ALL
three locations
ICH Elements 4
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Traditional art of Jamdani weaving
The art of Jamdani weaving is a time-consuming and labour-intensive form of fabric production by hand on a traditional loom built with wood and bamboo and with little use of metal. Jamdani weaving is based on the traditional knowledge and skills dating back to the fourth century BCE. The distinguishing hallmark of Jamdani weaving is that its designs are neither embroidered nor printed but created directly on the loom in the process of weaving. The product from this style of weaving is called Jamdani, a highly designed cotton fabric which owes its origin to Muslin, the finest and most transparent cotton cloth ever woven by human hand. Of classic beauty, Jamdani effectively combines intricacy of design with muted or vibrant colours. Jamdani is also a highly breathable cotton cloth which brings relief to its users in the hot and humid climatic condition of Bangladesh. The Jamdani weavers have remained in the weaving profession from generations to generations as a means of family livelihood. The element represents Bangladesh’s rich textile heritage, contains significant historic value and has been designated as a unique element of the intangible cultural heritage of the country. Jamdani weaving has survived and thrived due to growing popularity of Jamdani fabrics among Bengali women both at home and abroad. Almost the entire production of Jamdani is carried on in the form of sari, the principal dress of Bengali women. Sari is a long flowing piece of cloth, part of it wrapped around the waist, and the remaining climbs and flows over the shoulder. Women wear more charming or elaborately designed Jamdani saris during festivities and on formal occasions.
Bangladesh 2013
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Washi, craftsmanship of traditional Japanese hand-made paper
Traditional knowledge, techniques and process to produce “Washi” -Japanese hand-made paper have been transmitted through generations since the 8th century. It has been used not only for writing letters and making books, but also for home interiors such as paper screens, room dividers and sliding doors. While three communities (The Sekishu-Banshi Craftsmen’s Association, the Association for the Preservation of Hon-minoshi Papermaking and the Hosokawa-shi Craftsmen’s Association) have shared their traditional production process; using Kozo plant (mulberry family) as a raw material, soaking its skins in clear river water, placing loose Kozo fibers in thickened water and filtering them with a bamboo-screen, each community has developed their own techniques such that each Washi has its own specific feature. Following the introduction in the 19th Century of low-cost machine-made paper and the modernization of peoples’ lifestyles and consumption patterns, the production and use of Washi was extensively affected. However, people of the concerned communities considered Washi-making techniques as their important cultural heritage and continued to make Washi to meet both traditional and new consumers’ demands such as modern interiors. Most of the inhabitants of the three communities have been playing some roles in keeping this craftsmanship viable, ranging from the cultivation of Kozo, training of the techniques, creation of new forms of products to promotion of Washi domestically and internationally. Today their lives centre around Washi, acting as a catalyst of their social cohesion, identity and pride affirmation. Furthermore these communities have built strong ties between and among them by exchanging information and experiences with a view to cooperating with each other.
Japan 2014
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Dharshing Charni: Hoisting Prayer Flags
Another very popular activity of the Bhutanese is the Dharchar-ni' hoisting of prayer flags with scripts printed on them. That is why beautiful places, mountains, hilltops, treetops, cliff tops, riverside are festooned with multi-coloured prayer flags. In general, prayer flags are hoisted for the benefit of sentient beings, both living and dead, to boost one’s positive energy or luck and to help liberate the souls of our loved ones. There are huge flags called lhadar in front of dzongs, each with a gyetshen (victory banner) on top. There are also flags without scripts printed on them, such as a small white flag called darchung on the rooftop of one’s house and lhadar near one’s house that has just the print of four legendary animals on it. A lhadar with the printed images of the four legendary animals (tiger, snow lion, garuda, and dragon) is also hoisted in front of temples and dzongs. The darchung on rooftops are placed during the annual religious rituals performed by the household, and hoisted in honour of the deities that the household worships. The lhadar showing the images of the four legendary animals is a sign that the temple and dzong contains scriptures like the Three Pitakas (sutra, vinaya and abhidharma). If the temples have sertog (golden pinnacles) on the roof, the victory banner pinnacle is permitted at the tip of the lhadar. The prayer flags come in five different colours: blue, white, red, green, and yellow. The colour of the flag is determined based on the individual’s birth sign represented by the five elements of the twelve year cycle — white for metal, yellow for earth, red for fire, green for wood, and blue for water. The plain flags representing all the five colours hoisted on both sides of the path or road and around houses, or temples or pitched tents, signify important functions, celebrations of happy occasions and reception of dignitaries. They do not have any religious significance. In order to install flagpoles, tall and straight young trees are selected, preferably from coniferous trees that are sometimes called lhashing (tree of the higher beings). Where lhashing is not available, other trees may be substituted, provided they are straight and meet the required height. After felling of the selected tree, bark, branches and knots are completely removed. Sherab reldri(wisdom sword) and khorlo (wheel) made of wood are affixed at the tip of the pole. The base of the reldri is shaped as crescent moon and sun and painted likewise, while the sword is painted bluish in the middle and reddish on the side to represent the sharp blade that destroys ignorance. A curved red line goes upward in the middle of the reldri to signify fire to boost the power of the blade. Lotus petals are painted on the part immediately below the moon to signify the purity of the base of the wisdom sword. In rural villages where these elaborate preparations are not possible, the leafy tops of the branches are used as substitute for reldri and khorlo. The reldri represents Manjushri, the wisdom deity; while the flag represents Avalokiteshvara, the deity of compassion; and the pole represents Vajrapani, the deity of power. Once a flagpole has been selected, it is considered unvirtuous for humans to walk over it, and therefore it should be kept with its tip on a higher ground. The texts and images are printed on cotton cloth from xylographs available in temples and monasteries and with certain private individuals. In the old days, ink was prepared from soot mixed with water and very old singchang (juice of fermented grains) to give the required thickness and strength. The ink is spread over the printing block and the cotton cloth is stretched over the block, and rubbed over gently using a broad leaf. The print will appear on the cotton cloth. The manual printing is repeated until the desired length is achieved. The printed cloth is then attached to the pole with strands of bamboo, leaving a gap of 30 cm below the khorlo and about a metre above the ground. Mantras are printed left to right across the width of the cloth and generally, while attaching the long strip of cloth to the flagpole, it is positioned so that the edge where the mantra begins flutters freely in the air, and the edge where the mantra ends is fixed down the length of the pole. The flags commonly carry mantras of Avalokiteshvara (mani), Guru Padmasambhava (vajra guru), Manjushri, Vajrapani, Tara, Vajrasattva, Buddha Amitayus, Lungta (windhorse) and Gyetshen tsemoi pung-gyen (victory banner sutra). Finally, the flagpole is firmly fixed in the ground and then a consecration ceremony is held. In most cases, high ridges and hilltops are considered ideal locations for prayer flags, because these sites provide plenty of the wind that is needed to flutter the mantra. Besides, hilltops give panoramic view of all the places below, and hence help to reach out the blessings of the prayers to all sentient beings.
Bhutan -
Hari Moyang
Hari Moyang is celebrated in three locations, which are the house of Moyang Gadeng (who looks after the central part of the village), Moyang Amai (who looks after the areas on the fringes of the village), and Moyang Keteng (who looks after the areas at the northernmost parameters of the village). For the Mah Meri who live near the coast, this ceremony will be conducted on the beach and called Puja Pantai. Moyang in the context of the Mah Meri refer to their ancestors and also their natural environment. These ancestors are believed to protect the community’s happiness. Thus, the Mah Meri believe in revering and appeasing them. The Mah Meri’s famous statuettes, carved in the form of figurines and masks, are closely connected to their ancestors and environment, and the statuettes’ names are derived from the more famous ancestors.
Malaysia
ICH Materials 138
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Celebrating Khmer New Year Festival_1
In Cambodian society, the Khmer New Year Festival combines different forms of religious rituals and practices. The rituals are usually performed at three different locations: at a Buddhist pagoda, at an ancestral stupa, and at home. The New Year celebration is a symbol reuniting the Cambodian people, ancestral spirits, and gods, and, most importantly, it is an expression of happiness in society. The New Year festival itself embraces many forms of intangible cultural heritage that are rarely seen on other occasions.
Cambodia -
Celebrating Khmer New Year Festival_2
In Cambodian society, the Khmer New Year Festival combines different forms of religious rituals and practices. The rituals are usually performed at three different locations: at a Buddhist pagoda, at an ancestral stupa, and at home. The New Year celebration is a symbol reuniting the Cambodian people, ancestral spirits, and gods, and, most importantly, it is an expression of happiness in society. The New Year festival itself embraces many forms of intangible cultural heritage that are rarely seen on other occasions.
Cambodia
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Quan Ho Bac Ninh in the North Vietnam
CD4 QUAN HỌ BẮC NINH IN THE NORTH VIETNAM\nQuan họ,a special alternate singing between men and women, was once only available in Kinh Bắc region in northern Vietnam. Traditional Quan họ was previously the folk art of forty-nine villages in Kinh Bắc, which is presently Bắc Ninh and Bắc Giang provinces.Quan họ singing has been associated with twining occasions in the past. Quan họ is often sung between two groups, called bọn Quan họ, who are living in two different villages and wanting to strike up friendship with each other. During annual festivals or their free time, the Quan họ people sing to satisfy their demand for exchanging art. They sing throughout the day and night. The twining relationship between the Quan họ performers as artistic and intimate friends has continued from forefathers to descendants; thus, they are never allowed to marry each other. Quan họ is one of the few musical forms that has alternate singing between men and women and lyrical love-exchange lyrics but has no the function of love-exchange in daily life as other love-exchange folksongs.\n\nNevertheless, Quan họ is sung not only by twinning Quan họ people but also by others from other places. People can sing Quan họ at many locations; for example, they can perform it at houses at night on normal days, at temples on festivals, on hills, in the forest, along the street, at ponds, or on boat.In Quan họ singing, the male group is called liền anh, and the female group is called liền chị. Traditional Quan họ is pair singing without accompaniment. One of the pair is in charge of singing, leading the tune while the other sings as a secondary part. These two people have to be selected and trained to be in perfect harmony at the same timbre. In addition to pair singing, there is group singing, which is performed on congratulatoory and worshipping occasions. The male group sings in response to the female one. Four typical singing techniques of Quan họ are resonant, ringing, restrained, and staccato.
Viet Nam 2015 -
Intangible Cultural Heritage Elements of Ferghana Valley_Alla (Katta Ashuka)
Katta Ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, Katta Ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta Ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, Katta Ashula is performed in big gatherings, festivities, and party celebrations.\n\nKatta Ashula songs were performed professionally and further developed by famous Khofizes such as Erkaqori Karimov, Turdiali Ergashev, Matbuva Sattorov, Jo'rakhon Sultonov, Mamurjon Uzoqov, Boltaboy Rajabov, Orif Alimakhsumov, Fattohkhon Mamadaliev, Jo' rakhon Yusupov, and Khamroqulqory To'raqulov. Today, Katta Ashula is masterfully performed by experienced singers with the highest skill, such as Khalima Nosirova, Munojot Yo'lchieva, Ismoil and Isroil Vakhobovs, and Mahmud Tojiboev.
Uzbekistan 2015
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2016 South Asia Sub-Regional Meeting of NGOs on Safeguarding ICH for Sustainable Development
The 2016 South-Asia Sub-regional Meeting of NGOs on Safeguarding Intangible Cultural Heritage for Sustainable Development was held between 25 and 27 August at the Sanskruti Bhawan, Panjim, Goa, India. The meeting was organized by Contact Base, a social enterprise working under the trading style of banglanatak dot com and specializing in culture and development in collaboration with ICHCAP, UNESCO Office in New Delhi and the Directorate of Art and Culture under the Government of Goa.\n\nThirty NGOs from Bangladesh, Bhutan, India, Maldives, Nepal, and Sri Lanka participated in the meeting. This report provides a detailed documentation of the meeting and the related activities.
South Korea 2016 -
(KOR)Silk Roads ICH Survey Report – Festivals/실크로드 무형유산 설문조사 보고서 – 축제
제목\n(English) Silk Roads ICH Survey Report – Festivals\n(Korean) 실크로드 무형유산 설문조사 보고서 – 축제\n(Russian) Доклад по исследованию нематериального культурного наследия Шелкового пути – фестивали\n\n언어: 한국어, 영어, 러시아어\n\n이 보고서는 실크로드 지역의 무형유산 축제에 관한 현황을 살펴보고 정보공유 및 가시성을 높이기 위한 시도로서, 한국을 포함한 실크로드 관련 국가들의 정부와 문화기관을 대상으로 시행하였으며, 2021년 총 9개국에서 접수한 347개의 유효응답을 통계 분석하여 수록하였다.
Central Asia 2021
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ROM AND OLE: A NORTH AMBRYM MYSTICAL CUSTOM DANCEThe Rom Dance is a prominent cultural heritage originating from Ambrym Island in the Vanuatu archipelago. Ole in the Ambrym vernacular language refers to dance performances in which participants wear a rom mask. The rom, which is the mask itself, is a simpler version of the Banks Islands’ tamate mask, but it looks more similar to South Malekula masks.Year2014NationSouth Korea
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Session 3: Sustainable Development and ICH Safeguarding on the Grassroots levelCulture is chiefly perceived as a driving force for sustainable development in the UN’s action plan for people, planet, and prosperity entitled “Transforming Our World: 2030 Agenda for Sustainable Development’. In this context, there is a foreseeable strength in ICH to generate means for sustainable development. The following issues are considered as starting points of discussion: (1) the methods of aligning commercial activities with ICH safeguarding activities, (2) the possible risks to ICH viability and the ways in which they can be mitigated, and (3) the prospect of moving toward and maintaining a mutual relationship between ICH Safeguarding and development policies.\nKeeping the grassroots level highly pertinent in Session 3, we intend to put various NGOs activities at the center of the discussion, particularly in light of our pursuit to assess their presence in sustainable tourism development and eco‐tourism, looking into the possibility of expanding the role of NGOs in areas such as cultural mapping and gender equality. To end, a plenary discussion will be held. The outcome document will be circulated to share the discussion points of and lessons learned from the meeting.Year2017NationAustralia,Malaysia,Philippines