Traditional White Blankets of Huánuco: Backstrap Loom Weaving by Crestina Jara Vega

Crestina Jara Vega is a Peruvian textile artisan from Huánuco who specializes in the creation of traditional white blankets using the ancestral backstrap loom technique. Her work is based on knowledge transmitted from generation to generation and contributes to the safeguarding of intangible cultural heritage.Through handmade weaving, the selection of fibers, ancestral designs, and manual finishes, she preserves a textile tradition that reflects the cultural identity of her community. Her practice includes the production of white blankets, table runners, and decorative textiles.Crestina also promotes this heritage through artisan fairs, demonstrations, workshops, and cultural dissemination spaces, where she shares the cultural value and production process of traditional textiles with the public and younger generations.

AWAJUN POTTERY

Josefa Nolte's work has brought together actors at different levels, always with the conviction that the community must be the center and the ultimate goal of any cooperative effort. At the local level, she has supported the consolidation of the Cenepa Association of Mothers and Potters as a legitimate and autonomous representative of public institutions, successfully persuading the Municipality of El Cenepa to build a dedicated space for the exhibition and sale of their products. At the national level, she has facilitated the inclusion of Awajún pottery in the country's main museums and cultural spaces, contributing decisively to its recognition as a National Cultural Heritage in 2017 and Intangible Cultural Heritage of Humanity by UNESCO (2021) are the accumulated result of decades of sustained work, and have had the collateral effect of awakening in other Awajún communities the interest in recovering this practice, generating a revitalization movement that transcends Cocoashi.Josefa Nolte's approach has pr

MASTER GERASIMO SOSA ALACHE

Gerasimo Sosa Alache, master of traditional Peruvian craftsmanship, was born on March 16, 1953, in Chulucanas, Piura, Peru. The son of a potter of Tallán cultural heritage, he learned ceramic techniques from his father, Don Andres Sosa Ruiz, from a very young age, assisting him in the workshop in the production of ceramics for the local community. During his youth, Gerasimo demonstrated artistic talent in drawing and painting through self-taught study, skills that he later applied to ceramic art. Gerasimo developed a unique ceramic style by shaping pottery into human figures, adding heads and arms to vessels. This sculptural approach was later known as the “Gorditos de Chulucanas,” representing a fundamental reimagining of traditional pottery within a contemporary artistic context. It is important to note that pottery traditions in northern Peru had entered into decline: people were no longer purchasing clay artifacts, preferring aluminum and iron alternatives; water was no longer stored in large clay contain

Betsi Yovana Llaza Andia – Bearer and transmitter of the Intangible Cultural Heritage of Andean textile traditions from the Colca Valley

Betsi Yovana Llaza Andia is a bearer of ancestral knowledge from the Colca Valley (Arequipa, Peru), linked to the intangible cultural heritage of Andean textile traditions. Her practice focuses on the preservation of hand-spinning, natural dyeing, and traditional weaving with alpaca fiber, transmitted intergenerationally through observation, hands-on practice, and oral tradition.Her work contributes to the continuity of Andean indigenous knowledge systems, strengthening cultural identity, collective memory, and a worldview based on the relationship with nature, Pachamama, reciprocity, and community life.She also actively promotes the safeguarding of living heritage through community teaching, the participation of younger generations, and the transmission of knowledge within family and cultural spaces in the Colca Valley.

First International Meeting of Mask Artists in Peru

The First International Meeting of Mask Artists was held in Paucartambo, Cusco, Peru, from July 13 to July 16, 2024, bringing together more than 50 traditional mask artists from Peru and several Latin American countries including Mexico, Guatemala, Ecuador, Colombia, Bolivia, Paraguay, Chile, Argentina, and Puerto Rico. The event was organized by the Provincial Municipality of Paucartambo together with local cultural promoters and master mask makers. Its main objective was to preserve, promote, and strengthen the ancestral tradition of mask-making as an essential element of intangible cultural heritage.

Safeguarding and transmission of the ancestral textile art of Palca as intangible cultural heritage of the Peruvian Altiplano.

I am Tiodoro Pacco Choque, a master textile artisan from the district of Palca, province of Lampa, in the Puno region of Peru, and a bearer of ancestral knowledge linked to the traditional textile art of the Peruvian Altiplano. For more than thirty-five years, I have dedicated my life to the safeguarding, practice, and intergenerational transmission of textile techniques inherited from my ancestors—knowledge that forms part of the historical and cultural memory of the Andean communities of southern Peru. My learning process began during childhood within my family and community, observing and practicing alongside my father and the elders of my community the traditional techniques of hand-spinning, dyeing with natural pigments, the use of the stake loom and pedal loom, as well as the interpretation of ancestral designs and iconographies. This knowledge was not acquired merely as a productive trade, but as part of a way of life deeply connected to nature, the raising of South American camelids, communal organiza

Traditional Ceramics of Ccaccasiri

The traditional ceramics of Ccaccasiri express the diversity of pre-Hispanic pottery from the central highlands of Peru. Their production preserves techniques, forms, and styles inherited from previous generations, connected to daily life, rituals, festivities, and community practices.This tradition is characterized by the use of local clays, especially black and red clay, and other materials native to the territory, as well as by the manual creation of pieces inspired by pre-Hispanic models. These include pots, plates, urpus, water-carrying vessels, ceremonial cups, and pieces used in ritual and festive contexts.

The Cultural Identity of Catacaos in the Sculpture of Óscar Aquino Ipanaqué

Óscar Aquino Ipanaqué is a renowned sculptor and artisan from Catacaos, Piura, whose work represents the cultural identity of the Tallán people and the artistic traditions of the region. His sculptures stand out for their woodcarving techniques and for portraying traditional, religious, and social scenes that are characteristic of Piuran culture.Through his artistic work, Aquino preserves the cultural roots of Catacaos by transmitting ancestral knowledge and strengthening the value of Peruvian folk art. His works have been exhibited both nationally and internationally, making him an important representative of traditional Peruvian sculpture.His artistic production combines creativity, cultural memory, and symbolic representations of everyday life in northern Peru, especially within the Tallán and Cataquense communities.,

The living legacy of traditional ceramics in the Sanchez Family, from my homeland of Quinua

The Sánchez family legacy, as narrated by my father, Mamerto Sánchez, tells us this: “Throughout my life, I learned from my father, Don Santos, and my grandfather, Don Francisco, who instilled in me the importance of keeping our culture alive through ceramic art. Later, I took advanced technical courses, which helped me improve, but the teachings of my father and grandfather were even more influential. They were my great teachers and left me with a profound message: to develop the artistic expressions they taught me with great patience, based on remembering the stories, legends, festivals, customs, and myths of our people. In this way, the tradition of pottery making in Quinua and Ayacucho is maintained through artistic expression. We are now the third, fourth, and fifth generations (father, children, and grandchildren) carrying on the work of transmitting this beautiful craft and tradition of Ayacucho pottery from my hometown of Quinua.”

Sustaining the Sea: Communities, Knowledge, and the Safeguarding of Maritime Intangible Cultural Heritage in Pachacamac, Peru

The project develops community-based training, educational, and identity-strengthening initiatives aimed at transmitting the importance and value of Intangible Cultural Heritage (ICH) associated with coastal and maritime practices. Implemented in direct collaboration with actual artisanal fishing communities —including the Asociación de Pescadores Artesanales Las Islas de Punta Hermosa and fishers from El Silencio, Pucusana, and San Pedro de Lurín— these actions recognize local actors as key holders of traditional knowledge.The project focuses on the identification, documentation, and revitalization of this knowledge through participatory workshops, field-based learning, and collaborative documentation processes, supporting the transmission of ecological knowledge, fishing techniques, resource management practices, and cultural relationships with the sea. It integrates interdisciplinary educational components for students, researchers, and community members, combining archaeology, ethnography, and applied tec

TEXTILES QUISPE: Weaving technique and Family Tradition

The Asociación de Artesanos Textiles Quispe is a family-based artisan workshop founded approximately in 1988 in Ayacucho, Peru, by Wilber Quispe Huamán and Pascuala Paredes Fernández, who together built a shared life around the ancient art of Andean foot-loom weaving. The workshop's origins trace back further: Wilber learned the craft from a family master weaver in Ayacucho city a relative who had inherited the tradition throughgenerations of practice rooted in the pre-Inca and Inca textile legacy of the Andes. In the early 1990s, the family relocated to Lurín, in the southern outskirts of Lima, bringing their looms, knowledge, and cultural identity with them. Over nearly four decades, what began as a two-person endeavor has grown into a six-member family workshop, with skills and values passed down to the next generation.The workshop specializes in hand-spun, naturally dyed wool weaving using traditional pedal Ayacuchan floor looms. Dyes are extracted from plants and cochineal, following techniques that pre

Roots of Amazonian Handicraft: Weaving and Family Tradition

Since I was 7 years old, I learned the art of natural weaving from my grandmother. She taught me the stitches, the Amazonian designs, and the symbols that represent our tradition.Over time, I continued perfecting this technique together with my siblings, and today we continue to pass on this passion for weaving, natural dyeing, and handmade jewelry. These works take us months to complete, but we always make them with love and dedication.

Ultra-Fine Manta Blanca of Tambogán, Cultural Heritage of the Nation

The ultra-fine Manta Blanca of Tambogán has been recognized as Cultural Heritage of the Nation due to its significant historical, cultural, and social value, as it constitutes a representative expression of the identity of the communities of the district of Tambogán, in the Huánuco region.This textile manifestation stands out for the preservation of traditional weaving techniques using the backstrap loom, transmitted from generation to generation. These techniques reflect ancestral knowledge related to the use of fibers, spinning processes, natural dyeing, and artisanal garment-making. Such knowledge constitutes a living cultural legacy that strengthens the continuity of traditional practices over time.Likewise, this recognition is aligned with the principles of UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage, ratified by the Peruvian State, which establishes the obligation of States to adopt measures to ensure the identification, documentation, research, preservation, promotion,

Safeguarding the Traditional Ceramics of Quinua through the Intergenerational Transmission of Ancestral Knowledge

The traditional ceramics of Quinua (Ayacucho), declared Cultural Heritage of the Nation of Peru in 2019, is an Andean artistic expression that preserves ancestral knowledge transmitted from generation to generation. Recognized for its use of local clay, earth-toned colors, and hand-modeling techniques, it represents the worldview, historical memory, and cultural identity of the Andean communities of Peru.This collective was founded in 1963 in the town of Quinua, Ayacucho, with the purpose of rescuing, preserving, and promoting Andean traditions, oral histories, and cultural expressions.Likewise, one of its main activities has been the education and training of young people and new generations in this ancestral craft, actively contributing to the continuity and safeguarding of intangible cultural heritage both within and beyond its community of origin.

"Tajimat Pujut" Awajún Women Artisans Collective of the Alto Mayo

Born in November 2024 as a courageous response to the degradation of their forests and the erosion of their identity, the Awajún Women Artisans Collective "Tajimat Pujut" has forged an extraordinary path of resistance and empowerment. What began as a vital effort to bring "the seeds back to the forest and to their hands" is now a consolidated network of more than 80 artisans from at least 16 communities and sectors of the Alto Mayo region. Together, they have revived the age-old use of botanical materials such as the aromatic sekut (wild vanilla) and seeds like kumpia and huayruro, transforming bio-jewelry into a "second skin" that not only preserves their worldview but also actively defends their territory. Their evolution, however, goes far beyond handicrafts: through innovations such as the Awajún Governance School, which strengthens collective leadership, and the institutional support of the Awajún Indigenous Regional Federation of the Alto Mayo, these women have broken down historical gender barriers to

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.

Natural Dyeing of Textiles of the Yanesha Indigenous People in Peru

In the Oxapampa-Asháninka-Yanesha Biosphere Reserve (BIOAY), located in central Peru, the Yanesha people preserve an ancestral tradition: natural dyeing of textiles.This practice, transmitted across generations, is based on the use of natural resources such as turmeric, achiote, matico leaves, castor leaves, leaves of the Yanesha tree Yetsñor, onion skins, coffee husks, as well as flowers and bark from trees such as pallón and cedar, among other locally used species in traditional dyeing practices.These resources allow the creation of a wide range of natural colors —including yellow, red, brown, and purple tones— through techniques such as cold dyeing, boiling, and tie-dye, combined with the use of natural fixatives.Beyond its technical dimension, this practice reflects a worldview based on respect for nature, sustainability, and a spiritual connection with the environment.Despite current challenges such as migration, climate change, and the loss of cultural practices, Yanesha natural dyeing remains active th

Traditional textile knowledge of native cotton in Pómac III, Lambayeque, Peru

The traditional textile knowledge of native cotton in Pómac III constitutes a living cultural practice linked to the artisanal identity of Lambayeque, Peru. This practice encompasses the knowledge, preparation, and transformation of native cotton into textile pieces crafted using artisanal techniques transmitted primarily through experience, observation, and collective work. The practice is promoted by master artisan Betty Zapata Gonzales, a native of the hamlet of Pómac III, who has over 16 years of experience in the craft. Her work is carried out through the Fibras Nativas (Native Fibers) workshop, a space that promotes the use of native cotton, the creation of textile products with cultural identity, and the participation of women artisans from Pómac and other districts of Lambayeque. Textile knowledge includes fiber selection, material preparation, spinning, weaving, sewing, artisanal finishing, and the design of pieces inspired by Lambayeque's cultural memory. This practice not only produces textile obje

“Let’s give back to the villages what belongs to the villages.” - Transmission of the Hungarian folk song as an intangible cultural heritage in the Tápió region

The folk music research of the Tápió region in Pest County, as an ethnographic landscape, began in the early 1800s. As a result of the continuous work of folk music researchers, over the past 225 years, more than 1,500 local folk songs have been documented in 21 settlements of the region. The settlement folk songs of more than 400 local singers have been recorded, which is the unique intangible cultural heritage of the region. Songs related to local customs, folk games, lamentations, songs of notable days, old-style folk songs, new-style folk songs, and contemporary "nóta" works documented by the 60 folk music researchers. By the 21st century, only a few people in the settlements, the oldest, sang local folk songs. Saving local folk songs, having the oldest people sing them, and getting to know the complete documentation, collections, and recordings in scientific institutions became an important task. In 2009, Dr. József Terék, a native of the Tápió region, undertook the task of following in the footsteps of

Toy culture in Türkiye

Established in 2002, the Cultural Research Foundation (KAV) is a pioneering non-governmental organization dedicated to safeguarding a vast spectrum of Turkey’s Intangible Cultural Heritage (ICH), ranging from culinary traditions and handicrafts to rituals and toy culture. Driven by a core mission to defend cultural rights and cultivate heritage awareness—particularly among the youth—KAV has established a formidable international presence. Recognizing its rigorous scientific methodologies, KAV was granted official advisory status to the Intergovernmental Committee under the 2003 UNESCO ICH Convention in 2012, and holds esteemed accreditations from global institutions including WIPO and FAO. The "Toy Research Program," which was formalized and intensified in 2005, stands as a crown jewel in KAV's historical trajectory.

Traditional Filigree Technique of Catacaos, Peru

The traditional filigree technique of Catacaos is an ancestral jewelry-making practice from northern Peru. It consists of shaping and weaving fine threads of precious metals, typically silver or gold, into intricate decorative designs.This craft is transmitted across generations and represents an important element of cultural identity in Catacaos. However, it is currently at risk due to low economic valuation and decreasing interest among younger generations.Efforts are being developed to support its preservation through training, promotion, and access to new markets.

La grandeza del Nogal

Gerald Valdez, a 49-year-old artisan, was born in the district of Tingo, located in the Amazonas region, an area that hosts one of Peru’s most important cultural heritage landmarks: the Kuélap Fortress. His work is deeply connected to the natural environment, particularly to walnut tree ecosystems, which have shaped both his personal and professional trajectory since an early age. In the productive sphere, he specializes in the transformation of walnut seeds, a resource that was previously undervalued and considered waste. Through an approach grounded in circular economy principles and environmental sustainability, he has successfully revalorized this material, transforming it into artisanal pieces of high aesthetic and cultural value. This process not only contributes to waste reduction but also promotes the responsible use of natural resources. Furthermore, he carries out significant educational and community outreach work by delivering workshops and lectures in rural schools. Through these initiatives, he

Hungarian string band tradition

The Hungarian string band tradition is one of the country’s defining ensembles and one of the most common representatives of folk music culture. The basic fiddle-viola-bass line-up takes many forms across regions and eras and can be expanded to include additional string players or reed instruments. Up until the middle of the twentieth century, string bands provided music for village parties, family and village festivities, agricultural events and religious and public holidays. Today, they play a crucial role in stage performances, local festivities such as dances, and urban táncház (“dance-house” or folk dance parties). A group’s repertoire can include thousands of melodies, which village musicians play entirely from memory. In addition to memory-based oral transmission, melodies are now also acquired in formal educational settings using written transcriptions and audio-visual documentation. Because Hungarian string bands have always adapted to the social context, the melodies, lyrics, playing style and reper

Táncház method: a Hungarian model for the transmission of intangible cultural heritage

The Táncház (‘dance-house’) model of teaching folk dance and music combines traditional forms of acquisition with modern pedagogical and academic methods. Participants acquire dance knowledge from experienced members or tradition bearers by direct observation and imitation, to the accompaniment of live music, while using their own individual level of creativity to develop their competence and dancing ability. The dancing is complemented by singing instruction, handicraft activities and ethnographic presentations. Anyone regardless of age, competence or prior exposure can become an active participant. The aim is to establish a value-based, community-building, entertaining yet educational form of recreational activity through the practice and transmission of intangible cultural heritage. Táncház methods are also utilized in art schools and all levels of education, and influence folk dance and music performance. An annual National Táncház Festival and Fair constitutes the largest meeting of bearers, mediators an

Csárdás dance tradition

The csárdás is a Hungarian dance that is performed by couples consisting of a man and a woman, or, in some regions, of two women. Multiple couples participate in the dance at the same time, forming one large or several smaller circles. Each region has its own themes, gestures and figures, which are improvised according to well-known, established rules and patterns. The csárdás is a universal favourite in both village and urban dance traditions, and is performed during weddings, community events, folk dance events and on stage. It is often accompanied by a string band consisting of violins, violas and double basses. The practitioners are amateur and professional dancers who learn through formal education or folk dances. The csárdás is an expression of the self-organizing and cohesive power of communities. Dancers also sing and must pay attention to their partner as well as to surrounding couples. The partners learn to think jointly as they co-create the dance. The acquired skills can be applied to everyday lif

"Silvia Condori Mamani: Ayarachi Textile Heritage – From Alpaca to Loom in the High Andes of Puno, Peru"

This 58-second video presents the living heritage of Silvia Condori Mamani, a master weaver and cultural transmitter from the Ayarachi people in the high-Andean community of Paratia, Lampa – Puno, Peru. In her own land, at over 3,800 meters above sea level, we see her ancestral environment: the alpacas grazing on the puna, whose fine fiber is the raw material for her art. The video captures key moments of her traditional textile system: hand-spinning with the pushka (drop spindle), natural dyeing with Andean herbs (cochineal, muña, chilca), and the weaving of intricate designs on the telar de cintura (backstrap loom) and the ancient four-stake loom. Silvia is also seen teaching young women and elders, ensuring the transmission of this endangered ICH. The final frames show her award-winning textiles, including those that earned her the third prize at the Iberoamerican Weaving and Basketry Award in Cuenca, Ecuador (2024). This video is part of the documentation and promotion efforts led by Lic. Wilson Mamani Vi

Textile System of the Ayarachi Culture: Natural Dyeing, Hand-Spinning (Pushka) and Four-Post Loom Weaving in Paratia, Lampa, Puno

The traditional textile system of the Ayarachi culture in the Paratia community, Lampa, Puno (Peru), is a living heritage passed down over generations. It encompasses the entire production cycle of camelid fiber (alpaca), from selection and hand-washing, to natural dyeing with Andean plants (cochineal, muña, chilca, qolle), hand-spinning with the pushka or drop spindle (an ancestral technique in danger of disappearing), and weaving on various types of looms: telar de cintura (backstrap loom), pedal loom, and the most emblematic, the four-stake loom, used for making large pieces and utilitarian items with unique Ayarachi designs. This system is distinguished by its profound relationship with the Aymara and Quechua cosmovision, as the designs represent symbolic elements of the high-Andean culture. Silvia Condori Mamani, a "Maestra Regional de la Artesanía Puneña" and winner of the "Premio Nacional a la Mujer Artesana 2021" (MINCETUR), is one of the main transmitters of this ICH, having trained hundreds of women

Historical Memory as Intangible Cultural Heritage: Safeguarding Memory for Non-Repetition in Colombia

The National Center for Historical Memory (CNMH) promotes the safeguarding of intangible cultural heritage through the recognition of the historical memory of Colombia’s armed conflict as a living cultural practice and as intangible heritage in itself. This memory is not only a record of past events, but a collective and evolving heritage created and transmitted by victims and communities through narratives, rituals, artistic expressions, and everyday cultural practices. As such, it must be actively incorporated into Colombia’s cultural fabric and collective consciousness to prevent its erasure and contribute to non-repetition.At the same time, the CNMH recognizes that the armed conflict has placed ancestral cultural practices at risk—particularly among Indigenous, Afro-descendant, and campesino communities—due to forced displacement, massacres, and enforced disappearance. These practices are not separate from memory; they are the very means through which memory is created, expressed, and transmitted. In Colo

Dar Maschkar min kloukn and Da Jutalan - The ritual masks of Timau-Tischlbong of Paluzza (UD) - Italy

The archaic masquerade is part of the culture and history of a German-speaking community that settled in 1284 in what is now the Paluzza area.Among the ritual figures of this masquerade is "Dar Maschkar min kloukn," who wears a fur coat reminiscent of the agricultural world. He has fir branches tucked into his hat and between the buttons of his shirt. His face is blackened with soot, which he also uses to smear the faces of those he encounters along the way, as well as grease them with the grease from the rind tied around his waist. He has a cowbell tied to his back, which he rings rhythmically as he moves. This mask does not enter homes and wanders around the village during the day.Another ritual figure of the Timau masquerade is "Da Jutalan," who wears a white dress decorated with colorful handkerchiefs and his face is covered. He travels in a group from house to house, carrying an accordion, where he performs three dances. If he stays, he must identify himself by uncovering his face. His pilgrimage takes p

Rölar, Kheirar and Rikè - The ritual masks of Sauris-Zahre (UD) - Italy

The archaic masquerade is a product of the culture and history of a German-speaking community that settled there around the 13th century. Propitiatory rituals were once repeated several times a week, from Epiphany onward, while today the celebration focuses particularly on the "Night of the Lanterns." The main masks of this rite are the Rölar and the Kheirar.The Rölar wears dark clothing, his face covered in soot, and shouts and shakes the bells around his waist to announce the start of Carnival and drive away evil spirits with their din.The Kheirar, or King of Masks, has his face covered by a wooden mask and in the past would knock on the doors of homes with a broom made of sorghum. Once inside, he would sweep the floor, performing a propitiatory rite to sweep away the burdens of winter and make way for the arrival of spring.Spring is represented in the procession by the "beautiful mask" of the Rikè, whose face is covered by a veil and adorned with bells, which awaken the spirits, and colorful ribbons that o

Ròllate - The ritual masks of Sappada-Plodn (UD) - Italy

The Rollate is a totemic zoomorphic character even if by now he appears more human because of his typical large moustached wooden face. Armed with a broom (and once also accompanied by Clowns), he goes around the streets of the hamlets, rhythmically shaking his large rattle, the rollen that gives him his name. He visits the houses and brings good fortune with his cumbersome presence in fur and the particular and affected use of his voice which is believed to be that of the ancestors. The Sappada Carnival is also distinguished by the fact that it celebrates the period for a greater length over three Sundays dedicated specifically to the peasants, the poor and the gentry.Text by Gianluigi Secco

La Gnaga - The ritual masks of Fornesighe di Val di Zoldo (BL) - Italy

The 'historical' masquerade at Fornesighe is the only remaining one in the Val Zoldana where the elderly still remember others. The figure of the Matazin, who opens the parade accompanied by a fiery black devil, has been dying out in favour of that of the 'gnaga' who is, therefore, the fruit of a recent tradition even if there is evidence of similar characters in Italy, at least in the eighteenth century. It regards the allegory of the 'Old' who makes way for the 'New', namely the Power that passes on to the new adult generation represented by the Conscript who, as such, acquired the rights and obligations arising out of his new social condition28. In practice, the youth seems to be carried in a pannier by an old woman which, in reality, is tacked on later on the front of the figure. Other typical characters in the parade are the Doctor and the Wet nurse with an infant, the Woman from Ampezzo with the Gentleman, the Godfather and the Godmother and the 'Coco' charged with collecting eggs in the customary colle

Olt da Riva - The ritual masks of Rivamonte Agordino (BL) - Italy

The heart of this masquerade are the wooden faces of the handsome and the ugly, which are common throughout the Dolomites, but here they stem from a unique story: in the early 1900s, in the hamlet of La Spia di Rivamonte, Crispino Selle lived. He carved grotesque, disturbing, and highly realistic faces. These soon became known throughout the Agordino valley, and many people began to go see them.In 1947, a group of young people met in a local carpenter's workshop and decided to continue the tradition, following in Crispino's footsteps, creating less frightening, more colorful, and certainly technically inferior faces to Selle's artistic works. In honor of tradition, the masks were called Olt da Riva, and the young people of Rivamonte began wearing them during the Carnival season.In 2020, this masquerade was officially revived for Carnival, again by the town's young people, with more or less recent masks, but always with a traditionalist spirit.Text by Antonio Gheno

Marascons, Laché e Bufon - The ritual masks of Val di Fassa (TN) - Italy

Traditionally, in the Fassa Valley, "the carnival is unleashed" on January 17th, the feast of Saint Anthony the Abbot. The leading masks of the procession are the Laché, the Bufon, and the Marascons, followed and surrounded by masks or faceres (faces) representing beauty and ugliness, the positive and negative aspects of the collective imagination or the most deeply rooted and specific popular imagination of the area. During the carnival, the Laché lead the way for the Marascons, who, with a skipping step, make three counterclockwise turns for good luck. Meanwhile, the Bufon, who is the only mask allowed to speak, acts as a jester, comically embarrassing those present.The masks/faceres are all strictly wooden, unique pieces, usually carved from Swiss pine and painted with oil paints. Some time ago, only a few mask makers were able to consistently and imaginatively produce Ladin carnival masks, but in recent years, thanks to the willingness and sensitivity of some local sculptors or decorators/artists, the sch

Žinghenésta - The ritual masks of Canale d'Agordo (BL) - Italy

On Shrove Tuesday in the Canale d'Agordo area of the Alto Agordino they celebrated the Zinghenésta (Gipsy), an innovative female character of good omen for abundance who appeared in the middle of the second half of the nineteenth century. The other characters in the procession on the other hand seem to be orthodox and original and are completely similar to types found elsewhere (Matiéi, Laché, Paiazi and Puster). Of interest is the final part of the rite when some youths, dressed as murderers, carried out robberies and sacked the houses, but at the end they were released and allowed to keep what they stole. It is highly probable that these would be conscripts whose freedom of action corresponded to a form of recognition that they were the new power force in the community. Also present and well described are masks of the ugly type whose behaviour is similar to those of the Pagliacci and included the Puster, the Spazzacamin and the Ber who beat cowbells and sticks rhythmically to 'call the grass'. Then in the a

Matacink e Laké from Laste and Matazin from sottoguda - The ritual masks of Rocca Pietore (BL)

The Matacink in this area differ substantially because of the form of the tall hat that also identifies the natural area they belong to.The Matacink from Laste travel in pairs with their own Laké who do not wear tall hats and who are also responsible for collecting and offering grappa to those visited. Pairs of characters are formed for every hamlet. The Matacink were able to ask the parents of the girls to let them go to the ball under their own responsibility and in this case refusal was not allowed. The Matazin from Sottoguda also had a retinue of Sfrofignatori (soot throwers) or similar characters who contaminated anyone found outside or in the houses during visits with black, and they were accompanied by a chief mask character who presided over and commanded the dances.Text by Gianluigi Secco

Matazin e Laché - The ritual masks of Selva di Cadore (BL) - Italy

The great masquerades are also remembered in Val Fiorentina and direct recollections of the local Mata have been obtained from old people. Of significance, however, is an old photograph that encapsulates the soul of all the characters mentioned and where we can also see the use of a hat-veil instead of a black or white mask.Text by Gianluigi Secco

Matazin, Laché e Matazère - The ritual masks of Comelico Superiore (BL) - Italy

The group of archaic masks is guided by Matazin and Laché who are equal characters with gaudy (regal) clothes, rich in bright veils and coloured ribbons. They wear a high tube made annually, richly adorned with precious stones, pearls, mirrors and gold which were once collected from the families to whom they were returned at the end of the holiday. They carry the sceptre of their authority in one hand and sweets for the bystanders in the other. They wear sweet-sounding rattles and must stay in motion by walking or dancing together. They leap face to face during the dance and this pairing is their most significant action. The Matazins are accompanied by Clowns who soil the bystanders with ashes and control them with a staff.During the ball in the square, the 'Mata' dance with women among the public as a good omen for fertility and sometimes accept the invitation of some man who yearns even more for luck. The group of old characters travel separately from the rest of the procession with the group of musicians w

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

KNOWLEDGE AND WEAVING TECHNIQUES OF THE AYACUCHO TAPESTRY

The tapestry tradition of Ayacucho is one of the most ancient and sophisticated in the Americas. The Wari (600–1100 CE) were the strongest pre-Inca society and first true state in Peru. From their base in Ayacucho, they were renowned for their complex tapestries and standardized weaving throughout their domain.The history of Andean textiles dates back more than 4,000 years. Long before the rise of the Inca civilization, ancient cultures in the Andes had already developed sophisticated weaving traditions.Ayacucho is noted for its tapestries characterized by a creative combination of pre-Hispanic and contemporary Western influences. Inspired by the recovery of ancient technology and Wari cultural themes.

Cultural Heritage of Catacaos: The Straw Hat, a Living Tradition that Weaves the Identity of Northern Peru

The woven straw hat from Catacaos, a district located in the Piura region in northern Peru, is one of the most outstanding expressions of Peru’s intangible cultural heritage. Its craftsmanship, passed down from generation to generation within Catacaos families, represents a highly specialized technical knowledge that no industrial process has been able to replicate faithfully. Fine weaving, the most complex form of this tradition, can require weeks of continuous work to produce a single piece, highlighting the value of the human time invested in its creation.The history of this hat is deeply rooted in the collective identity of Catacaos. Since the early years of the Spanish Conquest, the community gradually developed a hat-making culture that eventually became the backbone of local commerce. Family workshops, although independent from one another, formed a production and marketing network that shaped the social and economic life of the town. This tradition allowed Catacaos to extend its presence beyond region

Bëtsknaté, known as The Great Day or Carnival of Forgiveness

For the Kamëntsá people, Bëtsknaté is the Great Day, a moment in which the most significant expressions of their tradition converge and through which they are collectively identified. The celebration begins with preparatory practices such as Uacjnayte (offerings to the deceased), Uastajuayan (the placement of food as offerings for the deceased), and Uatsembon (the oral offering of food to the deceased). These practices culminate on the day of the celebration, held annually on the Monday preceding Ash Wednesday, and are carried out in remembrance of the teachings transmitted by ancestors, relatives, elders, friends and community members.Bëtsknaté is celebrated once a year as a moment of collective memory and intergenerational transmission, reaffirming the continuity of knowledge, values and social practices inherited from the ancestors. It constitutes a central mechanism through which the Kamëntsá people maintain the vitality and viability of their Intangible Cultural Heritage.This traditional celebration bri

The Breath of Tradition: Digital Preservation and Social Transmission of the Bulgarian Gaida

The focus of this candidacy is the Bulgarian bagpipe tradition, specifically the "gaida" – a traditional woodwind instrument that has been a cornerstone of Bulgarian identity for centuries. This element belongs to the domain of "performing arts" and "traditional craftsmanship," as it encompasses not only the mastery of performance but also the specialized knowledge of constructing the instrument and maintaining its authentic repertoire.In Bulgaria, the gaida is more than a musical instrument; it is a symbol of communal life, present in every ritual, celebration, and social gathering. The specific focus of my work is the Strandja bagpipe style, known for its deep, melodic ornamentation and its unique role in the preservation of the folklore of Southeastern Bulgaria.It is important to note that "Bagpipe playing and musical knowledge in Bulgaria" was officially inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in December 2025. This heritage is characterized by a complex

The ‘Diablicos de Túcume’ dance, a Cultural Heritage of Peru

The “Diablicos de Túcume” dance is a living expression of Peru's Intangible Cultural Heritage, representing the history, faith, and identity of its people. My work as a dancer, General Foreman, and master mask maker has focused on safeguarding this tradition through free instruction for children and young people, the transmission of ancestral knowledge, and the creation of masks using traditional tinsmithing techniques.The images presented reflect years of continuous work in the community: workshops, learning processes, the participation of new generations, and cultural activities that keep this expression alive.This effort stems from a deep conviction: that heritage is protected by teaching it, sharing it, and making it part of people's lives.Over time, this work has allowed us to train new generations who continue the cultural practice today, some even leading their own groups. Currently, I continue to develop free workshops, especially in the most remote rural areas, so that more children and young people

MANTA BLANCA PATRIMONIO CULTURAL DE LA NACION

La Manta Blanca de Tambogán ha sido considerada Patrimonio Cultural de la Nación debido a su significativo valor histórico, cultural y social, constituyéndose en una expresión representativa de la identidad de las comunidades del distrito de Tambogán, en la región Huánuco.Esta manifestación textil destaca por la preservación de técnicas tradicionales de tejido en telar de cintura, transmitidas de generación en generación, las cuales reflejan conocimientos ancestrales vinculados al uso de fibras, procesos de hilado, teñido natural y confección artesanal. Dichos saberes constituyen un legado cultural vivo que fortalece la continuidad de las prácticas tradicionales en el tiempo.De igual manera, la declaratoria se alinea con los principios de la Convención para la Salvaguardia del Patrimonio Cultural Inmaterial de la UNESCO, ratificada por el Estado peruano, que establece la obligación de los Estados de adoptar medidas para garantizar la identificación, documentación, investigación, preservación, promoción y tran

Salvaguardia de las Mantas Blancas de Huánuco: Técnicas Ancestrales de Tejido a Mano"

"La elaboración de la Manta Blanca es una técnica textil tradicional de la región Huánuco, Perú, reconocida como Patrimonio Cultural de la Nación. Se caracteriza por el uso de algodón natural, hilado a mano y el empleo de diseños iconográficos que representan la cosmovisión local".

Revival of Songs of Charyapada by the Spiritual Devotees

The Revival of Songs of Charyāpada by the Spiritual Devotees refers to a community-based safeguarding initiative that re-establishes the performative tradition of the Charyāpada—one of the earliest extant corpora of Bengali language, esoteric poetry, and spiritual music dating from approximately the 7th to 12th centuries CE. Historically composed by Tantric Buddhist siddhācāryas, these songs embody symbolic, experiential, and philosophical knowledge expressed through coded poetic language.While the Charyāpada survived in manuscript form, its embodied musical and performative practice had long disappeared from the Bengali cultural landscape. The present revival, led by the Vabnagar Foundation in collaboration with Baul-Fakir spiritual practitioners (bhāva-sādhakas), reactivates this tradition as a living cultural expression. The initiative integrates ethnographic field research, study of medieval musicological treatises, and reconstruction of rāga–rāginī frameworks to restore performance practices.Central to t

Mongolian Traditional Art of Khöömii

‘Khöömii’, literally meaning pharynx, refers to the vocal technique in which one person intentionally superimposes multiple and simultaneous sounds with his/her voice, where appear two distinct partials: a harmonic melody ‘overtones’ over a fundamental tone ‘drone’, accompanied by many resonances.Practiced by the Mongolian and Turkic peoples throughout the area of Altai mountain chain (at national level in Mongolia; the regions of Altai Republic, Khakassia and Tuva in Russia, as well as the north of Xinjiang and Inner Mongolia in China), khöömii is an ancestral vocal technique. Its origins are difficult to date precisely. Legends say that khöömii comes from the imitation of the sound of the wind, the water, and birds singing. It is practiced by men in most cases, but also by women since two generations. A living and dynamic tradition, khöömii is a rich and multifaceted cultural heritage of the Mongols.Regarding the technical aspect of khöömii, emitted from the vocal drone, the overtones are produced by a simu

Temple of Monarch

Title of Intangible Cultural HeritageLiving Cultural Values and Practices of Reverence for Compassionate Leadership — Temple of Monarch (Bhutan)Short DescriptionThe Temple of Monarch embodies a unique living cultural heritage where reverence, gratitude, unity, compassion, humility, and service are practiced daily as active cultural expressions. It reflects Bhutan’s living tradition of honoring leadership that serves with integrity and devotion, and transforms these values into ongoing, participatory practices that connect communities, generations, and global audiences.Detailed DescriptionThe Temple of Monarch preserves and transmits Bhutan’s intangible cultural heritage by safeguarding living cultural expressions that articulate a deep emotional bond between the people and their compassionate leadership. Unlike traditional monuments or archival preservation, the heritage safeguarded here is lived, shared, and reflected in daily practices, storytelling, visual expressions, and communal participation.This herit

Cuadros Vivos (Living Pictures): Memory of Not Forgetting — Hybrid Community Inventory (Digital + Physical) with Traditional Knowledge (TK) Labels

Cuadros Vivos (Living Pictures): Memory of Not Forgetting is a long-term, community-based safeguarding system of intangible cultural heritage, developed continuously since 2016 in Galeras, Sucre (Colombia). It emerges from a sustained territorial research–creation process rooted in embodied memory, oral transmission, ritual practices, collective creation, and intergenerational knowledge systems, where heritage is lived, enacted, and transmitted through daily community life rather than institutional extraction.The process is conceived as a living heritage safeguarding architecture, where the body functions as a living archive, the territory as a cultural memory space, and community practices as systems of transmission. Memory, symbolic creation, rituality, and collective embodiment operate as mechanisms of continuity, cultural identity formation, and social cohesion, transforming lived experience into collective cultural meaning and supporting long-term peacebuilding processes in a post-conflict territorial co

IMILIKUT/IMENURU: WAYANA AND APARAI GRAPHIC ART

The graphic art of the Wayana and Aparai, indigenous peoples of northern Pará, is a traditional cultural expression marked by great material, symbolic and conceptual diversity. Their graphics, created according to their own concepts, reflect a dynamic system of knowledge transmitted orally and through daily practices. As a collective heritage, governed by specific social and political norms, this art presents historical continuity and constant recreation, adapting to cultural transformations through creative processes of updating and resignification, which guarantees its contemporaneity and identity relevance.Like all cultural elements, the graphic art of the Wayana and Aparai is subject to internal and external influences, which alter its formal and conceptual aspects. These changes are also reflected in social practices that can currently affect the contexts of production and, above all, the transmission of this art to the younger generation. On the other hand, it is worth noting that the graphic systems of

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

Clube Carnavalesco Misto Seu Malaquias

Clube Carnavalesco Misto Seu Malaquias1. Identificação do Elemento CulturalNome do PCI: Clube Carnavalesco Misto Seu MalaquiasDomínio(s) do PCI:Tradições e expressões orais (narrativas, cantigas).Artes performáticas (frevo, dança, música).Técnicas artesanais tradicionais (confecção de bonecos gigantes).Práticas sociais e rituais (carnaval, culto a Xangô).2. Descrição Detalhadaa) Manifestações Culturais:Frevo: Dança e música tradicional pernambucana, com ritmo acelerado e passos acrobáticos, acompanhada por instrumentos de sopro e percussão.Bonecos Gigantes: Figuras artesanais de até 4 metros de altura, confeccionadas com estruturas de bambu, tecidos e papelão, representando personagens históricos, folclóricos ou satíricos. Desfilam no carnaval de rua, interagindo com o público.b) Elementos Integrados:Afro-brasileiridade: Referências ao culto a Xangô e símbolos de terreiros de candomblé incorporados às alegorias e narrativas.Artesanato: Técnicas tradicionais de escultura em papel machê e costura, transmitidas

Kusiwa Art: Body Painting and Graphic Art of the Wajãpi People of Amapá in Brazil

This is a system of representation—a graphic language of the Wajãpi people of Amapá—that synthesizes their way of understanding, conceiving, and acting upon the universe. The kusiwa graphic system operates as a catalyst for the expression of knowledge and practices that encompass social relationships, religious beliefs, technologies, and aesthetic and moral values. The exceptional value of this form of expression lies in its ability to condense, transmit, and renew—all through the creativity of the artists and storytellers—every unique and element of the Wajãpi way of thinking and being in the world. The kusiwa language is a form of expression that complements the knowledge passed down orally from one generation to the next and shared among all members of the group. This knowledge is mainly found in oral narratives that this Indigenous group—now consisting of about 580 individuals—continues to pass on to their children. These stories explain how colors emerged, how the patterns in the designs came to be, and

The Oral Tradition as Cultural Heritage from Kumbasa Village

The oral traditions in Kumbasa Village represent a valuable aspect of Indonesia’s cultural heritage, passed down from generation to generation. As a cultural practice, oral tradition is an integral part of the community and continues to live alongside its people. The values embedded within oral traditions—religious, moral, and cultural—serve as guiding principles in daily social life.In Kumbasa Village, oral tradition is closely linked to customary rituals. During these rituals—such as balia, mompaura, novatiaka, novunja, and others—oral narratives are recited as an essential component. In the past, oral traditions were not limited to traditional ceremonies but were also performed during communal celebrations such as weddings, thanksgiving events, and more. However, with the dynamic changes in modern society, these traditions are now predominantly preserved within the context of customary rituals.Customary rituals and oral traditions are deeply interconnected. Although oral traditions in Kumbasa are primarily

Artsakh Beckons: Preservation of Nagorno-Karabakh Folk Music

"Artsakh Beckons" is an urgent cultural preservation initiative launched by Naregatsi Art Institute (NAI) following the September 2023 exodus of ethnic Armenians from Nagorno-Karabakh. The project addresses the imminent threat to the region's unique musical heritage, characterized by its distinctive local dialect and traditional folk songs that form a cornerstone of cultural identity for displaced communities.This comprehensive preservation effort focuses on documenting, archiving, and transmitting the endangered folk music traditions that represent one of the brightest cultural expressions of Nagorno-Karabakh Armenians. The project is particularly critical as these musical traditions weren't previously documented in Armenia's major cultural institutions, including the Komitas State Conservatory and the Art Institute of the Academy of Sciences.Working directly with displaced musicians and cultural bearers, NAI employs professional ethnomusicological methods to create high-quality audio-visual recordings, musi

Las Tejedoras de Mampujan: A story of resilience

The Tejedoras de Mampuján (Weavers of Mampuján) emerged in the early 2000s as a collective of Afro-Colombian women survivors from the rural community of Mampuján, located in the Montes de María region of northern Colombia. On March 10, 2000, over 200 families were forcibly displaced following a brutal paramilitary incursion, marking a profound rupture in the community’s social fabric.In the aftermath, these women transformed their trauma into a process of collective healing and cultural preservation. By 2004, they began utilizing the ancestral art of sewing as a means to transmit oral histories, cultural values, and communal memories. Through participatory workshops and intergenerational training, they established a pedagogical model that integrates traditional sewing techniques with storytelling, fostering resilience and empowerment within the community. The group’s efforts have not only safeguarded intangible cultural heritage but have also gained national and international recognition. In 2015, they were a

Safeguarding Afro-Pacific Intangible Cultural Heritage in Colombia: A Community-Led Model by Marimbea

- Marimba de chonta music and traditional chants (Bunde, Bambuco Viejo, Alabados, Juga, Rumba, Agua, among others)- Rituals and dance forms linked to music- Oral traditions (décima, storytelling)- Culinary knowledge (viche, traditional recepies)- Instrument-making and crafts (marimba de chonta, guasás, cununos, bombos)Marimbea’s approach centers cultural identity as a vehicle for dignity, peacebuilding, and economic inclusion. Its work connects intergenerational wisdom with innovative practices, supporting communities to safeguard their heritage while creating opportunities for sustainable development. Over the past decade, Marimbea has led more than 120 immersive cultural experiences in Colombia and eight other countries, reaching over 1,000 participants and directly benefiting over 400 people in rural and urban Afro-Colombian communities. These experiences include community-led cultural tourism circuits, educational workshops, interactive concerts, artistic residencies, virtual festivals, performances, and

Colombian Intangible Cultural Heritage “WORDS FROM OUR LAND: WEAVING THOUGHT AND MEMORY FROM OUR ROOTS”

“Words from Our Land” is a project that has been continuously developed since 2013, with over 10 years of uninterrupted work. Its main goal is to create educational, research, and social-cultural participation spaces around the Intangible Cultural Heritage (ICH) of Colombian communities. It also aims to revitalize native languages and bring visibility to the ancestral knowledge of Indigenous, Afro-Colombian, and Roma peoples, addressing the loss and degradation of these unique cultural elements that have historically been marginalized.Throughout its evolution, the project has included workshops, community work, conferences, research processes, promotion of oral traditions, food sovereignty practices, and territorial care, establishing an intercultural and transformative intervention model. Its most recent edition was held in September 2024.Key Achievements:Conferences and events around ICH: Numerous educational events with national and international guests have been held, promoting the exchange of ancestral k

Colombian Intangible Cultural Heritage and Peace: Museum Bodies for Empathy

This inventory documents a journey through Colombia’s most remote territories and silenced communities, exploring the role of intangible cultural heritage (ICH) in fostering peace, collective memory, and social cohesion. The project engages diverse cultural expressions, including bodily movement, music, Cuadros Vivos (Living Pictures), weaving, and traditional games, as tools for mutual understanding, empathy, and reconciliation.By facilitating cultural exchanges between territories and communities, the initiative nurtures awareness of Colombia’s rich cultural mosaic. Through the transmission of songs, movements, stories, and emotions, participants co-create collective narratives, shaping a polyphonic chorus that reimagines and transforms history.The creative process unfolds in three key stages: Exploring Embodied Memories – Recognizing the body as a living archive of personal and collective experiences.Mapping Social Connections – Identifying shared gestures and interactions that reflect cultural heritage an

JAMU WELLNESS CULTURE

Inscribed in 2023 (https://ich.unesco.org/en/18com) on the Representative List of Intangible Cultural Heritage, Jamu is a wellness culture in the form of herbal medicine and traditional treatment heritage of the Indonesian people. Jamu culture has existed in Indonesia/Nusantara since the 8th Century CE. This is proven from relief carvings on Borobudur Temple (8TH Century) and ancient manuscripts (eg. Ramayana Kekawin, sarga 1-9, pada 989 (910 CE), Serat Centini 1814 M, and palm leaf manuscripts. Jamu is not the same as ordinary medicine, being for health, beauty, happiness, Jamu increases the body's immunity, maintains health and helps treat diseases, according to a heritage system.The geographical location of jamu wellness culture encompasses the whole of Indonesia. Concentrations of jamu wellness culture are found in the provinces of Central Java, Yogyakarta Special Province and East Java. Jamu makers from Java have spread all over Indonesia. Traditional medicines are found in various regions in Indonesia w

Ła Comedia Veneta - The Venetian Comedy

The Venetian Comedy as a cultural means of expression, entertainment, learning and socialization done in the Venetian language as a vehicle and an essential element of the plays.Dating back to the XV century, with high-ranking periods, it is currently a vast phenomenon in Venetian-speaking communities in the Veneto region and where venetophone stable, ample and long-standing communities are present abroad for historical reasons (mainly: Slovenia, Croatia, Brasil).It is studied by Academias (as a performing art and as to the language and culture) and currently very active thanks to hundreds of acting companies, both professional and amateur, with dozens of playwirghts.

Korean bamboo screen/blind making: jukryeom/yeomjang

To separate and create interior and outside spaces, for privacy, to create cooling shade from the sun in the hot weather that retained breeze, for ritual and state use, and a myriad of other uses, Koreans made bamboo blinds or screens. Three-to-four-year-old bamboo (wangdae) is harvested by hand in climates and ecosystems that grow the strongest and most dense plants, and then processed in many steps to harvest the outer grain of each cylinder and splice them thin. The finest screens are made from splints drawn through metal drawplates, and woven with weights and, traditionally, silk thread, on a loom.

Carnaval de Mamatoco

Históricamente, los primeros carnavales en el Caribe se remontan al siglo XVI en la zona de Mamatoco, Santa Marta, donde convergieron colonizadores, indígenas y más tarde poblaciones afrodescendientes. Esta mezcla cultural tomó forma bajo la influencia de la Iglesia Católica, evidenciada por la construcción de la primera iglesia de Hispanoamérica en Mamatoco. Sin embargo, con el tiempo, esto llevó gradualmente a que la expresión carnavalesca se ocultara dentro del ritual religioso. Mamatoco es quizás el único lugar en el mundo donde se celebran vibrantes precarnavales, aunque paradójicamente su carnaval permanece oculto, representando el origen de los carnavales caribeños en Colombia y la identidad de las mujeres y hombres caribeños.Este fenómeno agrega una capa adicional de complejidad y autenticidad a las celebraciones populares y comunitarias en toda la cuenca del Caribe, enfatizando la riqueza cultural y la singularidad de las expresiones carnavalescas hispanoamericanas, que tienen una amplia relación con

Festive Cycle around the devotion and cult of Saint John the Baptist

It is an element of the Intangible Cultural Heritage deeply rooted in more than 150 communities in the northern and central coastal region of the country, in most cases located in front of the Caribbean Sea, at the foot of the Coastal Mountains. These communities are located mainly in the states of Aragua, Carabobo, Miranda, Vargas (current state of La Guaira) and Yaracuy, and include different localities, both rural and urban, of Afro-descendant origin.

Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf

Inscribed in 2011 (6.COM) on the List of Intangible Cultural Heritage in Need of Urgent SafeguardingIranian Lenj vessels are traditionally hand-built and are used by inhabitants of the northern coast of the Persian Gulf for sea journeys, trading, fishing and pearl diving. The traditional knowledge surrounding Lenjes includes oral literature, performing arts and festivals, in addition to the sailing and navigation techniques and terminology and weather forecasting that are closely associated with sailing, and the skills of wooden boat-building itself. The navigational knowledge used to sail Lenjes was traditionally passed on from father to son. Iranian navigators could locate the ship according to the positions of the sun, moon and stars; they used special formulae to calculate latitudes and longitudes, as well as water depth. Each wind was given a name, which along with the colour of water or the height of waves was used to help forecast the weather. Specific music and rhythms also constituted inseparable par

Qālišuyān rituals of Mašhad-e Ardehāl in Kāšān

Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of HumanityQālišuyān rituals are practised in Iran to honour the memory of Soltān Ali, a holy figure among the people of Kāšān and Fin. According to legend, he was martyred, and his body found and carried in a carpet to a stream, where it was washed and buried by the people of Fin and Xāve. Today, Soltān Ali mausoleum is the site of a ritual where a carpet is washed in the holy stream by a huge gathering. It takes place on the nearest Friday to the seventeenth day of the month of Mehr, according to the solar-agricultural calendar. In the morning, people of Xāve gather at the mausoleum to sprinkle rosewater on the carpet. Having completed the wrapping rituals, they deliver it to the people of Fin outside, who rinse the carpet in running water, and sprinkle rosewater drops with neatly cut and beautifully decorated wooden sticks. The carpet is then returned to the mausoleum. People of Kāšān contribute a prayer-carpet and the

Naqqāli, Iranian dramatic story-telling

Inscribed in 2011 (6.COM) on the List of Intangible Cultural Heritage in Need of Urgent SafeguardingNaqqāli is the oldest form of dramatic performance in the Islamic Republic of Iran and has long played an important role in society, from the courts to the villages. The performer – the Naqqāl – recounts stories in verse or prose accompanied by gestures and movements, and sometimes instrumental music and painted scrolls. Naqqāls function both as entertainers and as bearers of Persian literature and culture, and need to be acquainted with local cultural expressions, languages and dialects, and traditional music. Naqqāli requires considerable talent, a retentive memory and the ability to improvise with skill to captivate an audience. The Naqqāls wear simple costumes, but may also don ancient helmets or armoured jackets during performances to help recreate battle scenes. Female Naqqāls perform before mixed audiences. Until recently, Naqqāls were deemed the most important guardians of folk-tales, ethnic epics and I

Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz

Inscribed in 2016 (11.COM) on the Representative List of the Intangible Cultural Heritage of HumanityNew Year is often a time when people wish for prosperity and new beginnings. March 21 marks the start of the year in Afghanistan, Azerbaijan, India, Iran (Islamic Republic of), Iraq, Kazakhstan, Kyrgyzstan, Pakistan, Tajikistan, Turkey, Turkmenistan and Uzbekistan. It is referred to as Nauryz, Navruz, Nawrouz, Nevruz, Nooruz, Novruz, Nowrouz or Nowruz meaning ‘new day’ when a variety of rituals, ceremonies and other cultural events take place for a period of about two weeks. An important tradition practised during this time is the gathering around ‘the Table’, decorated with objects that symbolize purity, brightness, livelihood and wealth, to enjoy a special meal with loved ones. New clothes are worn and visits made to relatives, particularly the elderly and neighbours. Gifts are exchanged, especially for children, featuring objects made by artisans. There are also street performances of music and dance, publi

The Eel Coast Cultural Heritage

The Eel Coast Cultural Heritage refers to the more than 3000 years old eel fishing tradition in the Southeastern Sweden. At least since the Scandinavian Bronze Age, eel has been fished for its meat and richness of healthy proteins, Omega 3 and D-vitamines. The traditions along the so called Eel Coast between Åhus and Kivik on the East coast of the landscape Scania, Sweden, are collected by the Eel Coast Cultural Heritage NGO and consist of knowlegde of tools, nets, boats, boat houses, craftmanship, mending of nets and tools, the currents and sea, songs, cooking, oral storytelling.

Jiseung

Jiseung, or Korean paper basketry, is an indigenous art form practiced in Korea for centuries and is sometimes referred to as noyeokgae. It involves twisting and twining lengths of hanji (Korean paper) into objects needed in households. Beyond using long lengths of corded hanji for rope, which were turned into mesh bags and undergarments, hanji twists were woven into vessels, mats, tea tables, pillowcases, shoes, quivers, brush holders, baskets, wallets, backpacks, purses, lanterns, chamber pots, bowls, and teapots.

Tornohan

“In some places, exchange-labor relationships may not be structured as a network (with fuzzy boundaries) but may be quite elaborately organized, as is the case in Luisiana, Laguna (Duhaylungsod, 1981 in Olofson, 1983, p. 169). Here the arrangement is called tornohan, and a group of farmers democratically elect a facilitator (kabisilya), (whose) office rotates among them. They have a set term of agreement for a period of work, meet on the same two days of every week, always hold a festivity at the end of every turn and rotation, and have regular meetings to analyze problems encountered in the work and to decide on the remaining schedule. Besides the expansion and cultivation of upland and wet-rice parcels, the tornohan involves work in coconut plantations and in making fishponds in damming streams” (Olofson, 1983, p. 169).  Text submitted by Raizel Albano, Founder and Director of Anthro on Foot Audio Walking Tours

Harmonic Swiddens

“Harmonic swiddens (are) precursors to indigenous agroforestry” (Olofson, 1983, p. 154). “Swiddens—clearings made in the forest by shifting cultivators—may be of two types, depending on the cultural traditions of the farmer. Harmonic swiddens are simultaneous polycultures that have the characteristics listed above for AFS*. Disharmonic swiddens may have evolved from harmonic ones, with the farmer learning to specialize to the point of monoculture or near-monoculture, with one species such as sweet potato, upland rice, or corn dominating in the field… The harmonic swidden is much more capable than the disharmonic of regenerating into natural forest during the fallow period” (ibid.). “The Tiruray of Mindanao have been described as having another kind of what I call resonance between the forest and the cultivated areas. This involves a virtual exchange of planting materials between the two sites. Four bamboo species, the fruit trees Averrhoa carambola, narra, and Gendarussa vulgaris are taken from the forest and

Primus Occupantis

“The general pattern in the establishment of rights to land in the Cordillera is primus occupantis (i.e., the first to occupy the land by clearing and using it). Titles are embedded in rituals and are orally transmitted. The various groups have different land-use systems and different kinds of rights attached to land—for foraging, swiddening, wet-rice agriculture, mining, and grazing cattle and water buffalo. It is not uncommon for some ethnic groups to have multiple land-use systems, each governed by different rules” (Prill-Brett, 1994, p. 689).  Text submitted by Raizel Albano, Founder and Director of Anthro on Foot Audio Walking Tours

Subsistence (or Kinship) Mode of Production

“Indigenous communities are generally subsistence production societies… Because forests are a highly diversified environment, they provide opportunities for a variety of productive activities such as forest resource extraction, horticulture, hunting and fishing. Traditionally, the exploitation of the natural environment is carried out on a small scale because the fundamental goal is simple production to maintain the household and not production of surplus for the market. By its nature, this mode of production tends not to over-exploit the available resources. Such a level of resource exploitation does more to assure long-term sustainability of production, although it is considered underproductive from the standpoint of formal economics” (Duhaylungsod, 1998; Duhaylungsod & Hyndman, 1995 in Duhaylungsod, 2001, p. 612).“This subsistence mode of production of indigenous peoples is largely based on an ideology of reciprocal exchange. As in access to land use, the entire production system of indigenous peoples is s

Baybayin

Baybayin is one of the Philippines’ most widely used ancient scripts, as used in the Laguna Copperplate (shown in the photo) codifying the payment of a certain debt.Stemming from the Tagalog word “baybay,” meaning “to spell,” archaeological and historical records suggest that the Baybayin was used between the 14th to 16th centuries, coinciding with the Filipinos’ active trade with their Malaysian and Indonesian neighbors, who were then using the Kawi script. The emergence of the Baybayin and Kawi scripts testify to maritime Southeast Asia’s interactions with Indian traders as both scripts appear to descend from the Brahmic or Indic script, a script widely used in India during the reign of Emperor Ashoka.As of this writing, only four indigenous groups are known to be using this script (Brookes, 2021; Griffiths, 2018; Hartmann, 1986; Kuipers & Bhaskararao, 2003; Postma, 1992; Wade, 1993).      Text by Raizel Albano, Founder and Director of Anthro on Foot Audio Walking Tours

Mayvanuvanua

“The term mataw refers to the method of hook-and-line fishing for dorado (Coryphaena hippurus) and to the fisher using this method” (Mangahas, 2008, p. 380).“Traditionally in Batanes the mataw method of fishing has a collective aspect: before the fishing season begins fishers must first get together to “make the port” (Mayvanuvanua). Presently there are only four mataw ports or vanua in Batan Island: Chanpa-n, Manichit, Maratay, and Diora, located on the Valugan (roughly the east) side of Batan Island” (ibid.). “By making the vanua (Mayvanuvanua), the mataw transform the vanua, which is a natural geological feature of the landscape, into a sacred and sensitive place” (ibid., p. 380-382). Text submitted by Raizel Albano, Founder and Director of Anthro on Foot Audio Walking Tours

Payuhwan

“The general term for cooperative work among the Ivatan is payuhwan, wherein the group extends or rotates the cooperative work to its members. The sound of the vudyadong or Triton’s trumpet shell signals the start and end of the cooperative work and the time to rest among the payuhwan” (Tabios, 2020). “In case one member cannot attend the payuhwan on the scheduled date, the member must send a representative or substitute” (ibid.), reflecting the community's deeply rooted regard for harmony and unity. Text submitted by Raizel Albano, Founder and Director of Anthro on Foot Audio Walking Tours

Solbeg

The Kankana-eys, an indigenous group from the northern Philippines, resort to a sharing system called solbeg.As the baknang (a member of a wealthy household) entrusts one cattle head to his/her caretaker, the latter ensures that the cattle head produces three offspring: two of which, along with the original head, are given back to the baknang, while the remaining head is to be kept by the caretaker.Through the solbeg sharing system, the baknang and the caretaker share in the responsibility of growing more cattle (Bagamaspad and Pawid 1985), benefitting their respective families and the community.  Text by Raizel Albano, Founder and Director of Anthro on Foot Audio Walking Tours

Tongtong

The tongtong is the primary justice system used by indigenous communities in the Cordillera Administrative Region in the Philippines for conflict resolution. With customary laws serving as its basis, the tongtongan (or the “council of elders”) serves as judges, mediators, and counselors.As outlined by Rice (1974), the tongtongan follows these basic principles: (1) Judgment is immediate, final, and executory; (2) All hearings are held in public; (3) Restoration is immediate and accomplished through a celebration involving the entire community; (4) The kin of the guilty party is involved in the payment of fines, while the kin of the offended party is the recipient of a portion of the fine; and, (5) Pig, which is a portion of the fine, is butchered for the celebration.After settlement, a member of the tongtongan pours water on both parties’ hands to symbolize the cleansing of past hurts. They also drink tapey/tapuey/tapuy, a traditional rice wine, from the same glass, to embody friendship and camaraderie from he

Cañao

“Cañao is a festival or ceremony, a liturgy or service, a rite or ritual and offering. It is a celebration for productive economic activities where animals are offered in thanksgiving known as Iya-ey (the term used among the Kankana-eys). Th(i)s is also done during marriages, healing, birth, burial, and voyage where prayer plays a significant role. They invoke spirits with offerings of animals, food, and other material things prescribed by (local) priests” (Igorot Cordillera BIMAAK Europe, 2013).“Dancing is also part of Cañao. There is this two-person dance of a man and a woman. The man hangs blankets woven in an indigenous pattern or design over each shoulder while the woman wraps a single similar blanket around her waist. The man leads the woman, and they dance in a circular motion with a hop-skip tempo to the beat of sticks and gongs. The dancing continues until a member of the audience decides to honor the dancers with a shout, “Ooo wag, Hoy! Hoy,” ending the dancing" (ibid.).Text submitted by Raizel Alba

Mangejing

Mangejing is one of the most significant socio-cultural rituals of the Marapu Indigenous Religion community of Kanatang district, East Sumba, East Nusa Tenggara Province, Indonesia. This ritual used to be undertaken on an annual basis synchronised to the agricultural harvest, but in recent decades has only been performed around once every decade. Mangejing takes place over a period of one week and at a series of set locations which have historic and religious significance in and around a clan village. Although many aspects of the event are undertaken by specialists in oral tradition, music, song and ritual, the entire village and representatives from surrounding clans also take part. Mangejing incorporates a wide range of intangible and tangible cultural expressions including ritual parallel speech, song, music, dance, traditional games, weaving, carving, goldsmithing and the performative aspects of ritual. Marapu ritual specialist Umbu Timbu Wohangara explains the purpose of the ritual: “There are several re

Angkuoch (Cambodian Jew's Harp)

Although the musical instrument popularly known as the “Jew’s Harp” is found in many countries around the world, the Cambodian version is unique. Called Angkuoch, it is a precious part of Cambodia’s living cultural heritage.Nowadays, Angkuoch and its associated practices require urgent safeguarding actions. Due to social and cultural shifts in Cambodia over the last half-century, including the devastation of the Khmer Rouge era in the 1970s, only a handful of people still know how to make and play Angkuoch. In Cambodia, Angkuoch is (or has been) found in several provinces both among the majority Khmer people and some ethnic minorities.Angkuoch was once a popular local pastime in village communities. Traditional social functions for playing Angkuoch include as a rural pastime, young men, and to accompany simple folk songs. Players and makers of Angkuoch are typically men, though there appear to be no cultural restrictions on women playing or making the instruments.There are at least three types of Cambodian An

Etëtung (Vanuatu Women's Water Music)

Etëtung, known in English as Vanuatu Women’s Water Music, is a sonically and visually striking performance tradition that is found in several communities in the Pacific Island nation of Vanuatu. Standing in a circle or semi-circle in waist-deep water, the women rhythmically slap the surface of the water using a variety of hand techniques that create a diversity of sounds. These sounds reflect those in the natural local environment – the call of a particular species of bird, for example, an oncoming cyclone, or waves over the reef at low tide. Contemporary Etëtung performances often comprise a handful of “pieces” each lasting a minute or two (though this depends on performance context and function). Typically, each piece features a distinct rhythm (or set of rhythms) accompanied by a simple chanted or intoned melodic phrase. One community whose practice of Etëtung as become particularly renowned is that of Leweton village, on the island of Espiritu Santo. Since the founding in 2008 of the cultural tourism ente

Kimchi / Kimjang

Kimchi, a fermented vegetable dish in Korean cuisine, symbolizes the country's identity and heritage, showcasing the importance of cultural preservation. Apart from its rich cultural significance, kimchi is also prized for its nutritional value, abundant in vitamins A and C, and beneficial bacteria from fermentation, promoting gut health. Kimjang, the communal tradition of making and sharing kimchi before winter, fosters community unity and cooperation, reinforcing the significance of food in nurturing social bonds and preserving cultural practices.

Ssireum

Ssireum, Korean traditional wrestling, holds several meanings and importances within Korean culture. It embodies a rich historical legacy, promoting physical strength, discipline, and camaraderie. Beyond its physical aspects, Ssireum symbolizes the preservation of Korean heritage and serves as a medium for fostering a sense of national identity and pride. As a sport deeply rooted in tradition, it promotes sportsmanship, cultural exchange, and a strong sense of community, emphasizing the values of respect and perseverance. Furthermore, Ssireum plays a role in promoting health and well-being, encouraging a balanced lifestyle and the pursuit of physical fitness.

Tango

Tango, originating from the working-class neighborhoods of Buenos Aires and Montevideo in the late 19th century, carries multiple meanings and holds significant importance:Cultural expression: Tango serves as a powerful cultural expression of the Argentine and Uruguayan people, reflecting their history, struggles, and emotions. It embodies the fusion of various cultural elements, including African, European, and indigenous influences, making it a symbol of cultural diversity and identity.Social significance: Tango has historically been a dance of the people, originating in marginalized communities and providing a form of emotional expression and connection. It has served as a way to break social barriers and create a sense of community among people from diverse backgrounds.Artistic form: Tango is not just a dance but also a musical genre, comprising intricate rhythms, melodies, and poetic lyrics. It has become a celebrated art form globally, appreciated for its passionate and evocative expression, both in its

ARIRANG

"Arirang" is one of the best-known traditional folk songs of South Korea, representing a symbolic and cultural hallmark of the country. The song holds deep historical and emotional significance for the Korean people. "Arirang" is used musically to express themes of longing, separation, pain, and hope, resonating with Koreans as an embodiment of their homeland and collective sentiments.The song has also been employed during Korea's independence movement and, post the Korean War, as a symbol of hope for reunification. Consequently, "Arirang" plays a vital role in providing emotional solace and fostering a sense of unity while evoking profound emotions about their homeland and history. Koreans use this song to share their feelings about their homeland, family, love, and aspirations.Furthermore, "Arirang" is considered a significant representation of Korean culture. The song serves to preserve and propagate traditional music and folklore, playing a crucial role in strengthening Korea's cultural identity and intro

HANJI

Korean Hanji, also known as Hanji or Korean traditional paper, is a unique and culturally significant material that has played a central role in Korean history, art, and craftsmanship for centuries. It is made from the inner bark of the paper mulberry tree (Morus alba), which is native to Korea. Hanji is renowned for its exceptional durability, texture, and versatility, and it holds a special place in Korean culture for several reasons.Historical Significance: Hanji has a long and storied history in Korea, dating back over a millennium. The paper-making tradition in Korea predates the invention of printing, and Hanji was used for a wide range of purposes, including writing, painting, calligraphy, and preserving important documents. This historical significance has made it a symbol of Korean heritage.Cultural Heritage: Hanji is deeply intertwined with Korean culture. Its production and use are closely associated with Korean traditions and customs, including the making of traditional clothing (hanbok), umbrella

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

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Making of Rattan Products

Mongolian Traditional Practices of Worshipping the Sacred Sites

Angklung: Indonesian Bamboo Musical Instrument

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Love Ballad of Malaysia: Dondang Sayang

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Tango