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timor-leste
ICH Elements 17
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Fui (Flute)
The Fui is an ancestral musical instrument legacy made of bamboo, used and practiced by oxen and buffalo keepers to care for their oxen and buffalos.Caretaker of oxen and buffalo is a solitary job where playing the flute is the only way to get rid of loneliness. Keepers of buffalo and oxen play the flute to gather their livestock in one place before taking them back to the corral or water source. Oxen and buffalo know the flute sound of their keepers and follow it. The Fui is also played in traditional ceremonies; Funeral of “Liurais” high personality in society. Playing with the rhythm of melancholy and loneliness to comfort the deceased’s family and to give hope.
Timor -
Bidu Lensu-Mutin (White Handkerchief Dance)
Bidu Lensu-Mutin is a typical traditional dance from the community of the village of Suai Loro, Covalima Municipality. This dance is performed in cultural occasions such as welcoming guests, inauguration of sacred houses, “sau-batar” (corn harvest festival), and “tara-bandu”. The movement and every step of the dance is following up by traditional arrangement of music. Using a kind of dry palm leaf to give the sound and rhythm, and traditional song with local dialect give harmonies to the dance. The dance has been passed from one generation to another and up to now it is still alive within the communities.
Timor -
Koto-tisi (Cooking Poisonous Beans)
Koto Tisi (wild beans) is a traditional method of making wild beans edible. It is local knowledge that helps people to survive in times of poverty, especially in dry weather where there is no food available to meet the need. Habitually, people collect the wild beans on its harvest time and normally people make the Koto Tisi in long dry season where food is hard to find in many regions of the country.
Timor -
Babadok (Traditional Instrument)
The Babadok is a traditional musical instrument that holds a central place in the cultural heritage of the Timorese community. Crafted from wood and animal skins, such as sheep and cow, it is tied with strings made of natural fibers. The instrument's shape and size vary based on the region and its specific purpose, but its role remains essential in cultural events and rituals. As a membrane instrument, the Babadok is integral to traditional music and dance forms, including the tebe-tebe. Its rhythmic beats provide the foundation for the movements in these performances. Mastering the Babadok requires exceptional skill and an innate sensitivity to rhythm. Often, its enchanting sound is complemented by other traditional instruments, such as the gong, creating a dynamic and vibrant symphony that embodies the spirit of Timorese artistry.
Timor
ICH Materials 508
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ICH Courier Vol.12 ICH AND MAKEUP
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 12 is 'ICH AND MAKEUP'.
South Korea 2012 -
Regional Collaboration for Safeguarding ICH in Asia and the Pacific: Tasks and Strategies
This report publication is a collection of the discussion papers presented on 28 November 2011 at the International Conference on Safeguarding Intangible Cultural Heritage under the theme ‘Regional Collaboration for Safeguarding ICH in Asia and the Pacific: Tasks and Strategies’, which was held in commemoration of ICHCAP’s inauguration. The conference provided an opportunity to look into the current ICH status and environment of the five sub-regions within the Asia-Pacific region and to seek measures to overcome the many different challenges involved with ICH safeguarding.
South Korea 2011
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Achieving Institutionalisation of Safeguarding ICH: Korean ExperienceFor centuries, Korea had been a predominantly agricultural society; the overwhelming majority of its population engaged in farming. As a result of the rapid industrialisation that began in the 1960s, however, much of the population migrated from farming villages to cities. And during this period, Americancentred, Western culture had an enormous impact. Owing to this simultaneous industrialisation, urbanisation, and westernisation, the older way of life was rapidly disappearing. The older arts, rituals, and other kinds of intangible cultural expression that articulated the formerly prevalent way of life were also in jeopardy of rapidly disappearing. The instigation of the intangible cultural heritage system was intended to designate the valuable forms of expression that were being pushed to extinction by modern civilisation, to protect them, and to ensure their continued transmission.Year2012NationSouth Korea
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"Regional Collaboration for Safeguarding Intangible Cultural Heritage in South-East Asia: Overview, Tasks and Strategies"I’ve been asked to speak about regional collaboration for safeguarding intangible cultural heritage in South-East Asia, but I will be focusing more on safeguarding as it relates to the 2003 Convention, particularly on processes for ratification, inventory making, and legislative measures that have or have not been taken. It is important to know that there is a broader sense in which safeguarding happens at its best when UNESCO is not needed by which I mean it is happening in the communities, and there is no need for international conventions, laws, and national measures. That is the ideal situation. Unfortunately, that is not the situation of the world today. That is why we have the 2003 Convention, and that is why these measures are being put into place. I am going to try to focus on that.Year2011NationSouth Korea