Masks in Motion: Jonkonnu and Jamaica’s Living Masquerade Tradition

Jonkonnu, also known historically as John Canoe, is a Jamaican masquerade tradition combining costumed procession, dance, music and character performance. Its documented history reaches back to the period of slavery, when masked and costumed bands performed particularly during the Christmas season. The tradition developed through the interaction of African and European cultural forms and became a distinctive Jamaican expression of public festivity and performance.Traditional Jonkonnu bands feature characters whose costumes, movements and props distinguish different performance roles. Common characters include Cow Head, Horse Head, Devil, Pitchy Patchy, Belly Woman, King and Queen, Warriors or Indians, Policeman and other locally varying figures. Performances are accompanied by musicians using instruments including fife, drums, shakers and graters.

Stitching Cairo’s Living Heritage: Khayamiya and the Craft of the Tentmakers

Khayamiya is a traditional Egyptian appliqué craft in which pieces of coloured fabric are cut and hand-stitched onto a textile base to create geometric, floral, figurative and other decorative compositions. Historically associated with the production and decoration of tents and ceremonial canopies, the craft continues in Historic Cairo, particularly around Khayamiya Street in the Al-Darb al-Ahmar area. The craft's Egyptian name is recorded in the Egyptian Archive of Folk Life and Folk Traditions, where it is classified among skills related to traditional arts and crafts.The practice encompasses more than the finished textile. It involves selecting and preparing fabrics, cutting appliqué pieces, arranging patterns and securing them through precise hand stitching. Contemporary Khayamiya includes wall hangings and other decorative and functional textiles alongside the larger tent textiles for which the craft historically became known. The craft remains closely associated with the workshops and marketplace of Kha

Voices of Essaouira: Gnawa Music, Ritual and Living Memory

Gnawa is a living Moroccan tradition in which music, dance, fraternal practices and therapeutic rituals come together across sacred and secular settings. Its musical language is led by the maâlem, the master musician, whose guembri accompanies sung poetry and is answered by the metallic rhythm of the qraqeb castanets, collective singing and dance. In ritual contexts, performances may form part of an overnight lila, where music, movement, invocation and communal participation create a sustained ceremonial experience. The tradition carries memories of communities whose histories are connected to sub-Saharan Africa, while its contemporary practice has become an established part of Morocco's diverse cultural identity. UNESCO inscribed Gnawa on the Representative List of the Intangible Cultural Heritage of Humanity in 2019.Essaouira has become one of the most visible centers of Gnawa practice, with generations of maâlems developing distinctive musical lineages and transmitting knowledge through families, apprentic

Echoes of Morocco’s High Atlas: The Living Dance of Taskiwin

Taskiwin is a collective dance rooted in the western High Atlas of central Morocco. Its name comes from the richly decorated tiskt, the horn traditionally carried by each dancer. A group performs coordinated shoulder movements to the rhythm of tambourines and flutes, creating a highly physical choreography in which rhythm, posture and collective synchronization are inseparable. Historically associated with martial imagery, bravery and episodes of conflict, the dance has developed into a form performed during celebrations and community gatherings, where its social role is now more prominent than its martial origins.The practice is particularly associated with rural communities on the northern and southern slopes of the western High Atlas in Taroudant Province, including Touramat and Tigouliane. Its meaning comes not only from the movements but from the gathering itself: dancers, musicians and spectators share a performance space in which local memory, Amazigh expression and community relationships are renewed.

The Voice that Remembers: Mvet Oyeng in Gabon

In Gabon, Mvet Oyeng brings together the epic story, the storyteller, the musician and the instrument itself. The mbôm mvet, or Mvet storyteller, performs extended narratives accompanied by a traditional string instrument, singing and dancing. The audience may clap, sing, respond and interact with the storyteller, making the performance a shared act of remembering and interpretation. The tradition exists in sacred and popular forms. Sacred Mvet is connected to important occasions and follows more restricted processes of initiation, while popular Mvet is more flexible and appears in public celebrations and contemporary performancesWithin Gabon, the tradition has a particularly visible presence in the cultural life of the Ekang communities. Mvet narratives preserve histories, language, values and ideas concerning social relationships, while the performance itself creates a space in which knowledge can be heard, discussed and remembered collectively. The Gabonese expression of Mvet is therefore not limited to th

Ska and Reggae Music Education and Performance in Jamaica

Jamaican popular music--ska, rocksteady, reggae, dancehall--is the foundation of popular culture but also critical to economy, community and identity. The role of the Alpha Boys School in the development of Jamaican intangible cultural heritage (ICH) is a uniquely Jamaican story. Led by the Sisters of Mercy, a Roman Catholic order of nuns, since 1890, Alpha Boys School went on to become pioneers of ska and reggae icons. Traditionally outside the formal, mainstream music education system, Alpha's embrace of music training has led to a significant accumulation of institutional and collective knowledge around development and transmission of ICH. Following renovations during COVID, Alpha launched a tertiary degree and is training young men and women from around Jamaica with a curriculum emphasizing Jamaican ICH. Its Community Music Programming is similarly focused on raising awareness and engagement with ICH at the educational and professional level in communities outside of Kingston.

ICH through Craft and Tourism

We bring joy to people by facilitating sustainable development that is aimed at creating income opportunities for communities across South Africa. We empower people to change their own lives by showing them how they can grow through asset-based community development, craft production, retail support, and running authentic tours and experiences. They also learn that working collaboratively and partnering with others who share their values can help their communities thrive. Established in 2004, Africa!Ignite is a leading rural development agency based in KwaZulu-Natal, South Africa with operations expanding into the rest of the country - our current focus being the Eastern Cape and Gauteng. We implement holistic programmes that enable rural communities to create meaningful and sustainable income opportunities to support their livelihoods and build resilience. While we prioritize women and youth, our inclusive approach helps to unlock local value chains that benefit entire communities. Africa!Ignite operates thr

Ancestral Remedy

The active Intangible Cultural Heritage (ICH) domain represented by the “Ancestral Remedy” comic is rooted in oral traditions, indigenous healing practices, intergenerational wisdom, and community-based storytelling. This comic series documents and creatively transmits narratives from Kenyan informal settlements, showcasing how ancestral knowledge systems—especially those related to traditional medicine, gender roles, and community dispute resolution—are adapted in the context of urban challenges and youth identity."Ancestral Remedy" functions as a living ICH archive, illustrating:Indigenous herbal remedies and their cultural significanceStories of elders and traditional healers (waganga) in navigating health and social issuesThe use of storytelling as therapy and resistance to marginalizationYouth reinterpretation of heritage in a digital age through animation, illustration, and gamified learningThe comic is developed through community dialogues, story circles, and collaborative scriptwriting with youth and

Zaouli - The History Of The Zaouli Dance Of Côte d'Ivoire

The Zaouli dance is a traditional mask dance from Côte d'Ivoire, West Africa. It is performed by the Guro people and is an essential part of their cultural heritage. The dance features an ornate wooden mask with a highly stylized representation of a beautiful woman's face, adorned with a tall headdress and intricate detailing.Zaouli is typically performed at various social and religious ceremonies, such as weddings, funerals, and festivals. The dancer, often dressed in vibrant, flowing attire, moves with incredible grace and agility, imitating the mask's elegant features and expressions. The dance involves intricate footwork, rapid spins, and rhythmic hand claps accompanied by traditional music, including drums and percussion instruments.Zaouli is not only a form of entertainment but also a means of passing down cultural stories and preserving the Guro people's traditions. The dance has gained international recognition for its artistic beauty and cultural significance, making it an integral part of Ivorian he

Gbofe of Afounkaha, the music of the transverse trumps of the Tagbana community, a cultural heritage in need of safeguarding

Gbofe of Afounkaha holds deep cultural and social significance in Cote d'Ivoire. It serves as a powerful medium for communication, conveying messages of praise, love, satire, mourning, and moral or educational teachings during various rituals and traditional ceremonies. Gbofe plays a vital role in conferring respect for the holders of tradition, fostering cultural unity, peace, and social cohesion among different communities and people. Additionally, it represents a crucial part of the cultural identity of the Tagbana community, preserving their historical narratives, values, and artistic expressions across generations.

Zaouli, cultural heritage of Côte d’Ivoire

The Zaouli dance of Côte d'Ivoire holds deep cultural and social significance, symbolizing various meanings and serving important roles within Ivorian communities. Its meanings and importance can be summarized as follows:Cultural Identity and Heritage: The Zaouli dance embodies the cultural identity and heritage of the communities in Côte d'Ivoire, reflecting their traditional values, beliefs, and practices. It serves as a powerful symbol of the region's rich cultural legacy, connecting the present generation with its historical and traditional roots.Celebration of Femininity and Beauty: The dance is often associated with the celebration of feminine beauty and grace, as it is performed by individuals adorned in elaborate masks and costumes representing idealized concepts of beauty. Through its intricate movements and rhythmic expressions, the Zaouli dance honors the beauty and elegance of women, portraying them as central figures in Ivorian culture.Social Cohesion and Unity: The Zaouli dance fosters social co

2020 JIAPICH Finalist- ASAMA of Burkina Faso

Brief about ASAMA ASAMA is a non-profit association with a pan-African vocation. ASAMA was originally created in 1995 by a group of students convinced and concerned about the future of masks threatened by the numerous vices and excesses of modern society (neglect, abandonment, etc.) and wishing to support the societies of traditional masks in order to safeguard this heritage in danger. It was legally recognized as a non-profit organization by the Government of Burkina Faso in 1996. Its primary mandate is ① to promote research and assist in the safeguarding, promotion and preservation of African mask traditions, ② to urge and facilitate the cooperation between governments, national and international organizations and individuals interested in the preservation of traditional masks and mask performances, and ③ to drive governments to develop preservation policies of their mask traditions and fight against the looting of the cultural resources. ASAMA is led by two councils which are the ‘Board of the Fund for the

Art of crafting and playing Mbira/Sansi, the finger-plucking traditional musical instrument in Malawi and Zimbabwe

The Mbira/Sansi instrument are a family of musical instruments, traditional to the people of Zimbabwe. They consist of a wooden board (often fitted with a resonator) with attached staggered metal tines, played by holding the instrument in the hands and plucking the tines with the thumbs (at minimum), the right forefinger (most mbira), and sometimes the left forefinger. Musicologists classify it as a lamellaphone, part of the plucked idiophone family of musical instruments. The "Art of crafting and playing Mbira/Sansi, the finger-plucking traditional musical instrument in Malawi and Zimbabwe" was added to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2020. The transmission has occurred through apprenticeship within the family circle. Currently, transmission also takes place through formal coaching, and Mbira/Sansi making and playing is taught in some schools. The songs contain important messages, with some guarding children against bad behavior while others condemn negative

Traditional Mauritian Sega: The Talented Mauritian Music

Although the exact origins of the Mauritian Sega is up for debate, what is not questioned is the pure talent and vibrant performing art that is the Mauritian Sega. The self-expressive songs are often in Creole, using traditional instruments such as the Ravann, Triangle, and the Maravann. As Mauritian society is a multicultural one, the Mauritian Sega helps to alleviate the different cultures and classes to come together for one unified performance. The Sega songs are slow to start usually, with the tempo gradually increasing the singer often sings in Creole or their own language and people dance in short steps moving their hip and hand to the beat. The main practitioners are singers, dancers who transmit their skills through teaching and imitation. Traditional Mauritian Sega was inscribed to the list of the Intangible Cultural Heritage of Humanity by UNESCO in 2014. References: ICH UNESCO, Wikipedia

Bigwala : The warm welcome of royal African hospitality, dance, and song

Bigwala : The warm welcome of royal African hospitality, dance, and song Bigwala is Busoga’s music, dance, and performance of Uganda. It was historically performed infront of kings who would want their people to come together through their customary dance and music. Bigwala is formed from trumpet players ranging from four to five players who are joined by the people singing and dancing. The lyrics are often about uniting under Bigwala, marriages, and other customary norm of Busoga. The important message of Bigwala is about Busoga’s hospitality and by showing the unity through music, dance, and overall comradery in the villages; fellowship is formed. Currently there are only three living masters of Bigwala, who can precisely inherit their skills to the next generation. All three masters are of old age so letting the world know of this precious art form is necessary. Watch the video on youtube https://www.youtube.com/watch?v=ymWBjb1VzBc&t=10s References ICH UNESCO, Newvision (www.newvision.co.ug)