Zaouli, cultural heritage of Côte d’Ivoire

Zaouli 1. Summary Zaouli is a folk music and dance performed in the Guro community living in Buaflé and Zuénoula cities, in the western center part of Cote d’Ivoire. More specifically, the Gnan community of Goitafla, the Man community of Manfla and Minigui, and the Wadjè village of Buaflé and Bogopinfla. These communities belong to the southern Mandé ethnic language group. Major related villages include Zrabisseifla, Bléfla, Mangfla, Marminigwi, Tibeita, Dianfla, and Buafla. People from these communities, regardless age or gender difference have a deep relationship with the Zaouli heritage, and have been carrying it throughout their lives since they were very young. The mask dance is practiced not only during joyful ceremonies but also for funerals and rituals. 2. Origins of Zaouli In most african countries, the belief in the existence of two dominant worlds( the physical world and the spiritual or metaphysical world) have a deep influence on people’s everyday life, so on the morals and cultural practises. In fact, there are two types dance: the masked (or hidden) dance and the unmasked (or exposed) dance. The first one concerns the Zaouli of the Guro population in Cote d’Ivoire, which is a dance that used a masked and special wearing technic. There are several masked dances that represents Guro people’s culture such as Djéla, Flaly, Bei Péénin (Bgopinfla village), Pawè (Tibéita village) but Zaouli (Zrabisseifla village) stays the most famous in that part of Cote d’Ivoire. The origins of Zaouli vary form one source to another, but we can summarise them in two types of considerations. The first one is based on a more spirit-oriented legend and the second one on factual creative and cultural act. 2.1 the zaouli legend[1] The myth around the creation of Zaouli gives usan explanation about his of name: Djèla Lou Zahouli which mean Zaouli, Djela’s daughter. In fact the Zaouli dancer who wears the mask is man but representing a feminine figure. Zah was the only daughter of a man. Her magical beauty impressed the whole community to the point that her fame went beyond the borders of her region of origin (Zara bi Sehifla/Gohitafla). The whole region thus seduced by this admirable beauty spoke of Zah appreciatively and permanently. However, one day, after a short illness, Zah suddenly died. This dramatic situation which makes his father (Djèla) unhappy and inconsolable to the point that everywhere he went, he cried for his deceased daughter. She was buried in pain because no one wanted to part with her. But the most painful, was for him to meet other young girls in the village. Like an haunted person, the sight of those girls always brought back memories of Zah. He mourned her everywhere: in the village, at the camp, in the backwater, while hunting, etc. One day, during a hunting trip, he began to cry profusely and was inconsolable. He wept so much that his daughter's (returning) spirit appeared to him in the form of a snake. This consoled him. However, to make him stop crying for good, the snake vomits up seven masks with the effigy of the face of Zah, his deceased daughter. The snake later revealed to him that these masks should be the subject of a dance, the future Djèla Lou Zahouli. This is why he also showed the dance steps. 2.2 Contemporary origins The contempory history of the Guro population places the creation of Zaouli around 1950s by a group of seven friends, among them Sonnin Bi Tah called Wonninla, KOUAHI Bi Vohizié the fisrt Zaouli dancer and leader and KOUAHI Bi Dueh Jean-Piere, the only one still alive[2]. According to Zamble Bi Zamble Gaspard[3], one day, on the occasion of a funeral ceremony in Zirifla (Zuénoula) as usual, these seven friends, plus many other people from Zara Bi Sehifla, went to Zirifla to take an active part in funerals. During these, a mask named Blou (hernia in the Gouro language) will particularly mark them thanks to his legendary performance and his talent. But Blou is a hideous-faced mask that contrasts with the talent he shows. The seven friends therefore decide to found the same dance in their village Zara Bi Séhifla, with the difference that they will change the morphology of the mask by carving it with the effigy of a woman named Klanin (small basin). These masks were three at the start: Zahouli Lou Klanin, Zahouli Lou Monhon, Zaleklou having a hawk and a snake on his head. After carving the first three masks, they will spend a year and six months in the bush to learn the dance steps and the rhythms of the orchestration. It is after this initiation that they will make their first performance in the public square of the village. On the designation of the mask, according to the informant, the Zahouli mask was so named by what is considered the eldest daughter of Djèla. Subsequently, they will complete the first three masks, with four others: Zamblé, Gou, Bognan Lou Zeli and Mami Watta who carries on her head seven snakes being seduced by this water goddess herself. Thus, the implementation and final fixing of the codes of Djèla Lou Zahouli was completed. 3. The Zaouli dance When the mask must occur because all these conditions are met (co-presence of the mask, the orchestra and the public), he goes out, sits down and naturally waits for the orchestra to give him the alert. The orchestra is composed by more than ten musicians who plays five different kind of tambour (flihin blin, Djéhimba, Klaglé, Krinnin krinin, Poho, Tombalo, Flinhin wouhokounzan, etc.) and three flutes called Beli[4]. The lead singer, a member of the orchestra, sings the first song. This song is taken up in chorus first by the other members of the orchestra. When the mask comes, his guide (Zaouli Zouhozanki) first put off the headscarf (locally called pagne) that covers not only the head by all the upper side of the body. The Zaouli dance is based the slipping technic The mask performs extremely fast dance steps and rhythms by the flutes of the orchestra. In fact some sources count it among the most impossible dances in the word[5]. Before its classification as World Heritage, The best of them, which were auditioned by a UNESCO jury, one of the best Zaouli dancer’s foot steps were timed at more than 200 steps per minute[6]. The mask must be original and imaginative while executing the dance steps. He must never do the same things twice at the risk of being discredited. Several dancers can follow one another and compete their talents in front of the public which appreciates. It is a parade of seven different masks that dance in turn. The subject in the songs relates either to proverbs, to the Guro cosmogony or to legends. The Zaouli is a total art combining music and dance, weaving, mask and costume. 4. The mask and his costume From one village to another the pieces of the costumes remain the same but the colors and their textures can change. the costumes rely entirely on the dancer. He wears stockings and sleeves. His head completely hidden by the mask. He wears a raffia skirt and a loincloth attached to the mask covers the upper body. His hands hold fly swatters in an ox tail. The dancer has bells attached to his ankles, below which are also attached raffia fibers. The mask represents a face often surmounted by figures of animals such as snakes, panthers, birds, characters or ram's horns. 4.1 The snake The circular serpent plays a fundamental role in the semanticization of the myth and in the relationship it establishes between the past and the present. The myth of Zaouli informs that it was in the form of a snake that the ghost, the nyama, the double of the young girl appeared to her inconsolable father. This variety of snake is likened to the rainbow. In the mentality of the Gouro, the rainbow is the celestial representation of this serpent. The reminder of the genesis and the strong acts that marked it reappear in this myth where the snake is in full complicity with the young girl (gouro reincarnation of Eve?). However, when appearing, the serpent presents itself in two fundamental aspects: the circular shape; rainbow snake. First, the circular shape naturally recalls the circle. It is this shape that the sculptors take up when carving the mask. In his presentation, the Zahouli always has a smiling face, surrounded by a circular snake which holds in front of him a bird which he does not eat. 4.2 The Bird The revelation of the pigeon as the Zahouli's eternal companion is that the bird's locomotion system allows it to go in all directions and at high altitude. Pigeons travel. They are migratory birds that travel thousands of kilometers sometimes going from one continent to another and crossing oceans. This mask has traveled all over the world, traveling all continents and participating in most festivals where the most representative Negro-African arts have been invited. The Zahouli de Tibéita (Bouaflé) has been released on May 2004 in the United States of America where he participated in the Negro Arts Festival entitled “Memphis in May”. As we can see, the Zahouli actually travels around the world spreading its initial spirit: life. 5. Zaouli in the world’s culture In 2015, The British-Sri Lankan rapper Mathangi "Maya" Arulpragasam known by her stage name M.I.A. included a clip of a Zaouli dancer in her music video for the song "Warrior"[7], released as part of the video Matahdatah Scroll 01: Broader Than A Border. the Zaouli of Manfla was released in November 2017 in South Korea on the occasion of the elevation of Zaouli by UNESCO as an element of world heritage. From that time foreward Ivorian traditional music has been promoted in South Korea through an African dance team named AMENE, which permitted mixed representation of Korean Pop music and Zaouli. It is the K-pop girl group Nature that released In 2022, a music video for their single "Rica Rica", featuring choreography which is heavily inspired by the Zaouli dance[8]. The group was trained by a Djembe master KONATE Ibrahim who plays an important role for the ivoirian culutre in Asia and South Korea. In 2018, the Zaouli dance was presented at the Ohio University World Music & Dance Concert[9] in USA. In addition, a popular video that includes the song "Bungee Jump" by electronic music artists Captain Hook & Astrix utilizes footage of Zaouli dancers[10]. Sources [1].TOUOUI BI IRIE ERNEST Professor at Félix Houphouët- Boigny University <a href="https://www.fratmat.info/article/86132/63/connaissance-du-zahouli-un-moment-d-instruction-sur-le-masque-et-sa-prestation-a-travers-des-cles-d-appreciation. retrieved on March 23 2022"> https://www.fratmat.info/article/86132/63/connaissance-du-zahouli-un-moment-d-instruction-sur-le-masque-et-sa-prestation-a-travers-des-cles-d-appreciation. retrieved on March 23 2022</a> [2]. <A la decouverte de Zaouli>, a report of NCI channel (Nouvelle chaine Ivoirenne), 2020.11.4. nenws of 7:50 pm <a href="https://www.youtube.com/watch?v=kfTn6nhh9_8 watched on March 22nd 2022">https://www.youtube.com/watch?v=kfTn6nhh9_8 watched on March 22nd 2022 </a> [3].Oral source informant for TOUOUI BI IRIE ERNEST Professor at Félix Houphouët- Boigny University. <a href="https://www.fratmat.info/article/86132/63/connaissance-du-zahouli-un-moment-d-instruction-sur-le-masque-et-sa-prestation-a-travers-des-cles-d-appreciation. retrieved on March 23rd 2022)> https://www.fratmat.info/article/86132/63/connaissance-du-zahouli-un-moment-d-instruction-sur-le-masque-et-sa-prestation-a-travers-des-cles-d-appreciation. retrieved on March 23rd 2022) [4]. <a href="https://heritage.unesco.or.kr/%EC%9E%90%EC%9A%B8%EB%A6%AC-%EC%BD%94%ED%8A%B8%EB%94%94%EB%B6%80%EC%95%84%EB%A5%B4-%EA%B5%AC%EB%A1%9C-%EA%B3%B5%EB%8F%99%EC%B2%B4%EC%9D%98-%EB%8C%80%EC%A4%91%EC%9D%8C%EC%95%85%EA%B3%BC-%EC%B6%A4/ retrived 2022.3.25."> https://heritage.unesco.or.kr/%EC%9E%90%EC%9A%B8%EB%A6%AC-%EC%BD%94%ED%8A%B8%EB%94%94%EB%B6%80%EC%95%84%EB%A5%B4-%EA%B5%AC%EB%A1%9C-%EA%B3%B5%EB%8F%99%EC%B2%B4%EC%9D%98-%EB%8C%80%EC%A4%91%EC%9D%8C%EC%95%85%EA%B3%BC-%EC%B6%A4/ retrived 2022.3.25.</a> [5]. <a href="https://cuitandokter.com/ by otosection (most impossible dance in the world). retrived 2022.3.25."> https://cuitandokter.com/ by otosection (most impossible dance in the world). retrived 2022.3.25.</a> [6]. <a href="fr.m.wikipedia.org/wiki/Zaouli, (our translation form french) retrieved 2022.03.21.">fr.m.wikipedia.org/wiki/Zaouli, (our translation form french) retrieved 2022.03.21.</a> [7]. <a href="https://www.yahoo.com/entertainment/watch-m-i-a-s-matahdatah-video-featuring-new-124014565431.html retrieved 2022.3.23."> https://www.yahoo.com/entertainment/watch-m-i-a-s-matahdatah-video-featuring-new-124014565431.html retrieved 2022.3.23.</a> [8]. 맹선미 기자. 네이처 ‘RICA RICA’ 특별 퍼포맨스 영상… 아프리카 댄스와 자울리춤 컬래버. 비즈엔터 <a href="http://enter.etoday.co.kr/view/news_view.php?varAtcId=219356 retrieved 2022.3.25."> http://enter.etoday.co.kr/view/news_view.php?varAtcId=219356 retrieved 2022.3.25.</a> [9]. <a href="https://www.ohio.edu/news/archive/stories_17-18_03_world-dance-music-festival-2018.cfm retrieved 2022.3.24"> https://www.ohio.edu/news/archive/stories_17-18_03_world-dance-music-festival-2018.cfm retrieved 2022.3.24</a> [10]. <a href="https://www.youtube.com/watch?v=bQXIDmb99uY retrieved 2022.3.25."> https://www.youtube.com/watch?v=bQXIDmb99uY retrieved 2022.3.25.</a> Recommended videos 1. Folklore gouro, Cote d'Ivoire, (Glozran1) 2. <a href="https://www.youtube.com/watch?v=M512glKnl64">https://www.youtube.com/watch?v=M512glKnl64 </a> [코트디브아르 아프리카 이야기] 페스티벌 마사 Festival MASA 'Zaouli' 3. NATURE(네이처) X AMENE - RICA RICA Behind <a href="https://www.youtube.com/watch?v=my77ACUKZWg">https://www.youtube.com/watch?v=my77ACUKZWg </a>

2019 JIAPICH Finalist- Contact Base of India

Secretary: Ananya Bhattacharya (Ms) Country: India NGO Region: Asia & the Pacific Main Domain: Traditional art, craft skills / revitalize ICH as a shared resource for community based creative enterprise. Art for Life (AFL) Contacts Address: 188/89, Prince Anwar Shah Road, Kolkata – 700045, India E-mail: ananya@banglanatak.com Website: www.banglanatak.com Tel: +91 9830173382 * About Contact Base Contact Base is a not for profit working under the trading style of banglanatak dot com. The organization was set up by social entrepreneurs working for inclusive and pro-poor development. Owing to rapid changes in lifestyle, much of our intangible cultural heritage is getting lost owing to lack of audience. The skills in art and craft, traditional knowledge on nature are not recognized as employable skills in conventional developmental paradigm. It was realized that loss of opportunity to perform and practice was resulting in loss of skills and the tradition bearers were becoming daily wage earners, triggering a vicious cycle of social exclusion and marginalization. To address these challenges the organization started the Art for Life initiative in 2004 with a vision to synergize cultural and economic development. The objective was to revive and revitalize ICH as a shared resource for community based creative enterprise. Contact Base is accredited to the UNESCO 2003 ICH Committee (since 2010) and is in Special Consultative Status with UN ECOSOC (since 2013). It has partnership with UNWTO to promote responsible cultural tourism. It also has national partnership with UNESCO office at Delhi for replication of its Art for Life model for safeguarding ICH. Art for Life (AFL) is the flagship initiative of Contact Base which safeguards intangible cultural heritage by empowering the tradition bearers to develop micro economies based on traditional art and craft skills. Initiated in 2004, Art for Life has led to revitalization of 30+ art and craft traditions of eastern India and socio economically empowered 28000+ families of folk dancers, singers, theatre groups, storytellers, mat weavers and crafts persons. Safeguarding activities undertaken include inventorying, documentation, revitalizing the skill transmission process, capacity building for developing creative enterprise and supporting new innovations, heritage education, awareness generation through festivals and events to create new audience and facilitation of direct market linkage. Art for Life works at three levels, art, artist and village. The art form is safeguarded through documentation, strengthening of skill transmission and promotion. The artists are empowered to professionalise their skills, reach out to audiences through stronger networks and innovate for contemporary audience. Ecosystem is developed in villages of tradition bearers so that they become destinations for heritage education and tourism.

2020 JIAPICH Finalist- NGO Impacto of Mexico

NGO Impacto was created in order to reduce poverty and inequality in Mexico beginning with the state of Chiapas. The main focus is to increase incomes for people living in the communities of the Highlands of Chiapas. NGO Impacto work in economic sectors that are relevant to the local economy, as well as in priority areas like education, gender equity and social communication, in order to improve quality of life of the people living in these communities. Impacto creates the links between those who produce the goods and conscientious consumers, thus generating sustainable development in the state of Chiapas. The main objective of our Textile Program is to promote the integral development of the Mayan women artisans. To do this, we have a team specialized in different areas that facilitates human development, technical production and business development. IMPACTO is educating, creating awareness, and promoting the protection of intangible heritage of Mayan communities in Mexico. They are leading protocols that may help protect them, the Heritage, and they plan to reach the new governmental agencies to push for a change in law for the protection of collective rights starting 2019. Impacto is 2020 Jeonju International Awards for Promoting Intangible Cultural Heritage Finalist.

2020 JIAPICH Finalist- Mr. Hieu Duc Vu, Director of Muong Cultural Space Museum of Vietnam

The Muong people is one of among 54 ethnic groups in Vietnam living in the mountains with a population of over one million people. With Mr. Vu's interest in the Muong culture, he founded the first private in Vietnam called Museum of Muong Cultural Space in 2007 in Hoa Binh province. The process of developing museum halls and exhibitions, and deploying the activities, Mr. Vu collaborated with representatives of the Muong practitioners to revitalize their intangible cultural elements and support their practices and performances. i) Mr. Vu created and developed this museum in close collaboration with the Muong people. He thus communicated with diverse agents such as Muong community people, experts, artists, NGOs, local and central government authorities. The funding resources for the creation and development of the museum come from his personal resources gained from the sales of his artistic works. ii) Mr. Vu’s principal objective in his activities of the museum has been to ensure the viability of the traditional cultures of Muong people. He thus has undertaken the activities related to identification, revitalization, transmission and education, promotion of ICH elements of Muong peoples. In order to allow him to undertake these activities, he has been very active in fund raising. iii) Thanks to the tireless efforts of Mr. Vu, many elements of ICH of Muong people, such as traditional housing, traditional performing arts, traditional cultural practices and traditional handicrafts have become sustainable. Mr. Hieu Duc Vu is 2020 Jeonju International Awards for Promoting Intangible Cultural Heritage Finalist.

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 safeguarding of masks’ and the ‘Council of the Institution’ ASAMA is accredited to the UNESCO Intergovernmental Committee for ICH since 2012 and has been elected as a member of the Evaluation Body for 2019-2022. ASAMA of Burkina Faso is 2020 Jeonju International Awards for Promoting Intangible Cultural Heritage Finalist

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 behavior in the community for example.

Khaen music of the Lao people

Khaen music of the Lao is played through a mouth organ whose pipes, often made out of hollowed out bamboo and put together to be blown to make sound. The mouthpiece where the air is blown by the player acts as a free reed creating audible vibrations that are perceived by the listener. The player also uses his or her fingers to guide the Nup holes that allow for different sounds to be derived. Khaen music is popular in all regions of Lao and is an integral part of village festivals and can be found played in traditional customary practices of the Lao people. Traditionally, Khaen of Lao is transmitted within families and local communities where the Khaen player learns about the musical instrument. To allow for the proliferation of Khaen, several local communities, associations and groups have various initiatives to promote it through formal and non-formal education. Khaen music of the Lao people was inscribed to the UNESCO’s Intangible Cultural Heritage and the Register of good safeguarding practices in 2017.

Ala-kiyiz and Shyrdak, art of Kyrgyz traditional felt carpets

Inscribed in 2012 (7.COM) on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding Traditional felt carpets are one of the foremost arts of the Kyrgyz people and an integral part of their cultural heritage. The Kyrgyz traditionally produce two types of felt carpets: Ala-kiyiz and Shyrdaks. Knowledge, skills, diversity, the semantics of ornamentation, and the ceremonies of creating carpets are all important cultural components, providing Kyrgyz people with a sense of identity and continuity. The making of Kyrgyz felt carpets is inseparably linked to the everyday life of nomads, who used felt carpets to warm and decorate their homes. Creation of felt carpets demands unity among the community and fosters the transmission of traditional knowledge – as a rule by older women who are normally concentrated in rural and mountainous areas, to younger women within the family. The Ala-kiyiz and Shyrdak traditional art is in danger of disappearing, however. The number of practitioners is diminishing, with most over forty years of age. The lack of governmental safeguarding, the disinterest of the younger generation, the dominance of inexpensive synthetic carpets, and the poor quality and low availability of raw materials are exacerbating the situation. As a result, Ala-kiyiz carpets have practically disappeared from Kyrgyz homes and Shyrdaks are under serious threat of being lost. Link: <a href="https://ich.unesco.org/en/USL/ala-kiyiz-and-shyrdak-art-of-kyrgyz-traditional-felt-carpets-00693">https://ich.unesco.org/en/USL/ala-kiyiz-and-shyrdak-art-of-kyrgyz-traditional-felt-carpets-00693</a>

Making of Rattan Products

Rattan is a family of climbing palms found in tropical regions, and is used for a variety purposes, including the making of furniture and handicrafts, and as building materials. The name “rattan” refers to the stem of the climbing palm, and is believed to have originated from the Malay word “rotan”, meaning “to pare”. Rattan is also sometimes known as “cane”. In Singapore, the making of rattan products is closely tied with its economic history. Historically known as a centre for entrepot trade of rattan, the rattan industry in Singapore reached its peak in the 1960s and 1970s, when there was a rapid growth in the processing of rattan raw materials and making of rattan products, as driven by global trade and domestic development. Known for high-quality hand-made rattan products and technology in rattan processing, Singapore was also a centre for regional rattan research in the 1980s. Though the industry dwindled from the 1990s due to the global competition and economic and social factors, Singapore remains a key player in the global trade in rattan raw materials. Today, there are a number of traditional rattan makers in Singapore who continues to hand-make rattan products, as a craft which has been practised in Singapore since its early days to present. Read more: <a href="https://www.roots.sg/learn/resources/ich/traditional-craftsmanship/making-of-rattan-products">https://www.roots.sg/learn/resources/ich/traditional-craftsmanship/making-of-rattan-products</a>

Mongolian Traditional Practices of Worshipping the Sacred Sites

Deeply rooted in the respect for their environment, Mongolians have been practicing the worshipping of sacred sites. Since the ancient times, Mongolia’s nomadic lifestyle has contributed to the ritual of worshipping sacred sites. The nomadic pastoralism and nomadic cultures have thrived in the vast lands of Mongolia. Humans living in harmony with nature is one of the features of nomadic culture; worshipping practices of sacred natural sites. It was discouraged to leave ashes or any kind of waste. The shamanic beliefs of Mongolians practices worshipping mountains. The peaks of these venerated mountain serves as an offering place where passersby worship for their endeavors. The procedural ceremony starts by monk chants and the villagers communing together to venerate the sacred sites. The importance of these events are for the solidarity and harmony of the community and groups. Mongolian traditional practices of worshipping sacred sites have been inscribed to the list of Intangible Cultural Heritage in 2017. References: ICH UNESCO, Wikipedia

Angklung: Indonesian Bamboo Musical Instrument

Angklung is a musical instrument made of Bamboo tubes and frame attached to one another by rattan cords. The tubes are carved to resonate pitch when struck and are tuned to octaves. The base of the frame is held in one hand, while the other hand shakes the instrument. Each Angklung players are responsible for one pitch making the collection of Angklung players to come together for an ensemble that produces the appropriate melodies. Angklung is closely related to traditional customs, arts, and cultural identity of Indonesia. Until recently, the Angklung was mainly played among children at schools. This changed in the last century when the Angklung has been reintroduced in local festivals as well as social gatherings. Angklung was inscribed in 2010 to the list of the Intangible Cultural Heritage of Humanity by UNESCO. References: ICH UNESCO, Wikipedia

The Art of Brazilian Capoeira Circle

Capoeira Circle is a common sighting in Brazil as it is quite popular to have Capoeiristas gather around in circles performing, competing, and sharing their art of movement. Capoeira has African origins since the early 16th century from enslaved Africans in Brazil. Although Capoeira has since become one of the biggest cultural exports of Brazil, Capoeiristas have historically been persecuted and had their art of movement shunned for some time. The acrobatic movements of Capoeira Circles is just part of the art form, as it requires the artists of Capoeira Circles to sing, chant, clap, and play instruments. When the Capoeira Circle is formed two opposing players engage each other in what looks to be a dance of reacting to each other’s movements. These acrobatic movements are difficult and require many years of training to master. The Capoeira master is someone who oversees the whole circle and controls the tempo with timing and rhythm. The Capoeira Circle is a training ground for the students to observe and learn skills mainly through imitation. On 2014 Capoeira Circle was inscribed to the UNESCO’s list of Intangible Cultural Heritage of Humanity. You can watch "Capoeira Circle" on youtube: <a href=" https://www.youtube.com/watch?v=Vhgot9H7vZw&feature=youtu.be"> https://www.youtube.com/watch?v=Vhgot9H7vZw&feature=youtu.be/</a> References: ICH UNESCO, Wikipedia

Beer Culture in Belgium

Belgium and beer is synonymous as the culture holds high demand for it. Until the 1960s children eating lunch at school had the choice of beer (called table beer low in alcohol) as their drink. Consumption and demand for beer is a tradition and the range of different kinds of beer in Belgium is constantly growing. Although statistically Belgium has fewer breweries than that of some states in the US, Belgium has more diversity when it comes to beer styles and their brewing processes. There are some 1500 types of beer, all using different fermentation methods. Many local Belgian beers are brewed in micro-breweries. These beers having their own brands reach many locals who consume the beer with any kind of social gatherings or events. Master brewers will often teach courses in universities and other venues in order to help transmit their skills to aspiring brewers and amateurs alike. Beer culture in Belgium was inscribed in 2016 to the representative list of the Intangible Cultural Heritage of Humanity. References: ICH UNESCO, Wikipedia

The oldest sport in Ireland: Hurling

The oldest sports in Ireland is Hurling. It predates Christianity as there are records of it being played in 1200 BCE. This ancient game is some what unknown to the rest of the world. Hurling is a team sport that involves 15 players on each side, chase and try to score on the opponents’ goal with a ball known as Sliotar (leather covered cork centered ball). Much like sports that have two halves consisting of 25-35minute time frame, the team with the most goals win the match. Hurling resembles field hockey, lacrosse and soccer how it is played out. The sport promotes good health, wellbeing, and team spirit. Today Hurling is preserved and transmitted through coaching and games in schools and clubs. Hurling was inscribed in 2018 to the list of the Intangible Cultural Heritage of Humanity by UNESCO. References: ICH UNESCO, WIKIPEDIA

Rebetiko: Urban Greek music

Rebetiko or can be described as the urban popular song of the Greeks, originating some time from the late 19th century to the 1950s. Rebetiko is associated with the Urban lower and working class population of Greece whom created songs and sounds from their daily life. Often the lyrics were describing the lower standards that the impoverished faced along with their struggles that the mainstream population were able to make connections. The earliest origins of Rebetiko is from mainly coastal cities in today’s Asia Minor with large Greek communities during the Ottoman era. Rebetiko emphasizes the importance of living musical tradition with a strong symbolic, ideological and artistic character. The Transmission occurs orally through live performances. Bouzouki is the one of the main instruments of Rebetiko, which looks a lot like the guitar but has three strings. Rebetiko is closely related to the nightlife entertainment of Greek taverns and Hookah shops. In 2017 Rebetiko was added to the UNESCO Intangible Cultural Heritage Lists. You can watch "Rebetiko" on youtube: <a href="https://www.youtube.com/watch?v=YHewYT_hfXg&feature=youtu.be"> https://www.youtube.com/watch?v=YHewYT_hfXg&feature=youtu.be/</a> References: ICH UNESCO, Wikipedia

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

The King Hung Temple Festival of Phu Tho Vietnam

On the 8th to the 11th day of the third lunar month of the year, The King Hung temple festivals of Pho Tho attracts millions of people to the Nghia Linh mountains. The people commemorate their ancestors and pray for good weather, abundant harvests, good luck, and good health. The festival takes place over several days, the 10th day of the month considered the most important. The procession starts at the foot of the mountain and stops at every small temple before reaching the High Temple. The people offer prayers and incense to their ancestors. The festival features many folk games, rice cooking competitions, lion dance, human chess, and various other cultural activities. Many who visit the festivals can enjoy various unique art performances some of which were recognized by UNESCO as an Intangible Cultural Heritage of Humanity. References: ICH UNESCO, Wikipedia, Inside Vietnam Travel(<a href="www.toursinvietnam.com>www.toursinvietnam.com</a>)

The Carnival of Basel: Three best days in the year of Switzerland

The Carnival of Basel is the biggest carnival in Switzerland and has been listed as one of the top fifty local festivities of Europe. Taking place on Monday after Ash Wednesday at precisely 4:00 am, Carnival of Basel otherwise known as Basler Fasnacht turns the city upside down for 72 hours. The locals call it “Three best days” in the year. All the lights in the city center are turned off and over 200 painted lanterns fill the streets along with hundreds of drummers and piccolo players marching together showing cohesiveness. This is known as Morgestraich that fill the streets. Participants in the parading is required to remain in incognito, parades are often disguised behind political, celebrity, satirical figures. This brings social cohesion through social criticism, making this unique carnival inclusive and overall great for the social dynamic of the city. The Carnival of Basel in Switzerland has been inscribed to the list of the Intangible Cultural Heritage of Humanity in 2017. You can watch "The Carnival of Basel" on youtube: <a href="https://www.youtube.com/watch?v=GqGbugKe7Rw&feature=youtu.be"> httpshttps://www.youtube.com/watch?v=GqGbugKe7Rw&feature=youtu.be/</a> References: ICH UNESCO, Wikipedia, Basel Culture Unlimited(www.basel.com)

Kumbh Mela: India’s pilgrimage to the holy waters

Kumbh Mela of India is considered the largest peaceful gathering in the world. In 2013 during the two months period of Kumbh Mela, an estimated 120 million people visited their holy waters, including 30 million people moving in a single day. Kumbh Mela can be defined as a mass Hindu pilgrimage of faith to one of four of these holy water sites: Allahaba, Haridwar, Nashik district, and Ujjain. The Kumbh Mela is held every 12 years, and around 3 years difference between the Haridwar and Nashik gathering. The origins of the festival is unknown, but according to Hindus, Lord Vishnu spilled drops of Amrita (drink of immortality) in the four places identified as the present day sites of the Kumbh Mela. The Kumbh Mela plays a vital role of spirituality and the beliefs of Hindus in India. The day includes all Hindus regardless of caste, creed, or gender to gather in the holy waters. The 12 year gap is calculated by astronomy, astrology, spirituality, and the tradition of Indian pilgrimage. Knowledge and skills related to the traditions are transmitted mostly through Akhadas and Ashrams who do it through religious manuscripts as well as orally. Kumbh Mela was inscribed to the list of UNESCO’s Intangible Cultural Heritages in 2017. References: ICH UNESCO, WIKIPEDIA

Knucklebone shooting: embodiment of folk Mongolian national folk game

The technique of Knucklebone shooting demands high accuracy as well as precision and might seem somewhat similar to bowling, with the object of the game being to knock down more of the ankle bones than your opponent. During the shooting tournaments shooters communicate with each other not with words, but in a specific manner of singing of traditional "Knucklebone Shooting" melodies. Each tournament last for 2-3 hours depending on the scale and type of the competition. It demands high tolerance and endurance from competitors as they sit and rise up to 50-60 times as they compete, as well as maximum precision of sight and accuracy of fingertips performance. It is also a magnificent tradition that, in respect of their seniority, some elder players of 60-90 years of age are allowed to use their "Chavkh" or "Shooting bow". Team members are tied by unbreakable internal bonds and follow clear ethical rules of mutual respect and dignity. No conflicts and contentions can be tolerated within or between the teams as certain moral codes of lawful honors are strictly obeyed. References: ICH UNESCO, Khan Expedition (<a href="https://www.khanexpedition.com/en/post/knucklebone-shooting.html">https://www.khanexpedition.com/en/post/knucklebone-shooting.html</a>)

Kolo: Serbian circle dance

Kolo is a Serbian circle dance that involves the dancers holding each other’s hands or each other’s waist, forming a chain of dancers that revolve in circle. Kolo has different but similar forms throughout Southeastern Europe and phonetically ~oro or ~olo maintains in calling this art of circular dance. Kolo is mainly performed at weddings, religious ceremonies, and any other social gatherings. The participants are both male and female, although there are parts to the dance where it requires one gender to take over as the main role. Traditional attire of Kolo involoves the men having to wear caps, loose blouse tucked into their pants that balloon around their thighs and eventually tightening from the knee down to the ankles. The women have to wear king white embroidered dresses with velvet aprons tied at their waist. The sustainability and transmission process of Kolo is both protected and processed on a national and regional level as it is not only a symbol of national identity but also has regional and local touches to its art form. The masters and bearers transmit Kolo through dancing with participants who engage in Kolo as their national dance. Kolo is both taught in schools and in specialized music schools and has a deep root in the minds of all Serbians. References: ICH UNESCO, Wikipedia

The Big songs of Fergana Valley in Uzbekistan: Katta Ashula

The Fergana Valley of Uzbekistan is a diverse place, just as the songs of Katta Ashula reflects. Folk singers from Uzbeksitan, Kyrgyzstan, and Tajikistan have mastered the Katta Ashula. Two to five singers hold the performance in turns without music. The singers use small plates or trays to make sound hence being call Likobi Ashula (plate song). Katta Ashula requires special training, a strong voice and the ability to improvise. It is usually performed on special occasions such as wedding parties, new year parties, and other holidays. Katta Ashula is transmitted orally from master to pupil. This oral transfer of Katta Ashula has been the main method of preserving the music as well as its spiritual values. As Katta Ashula reflects the inner feelings, hopes, loves, and attitudes of the natives it is imperative that this spirit is transferred from one master to one pupil. Katta Ashula was inscribed in 2009 to the representative list of the Intangible Cultural Heritage of Humanity. You can watch "Katta Ashula" on youtube: <a href="https://www.youtube.com/watch?v=FyZ3FKq54iE&feature=youtu.be"> https://www.youtube.com/watch?v=FyZ3FKq54iE&feature=youtu.be/</a> References: ICH UNESCO, Wikipedia

Flamenco of Spain: Andalusia Region State of Mind in motion

Andalusia of Spain is a hotbed for multicultural assets as it borders the Iberian Peninsula. Cross cultural interchanges between the native Andalusians, Romani, Castilians, Moors, and Sephardi Jews have made this region rich in unique art. Flamenco is one of them. This complex set of motions able to express joy, fear, triumph, and sadness is quite an unique set of motions. The performers differ in style and techniques depending on the sex; as males use more of their steps aggressively and profoundly in motion, as females use much more sensual movements often suggesting their vulnerability with more grace in their movements. Toque or the art of guitar playing is the choice of music accompanying the Flamenco, as well as the castanets along with hand clapping and foot stamping. Flamenco has become a staple in community fairs, religious festivals, as well as in private groups in a more casual setting. Flamenco is inscribed to the 2010 list of representing Intangible Cultural Heritage. The transmission process is very much alive as this artform has a wider audience and academies around the globe, long surpassing the Flamenco schools and clubs of Spain.

Chogan: Horse Riding Sport and Cultural Ambassador of Iran

Chogan has its roots from ancient nomads of Iran dating back to 1st century BC. Chogan has since spread throughout the world and is played in over 100 countries. Chogan of Iran is considered a national treasure as well as a sport. Spectators of Chogan bring their whole families to the occasion often cheering, dancing, and listening to the narrator of Chogan, The sport it self is rather simple, two opposing teams go on horsebacks and try to hit the ball from their mounted horses into the opponent’s goal post with wooden sticks. The spectacles surrounding the sport enjoy music, handicrafts, and narration. This unique nature of Chogan combining all the cultural identity of Iran in the midst of a horseback sport happening for the crowd is fascinating. Chogan has historically been part of a noble activity but in recent years, it has become more of a national sport that everyone can take part. The transmission process of Chogan happens within families of in workshops. The government of Iran has also been in support of Chogan techniques and rituals being safeguarded. The world knows of this sport as Polo but Chogan is much more than just a sport. It was inscribed to the UNESCO’s Intangible Cultural Heritage of Humanity list in 2017. References: ICH UNESCO, Wikipedia

Chidaoba: Art of Georgian Jacket Wrestling

As a Georgian proverb says: even a dog won’t bite a man who has fallen down. The wrestlers of Chidaoba learns about vulnerability and respect towards the fallen opponent. It is an old sport of Georgia as many in the country knows Chidaoba through social gatherings and festivals. Chidaoba is always accompanied by music, which is just as important as the distinctive jacket worn by the participants called “Chokha”. The participants can range from young kids all the way up to older folks who all participate in the hopes of defeating their opponent who are often similar in size and weight. Chidaoba is a form of martial arts but has lately become into an entertainment spectacle that is so often accompanied by crowds that gather for the festivities. The rules are simple, take down the opponent on their shoulders without over turning them. A single match lasts 5 minutes and if the clear winner is uncertain, judges decide on the winner on points they made throughout the match, usually giving the more aggressive participant the win. This beautiful form of martial arts that brings communities together was inscribed to the list of the Intangible Cultural Heritage of Humanity by UNESCO in 2018. Reference: ICH UNESCO

Kurenti: Door to Door custom of Slovenia

From Candlemas to Ash Wednesday Kurenti practices of going from house to house to perform dances and form circles around the owners happen. The practice helps strengthen interpersonal bonds and is key to the regional identity of the communities concerned as it is believed that the noisy bell-ringing and brandishing of their wooden sticks chase everything evil away and bring happiness to those they visit. The Kurenti costume consists of sheep skins, girded with chains that hold huge cow bells, leg warmers and a headgear with horns or feathers, a pointed nose and a bright red tongue. It is the most distinctive among some 150 traditional costumes preserved in Slovenia. Kurenti was inscribed to UNESCO’s Intangible Cultural Heritage list in 2017. Kurenti has been in transmission through regional communities, schools, workshops, and Federation of Kurenti Associations which oversees all of the processes. Kurenti knowledge and skills are most commonly transmitted within the family, but youngsters also learn from elderly members of the groups they are part of and schools and museums play an important role by organizing activities, workshops and contests. References: ICH UNESCO, STA(<a href="www.slovenias.SI">www.slovenias.SI</a>)

Comedic Actors on the ropes: Jultagi

Jultagi is a Korean form of rope walking that consists of dancing, songs, and comedic dialogues by the rope walkers. What distinguishes this form of rope walking from others is that they do not just perform for the acrobatic nature of it, but rather the Jultagi performers make witty and comedic gestures as well as satire of world events as they do acrobatic moves. Although the exact dates of origin for this art form is unknown, Jultagi has been mentioned in historical documents as well as becoming one of pillars of traditional crowd gathering spectacle of Korea. Dating back to the 2nd century of Silla period in Korea, Jultagi has been associated with other crowd gathering spectacles, often times accompanying performers who would entertain the crowd with witty satire and masked in different forms of animals or folk heroes to garner the attention of the crowd. The transmission process of Jultagi is centered on Jultagi safeguarding association in Gyeonggi province, where masters and apprentices hone their skills for their next audience members. The acts of Jultagi has over forty distinctive moves that is performed in the order of easy to hard movements. The performer of Jultagi often makes the crowd watch their progression of these movements, and makes the crowd nervous as if the performer needs the assurance from that crowd in performing these difficult acrobatic moves. This is done in part to entertain the crowd as if the performer is a novice of Jultagi making the spectacle more dramatic as he is clearly not a novice in acrobatic moves and is merely pretending to be so for comedic purposes. In 2011 UNESCO found Jultagi to be one of the representatives of Intangible Cultural Heritage of Humanity of the world. You can watch "Jultagi" on youtube: <a href="https://www.youtube.com/watch?v=eFUPYyNEOpU&feature=youtu.be">https://www.youtube.com/watch?v=eFUPYyNEOpU&feature=youtu.be </a> References: ICH UNESCO, Wikipedia

Coming of age for Japanese youth, Raiho-Shin

Raiho-Shin is a tradition for Japanese households in Tohoku, Hokuriku, Kyushu, and Okinawa regions. The Raiho-Shin is deities from the outer world, often the local people dressed in costumes that look scary and intimidating, especially to children. As the western world have Santa Clause that requires the children to be good throughout the year to receive presents, Raiho-Shin deities requires them to be good from their frightening visits on ward. The children are given mocha cakes on their backs for good luck while the adults prepare food for the deities visiting their household. Raiho-Shin has different traditions from regions to regions because they have differing social and historical contexts. The diversity of the Raiho-Shin rituals have made the traditions unique to the local practitioners and those that participate grow a sense of identity and affliction towards their environment from it. The practitioners of Raiho-Shin have transmitted their knowledge from each generation to the next with pride. It was inscribed to the Representative list of the Intangible Cultural Heritage of Humanity in 2018. Reference: ICH UNESCO, Wikipedia

Love Ballad of Malaysia: Dondang Sayang

The traditional Malaysian folk music Dondang Sayang is a collaboration of both the worlds, as Dondang Sayang is influenced by traditional Portuguese folk music. The typical Dondang Sayang consists of violinists, rebana players, and gong or tetawak players. The violinist usually play the primary parts of the Dondang Sayang as they provide counter melody to the vocal melody. The slow playing music is often about love or advice about love and kindness one should have for others. Inscribed in 2018 to the Intangible Cultural Heritage of Humanity of UNESCO, Dondang Sayang is highly praised within Malaysia. Originally performed at the Royal Palace for ceremonial events, it has since carried over to local communities all through out Malaysia. Two singers of the opposite sex who perform in quatrains often perform this love ballad. The Dondang Sayang is open to everyone in the community regardless of age, sex, or gender as it conveys the message of being kind and loving each other. The Dondang Sayang art form is being improved through organizations and training of the youth by practicing singing and performance skills. References: ICH UNESCO, Wikipedia

Al Azi: Poetry of Arab Pride

Al Azi is a traditional poetry recital performed by a group of individuals without rhythmical or musical instruments. The Poems were first recited in battlefields after victory often citing the courage and generosity that exemplify the greatness of the poem’s subject. It consists of a full-rhymed poem based on traditional poetry and the lines of poetry are sometimes interposed with sayings and proverbs. Bearers and practitioners include the poet, performer, chorus and audience. The practice strengthens bonds and is connected with knowledge and practices related to nature. Al Azi was performed regularly by communities until the mid-1900s, when performances began to dwindle gradually. Due to development, thousands of inhabitants moved from the desert to urban areas, and the economic boom from 1970 to 1990 led to citizens abandoning employment in traditional sectors and the culture and arts associated with such activities. Al Azi was inscribed to the Intangible Cultural Heritage of United Arab Emirates in need of urgent safeguarding in 2017. Despite these challenges, Al Azi has withstood extinction. The practice enjoyed a revival several years ago when it was introduced into national events, with a highly successful theatrical production, and media coverage has helped revive Al Azi, encouraging more poets to compose Al Azi poems. You can watch "Al Azi, art of performing praise, pride and fortitude poetry" on youtube: <a href=" https://www.youtube.com/watch?v=RmZfiI5-yEk"> https://www.youtube.com/watch?v=RmZfiI5-yEk/</a> References: ICH UNESCO, Wikipedia

The Lithuanian folk dance revival by the Lithuanian Ethnic Culture Society

Ethnic dance of Lithuanian folk dances were widely popular among the general population before World War II. Due do the suppression of traditional heritage during the Soviet occupation of Lithuania, the folk dancing took a down turn in popularity. Many decades later the folk dance tradition is back thanks in large part due to the Traditional Dance club established in Vilnius in 2002 by the Lithuanian Ethnic Culture Society, The clubs are run mainly to spread and promote the almost lost social function of folk dancing. The suppression during the Soviet occupation has not deterred the main spirit of the performance, as it has now spread all over Lithuania and other European countries as well. What started out in small clubs in cafes, small restaurants, and halls have moved into much larger venues and have become a festival surrounding the folk dance itself. The Clubs are open to everyone and participants are able to learn dances from various Lithuanian ethnic regions and musicians perform live music with accordion, bandoneon, violin. Now the traditional dance clubs run summer camps often performed outside while the participants reside in tents. These venues have many practitioners and performers come from all over Lithuania and throughout Europe as well. The main two factors that come to mind regarding the Lithuanian folk dance clubs are that it encourages a network of dance clubs to collaborate and the diversity of expression while at these events. The gathering of folk musicians, and those that want to see the folk dance revived has made this cultural activity a unique place of learning and participating in cultural activity. To See the reference, original story and more, please visit Nordic Safeguarding Practices Website below: <a href="https://www.nordicsafeguardingpractices.org/good-practice/reviving-folk-dance-in-lithuania/">https://www.nordicsafeguardingpractices.org/good-practice/reviving-folk-dance-in-lithuania/</a>

Baile Chino, the dance and dreams of Chile

Baile Chino is Chile’s own heritage that consists of five differing styles each unique to the origin of the dance’s location. The dance consists mainly of a group of 12 to 30 people who are arranged in a hierarchical manner, mainly organized by men leaving the upper figure at the top, which is generally a man with a good career and older age. The whole brotherhood is organized to be in two rows, those who dance while playing their pivilcas, and who are accompanied by a tamborcillo. The dance performs series of jumps, jumping on one foot and then to the other. The dance begins in crouching and along with it the interpretation of the melodies, which represents a great physical effort for all the participants. The orgin of Baile Chino dates back to the pre-Colombian period of Chile, sometime between 900s and 1400s, the dance evolved with aspects from the indigenous culture and Hispanic contributions. The Baile Chino is distinguished by their costumes, musical instruments, accompanied by the unique steps and rhythms of their dance. The old puvillca that produces a single note is followed by jump steps from crunching positions. This beautiful artform is transmitted through family members and neighbors by imitation, observation, and transmitted to the next generation. The Baile Chino ritual functions as a model for social integration, sense of identity, and the local community to come together for solidarity. Baile Chino was inscribed in 2014 to the list of Intangible Cultural Heritage of Humanity, References: ICH UNESCO, Wikipedia

Khon, the art of Thai masked choreographed movements

Khon is a masked dance of Thailand that combines the art of music, storytelling, dance, and handcraftsmanship of Thailand. Khon was inscribed into UNESCO’s ICH of Thailand in 2018. The overall choreograph along with the narrations depict the story of Rama, the incarnation of the God Vishnu. Although the exact dates of the origin of Khon is not known, it is widely accepted as having been performed since the Ayutthaya Kingdom period of 15th century. The main principle characters are humans, ogres, and the monkeys. The monkey characters play a major role in the Khon performance as the epic tales of Ramakien derived from the hindu epic Ramayana. Thai animism has given the ogre and monkey characters a spiritual significance, as they become part of the Thai identity through their movements. Khon used to only be performed by the royal family and men were only allowed to play the role of the hero. However in recent years Khon is enjoyed by all spectators from different social backgrounds and women are depicted in all the roles. Khon traditionally have been transmitted through the royal courts as well as dance master’s households. In recent times, the transmissions process occur mostly in educational institutions and efforts have been made to establish the transmissions process to the youth through performance clubs. References: ICH UNESCO/Wikipedia

The Nan Pa’ch ceremony of Guatemala

“La Paach” is a word derived from pre-Hispanic origins of Guatemala. It is currently listed among the Urgent Safeguarding list since 2013. The four main essential components to the Nan Pa’ch ceremony of Guatemala are the following: The lords of the Pagon, The Parlimentos or God mothers, Assembly of elders, and the dance of the Paach. The ceremony is a corn-veneration ritual held in San Pedro Sacatepéquez, San Marcos in Guatemala for the purpose of good harvest. The ritual highlights the close connections that the people of San Pedros have with nature. The gatherers and participants pray in the Mam language as well as the ceremonial corncobs. The participants are mainly older farmers, both men and women who are pillars of their community. The Paach ceremony strengthens the identity of the community of San Pedro and its knowledge and respect for nature and its conservation. The transmission process is both oral and practical, with a group leader instructing new members at workshops and children accompanying their grandparents during the ceremony. In recent years, the Paach ceremony has decreased in frequency, with some young people seeing it as irrelevant, while economic insecurity has caused some bearers to withdraw from the practice. Furthermore, the advanced age of the elders, combined with diminished transmission, might result in the disappearance of this cultural expression. References: ICH Unesco, Wikipedia

National inventory: places, rituals, practices

Aigine Curltural Research Center (Kyrgyzstan) continues the inventory of sacred sites and related practices under the project " Safeguarding of Practices and Rare Rituals Related to Sacred Sites in Kyrgyzstan: Preparation of an Inventory and Safeguarding Measures." At this stage, desk researches are conducted on the basis of the organization’s previous field materials. The purpose of this researches is to compile national lists of sacred places, practices and rituals performed on places of pilgrimage. In the course of the desk researches, the lists of sacred sites are clarified and the rituals of each region are described. Interviews are also held with spiritual practitioners. Interviews are held in the format of real and online meetings, telephone conversations. The stage of desk research precedes the work with regional teams. On 20 February 2019, Aigine CRC conducted a preliminary workshop in the framework of the project. The main goal of the workshop was to discuss ways and patterns of inventorying rituals and practices related to sacred site pilgrimage. During the workshop, participants became acquainted with UNESCO ICH and the relevant provisions of 2003 Convention, as well as experience of other counties on inventorying ICH. The sacred site guardians and activists, members of the interested community groups, journalists and MA students of the Anthropology department took part in the workshop. The project " Safeguarding of Practices and Rare Rituals Related to Sacred Sites in Kyrgyzstan: Preparation of an Inventory and Safeguarding Measures" started in December 2018 and is supported by the UNESCO Intangible Cultural Heritage Foundation (France).

Traditional Turkish Çini-making Craftsmanship

Turkish Çini are glazed tile and ceramic household items made from pulped clay are called Çini. This Çini-making craftsmanship dates back to the 12th century with its unique production methods such as ‘Minai’, Luster’, ’Polishing’, and ‘Underglaze’. Çini craftsmans can be described as having high ethical manners, knowledge of traditions, and the techniques in making Çini. The Turkish Çini-making has important cultural function in Turkey, as many of these ceramics are often baked in households. The next generation of Turkey can learn from the aesthetics of Çini, which are based on primarily the elements from the surrounding, such as geometric shapes, plants, and animal figures. The masters of Çini-making Craftsmanship must transmit their knowledge of supplying the raw materials, preparation and production of Çini-making, as well as general knowledge or significance of their art pieces. Çinis is a cultural process of making household items for the people of Turkey, it should be considered a national treasure. You can watch "Traditional Turkish Çini-making Craftsmanship" on youtube: <a href="https://www.youtube.com/watch?v=UsXC6a6kSPo ">https://www.youtube.com/watch?v=UsXC6a6kSPo </a> References ICH Unesco, Wikipedia, Alamy

Vallenatos Music of the Greater Magdalena

Traditional Vallenatos Music of the Greater Magdalena region has been listed among the urgently needing safeguarding from the UNESCO Intangible Cultural Heritage since 2015. The traditional music of Vallenato has the origins from Spanish, African, and Amerindian roots making this truly one of a kind art form a standout of Caribbean tradition. The typical instruments involved with Vallenatos music are the Accordion, Caja, Gucharaca, Bass, and Guitar. The origins of Vallenatos music are from famers of the region who had West African traditions of Griots(music of story teller). They traveled with their cattle in search of pastures and often song their style of griots music along with their indigenous Gaita flutes. They communicated through their music and it became a form of entertainment for the farmers traveling as it transmitted their current state. As the music for evolved with the introduction of European instruments such as the Piano and Accordion. Vallenatos music of Colombia still had its tunes, as many of the Accordions are tuned differently from their European origin to better suit their region. It also became more popular form of gathering and entertainment among the general population and no longer seen as just for the farmers. You can watch "Traditional Vallenato music of the Greater Magdalena region" on youtube: <a href="https://www.youtube.com/watch?v=SCsPy_adLb4">https://www.youtube.com/watch?v=SCsPy_adLb4/</a> Reference: ICH UNESCO, Wikipedia, Baquianos(<a href="www.guiasybaquianos.com">www.guiasybaquianos.com</a>)

The Chhau dance: The symbolism in bodily motions of our surroundings

Chhau dance: The symbolism in bodily motions of our surroundings The Chhau dance is every bit of mesmerizing feat, as the dancers depict nature, acrobatics, martial arts, and their folklore surroundings. The Chhau dance annually practiced in three regions; the Purulia Chhau in Purulia district of West Bengal, the Mayurbhanj Chhaun in Mayurbhanj district of Odisha, and Seraikela Kharsawan district of Jharkhand. Masks are used in the Seraikela and Purulia Chhau dances but are not used in the Mayubhanj Chhau of Odisha. The Chhau dance of India was inscribed as one of the Intangible cultural heritages of the world by UNESCO in 2010. Many performers of the Chhau dance have special techniques and repertoires in their choreography, and transmits their dancing traditions orally. Many Chhau dances occurs during sun festivals, to honor and ritualize harvesting season. The Chhau dance draws in all the lifestyles during its festivities, resulting in the community and those surrounding it to come closer together. The Chhau dance of India brings the community together through their performance. The dancers choreographed fighting motions accompanied by imitating the motions of different animals and other local surroundings, captivating audiences. In order for the Chhau dance to keep flourishing in the region, it would need to have its transmission process go as smoothly as possible. With the progress in technology, one must use these tools of maintaining and keeping records of the Chhau dance of India. Although effectively transmitted throughout history, Chhau dancers must keep dancing to the correct forms of their art. References: Unesco, Wikipedia, Images from Wikiwand(<a href="www.wikiwand.com">www.wikiwand.com</a>)

Chinese Shadow Puppetry

Chinese Shadow Puppetry: The earliest forms of animation Chinese shadow puppetry has been known in china as one of the formal traditions that have entertained and displayed the social and dramatic history though puppetry. It was known to have cured a grieving emperor of losing one of his favorite concubine. The performers were able to sooth the pain of the emperor by having the faces of the deceased concubine played out in the form of puppetry. As the case, Chinese shadow puppetry can move hearts and mind of those that watches them. Thus, making them the best medium in exhibiting cultural ceremonies, religious rituals, funerals, weddings, and any other forms of entertainment. A talented puppeteers can make their art form run, dance, fight, laugh, sleep, and even die. The Chinese shadow puppetry is articulated through cut out figures, which are held against a source of light and a translucent screen in-between or against them. Just as a musical instrument needs to be played, these shadow puppets need to be manipulated in exactly the right motions to convey their messages. The master of Chinese shadow puppetry often needs to specialize in techniques such as improvisational singing, simultaneous manipulation of multiple puppets, and the ability to play other musical instruments. The masters of Chinese shadow Puppetry transmits their knowledge of this art form orally and on paper. Relevant skills are handed down, and their traditional values come along with it. The Chinese Shadow Puppetry promotes traditional values, entertainment, social and local customs to the youth. You can see Chinese puppetry using the link below: Youtube: <a href="https://www.youtube.com/watch?v=6C6m3aKjzLk">https://www.youtube.com/watch?v=6C6m3aKjzLk/</a> References: ICH Unesco website, Wikipedia, YouTube, Xinhuanet(<a href="www.xinhuanet.com">www.xinhuanet.com</a>),timeout (<a href="www.timeout.com">www.timeout.com</a>)

Good practice from Finland: On Crafting – Discussion cards

The crafting discussion cards of Taito Group Finland promote interesting discussions about the art of crafting in the local community. Since 2016, Taito Group in Finland held these crafting meetings and made the initiative for the card series by hobbyists and professional crafters. The common bond amongst the group is about craft, and to talk about crafting as it cross section into its local culture. They published the On Crafting discussion cards in early 2018. The meetings along with the help of the crafting discussion cards make it a very useful meeting. The culture of crafting is discussed along with traditional ways and the modern changes that are coming to crafts. Not only do they make process but also help develop for open dialogue being able to improve their beloved traditions.“they enable comprehensive consideration and verbalising of the significance of handicrafts and crafting culture” which is the main purpose of On Crafting discussion cards. The discussion cards will give a new perception to crafting. The themes of the cards will teach traditions of handicraft, as well as propose for the better future of crafting and make new creations of art. The discussions along with the help of the cards can provide the opportunity to determine the cultural heritage of crafting and people will look for important handicraft cultural traits based on theses discussions. The card series were designed for the groups of people come together to crafts for many situations to inspire for craft studies. The card series has specifically been designed a group of people to come together and share their beliefs, experiences with craft or craftsmanship. Handicraft clubs or local crafting events, are all examples of these meeting taking place for inspirations needed for crafting studies. The cards feature five themes: handicraft traditions, handicraft skills, communal crafting, wellbeing crafting and advocacy through crafting. These card themes are perspectives to the crafting culture. Each theme has 16 cards, and each card has a thought or a statement related to the theme as well as questions about it. The pack of cards contains ten Explore and Test cards, two for each theme. The contents of these cards inspire to explore and test things, come up with new ideas and implement the themes in practice. The pack of cards features 90 cards in total: 80 theme cards and 10 Explore and Test cards. The package also contains an instructional leaflet that explains the themes of the cards and their backgrounds as well as gives tips for using the cards. "Discussions and thoughts can be built around the themes of the cards, as one can choose the most important themes and expand the discussion based on the ideas and questions that are brought up. The participants’ experiences of crafting and their craft products are easy to link to the card themes. It is important that the method of using the cards will be adapted to the group and that the themes are handled on the group’s own terms. The discussion cards can also be used alone, as inspiration for thoughts, experiments and making". To See the reference, original story and more, please visit Nordic Safeguarding Practices Website below: <a href="https://www.nordicsafeguardingpractices.org/good-practice/on-crafting-discussion-cards/">https://www.nordicsafeguardingpractices.org/good-practice/on-crafting-discussion-cards/</a>

Study on status and value of Seodang culture and study of utilization plan

Korean Seodang has been a self-created educational space since the Three Kingdoms era and has been linked to Korean history and tradition. As such, there are Korean history, culture, and traditions in the Seodang and Seodang culture. However, as the present day, the Seodang and its culture are disappearing. The purpose of this study is to understand the status of Seodang culture and to enhance intangible cultural asset values of Seodang culture. In order to investigate the current situation of Seodang cultural tradition as a research method, various examples were collected and compared in regards with the environment, career and operation of each Seodang. I interviewed the Hoonjang(masters or teachers), adult students and schoolchild students in the field survey. The Seodang had many difficulties in operation. We could classify the operations of Seodang under the village seo-dang, the boarding seodang, the academic seodang, and the camp-style seodang. In Gochang, they operate a traditional Seodang that has 21 students from 7 to 17 years old. The children of the Seodang are educated in this Seodang without receiving public school education. On the other hand, other traditional Seodangs keeps the name of Seodang only after school as it teaches Hanja study(Chinese characters) and Korean traditional etiquette after regular public schooling. Since 10 years ago, the number of schoolchildren has been dropping, so most of them are closed. The boarding school is also run by short-term boarding students. The age of the average Hoonjang are in their 50s and 60s. The oldest is 90 years old, and there are relatively young Hoonjangs in their forties. The majority of the Hoonjangs are not old enough to be retired, so it is likely that the current Hoonjangs will contribute to its position of teacher or master in the modern Seodang society in the next 10-20 years. To understand the modern significance and the value of the Seodang, it is imperative to divide the viewpoints of the people related to the inner workings of Seodang (Hoonjangs, family and friends of the Hoonjang, students and their parents) and the viewpoints of outsiders (researchers, advisors and other academic researchers). Positive aspects from the viewpoint of the inner working people of Seodang include the cultivation of personality, manners, classical knowledge, concentration, insight improvement, and leadership. The downside to Seodangs can be the lack of various learning methods and overall disconnection of public education due to Seodang education being in rather isolation. From the viewpoint of outsiders, it is necessary to examine the effects of these Seodang teaching methods to the modern education beyond the cultivation of Chinese writing and classical knowledge, personality education as well as proper Korean etiquette. In terms of Seodang being part of the Korean culture, the inherit value as an intangible cultural property is sufficient. The Seodang is in danger of extinction because its traditional structure of transmitting is greatly weakened. It is natural that we should protect it before the present private elementary school of the traditional era devour all the content, leaving philosophy of the old in the past. In addition, the value of intangible cultural properties should be recognized in that the virtues of traditional culture as well as being preserved. *Seodang: traditional private school in Korea **Hoonjang: a teacher at Seodang

Baul songs of Bangladesh: Oral tradition of Bengalis mysticism

Baul had strictly been passed down in oral form as of the late 19th century. Their members consist mostly of Vaishnava Hindus and Sufi Muslims. The tradition was not written down until recent because many practicing Baul meant to leave literally nothing behind, including their practices of speaking of esoteric Bengali mysticism. The Bauls often live without family and wonder to practices of new approaches to divinity. From the outside, this can mean breaking the threshold of traditional religious ceremonies and beliefs. Since 2005, the Baul tradition of Bangladesh is listed as one of Masterpieces of the Oral and Intangible Heritage of Humanity by Unesco. The Baul songs represents the mind and body of the practitioner. Often times Baul musicians will have a single string instrument called Ektara on one hand and Bengalis style drum Duggi on the other enchanting about the human spirituality and the divine. Some have regarded Baul practitioners of having divine spirits, and others have interpreted them to be crude or blasphemous. However, the world needs Baul to interpret their own ceremonies for themselves as they stand as the only oral tradition of Bengalis mysticism. The community often rallies around them and hears their message about Bengali life. References: ICH UNESCO, Wikipedia, Arachive.is web (<a href="https://archive.is/20120729054639/">https://archive.is/20120729054639/</a> <a href="http://www.emahomagazine.com/2011/07/bauls-of-bengal-liberation-seekers/">http://www.emahomagazine.com/2011/07/bauls-of-bengal-liberation-seekers/</a>)

Symbol of Costa Rican Hardwork: Las Carretas

Las Carretas is the national pride of Costa Rica. The Spanish whom brought their design to incorporate them into the Costa Rican coffee transport first introduced these Costa Rican Oxcarts. The original oxcarts did not work well in the terrain and climate of the new land. A native design aesthetically and functionally were needed to fit its environment. As the oxcarts became more adapted to Costa Rica, they took on their own identity. The families would make colorful designs of their surroundings onto the oxcarts making them unique. It became a status symbol among families distinguishing them according to their elaborate design and functions of the oxcarts. Las Carretas flourished in the 19th and parts of 20th century. The strong oxen would carry coffee, the Costa Rican national export, into unpaved roads and mountainous terrains. Although the invention of motor based vehicles would eventually take over the transportation, it became a symbol of hard work and the embodiment of the Costa Rican lifestyle. It appears in festivals or street corners, with each Las Carretas having its own sound, enchanting the village or crowd with its pleasant sound. Las Carretas’ function as a symbol of hardworking Costa Rican life is undisputed. There are many oxen-carts around the world but none of it is like Las Carretas as UNESCO recognized it as ICH in 2005. The function and different twists that Las Carretas shows this Costa Rican oxcart is a work of art and stands out as one of this worlds heritage to be shared with everyone. Reference: ICH UNESCO, Wikipedia Images from <a href="www.elsouvenir.com">www.elsouvenir.com</a>

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 <a href="https://www.youtube.com/watch?v=ymWBjb1VzBc&t=10s">https://www.youtube.com/watch?v=ymWBjb1VzBc&t=10s</a> References ICH UNESCO, Newvision (<a href="www.newvision.co.ug">www.newvision.co.ug</a>)

Bistritsa Babi, archaic polyphony, dances and rituals from the Shoplouk region

Bistritsa Babi are an elderly/multi-generational female vocal ensemble carrying on the traditional dances and polyphonic singing of the Shopluk region of Bulgaria. Bistritsa Babi has been part of the Intangible Cultural Heritage since 2005. The Bistritsa Babi sing at two or three voices, and in different pitches. “Izvikvat” – lead the song while “Buchat krivo” – keep a continuous sound. This makes the harmonic music of Bulgaria a unique sound. People dance the “Horo” dance holding each other the belts of their traditional costumes when they hear the songs. You can see people performing these songs and dances at the ritual of “Lazaruvane” when young girls go around the village collecting eggs. See the video on Youtube: <a href="https://www.youtube.com/watch?v=embqg-yKHNQ">https://www.youtube.com/watch?v=embqg-yKHNQ</a> Reference Treasure quest <a href="https://heriquest.com/?p=37&l=2&c=9&id=288">https://heriquest.com/?p=37&l=2&c=9&id=288</a>

Good practice from Norway: Dual-language, multi-ethnic storytelling

Good practice from Norway: Dual-language, multi-ethnic storytelling Oral traditions from Norway. Oral myths, fables, fairy-tales, legends are being told in Norwegian and in Sami. Because of the rapid pace of immigration leading to much more cultural diversity the oral tradition is changing. There are multiplicity of new story telling traditions. However these traditions are being looked over and their influence is not part of the larger schooling curriculum. Fortellerhuset, the storytelling house, was invited to the storytelling festival in Iran. It was told in English then translated by an interpreter. Audiences could understand oral traditions in a more playful and dramatic way by the performers with two languages. The storytelling was continued in Norway. Fortellerhuset had developed the performances, techniques and new two-language productions and it is being performed at libraries, schools and kindergardens. The aims of the storytelling begin to help people with non-Norwegian backgrounds to reconnect to their ancestors’ oral tradition and teach Norwegian language. The storytelling gives children with Norwegian cultural heritage a deeper experience of oral stories. It can also encourage teachers and those working with children to develop oral storytelling skills. Please visit the link below for a full story : <a href="https://www.nordicsafeguardingpractices.org/good-practice/dual-language-multi-ethnic-storytelling/">https://www.nordicsafeguardingpractices.org/good-practice/dual-language-multi-ethnic-storytelling/</a>

Traditional Musical Instrument Masters' Knowledge and Technique

A musical instrument master is a person who possesses the ability or skill to make traditional musical instruments such as Gayageum, Geomungo, Janggu, Buk, Danso.

Falconry, a living human heritage

Falconry is the traditional activity of keeping and training falcons and other raptors to take quarry in its natural state. Originally a way of obtaining food, falconry is today identified with camaraderie and sharing rather than subsistence. It is mainly found along migration flyways and corridors, and is practised by people of all ages, men and women, amateurs and professionals. Falconers develop a strong relationship and spiritual bond with their birds, and great commitment is required to breed, train, handle and fly the falcons. Falconry is handed down from generation to generation as a cultural tradition by various means, including mentoring, learning within families and formal training in clubs. In the United Arab Emirates, Mongolia, Morocco, Qatar and Saudi Arabia, for example, falconers take their children to the desert and train them to handle the birds and build a relationship of trust with them. While falconers come from different backgrounds, they share common values, traditions and practices such as the methods of training and caring for birds, the equipment used and the bonding between falconer and bird, which are similar throughout the world. Falconry forms the basis of a wider cultural heritage, including traditional dress, food, songs, music, poetry and dance, all of which are sustained by the communities and clubs that practise it.

Tango

<p>The Argentinean and Uruguayan tradition of the Tango, now familiar around the world, was developed by the urban lower classes in Buenos Aires and Montevideo in the Rio de la Plata baasin.</p><p>Among this mix of European immigrants to the region, descendents of African slaves and the naives of the region known as criollos, a wide range of customs, beliefs and rituals were merged and transformed into a distinctive cultural identity. As one of the most recognizable embodiments of that identity, the music, dance and poetry of tango both embodies and encourages diversity and cultural dialogue. It is practised in the traditional dance halls of Buenos Aires and Montevideo, spreading the spirit of its community across the globe even as it adapts to new environments and changing times. That coommunity today includes musicians, professional and amateur dancers, choreographers, coomposers, songwriters, teachers of the art and the national living treasures who embody the culture of tango.</p><p>Tango is also incorporated into celebrations of national heritage in Argentina and Uruguay, reflecting the sidespread embrace of this popular urban music.&nbsp;</p>