ALL
wood board
ICH Elements 10
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Pang A Peace Begging Ritual of the La Ha
The Pang A Peace Begging Ritual of the La Ha is a ritual to pray for peace, to thank the gods, and to thank the shaman for those who have been cured of illness (adopted children). The ceremony is held annually, in March of the solar calendar, when the Ban flowers and rice flowers are in full bloom, the rain has fallen and the bitter bamboo shoots have grown, or when the poinsettia flowers are in full bloom. In the Pang A Peace Begging Ritual, the Xang Bok tree is an indispensable decorative element, made from the hook tree and wild banana, placed in the middle of the house. The hook tree (lam la) symbolizes the black buffalo, the hook tree dies and turns into a black buffalo, the wild banana tree (lam toc) symbolizes the white buffalo, which are friends of farmers. On this occasion, adopted children from all over come to offer offerings to the gods, to repay the efforts of their adoptive fathers, to have fun together, and to exchange feelings. Depending on the family's conditions, the severity of the illness being cured, whether they are long-time or new adoptees, the adopted children prepare appropriate offerings. The scale of the Pang A Festival depends on each shaman. If the shaman is skilled, has many years of practice, and has many adopted children, the scale of the festival will be large. The rituals include: ancestral worship, worship for the homeowner's soul, worship to invite the gods to attend, worship to send the ancestors' souls to heaven, performing a performance describing a cured illness, plowing and harrowing... When the shaman finishes, his adopted children take turns placing the products they brought on the table for him to worship and invite the gods to come and receive blessings and bless his descendants with good health, good crops, and the growth of buffaloes, cows, pigs, chickens... Around the Xang Bok tree, there are scarf dances, sword dances, tang bu dances, rain-praying drum dances, penis dances (horns), con throwing competitions... The props for the dance include bu (bamboo tubes), cloth scarves, plows, harrows, swords, shields made of wood, bamboo... When the sound of the drums and gongs sounds, each person holds a piece of bamboo and starts dancing tang bu around the wooden board, they follow the rhythm of the drums, gongs and the rhythm of the bamboo tubes. After about 3-4 rounds, they howl together and then return, like that, the dance lasts about 1 hour. In the afternoon, the master continues to pray for his adopted children who come from far away and drink rice wine. The Pang A Peace Begging Ritual contains great humanistic values, with high educational value in the La Ha community in Muong La, Quynh Nhai, Thuan Chau districts, Son La province. The festival reminds descendants to remember the merits of the doctors who cured them of their illnesses, and reminds descendants to remember their roots.
Viet Nam -
Kulalapheach (Ceramics)
Kulapheach is a daily used item such as pots, clay pots, made of baked clay. Archaeological excavations in Cambodia have uncovered many Kulapheach kilns and Kulapheach at some archeological sites such as Angkor Mean Tani kiln, Anlong Thom kiln, Torb Chey kiln, Sorsey kiln, Bangkong kiln. In Phnom Penh, there is Choeung Ek station. According to the research evidence, the oldest Pheach is found at La Ang Spean (the cave bridge) station dating to 4,000 BC. Today, despite modern technology for the production of consumer goods, traditional Kulapheach production is still available in some provinces, such as Kampong Chhnang (Andong Russey village), Kandal province (Russey Chuk village, Kaom village or Chroy Metre), Kampot province, Takeo, Prey Veng and Kampong Speu province. There are three main stages in the production of traditional Kulapheach: preparation of soil and firing; Clay soil used for Kulapheach production is from silt, or soil from a hill. First, they dry the soil and finely grind and sift only the mines. Then mix the soil with water so that it can be used to make a Pheach. There are five stages in molding Pheach and those are Pen, Reas, Bamporng, Berk, and Veay Bat. ‘Pen’ is the process of kneading the wet soil then piling it up and continuing kneading on a flat board until it has no air left in the soil. Sprinkling dried clay soil to make the kneaded soil not sticky. Next, knead the clay into long rounded pieces and continue to knead each one to form a desired shape. The second step is called ‘Reas’ or to shine which means taking the kneaded soil in Pheach shape to shine and smooth with a tool made of palm branch called ‘Tro Naes’ some called ‘Lakor’ by placing one hand claps around the Pheach and the other hand holds the inside. This method is to make the Pheach melt together, no longer see the link and no air on the surface. After that, the Pheach is ready to make a neck and mouth. The Pheach makers use their two fingers, pushing from the outside and holding the thumb from the inside, pulling it one and a half around round. In order to make the neck and mouth of the pot look more beautiful, they can use "Chea leaf” or some areas called" Chroy leaf "or" Guava leaf ", to drag the neck and mouth around. The third stage is called ‘Bamporng or inflated’ people use a tool called “Tro Naes” and “Khleong” to inflat the Pheach by hitting it gently until it gets bigger and more rounded except the edge of the Pheach mouth, the neck remains the same size. The fourth stage is called "Bourk or Opening", that is, people use “Cher Bet ka eng” if the or called "Cher Dek Khnot") drag on the shape of the Pheach to get it pleated then use a tattoo stick to draw various decoration. The final step is to ‘close the bottom.’ To center the bottom of Pheach, hold it from the inside and use Tro Naes ot hit gently from the outside around the bottom of the Pheach until the bottom stick together. To make Pheach smoother, a damp cloth is used to wipe it, except where there are pleaded spots or decorations. After the Pheach is ready, it is dried (in the shade) so that the pot hardens and it does not explode or crack during cooking. After drying, the Pheach will be baked and there are two ways to bake it: "bake on the field" and " bake in the kiln". The Pheach used to bake in the kiln are usually small Pheach, while the Pheach baked in the open air are usually large pots such as pots, pans, stoves and so on. To bake in the kiln, you need to sort the Pheach in order and it takes only half a day to bake, because the oven is closed, the heat is good, making the Pheach perfectly hard. For baking on the field, first, use firewood to lay the ground. Then arrange the Pheach on top of the firewood, cover the Pheach with straw and sprinkle a little water on the straw to make the fire last longer. In order for the fire to burn around them, small pieces of wood and straw were added between the Pheach. When baking Pheach, keep the fire burning by adding firewood and straw until the Pheach is completely baked. Baking in the open air takes a whole day. However, whether baking in the kiln or on the field, people don’t remove the Pheach immediately after it is done, they let it cool first. Nowadays, the traditional Pheach production in some areas is facing actual loss, as in the village of Kam, there are only a few families who still make Kulapheach, compared to before, when almost all the villagers earn a living through it. Nowadays, the subject of Kulapheach making is also included in the curriculum of the School of Fine Arts.
Cambodia -
Zhetygen - Traditional musical instrument
Zhetygen (kaz "zhe-igeen" - "seven strings") - is an ancient Kazakh and Turkish polychord musical instrument with soft and melodious sound, resembling a harp or reclined Gusli. Musical instrument’s name comes from its original form, which had seven strings. The origin of zhetygen associated with its legendary foundation. The essence of the legend associated with the tragic situation in the family of old nomad who lost seven sons due to the jute ('dzut' - a massive loss of livestock from starvation). Improvised music and sounds made during the play on zhetygen resembled images of children and reflected the grief of the father, alternately deceased sons. Since zhetygen became a symbol of the powerlessness of man in front of the elements of nature and the chaos of the universe. Zhetygen contributed to the emergence of instrumental kuy plays, the first of which is considered 'Zhetigenning zheteui' ('Seven kuys of zhetygen'). The most ancient type of zhetygen was an oblong box, carved from a piece of wood strung with seven strings. There was no upper sounding board, but there were pegs made of assyk (kaz. "assyq" - talus bone of a sheep and less frequently other small cattle) on this type of zhetygen. The strings are stretched by hand from the outside of the tool. Later zhetygen’s upper part was covered with a wooden deck. Under each string are substituted assyks on both sides acting as pegs. Moving them, you can set the string.
Kazakhstan 2013 -
Traditional intelligence and strategy game: Togyzqumalaq, Toguz Korgool, Mangala/Göçürme
Mangala/Göçürme is a traditional game which can be played on special boards or improvised ones such as pits on the ground. The game can be played with pellets made of stone, wood, metal and bone, nuts, or seeds, which are distributed across the pits; the player who gathers the most pellets wins the game. There are several variations of the game. For example, the board can have two, three, four, six or nine pits arranged in order according to the number of players, and the duration varies according to the number of players.
Kyrgyzstan,Kazakhstan,Turkey 2020
ICH Stakeholders 1
ICH Materials 143
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Jor/Htaung Tayaw (Upright Violin)
Yamanay or Mahorgani wood is used to make Htaung Violin (Upright), one of Mon traditional string musical instruments. Its scroll is curved into the shape of Kainnayi or Hintha birds. There is an endpin under the lower bout. When playing 3-stringed Mon Htaung violin, the instrument is upright and leaned against the player's body. It is played with a bow which is made of horse hair. The first string is tuned to NgaPauk (Fifth Note), the second string to ThanHman TaPauk (First Note), and the third string to LayPauk (Fourth note). The strings are made of silk or nylon. There is no fret on its finger board, and it must be played by pressing the strings with the fingertips from up to down. It can play the scales of flat and sharp notes.\n-29 inches in length\n-5.25 inches in height of body
Myanmar -
Dazo, The Art of Traditional Bow and Arrow Making in Bhutan_Target/Bha
Ba or the Target is usually made up of pine wood. There are different kinds of ba used while playing a game of archery. Some of the targets are relatively longer while some are shorter. The longer target measure about one dom (Dom is a measurement equal to the length of both arms outstretched in opposite direction) or it stands 3.6 ft in height, with a width of 11 inches and 2 inches thickness.\nTarget is decorated with a white sheet which is glued over the front of the board and then further painted with lime to enhance the white color. In the centre of the target, a circular drawing is painted in rainbow colors.\nThe bottom line of the target is also painted to signify water and earth elements.
Bhutan
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Tholpavakoothu, Shadow Puppetry
Tholpavakoothu is a form of shadow puppetry unique to central Kerala, in southern India . It is performed in permanent temple theatres as a form of ritual primarily honouring the Goddess of Bhadrakali. It enacts the hindu epic Ramayana in a version based on the Tamil Ramayana of Kambar. A highly flexible narrative allows a typical cycle of Tholpavakoothu to extend between seven and twenty one nights, depending on the performance commissioned and sponsored locally. After remaining largely unknown to the West, until the twentieth century, recent scholarship has established its ancient beginnings, while also highlighting the absence of a detailed account of the Art in performance over centuries of its existence. Long ago the creator Bhrahma blessed a demons and as a result of his blessing she gave birth to a son named Darika. When this Demon boy grew up, he became so strong that he turned out to be a threat and a constant source of harassment to the gods. sages and hermits .They approached Lord Shiva for help .In order to kill Darika shiva created the goddess Bhadrakali from the kaalakooda poison lodged in his throat . A fierce fight ensued between Darika and Bhadrakali ,lasting several days. Finally Bhadrakali killed Darika. While Bhadrakali was engaged in fighting Darika,Rama was fighting Ravana.So Bhadrakali was not able to see Rama and Ravana fight. That is why the Ramayana story is enacted in her presence through Tholpavakoothu. Theme and LyricsnThe theme of tholpavakoothu is Ramayana story extending from birth of Rama to his coronation, presented in 21 parts over 21 days. The story of Ramayana is written in 21 parts especially for pavakoothu . This composition which is a mixture of prose and verse is called adalpattu. Adal is acting and pattu is relating to . Since the composition is related to the enactment of Ramayana story it is called adalpattu.\nn The verse of this composition is collectively called koothukavikal; kavikal means verse or poems. Many of this verses are from Kamba Ramayana ,the Ramayana in Tamil by the poet Kambar .But tholpavakoothu performers have changed many of Kambar’s verses and in some places had added their own to meet the purpose of ritual. Scholars differ about the date. Kambar wrote Ramayana in Tamil because Valmilki Ramayana was not accepted among common people .He lived in 9th century A.D. Some say it is 13th century AD. But common opinion is that he lived at Tanjavur during the period of Chola dynasty in the 12th c AD.\n Kambar’s Ramayana is based on Valmiki’s epic, but his presentation and style of narration are most dramatic. This long epic poem containing 20,000 verses is divided into six sections: Balakanda, Ayodhyakanda, Aryakanda, krishkindhakanda, and Yuddhakanda. In addition to verse borrowed from the Kamba Ramayana the performers have added their own verses. A few verses are in Sanskrit and some area mixture of Tamil and Sankrit. Tholpavakoothu, performed every year in the temples of Bhadhrakali ,is regarded as the part of ritualistic worship of goddess. The Arayankavu Temple near Shornur is famous for its Tholpavakoothu because of the attendant ceremonies. The administration of this temple was completely under the control of Kavalapara Muppil Nair . The family attached much importance to pavakoothu and regarded the annual performance at the temple as solemn religious duty. There was a reason for this. At a point of time there were no children in Kavalappara family, and there was a danger that the danger that the family would die out for want to heirs. The family they conducted Tholpavakoothu in the temple as an offering to the goddess and children were born. Since then the family has conducted pavakoothu in the temple every on a grand scale showing the whole of Ramayana from Rama’s birth to his coronation. Ganapathi Iravi Maharajan, who was then the head of the Kavalappara family ,firmly established this tradition of presenting every year at Aryankavu Temple. nTholpavakoothu puppets are made of deer skin. The figures are drawn on the skin by cut out and embellished with dots, lines and holes. The skin is first stretched taut on a smooth board, nailed at the corners to keep it stretched and in position. It is then smeared and rubbed with ash, a process which leaves a thin layer of ash on the skin, and exposed to the sun till dry. When the skin is completely dehumidified all the hair on it is removed by scraping with a sharp edged piece of bamboo. nThen the puppet figure is drawn clearly on it and cut with a fine chisel. The eyes, nose and lips are also drawn on the puppet and cut out. Ornaments and dress are drawn by drilling different kinds of holes in the skin for which special pointed chisel are used. When the puppet is ready it has the same thickness as the original piece of leather.\n The puppets are painted in different colours. The original method of making red dye was by boiling the bark of chappanga tree, black by mixing gum from neem and soot from a coconut oil lamp and blue from boiling neeli leaves in water. The shadows of the puppet on the screen are black, but these become very attractive when shades of other colours merge in them. To prevent the puppet from bending, a thin strip of smoothened bamboo is fastened vertically along the middle on either side. The arms of the puppet are provided with movable joints. There are usually three joints on an arm.\n Puppets are usually made showing them in sitting, walking and fighting postures. In puppets in sitting and moving postures only one arm is movable; both arms are movable in puppets in fighting posture. There are puppets of birds, animals, trees and even for the sea, The puppets of deer and snake are provided with joints that enable them to bend and move their bodies. nThe expression on faces of the puppets indicates their characters. When the shadows of puppets are seen on the screen in the light of oil lamps, they resemble the sculptures in the temples.\nThe puppets have to make gestures and movement in conformity with the narration or dialogue. The puppeteers manipulate their puppets in this way: with one hand they hold the puppet by the lower end of the bamboo strip fastened to the puppet and with a stick in the other hand they make the puppet perform the required movements. The stick they use is usually a thin strip of bamboo some 50 cm long. At the end of the stick, tied to it with a string, is a very thin strip of wood not more than 3cm long. nThis thin end piece is inserted in a hole in the puppets hand when a hand movement is required. The movable arms and fingers are uniform in shape in almost all puppets. The most common hand gesture is the chidmudra- which represents peace, by joining the tips of thumb and first finger, keeping other fingers stretched.\nAfter the ritualistic ceremonies the nandi-shlokha, a hymn in praise of Ganapati is sung. At this the puppet of Ganapati is shown on the screen. The Brahmin characters called pattar pavas are shown on the next. These Brahmin are known by such names as-Moothapattar holding an umbrella, Malleesapattar holding a veeshari, Gangayaadipattar holding a theerthakudam, and Somayajipattar holding a kaavadi. They come from the four regions- north, south, east and westnAs they appear on the screen, the Brahmin’s sung the glories of mahavishnu and explains the greatness and importance of their yagas for the welfare of the mankind. They also praise the other gods and afterwards are supposed to praise the gurus of Tholpavakoothu; but as these guru’s are shudras, the Brahmins cannot praise them. So they leave the stage saying that the function of praising the gurus must be performed by the puppeteers themselves. This is done by the puppeteers. After this the pattar pavas appear again on the screen and sing hymns in praise of Ganapati, Saraswathi, Mahavishnu and Parameshwara.\nThis is followed by a ceremony called sadyavazhthkal- which is the praise of families which have played host to members of puppet troupe that day and offered them hospitality. While praising these families, the puppeteers give a detailed description of the feast offered by them. When the sadyavazhthal is over, a performer summarizes the part of the story to be shown that day. This is followed by paramparamala, where the puppeteers sing hymns in praise of Subrahmanya, Ganapati, Shiva and Krishna, touching the lamps behind the screen as a sign of devotion. Then they begin the koothu. These ritualistic observances such as kalarichintu and paramparamala are performed every day before the koothu commences. It is performed in 7,14,21,41, or 71 days depending upon the custom practiced in the templenIn the course of performance, the performers give explanations and interpretations of the verses, depending on the context. Often they have to bring out the depth and range of the meaning of the words. Where a verse contains allusions or some inner significance, the explanation may continue for as much as an hour.
India 2019 -
Jor/Htaung Tayaw (Upright Violin)
Yamanay or Mahorgani wood is used to make Htaung Violin (Upright), one of Mon traditional string musical instruments. Its scroll is curved into the shape of Kainnayi or Hintha birds. There is an endpin under the lower bout. When playing 3-stringed Mon Htaung violin, the instrument is upright and leaned against the player's body. It is played with a bow which is made of horse hair. The first string is tuned to NgaPauk (Fifth Note), the second string to ThanHman TaPauk (First Note), and the third string to LayPauk (Fourth note). The strings are made of silk or nylon. There is no fret on its finger board, and it must be played by pressing the strings with the fingertips from up to down. It can play the scales of flat and sharp notes.\n-29 inches in length\n-5.25 inches in height of body
Myanmar 2014-07-02
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2020 ICH NGO Conference : ICH and Resilience in Crisis
On 12 and 13 November 2020, ICHCAP and the ICH NGO Forum virtually held the 2020 ICH NGO Conference entitled “ICH and Resilience in Crisis.” The fifteen participants, including eleven selected presenters from ten countries around the world, discussed various cases and activities of each country applied under the Corona-era, and proposed solidarity for the resilience of ICH for a ‘New Normal.’\n\nSession 1: In the Vortex: COVID-19 Era, Roles of NGOs to Safeguard ICH\n\nSpecial Lecture 1: 'Resilience System Analysis' by Roberto Martinez Yllescas, Organization for Economic Co-operation and Development (OECD) in Mexico\n1. 'Uncovering the veil of immaterial cultural heritage towards and autonomous management of well-being as well as cultural and territorial preservation' by Carolina Bermúdez, Fundación Etnollano\n2. 'Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China' by Kai-kwong Choi, Life Encouraging Fund \n3. 'Indigenous Knowledge System as a vector in combating COVID-19' by Allington Ndlovu, Amagugu International Heritage Centre\n4. 'Enlivening Dyeing Tradition and ICH: The initiative of ARHI in North East of India' by Dibya Jyoti Borah, President, ARHI\n\nSession 2: Homo Ludens vs. Home Ludens: Changed Features COVID-19 Brought\n\n1. 'The Popular Reaction to COVID-19 from the Intangible Cultural Heritage among Member Cities of the ICCN' by Julio Nacher, ICCN Secretariat, Algemesi, Spain\n2. 'Innovation for Arts and Cultural Education Amid a Pandemic' by Jeff M. Poulin, Creative Generation\n3. 'Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan' by Ghiasuddin Pir & Meeza Ubaid, THAAP\n4. 'Shifting to Online Activities: Digital Divide among the NGOs and ICH Communities in Korea' by Hanhee Hahm CICS\n\nSession 3: Consilience: Prototype vs. Archetype for Educational Source\n\nSpecial Lecture 2: 'Geographical imbalance: the challenge of getting a more balanced representation of accredited non-governmental organizations under the 2003 Convention' by Matti Hakamäki, Finnish Folk Music Institute\n1. 'Crafting a Post Covid-19 World: Building Greater Resilience in the Crafts Sector through Strengthening Ties with its Community’s Cultural System' by Joseph Lo, World Crafts Council International\n2. 'Arts and Influence: Untangling Corporate Engagement in the Cultural Sector' by Nicholas Pozek, Asian Legal Programs, Columbia University\n3. 'ICH in the South-Western Alps: Empowering Communities through Youth Education on Nature and Cultural Practices' by Alessio Re & Giulia Avanza, Santagata Foundation for the Economy of Culture\n\n
South Korea 2020 -
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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ICH Courier Vol.20 TRADITIONAL TUG-OF-WAR GAME
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 20 is 'TRADITIONAL TUG-OF-WAR GAME.'
South Korea 2014 -
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
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Traditional Food Consumption of Baul Communities in Bangladesh: Towards the World of Zero HungerThe life of the Bauls of Bangladesh revolves around body-centric ascetic practice termed sadhana. Bauls believe in the co-existence of every element of the endless Brahmanda, meaning universe in the human body. Thus, they make caring for the body their highest priority over anything else. They have created extensive verse about body-centric sadhana codes that they transmit through song. The verses or songs include descriptions of control over the consumption of daily necessaries, mainly food. And, they believe in the doctrine মানুষ যা খায়, সে তাই (a human is what he or she consumes). They also judge food as medicine, as the need to live a hale and hearty.Year2020NationBangladesh
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ICH in the South-Western Alps: Empowering communities through youth education on nature and cultural practicesThe South-Western Alps, across Italy and France are an area of long-lasting and significantly dense presence of diverse intangible cultural heritage expressions, resulting from the peculiar forms of relation and adaptation between the communities and the mountain ecosystems. But now, this area faced a number of challenges, Alessio Re & Giulia Avanza introduced the projects for building up resilience on the South-Western Alps territory.Year2020NationSouth Korea