ALL
social structure
ICH Elements 11
-
Oshi Palav, a traditional meal and its social and cultural contexts in Tajikistan
Oshi Palav (pilaf) is a kind of traditional meal of the Tajik people, which is prepared regularly at homes and in celebrations, rituals, gatherings. In dining rooms, national restaurants and tea-houses the Oshi Palav is everyday favourite meal of Tajik people. The Oshi Palav is prepared from carrot, rice, meat (beef, lamb, chicken), oil, onion and water in a big pot. For better flavor, cooks add some peas, saffron, garlic, caraway seeds, pepper and barberry. During the centuries Tajik people created different kinds of this meal, like "Oshi yak ba yak", "Palavi toki", "Oshi devzira", "Bedonapalav" and etc. up to 200 kinds of the element. In traditional Tajik culture there are many customs, rituals, celebrations and social gatherings dedicated specially to the element in which participate a big number of people, for example, the rituals "maslihat-oshi" (osh for advices), "sabzirezakunon" (cutting carrot rite), "oshi nahor" (morning osh), "oshi zanho" (osh for women), "oshi harifona" (osh of friends), "oshi gapkhuri" (osh with talking) and etc. The Oshi Palav in such gatherings and rituals brings people together and has the character of social integration and unity. People of Tajikistan recognize the Oshi Palav as a part of their traditional cultural heritage and call that as "King of meals". There are many stories, legends, folksongs, proverbs and other folklore texts regarding the element, which show the importance of the element among people. Also the element created many kinds of folk dance with plate, imitating the Oshi Palav cooking, which are played by folklore dance groups.
Tajikistan 2016 -
Kimjang, making and sharing kimchi in the Republic of Korea
Inscribed in 2013 (8.COM) on the Representative List of the Intangible Cultural Heritage of Humanity As the temperature falls in late autumn, the topic of choice for most Koreans is kimjang, making a large quantity of kimchi to sustain them through the country’s long and harsh winter. Kimchi, a categorical name for Korean-style preserved vegetables seasoned with local spices and fermented seafood, was recorded as part of Korean diet as early as 760 years ago. Kimchi has been an essential part of Korean meal across class and regional differences. The most humble meal consists of cooked rice and kimchi, but even the most luxurious banquet is not complete without kimchi. Kimjang incorporates Koreans' understanding of their natural environment, and closely reflects their regional ecosystems. Over time, Koreans have developed methods that best fit their specific natural conditions. Kimjang is thus deeply rooted in the natural milieu of Korean habitats. Preparation for kimjang follows a yearly seasonal cycle. In spring, households secure shrimp, anchovy, and other seafood for salting and fermenting. In summer, they purchase sea salt to be stored for up to two or three years, to let the bitter taste of brine out. In late summer, red chili peppers are dried and ground into powder. In late autumn housewives carefully monitor weather forecasts to determine the optimal date for kimjang: it is important to choose the right temperature for the kimchi to acquire the best taste through storing it in cool and stable conditions. In the custom of exchanging kimchi among households after kimjang, innovative skills and creative ideas are shared and accumulated.
South Korea 2013 -
Traditions connecting with Mahalla in safeguarding intangible cultural heritage
MAHALLA is an administrative territorial unit in Uzbekistan. The way of self-management is characteristic of the traditions and values of our people. The term "Mahalla" is Arabic and means "place". A neighborhood is a small administrative area, but it is also a community of people connected by a common lifestyle, values, traditions, and customs. The main tasks of the neighborhood were to hold ceremonies together, to maintain and beautify its territory, to educate the young generation in a social spirit, to ensure order in the life of the community, to control the implementation of all traditional norms, and to observe customs. The neighborhood elder organized other public works related to neighborhood improvement. All these works were done together by hashar.
Uzbekistan -
Dastan (Epos)
Dastan or Doston is a lyric-epic genre, a large-sized epic work in oral and written literature. The word "doston" is used in the meaning of "narrative", "story", "adventure", "description" and "praise". As a literary term this word stands for epic works of large size in oral folk art and written literature. Though, dostons of written and oral literature differ significantly from each other in terms of means and methods used in describing and depicting life. Thus, dostons, which are examples of oral creativity, differ from those which are examples of written literature, with existence of versions (for example, nearly 50 versions of doston "Alpomish", and about 100 dostons from the cycle of "Goroghli" were written down up to present), universality and traditionalism. Dostons, which represent the brightest examples of intangible cultural heritage, are usually mastered, performed and inherited (transmitted) orally. And bakhshis, who are performers of dostons, are called differently across Uzbekistan. Dostons have very ancient historical roots. They, based on the imagination of the people, reflect historical events through generalized characters. Therefore it is possible to observe epic generalization in them. And such a generalization embodies ideals and aspirations of the people about social justice. Hence, typical features of doston are epicism, monumentalism. In terms of compositional and narrative structure, doston covers complex events and occurrences. These events and occurrences, which are heroic in nature, unite around a single hero, who represents the ideals of the people. And such a hero, who has extraordinary powers, embodies hopes and aspirations of the entire nation.
Uzbekistan
ICH Stakeholders 1
ICH Materials 37
-
Traditions connecting with Mahalla in safeguarding intangible cultural heritage
MAHALLA is an administrative territorial unit in Uzbekistan. The way of self-management is characteristic of the traditions and values of our people. The term "Mahalla" is Arabic and means "place". A neighborhood is a small administrative area, but it is also a community of people connected by a common lifestyle, values, traditions, and customs. The main tasks of the neighborhood were to hold ceremonies together, to maintain and beautify its territory, to educate the young generation in a social spirit, to ensure order in the life of the community, to control the implementation of all traditional norms, and to observe customs. The neighborhood elder organized other public works related to neighborhood improvement. All these works were done together by hashar.\n
Uzbekistan -
Traditions connecting with Mahalla in safeguarding intangible cultural heritage
MAHALLA is an administrative territorial unit in Uzbekistan. The way of self-management is characteristic of the traditions and values of our people. The term "Mahalla" is Arabic and means "place". A neighborhood is a small administrative area, but it is also a community of people connected by a common lifestyle, values, traditions, and customs. The main tasks of the neighborhood were to hold ceremonies together, to maintain and beautify its territory, to educate the young generation in a social spirit, to ensure order in the life of the community, to control the implementation of all traditional norms, and to observe customs. The neighborhood elder organized other public works related to neighborhood improvement. All these works were done together by hashar.\n
Uzbekistan
-
A Sound for the Spirits - The Buklog of the Subanons
▶ Play Video 4. A Sound for the Spirits The Buklog of the Subanons\nThis is a shortened version of the Travel Time episode “A Subanon Celebration,” which was first aired on Filipino television on March 21, 1996. This episode has been modified from its original format.\n\nAnimals were offered in the context of the Subanon cultural ritual.\n\nThe Subanon or Subanun people of the upstream may be found on the western Peninsula. The population core areas are in Katipunan. The known subgroups parallel the linguistic variations and micro-adaptations to social and physical environment and comprise: (1) Misamis, (2) Lapuyan, (3) Sindangan, (4) Tuboy, and (5) Salug.\n\nThe cultural and technological adaptation is upland riverine. They practice swidden cultivation on mountain slopes. The traditional settlement pattern is highly dispersed with a few residential structures on top of ridges near potable water sources. The houses are placed adjacent to cultivated fields. They favor locations near springs where water gushes out of rocks over contiguous to streams.\n\nRice is the preferred food crop, but fields are also rotated and intercropped, planted with corn, sweet potato, and cassava. Land problems and soil degradation have forced some of the people to recourse to wet rice agriculture where the topography allows. Metal craft and backstrap weaving are practiced. They have maintained trade with coastal peoples for centuries, as indicated by the presence of Asian stone and ceramic trade wares. Present-day Subanon are usually nonaggressive. There are indications that in the past, the people were required to provide a “soul companion” for an important deceased relative.\n\nUnique to the Subanon is their set of rituals, the buklog, the main feature of which is a huge dancing platform (buklogan). This structure is raised some 10 to 18 feet high and consists of a highly resilient platform supported at the corners by upright posts. A long pole is passed through the middle of the platform and extends upwards like a maypole. Below it is a short thick hollowed log that lies above a trench filled with empty jars functioning as resonating chambers. The pole rises and falls when dancers rhythmically bounce on the platform. The booming sound invites people to come and join in the ritual and festival. There is feasting, wining, and dancing lasting for days, with as many as two hundred people dancing on the buklogan continuously, day and night.\n\nThe ritual consists of a complex set of rites performed before the culminating event, usually near waterways, and which serve to propitiate spirits. The buklog is a prestige ritual that has a multitude of functions, such as celebrating well- being and a good harvest, and giving thanks to appease spirits after an illness. It may also honor personalities, welcome back homecomers, or praise a new timuay (leader). Finally, it is held to pay respects to the spirits of the dead, for the final sending of the spirit of the ancestor and the death anniversary of a grandparent.\n\nThe Subanen form a subgroup and are related to the Subanon but are concentrated in Siocon, Zamboanga del Norte.
Philippines 1996 -
5. UNESCO Silk Roads Online Platform
The UNESCO Silk Roads Program Overall Goal is in line with the objectives of the UN 2030 Agenda, in particular with SDG16 (Sustainable Peace and Development), advocating for intercultural dialogue and mutual understand and respect as well as social inclusion and cohesion. Interactions along the Silk Roads have played a vital role in connecting cultures and people across many borders. It is an instructive example of a long-lasting legacy of exchange, influence and cooperation. In the first phase, roads of dialogue among the people of Eurasia began in 1988 and the five expeditions along the Silk Roads collected information for analysis about shared heritage. During the second phase, the major goal was to raise awareness about the shared heritage along the Silk Roads. This occurred by empowering youth through an annual photo contest and a Silk Roads youth research grant. The third structure was to develop, compile and disseminate knowledge through a Silk Roads online platform. This work promotes interactive possibilities for an ICH Silk Roads network with ICHCAP and IICAS by identifying and promoting concrete fields and elements that have facilitated and have been generated through cultural interactions and exchanges along the Silk Roads.
South Korea 2020-11-23
-
Interview about Beijing’s Regulations for Safeguarding ICHNew regulations to safeguard intangible cultural heritage (ICH) in Beijing were approved last month by the Beijing Municipal People’s Congress. According to Chinese media such as Xinhua, CGTN, and Beijing Qianlong, these regulations are scheduled to be implemented in June this year. By the end of June, last year, Beijing registered over twelve thousand ICH items, including Kunqu Opera and Peking Opera. To get information about how these new legal measures would change the topography of ICH safeguarding in Beijing as well as in China, Jinhee Oh, an ICHCAP staff member, interviewed Zhu Gang, an associate research fellow at the Institute of Ethnic Literature, the Chinese Academy of Social Sciences.\n\nJinhee Oh: Could you explain what it means for Beijing making local regulations for safeguarding ICH?\n\nZhu Gang: The recently approved Beijing Municipal Regulations of ICH sets up a landmark for implementing the UNESCO 2003 Convention in China. In accordance with the spirit of the Convention as well as with that of ICH law of the People’s Republic of China that was put into force in 2011, the current regulations aim to ensure the transmission and enhancement of Chinese traditional culture through safeguarding ICH presented in Beijing and neighboring areas.\n\nJinhee Oh: How are the regulations organized and on what were they founded?\n\nZhu Gang: The regulations follow the general principles and ideas of the national law of China. For example, its aims, ICH domains, chapter structure, and defined legal responsibilities are in line with existing national ICH law. However, it would be inaccurate to conclude that the current regulation is simply another local duplicate of the national law. As suggested by the 2017 annual report of ICH in China released by the National Center for the Safeguarding of ICH, the national law passed in 2011 provides a legal scheme for safeguarding ICH in China, but it is also necessary and important to elaborate an instrument to more concretely implement the law for better ICH safeguarding and sustainable development at the national level. Therefore, the emergence of the regulations is timely and should be considered a concrete implementation of the national law.\nJinhee Oh: What do you think is the most significant feature of the regulations?\n\nZhu Gang: The regulations define the general principles and related mechanisms for recognizing representative bearers at the local level. Moreover, the concept of a representative bearer covers not only individuals but also groups. It is the first time in China that a legal instrument mentions the concerned groups who could be identified as representative bearers. Following the spirit of the 2003 Convention, which places communities, groups, and individuals as its central focus, the current regulations pay great attention to ICH practitioners and provide them with both legal rights and obligations for transmitting ICH.\n\nJinhee Oh: Could you tell us more about something new or different in the regulations in comparison to the national law? Moreover, how do you think the regulations may influence the Chinese ICH safeguarding environment at local and national levels in the future?\n\nZhu Gang: The regulations mention the monitoring of the implementation of safeguarding plans proposed by various bodies. This regulation will have great effects for safeguarding ICH at the municipal and district levels. Relevant mechanisms for evaluating the implementation of safeguarding measures would be established. According to the regulations, if illegal behavior is confirmed through serious evaluation, the included elements could be removed from the representative list or the already identified representative bearers could lose their official titles. This is also something new and different from the national Law.\n\nIn general, Beijing Municipal Regulations of Intangible Cultural Heritage are believed to serve as a solid legal framework for safeguarding ICH in Beijing. Comparing to the national law, it follows the basic principles but is more concrete. In the long run, implementing the regulations would provide valuable lessons for China to elaborate its own version of the 2003 Convention’s Operational Directives.\n\nPhoto 1 : Beijing Opera ⓒ 2009 by Zhao Yiping Beijing Bureau of Culture via UNESCO\nPhoto 2 : Kun Qu opera © Chinese Academy of Arts via UNESCOYear2019NationChina
-
4. The Story of Kamaicha - Identity of a CommunityA treasure trove of both natural and cultural diversity, India is home to innumerable rural and indigenous communities dotting its varied geographical landscape. One such community—the Manganiyars—is a clan of hereditary professional musicians residing in the villages of the Thar desert in western Rajasthan. Their oral legends say that these communities settled in different villages of Barmer and Jaisalmer around a thousand years ago. \n\nThe Manganiyars hold a vast repertoire of folk songs integral to their ways of life and significant to their social systems. For centuries, their music has been supported by their traditional patrons, called Jajmans, who usually live in the same or nearby villages and engage the Manganiyars to sing at various life events and celebrations of their families in exchange for money, land, and gifts. A distinctive feature of this patron-server relationship is the Manganiyars’ exclusive and vital role as genealogists of their patrons’ families that can go back to fourteen or eighteen generations, such record keeping being entirely oral. The Manganiyars belong to the Mirasi (entertainers) community. They are Muslims but sing for both Hindu and Muslim patrons, performing songs of Hindu gods and goddesses as well as Muslim Pirs and \nFakirs (Sufi saints or spiritual guides). The melodic structure of their music resembles classical traditions, but in reality, is very different in terms of the raagas (combination of notes) and associated time theory. The Manganiyars believe that their children are born with an inherent sense of music that is naturally transmitted to subsequent generations through some magical non-formal framework that is undefined and innate. Unlike many other indigenous communities, they themselves have kept their tradition alive, believing that music is fundamental to their ‘being.’Year2021NationIndia