understanding.\n\nThe digitization project is meaningful in that it has restored analogue materials in FSM, 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.
Micronesia 2017 -
2020 World Forum for Intangible Cultural Heritage - Human, Nature, and Intangible Cultural Heritage
2020 World Forum for Intangible Cultural Heritage - Human, Nature, and Intangible Cultural Heritage\n\nSession1: Re-defining the Relationship Between Humanity and Nature\n\nKeynote Presentation :'Re-defining the Relationship Between Humanity and Nature' by Ernesto Ottone Ramirez, Assistant Director-General for Culture of UNESCO\n1. 'Intangible Cultural Heritages in the Anthropocene' by Buhm Soon Park, Director, Center for Anthropocene Studies at KAIST\n2. 'Sustainable Agriculture in Nature, Micronesian Agroforestry' by Francis Reg, Head of the Yap States Historic Preservation Office (HPO)\n3. 'Intangible Cultural Heritage as Protection, Avalanche Risk Management' by Michael Bruendl, Head Research Group Avalanche Dynamics and Risk Management, WSL Institute for Snow and Avalanche Research SLF\n4. 'Pacific Islands of the Anthropocene' by Elizabeth DeLoughrey, Professor of University of California, Los Angeles\n\nSession2: Humanity's Response to the Crisis and Intangible Cultural Heritage\n\nSpecial Lecture : 'Future of Humanity, Ecological Turn, and the Role of ICH' by Jae Chun Choe, Chair Professor of Ewha Womans University, Former Chair of UN Convention of Biological Diversity\n1. 'Mitigating “Nature Deficit”: lndigeneous Language and Oral Literature' by Chidi Oguamanam Professor of Law at University of Ottawa\n2. 'India's Disaster Reduction and Management through ICH' by Rahul Goswami, UNESCO ICH Facilitator\n3. 'Sea Ethics as Intangible Cultural Heritage' by Kumi Kato, Professor of Faculty of Tourism, Wakayama University, Japan\n4. 'Building Ecosystem and Community Resilience in Asia and the Pacific Region' by Sinikinesh Beyene Jimma, Regional Coordinator, United Nations Environment Programme (UNEP)\n\nSession3: Intangible Cultural Heritage in Our Daily Lives, Towards a New Age\n\nSpecial Lecture : 'Role of Communities in Promoting Environmental Sustainability and ICH' by Micheael Mason Director, Smithsonian Center for Folklife and Cultural Heritage\n1. 'The Role of NGOs in Safeguarding ICH and Environmental Sustainability' by Greg Mitchell, President and Chairman of the Board of the Pacific Blue Foundation, Professor Emeritus of UCSD\n2. 'Nature, Intangible Cultural Heritage and Law' by Anita Vaivade, Assistant Professor of Latvian Academy of Culture\n3. 'Role of the State in ICH Safeguarding in the COVID-19 Pandemic' by Eric Babar Zerrudo, Assistant Professor of University of Santo Tomas\n4. 'Joining our Voices in ICH Youth Network' by ICH Youth Network (Korea National University of Cultural Heritage)\n
South Korea 2020
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Don Ca Tai Tu, a Chamber Music of Southern Vietnam
CD8_ĐỜN CA TÀI TỬ, A CHAMBER MUSIC OF SOUTHERN VIETNAM\n\nĐờn ca tài tử is a special traditional genre of chamber music of the Việt people in southern Vietnam. In comparison with other forms of traditional musical performances in Vietnam like Ca trù (Ca trù singing), Ca Huế (Hue singing), etc, the art of Đờn ca tài tử was a late traditional form. According to many musical researchers, Đờn ca tài tử came into being in the mid-nineteenth century from the musical context of the ceremonial music nhạc Lễ of southern Vietnam and the chamber music nhạc Huế. Historically, nhạc Lễ played a very important role in the cultural life of southern Vietnam. The repertoire was divided into two styles played by a martial ensemble phe võ and a classical ensemble phe văn. The phe võ is composed of drums, cymbals, and the Vietnamese oboe kèn bầu. The phe văn consisted of stringed instruments, particularly four types of the cò (two-stringed fiddles, such as the cò, the cò chỉ, the cò tre, and the gáo fiddle), and percussion instruments such as the trống nhạc (drum), and a trống cơm (a small cylindrical drum).\n\nThe two ensembles are invited to play at major village festivals. But for less important occasions such as weddings, birthdays, and housewarmings, a smaller phe văn group is called in, which includes the stringed instruments without percussion instruments. This ensemble is called đờn cây. For the need of artistic entertainment, other stringed instruments progressively joined this ensemble such as the đàn tranh (sixteen-string zither), the kìm (moon-shaped lute) and the very small wooden song lang. Music gradually escapes the solemn nature of rituals to serve daily life. It can be considered the initial foundation of Đờn ca tài tử, but it was not yet the Đờn ca tài tử. In 1885, when the Huế capital fell, the immigration of instrumentalists of the Nguyễn court from central Vietnam to the southern region made significant influence on the development of Đờn ca tài tử. At this time, Đờn ca tài tử was actually shaped after acquiring Huế chamber music in both repertoires and performance styles. The emergence of Đờn ca tài tử has received great support and favor of the majority of people in the southern Vietnam.
Viet Nam 2015 -
Phong Hoa Ca Vinh (Ho - Blues)
The genre Hò originated from the working environment. The Southern part of Vietnam, where the waters are a vital element for the workers to sing on these flowing streams. Back then, the genre of hò đường thuỷ (singing on waterways) was rather popular. From traditional performing environment, hò eventually separated into different genres- hò trên cạn (hò on land) and hò dưới nước (hò on water). Based on the carrying content, reflected themes, hò continue to evolve into various genres to adapt with different forms and narratives (hò thơ, hò văn, hò tuồng, etc.) \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\nThe blues (Hò) is a folk genre that originates from the working environment. Thanks to hò, it's helped the worker to aid their spirit, harmoneously integrate with the social interactions to bring out the best productivity outcome.\n\nThroughout history, hò has branched itself into different forms, where some branches fossiled within the past, and some have progressed into forms of expressions, for flirting, conversing,...On the aspect of social application, hò has a function that response with the need of labour. While on the sentimental aspect, hò reflects the internal needs of people.\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
Viet Nam 2021
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Yapese Intangible Cultural Heritage: History, Legends, Myths, and Performing Arts of the Federated States of Micronesia
Yapese Intangible Cultural Heritage: History, Legends, Myths, and Performing Arts of the Federated States of Micronesia home\n(2017 Federated States of Micronesia-ICHCAP Digitization Project of ICH-related Analogue Audiovisual Materials)\n\nThe Yap State Historic Preservation Office (YSHPO) is a national research institute established to record and preserve the history and cultural heritage of Yap State, one of the four states of the Federated States of Micronesia (FSM). FSM has great cultural diversity, as the country consists of Pacific island groupings located between Palau and the Marshall Islands. Even in the same state, cultural differences can be found among residents of major, small and reef islands. Yap State, in particular, is known for its well-maintained traditions and practices. For instance, the Yapese still use stone money, the largest physical currency in the world. YSHPO has recorded and safeguarded various cultures and history in the Yap island.\n\nIn 2017, ICHCAP carried out the Digitization Project of ICH-related Analogue Materials in cooperation with YSHPO, which resulted in the digitization of five hundred hours of analogue materials. Based on this, ICHCAP has published an audiovisual collection, titled “Yapese Intangible Cultural Heritage: History, Legends, Myths, and Performing Arts of the Federated States of Micronesia”, which contains selected digitized materials that well represent FSM’s traditions. YSHPO 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 FSM collection consists of eight CDs and two DVDs. The collection lists twenty tracks of ICH-related stories, legends, and myths of everyday life of the Yapese that were recorded in the 1960s. The collection also features a video on major dances performed during Yap Day, an annual holiday celebrated since 2007. Each CD contains photos about live performances to provide a better understanding.\n\nThe digitization project is meaningful in that it has restored analogue materials in FSM, 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.
Micronesia 2017 -
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
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10th Central Asia Sub-regional Network Meeting for the Safeguarding of Intangible Cultural Heritage (English/Russian)
10th Central Asia Sub-regional Network Meeting for the Safeguarding of Intangible Cultural Heritage Safeguarding Intangible Cultural Heritage in Education through\tan Integrated Approach Online Meeting, 13-15 October 2021\n\nThe 10th Central Asia Sub-Regional Meeting for Safeguarding Intangible Cultural Heritage Safeguarding jointly organized by ICHCAP and the UNESCO Almaty Office was held on 13 and 15 October 2021 under the theme of Safeguarding ICH in Education through an Integrated Approach. This report is composed of country reports and case studies of four countries in Central Asia – Kazakhstan, Kyrgyzstan, Tajikistan, and Uzbekistan as well as international experts.
Central Asia 2021 -
Sri Lanka-ICHCAP Cooperative Workshop on Digitizing ICH-Related Audio-Visual Materials
ICHCAP, with the support of the Cultural Heritage Administration of Korea and the cooperation of the State Ministry of Cultural Affairs of Sri Lanka, hosted the five-day Sri Lanka-ICHCAP Cooperative Workshop on Digitizing ICH-Related Audio-Visual Materials in various locations in Jeonju and Seoul. The workshop was organized to explore methods and technologies involved with digitizing analogue audiovisual resources related to intangible cultural heritage, with emphasis on Sri Lankan music so that it can be approached and enjoyed around the world.\n\nThis publication includes the nine paper presentations as well as transcripts of the speeches and information related to the field visits.
South Korea 2015
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A Look into Jeju: Living in Harmony with NatureJeju is a volcanic island filled with stones. Previous eruptions have produced volcanic bombs (large volcanic rocks) scattered around, covering the whole island. This is why it is difficult to cultivate crops in Jeju. Since the thirteenth century, the people of Jeju have been making stone walls to secure farmlands. The total length of stone walls is estimated at 22,100 km. These stone walls look like they are heaped up randomly. However, Jeju people’s wisdom is time-tested, unassumingly sturdy, hidden in those walls. Because the island is prone to strong winds all throughout the year, taking note of typhoons in the summer, they built the stone walls like roughly-heaped stones with holes to let the wind pass through, weakening the possibility of structural collapse.\n\nTamna is Jeju’s old name. The beginning of Tamna is illustrated by Samseong myth. Legend has it that three demigods emerged from holes in the ground. The ground is called samseonghyeol, which is still considered as a sacred place. The emergence from the ground shows difference in cultural archetype from the birth myth of the mainland involving the egg from the heavens. There are 18,000 gods and goddesses in Jeju. Jeju people believe that god lives in everything. Such belief is shaped by Jeju’s naturally difficult tendencies. As people in Jeju battle with endless wind and water shortage due to the island’s barren volcanic environment, they rely on gods to adapt to the roughness of Jeju.\n\nThere are Bonhyangdang Shrines, the house of gods protecting people’s livelihoods. simbangs (shaman in Jeju dialect) act as intermediary between Jeju people and gods. They perform yeongdeunggut in the second lunar month for haenyeo (female divers) and fishermen who depend on the sea for a living. The Yeongdeung is the goddess of the wind, who can raise the waves, which is why she is deemed important for the safety of people pursuing the sea. Jeju Chilmeoridang Yeongdeunggut, the representative yeongdeunggut in Jeju, was listed as an Intangible Cultural Heritage of Humanity of UNESCO in 2009. There are many other rituals for gods and goddesses of the sea, which are held in roughly 30 areas in Jeju during the same month. There are many stories related to goddesses in Jeju. Different from goddesses in other countries, Jeju goddesses neither depend on nor belong to gods. This is a characteristic shown by Grandmother Seolmundae, the giant who created the island by carrying soil in her skirts; Grandmother Samseung, the goddess of babies; and Jacheongbi, the goddess of farming. Jeju women have high self-esteem unlike those in patriarchal East Asian societies following Confucian teachings. They also participate in the economy more actively than their counterparts in other regions in Korea. Jeju haenyeo is a representative example of women’s participation in the economy. In 2016, the Culture of Jeju Haenyeo was inscribed on the Representative the List of the Intangible Cultural Heritage of Humanity by UNESCO during the eleventh Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage in Addis Ababa, Ethiopia. It shows matriarchal characteristics of Jeju. In Jeju where the soil is not fit for rice farming, many women became divers to find food from the sea and learned how to cooperate with each other.\n\nDespite the unique challenges in the island, Jeju people have used nature without destroying it, depending on 18,000 gods and neighbors. Such characteristics form the core of the Jeju culture.\n\nPhoto : Jeju haenyeo (female divers) crossing low stone walls to get to the sea © Jeju Haenyeo MuseumYear2017NationSouth Korea
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Consumption Trends of Traditional Cultural ContentsRecently, the word yu san seul, which commonly refers to a Chinese dish, has become more common in Korea after popular comedian Jae-seok Yu debuted as a trot singer under the stage name Yoo San-seul. Trot music, which was the exclusive property of older generations, is now appealing to the audience of all ages. The recent trot craze has been heated through Hangout with Yoo (a reality TV show produced by Yoo San-seul) and various trot audition programs. Traditional cultural contents, once viewed as boring and old-fashioned, are now not just bringing memories to the elderly but also catching on among younger people who are interested in newness through diverse media outlets.\n\nLikewise, ssireum, Korea’s folk wrestling and traditional culture, is gaining huge popularity among young generations. Ssireum was an extremely popular sport in the 1980s and 1990s, but it slowly lost much of its former glory and became a mere folk game that barely kept itself in existence as a holiday sport. In 2018, in recognition of its value, ssireum was jointly inscribed by North and South Korea on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. However, it still failed to draw public attention, as there were old stereotypes about traditional sports and modern audiences already turned their backs on the traditional wrestling. Then, the variety program Joy of Ssireum has rekindled people’s interest in the sport. The ssireum arena is filled with spectators of all ages who are carrying placards of their favorite contestants. It seems like the ssireum fandom is no less than idols. In other words, ssireum is seeing its resurgence as an enjoyable and entertaining form of traditional sport. It is also expected to contribute to the inheritance and development of various other traditional sports.\n\nThanks to easily accessible media channels, our traditions are effectively transformed into original cultural contents that attract almost as much attention as in the past. Public attention is essential for the transmission and development of traditional culture. Now that ‘retro’ pop culture is in, this could be a good turning point for traditional cultural contents.\n\nPhoto : Ssireum, Korea's folk wrestling Ⓒ ShutterStockYear2020NationSouth Korea
ICH Collections 1
Open Archive 3
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The Folk Performance of Xuan Pha
The Folk Performance of Xuan Pha (in Xuan Pha village, Xuan Truong, Tho Xuan, Thanh Hoa) is a diversity and abundant performance system which reflects the relationship between Dai Viet and other countries in the region and the world Includes 5 performances: Tu Huan, Ai Lao, Chiem Thanh, Ngo Quoc, Hoa Lang. This performance has a long history, most researchers believe that Xuan Pha was formed in the 15th century. In the process of studying this particular type of intangible cultural heritage, Researchers have found many different cultural layers, the earliest cultural layer appearing is the layer of love songs that mixed between the Viet and the Muong ethnic groups and a later cultural layer around the 16th to 17th century reflecting the integration of the Western civilization into the Vietnamese indigenous culture with the Hoa Lang performance. In the past, there was at least 43 area throughout Thanh Hoa province. Until now, only 2 places have been performing all 5 performances, including Xuan Pha. Along with the change of economy - society, Xuan Pha game is also changing gradually to survive and develop. In Xuan Pha, the show is being preserved very well by the community here and promises to develop more in the future Xuan Pha is a performance that has recorded the imprints of the relationship between Dai Viet and other foreign countries. In addition, this study also shows the important trading gateway position of Thanh Hoa province in history as well as the integration characteristics in the international relation context of Lam Kinh in particular and Dai Viet in general
Viet Nam -
Nga stamijn ne (Shan traditional fish rice)
The art of making fish rice has been practiced since the time of their ancestors . The fish rice making is mostly made in Inlay region and sold in Nyaungshwe Township. It is one of the famous traditional foods in Nyaungshwe area.
Myanmar -
Weaving of Mosi (fine ramie) in the Hansan region
These photos were taken at the Hansan Mosi Museum in Seocheon, Republic of Korea on 26 July, 2019. Weaving of Mosi in Hansan is transmitted by middle-aged women in the township located in South Chungcheong Province, Republic of Korea. The region boasts fertile land and sea winds that allow ramie plants to thrive. Weaving ramie cloth involves a number of processes, including harvesting, boiling and bleaching ramie plants, spinning yarn out of ramie fibre, and weaving it on a traditional loom. Ramie cloth is comfortable in hot summer weather and is used to produce a variety of clothing from dress suits and military uniforms to mourning garments. The whiteness of the bleached ramie fabric, as well as its refined quality and neatness, makes it suitable for high-end clothing as well as for clothing for ordinary people. Weaving of Mosi traditionally takes place in the form of women-led family operations in which mothers transmit techniques and experience to their daughters or daughters-in-law. The tradition also binds the community together with neighbours gathered and working in a designated section of the town. At present, around 500 people in the province are engaged in the diverse activities of weaving fine ramie. (Reference. UNESCO https://ich.unesco.org/en/RL/weaving-of-mosi-fine-ramie-in-the-hansan-region-00453) As National Intangible Cultural Heritage No.15, it is enlisted on the UNESCO Representative Lists of Intangible Cultural Heritage in 2011.
South Korea