White Threads of Passage: Elechek and the Living Heritage of Kyrgyz Women

Elechek is a traditional Kyrgyz women's headdress consisting of a hair cap and a very long piece of white fabric wrapped around the head in many layers like a turban. The fabric may extend to around 40 metres and is finished with embroidery, ribbons and jewellery. Its most significant ceremonial use is the wrapping of a bride's first elechek at her family's home before she leaves to join the groom. The ritual marks a major transition in a woman's life and is accompanied by blessings, rhyming chants and good wishes for her future.Elechek is not a single fixed design. Communities across Kyrgyzstan have developed different ways of wrapping and decorating it, reflecting local knowledge and aesthetic traditions. A married woman may wear the headdress at important occasions throughout her life, changing its form according to the occasion. In some mountainous communities, elechek has also remained part of everyday dress, demonstrating that the practice extends beyond the wedding ceremony into ordinary life.

Jingdezhen Handicraft Porcelain-Making Techniques

Jingdezhen's porcelain-making heritage is built upon a highly specialized body of knowledge that brings together raw materials, manual skills, decorative practices, kiln knowledge and generations of experience. The craft begins with the preparation of porcelain materials and continues through forming, trimming, decoration, glazing, firing, selection and finishing. These processes are not isolated techniques: they depend on one another and require practitioners to understand how materials and techniques respond at every stage of production. This interconnected knowledge is what gives Jingdezhen's handicraft porcelain-making its distinctive character.The tradition developed over many centuries. Important forming techniques were already established during the Song period, while the Yuan period brought the development of the combination of porcelain stone and kaolin known as the “binary formula” and the refinement of blue-and-white underglaze decoration. During the Ming and Qing periods, the production system bec

When Joy Becomes Heritage: The Festejo of the Peruvian Coast

Along Peru's central and southern coast, particularly in the regions of Ica and Lima, the Festejo stands as one of the most vibrant expressions of Afro-Peruvian cultural heritage. Combining energetic dance, percussion, singing, improvisation, and communal celebration, the Festejo reflects centuries of cultural creativity developed by Afro-descendant communities. More than a performance, it is a living expression of identity that has accompanied family gatherings, local festivities, cultural events, and artistic celebrations while preserving memories, values, and traditions that continue to shape Peru's cultural diversity.

Castells and the Living Tradition of Catalonia

Castells are human towers constructed by members of amateur colles castelleres, especially during annual festivities in towns and cities across Catalonia. Participants climb onto one another in carefully coordinated levels, while the pinya, a dense circle of supporters at ground level, provides the foundation. The upper levels, known as the pom de dalt, are formed by younger children, whose lightness allows the tower to reach its highest point. The enxaneta, traditionally a child, crowns the structure and signals its completion. Traditional clothing, including the faixa sash, white trousers and each colla's distinctive shirt, forms part of the practice.Music is inseparable from the performance. Players of the gralla, a traditional Catalan wind instrument, accompany the construction and provide an audible rhythm for the changing stages of the tower. The practice developed from eighteenth-century festive traditions in the Tarragona area and became an independent cultural expression during the nineteenth century

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

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

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

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

Small Objects, Great Hopes: The Living Ritual Journeys of Alasita in La Paz

Alasita is a living urban Andean tradition in La Paz centred on the acquisition, preparation and ritual activation of miniature objects representing people's wishes and aspirations. The principal ritual cycle begins on 24 January and continues for several weeks. Participants acquire miniature houses, vehicles, money, food, university degrees, businesses, travel documents and other objects corresponding to desired forms of prosperity. The miniatures are associated with the Ekeko, an Andean figure connected with abundance and fertility, and are subsequently consecrated through Andean ritual practices or blessed within Catholic settings. UNESCO inscribed the element as “Ritual journeys in La Paz during Alasita” on the Representative List in 2017.The practice is not defined by a single ritual route or uniform procedure. Individuals and families construct their own journeys through the search for particular miniatures, their acquisition, exchange or donation, and their subsequent ritual treatment. Miniatures can a

Keeping the Kveik Alive: Farmhouse Brewing and Living Yeast Heritage in Western Norway

Traditional farmhouse brewing with kveik is a living brewing practice associated particularly with Western Norway and the Inner Vestland region. It combines knowledge of malted barley, juniper, water, hops, brewing equipment and fermentation with the maintenance and reuse of locally preserved kveik yeast cultures. Individual farms traditionally maintained their own brewing methods and yeast cultures, which were passed between generations through practical participation. The Norwegian Intangible Cultural Heritage Knowledge Bank classifies the practice under food traditions and knowledge of nature and the universe.Brewing traditionally formed part of important social occasions, including weddings, Christmas celebrations, harvests, funerals, communal work and hospitality. The brewing process may involve gathering juniper, preparing the infusion, mashing and lautering, boiling or preparing raw ale, fermenting the wort and preserving yeast for subsequent brews. Local methods differ; for example, traditions north a

Voices from the Bamboo Huts: The Living Art of Bài Chòi

Bài Chòi is a traditional performing art of Central Viet Nam that combines music, poetry, acting, visual elements and literature. It has two closely connected forms: Bài Chòi games, traditionally played during the Lunar New Year in temporary bamboo huts, and Bài Chòi performance, in which performers known as Hiệu artists sing, recite and interact with participants and audiences. The practice has historically been found across nine central provinces, including Quảng Bình, Quảng Trị, Thừa Thiên Huế, Đà Nẵng, Quảng Nam, Quảng Ngãi, Bình Định, Phú Yên and Khánh Hòa.During a Bài Chòi game, players occupy small huts while an Hiệu performer draws or announces cards and communicates their meanings through sung or spoken verses. The performance depends on quick responses, expressive delivery, humour and interaction with the audience. The repertoire combines inherited melodies and verses with creative performance, allowing the art to respond to particular places, occasions and audiences while retaining recognizable con

Frevo and the Living Rhythm of Recife

Frevo is a musical and dance tradition deeply associated with the Carnival of Recife and Pernambuco. Its rapid rhythms are performed by brass and percussion bands, while dancers known as passistas interpret the music through an energetic vocabulary of jumps, bends, spins, kicks and acrobatic movements known collectively as Passo. The small, brightly colored umbrella carried by many dancers has become one of its most recognizable symbols.Frevo is not a single choreography or musical formula. It encompasses different musical forms, dance styles and performance contexts, continually recreated by musicians, dancers and carnival associations. Its sound emerged from the interaction of marches and other musical traditions in the urban environment of Recife, while its dance developed through the creativity and agility of performers, including movements historically associated with capoeira.

Sanyuesan: The Spring Song Fair and Cultural Traditions of Wuming

Each year, on the third day of the third lunar month, Sanyuesan brings together some of the most important folk traditions of Wuming's Zhuang communities. The festival is rooted in the collective cultural life of the people, creating a shared space in which folk songs, ancestral remembrance, food preparation, games, social interaction and seasonal celebration come together. Rather than being defined by a single ceremony or performance, Sanyuesan is formed through the participation of the community and the many folk practices that people continue to share and renew each spring.Folk singing occupies a central place within this cultural space. Through the tradition of the song fair, people gather to exchange songs, respond to one another and demonstrate their creativity and cultural knowledge through spontaneous expression. Singing traditionally creates opportunities for people to meet, form friendships, express affection and interact through a shared language of melody and poetic verse. A song is not simply per

Lord of the Miracles Procession

Every October, the city of Lima is transformed by a sea of purple as hundreds of thousands of devotees gather to participate in the Procession of the Lord of the Miracles (Señor de los Milagros), one of the largest religious processions in the world. The celebration centers on a revered mural depicting the crucified Christ, painted in the mid-seventeenth century by an Afro-Peruvian man of Angolan origin in the Pachacamilla neighborhood. According to tradition, the mural remained standing after the devastating earthquakes of 1655, 1687, and 1746, events that inspired widespread devotion and led the image to be regarded as miraculous. What began as a local expression of faith within an Afro-descendant community gradually evolved into a tradition embraced by people from every social background, becoming one of the strongest symbols of Lima's cultural and religious identity.Rather than being confined to a single ceremony, the celebration unfolds through a series of processions held on several dates throughout Oct

Hands of Black Clay: Pottery, Memory and Community in Ñuble

In Quinchamalí and Santa Cruz de Cuca, clay is transformed through a body of knowledge shaped by generations of practice. The distinctive pottery is recognized for its deep black surfaces, white decorative details and forms that range from household vessels to figures associated with rural life. Pieces such as the guitarrera and the three-legged pig carry local memories into clay, connecting the work of the potter with the cultural landscape and everyday imagery of central Chile.The making of each piece involves far more than shaping an object. Potters must know where to obtain suitable clay and other materials, how to prepare and work them, how to shape the desired form and how to control the processes that produce the characteristic black finish. The white designs are then added by hand, making each object a material expression of both inherited technique and individual creativity.

Voices of Essaouira: Gnawa Music, Ritual and Living Memory

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

Verses Without a Script: The Living Art of Payada

Payada is a traditional form of improvised musical poetry associated with the Pampas of Argentina and Uruguay and the wider Río de la Plata region. At its heart is the payador or payadora, a performer who creates verses spontaneously while singing to the accompaniment of a guitar, commonly using the rhythm of the milonga. One of its most recognizable forms is the contrapunto, a poetic exchange in which two performers respond to each other through successive improvised stanzas. Their verses may address a theme agreed upon beforehand or respond to suggestions from the audience, creating a dialogue shaped by wit, reflection, humour, and the ability to construct a meaningful response in the moment.Payada commonly employs the Spanish poetic form known as the décima espinela, a ten-line stanza generally composed of eight-syllable lines with a consonant rhyme scheme. Each stanza develops an idea, narrative, or argument, often ending with a concluding statement that answers or sharpens the preceding verses. The pract

When the Devil Awakens: Carnival, Community and the Living Traditions of Jujuy

In the Quebrada de Humahuaca, in the Andean province of Jujuy, northwestern Argentina, Carnival is a collective celebration shaped by music, singing, dancing, ritual, and relationships between communities and the land. This inventory focuses particularly on the traditions of the Comparsa Los Caprichosos de Tilcara, a community group founded in 1983 and subsequently organized as a civil association. Its activities include the Carnival’s principal festivities, the gatherings of Compadres and Comadres, the Desentierro del Diablo, invitations between comparsas, Chaya celebrations, and the eventual Entierro del Diablo. Although these practices share features with celebrations throughout Jujuy, their forms and meanings vary among localities and groups.At the heart of the celebration is the symbolic awakening and burial of the devil, often represented by a costumed figure associated with the release of Carnival’s festive energy. Participants gather at a mojón, a ceremonial place where the devil is unearthed and late

Behind the Screen, Beyond the Shadows: Wayang Kulit and the Living Art of Indonesia

Wayang Kulit is a traditional Indonesian shadow-puppet theatre most strongly associated with Java. Its performances use intricately cut and painted leather puppets, traditionally made from animal hide, whose articulated limbs are manipulated by a dalang, or master puppeteer. A lamp illuminates a stretched screen, known as the kelir, allowing the puppets’ shadows to become the central visual element of the performance. The dalang controls the characters, voices their dialogue, narrates the story, and coordinates the action with the accompanying musicians.Performances commonly draw on the Ramayana and Mahabharata, alongside local stories, Javanese interpretations, and episodes involving comic characters known as the punakawan. The musical ensemble typically features a gamelan orchestra, with singers sometimes contributing vocal passages. The repertoire can communicate moral reflection, philosophical ideas, social criticism, humour, and local values. Although Java is especially associated with Wayang Kulit, rela

One Rhythm, Many Hands: Saman Dance and the Living Heritage of the Gayo People

Saman is a traditional performing art of the Gayo people of Aceh, northern Sumatra, Indonesia. Performers sit on their heels or kneel in tightly arranged rows, using coordinated handclaps, chest and thigh slaps, finger clicks, and movements of the head and torso to create intricate rhythms. The pace can change rapidly, demanding close attention to the leader and precise coordination among the dancers. Black costumes decorated with colourful Gayo motifs contribute to the performance's distinctive appearance, with patterns associated with nature and noble values.The performance combines movement with sung verses, largely in the Gayo language. Led by a figure known as the pengangkat, the lyrics may communicate religious guidance, moral teachings, affection, humour and observations about community life. Saman is performed during religious and national celebrations and other important gatherings, strengthening relationships between villages. Its cultural significance lies not only in the technical achievement of t

The Peacock Crown of Ponorogo: Reog and the Living Heritage of East Java

Reog Ponorogo is a traditional theatrical performance from Ponorogo, East Java, in which dance, music, elaborate costumes and storytelling bring local legends into public life. Its most recognizable feature is the Dadak Merak, a monumental mask depicting a tiger-like head crowned with a fan of peacock feathers. Performers also portray kings, commanders, knights and horse-mounted warriors, drawing audiences into the legendary world of the Bantarangin Kingdom.Reog is performed on many occasions, including weddings, village-cleansing events, thanksgiving ceremonies, public festivities, national and Islamic holidays, and celebrations welcoming guests. It is more than a staged spectacle: the performances bring people together, express local pride and pass cultural values between generations. Its continued presence depends on the combined knowledge of performers, musicians, costume and mask makers, and the communities that organize and support each performance.

The Life of the Boi: Bumba-meu-boi and the Living Heritage of Maranhão

Bumba-meu-boi is a cultural complex from Maranhão that brings together music, dance, theatrical performance, religious devotion, storytelling, craftsmanship and festive celebration. At its center is the figure of the Boi, whose symbolic life follows a recurring cycle of birth, performance, death and renewal. The traditional narrative tells of Catirina and Pai Francisco, whose actions surrounding the death of a prized ox set the story in motion and eventually lead to its resurrection.The practice unfolds through a yearly cycle of rehearsals, the baptism of the Boi, public performances and the ritual of its death. Groups, known as Bois or batalhões, maintain distinct styles called sotaques, including Matraca, Baixada, Zabumba, Costa de Mão and Orquestra. Each has its own musical arrangements, instruments, costumes, movements and performance characteristics, making the cultural complex a constellation of related local traditions rather than a single standardized performance.

Voices in the Circle: Samba de Roda and the Living Heritage of Bahia

Samba de Roda is a communal musical and dance tradition rooted in the Recôncavo region of Bahia, where singing, percussion, handclapping and dance come together in a circular gathering. Participants form a roda while musicians establish the rhythm with instruments such as the pandeiro, atabaque and viola, accompanied by collective singing. One or more dancers enter the center of the circle to perform, often inviting another participant through gestures and movement before returning to the roda.The tradition encompasses more than a musical performance. Its repertoire carries verses, memories, humor and social commentary, while the gathering itself creates a space for celebration, interaction and belonging. Samba de Roda is practiced during religious celebrations, festivities, family gatherings and other community occasions, with variations in rhythm, repertoire and performance according to locality and occasion.

Patterns of Celebration: Mehndi and the Living Henna Tradition of India

In India, henna, widely known as mehndi, is a living practice of preparing and applying natural henna paste to the hands, feet and other parts of the body. The practice combines botanical knowledge, preparation techniques and artistic application, with designs ranging from fine floral and geometric patterns to motifs associated with particular communities, ceremonies and occasions. Mehndi is especially prominent at weddings and other celebrations, where its application becomes part of the preparation for an important moment in life.The practice is not limited to the finished design. It includes selecting and preparing henna leaves or powder, producing the paste, preparing the application cone and developing the ability to draw patterns directly onto the skin. The application itself can become a social gathering in which women, relatives, friends and professional mehndi artists interact, exchange songs and conversation, and participate in the preparation for a celebration. India's participation in the current

Circles of Light: Garba and the Living Heritage of Gujarat

Garba is a devotional and participatory dance tradition practiced throughout Gujarat, particularly during Navaratri, the nine-night festival associated with the worship of feminine divine energy, or Shakti. At the centre of the traditional dance space is a perforated earthen pot containing an oil lamp, known as a garbha-deep, or an image of the goddess Amba. Dancers form one or more circles around this centre, moving counter-clockwise while singing and clapping together. The dance begins with measured circular movements and gradually develops into faster, more energetic patterns of movement and whirling.Garba is much broader than the movement performed in the circle. The tradition brings together dancers, singers, instrumentalists, religious figures, costume and ornament makers, potters, organizers and audiences. Traditional neighbourhood Garbas continue alongside large contemporary gatherings in cities and towns, allowing the practice to move between intimate community spaces and major public celebrations. T

Silk, Gold and Speed: The Living Wine Horses of Caravaca

Every year from 1 to 3 May, the people of Caravaca de la Cruz in the Region of Murcia gather for the Wine Horses, a central tradition of the festivities dedicated to the Santísima y Vera Cruz. The horse is the protagonist of a sequence of activities that begins with its care throughout the year and culminates in its presentation, parade and celebrated ascent toward the castle. The most distinctive moment of the tradition is the enjaezamiento, the elaborate dressing of the horse in a complete set of embroidered pieces made with silk, coloured threads, gemstones and gold and silver ornamentation. Each set is specially produced for its horse and represents months of artistic and collective work.The celebration brings together two knowledge systems that have long been connected to the identity of Caravaca: horse breeding and wine-growing. On 2 May, four caballistas run alongside each horse during the timed ascent of the steep Castle Hill, creating a demanding demonstration of coordination between people and anima

Aitysh and the Improvising Poets of Kyrgyzstan

Aitysh is a living tradition of improvised oral poetry in which two akyns sit opposite one another and compose verses spontaneously in response to a topic, a question or the words of their counterpart. In Kyrgyzstan, the tradition is closely associated with the tokmo akyn, the poet-improviser who accompanies the performance on the komuz, Kyrgyzstan's traditional three-stringed instrument. The exchange can move rapidly between humor, satire, praise, philosophical reflection and observations about everyday life, requiring the performer to combine poetic language, musical rhythm, memory, wit and immediate judgment. UNESCO inscribed Aitysh/Aitys on the Representative List in 2015 as a shared element of Kyrgyzstan and Kazakhstan.Within Kyrgyz communities, Aitysh has long been part of gatherings and celebrations, from family occasions to larger public events. The audience is not simply a passive observer: subjects may be proposed by those present, and the performers respond to the social atmosphere around them. Thi

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

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

The Voice that Remembers: Mvet Oyeng in Gabon

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

Dragon Boat Traditions: Community, Waterways and Collective Heritage in Foshan

In Foshan, the Dragon Boat Festival is not defined only by the moment a race begins. Each year, communities prepare their boats, renew relationships with waterways, gather crews and carry out ceremonies that connect the arrival of Duanwu with village identity and collective memory. Across areas such as Nanhai and Shunde, dragon boats become the focus of a wider cultural life involving ritual, craftsmanship, food, music, competition and cooperation. The waterways themselves become temporary cultural spaces in which communities gather to celebrate traditions that have been maintained across generations.Foshan's dragon boat culture is especially distinctive because of the diversity of its local practices. In Diejiao, long boats race through narrow and winding village canals, requiring crews to coordinate extraordinary movements around sharp bends. In Yanbu, the centuries-old Yanbu Old Dragon is brought from its resting place beneath the riverbed and awakened through annual rituals before returning to the water.

The Water-Splashing Festival: Renewal and New Year Traditions among the Dai People of Xishuangbanna

Each spring, the Dai New Year transforms Xishuangbanna into a period of renewal, gathering and collective celebration. Known internationally as the Water-Splashing Festival, the celebration is rooted in the Dai understanding of the transition from one year to another. Water carries wishes for purification, happiness and good fortune, and the act of splashing another person is traditionally understood as offering a blessing for the year ahead. The festival is therefore much more than the public spectacle for which it has become famous: it marks the beginning of a new annual cycle through a combination of ritual, social relationships and collective celebration.The relationship with water begins with practices that carry a more intimate and ceremonial meaning. Festival activities include the collection of water, the bathing of Buddha images and the use of water to express respect and blessings. One traditional form of blessing involves elders gently sprinkling younger people with water, while the more energetic

The Living Culture of the White Swan and Yellow River Wetlands of Sanmenxia

Every winter, the arrival of white swans along the Yellow River wetlands gives Sanmenxia a distinctive seasonal rhythm. The birds return to wetlands, shallow waters and riverbanks where local communities have become accustomed to observing their movements and sharing the landscape with them. Over time, this seasonal relationship has developed into an important part of Sanmenxia's contemporary identity, reflected in the city's designation as the “Swan City” and in the many cultural, educational and community activities that accompany the winter season. The relationship is therefore understood not simply through the presence of the birds, but through the knowledge and practices that have developed around their return.People in Sanmenxia have learned to recognize the importance of keeping the wetlands quiet, clean and suitable for the birds. During the principal protection period, from October to March, activities that may disturb the swans, such as approaching them, feeding them, flying drones or making loud no

White Terraces: Salt, Water and Community in Maras

On the slopes of the Sacred Valley of Cusco, thousands of small salt ponds descend through the landscape of Maras like a vast white terrace system. Their existence depends on a naturally saline spring whose water is guided through channels into individual evaporation ponds. Through repeated cycles of filling, evaporation, crystallization and harvesting, local producers transform saline water into salt. What appears from a distance to be a striking landscape is therefore also a highly specialized productive system maintained through generations of knowledge.Salt extraction in Maras has been practiced since pre-Hispanic times and continued through the Inca, colonial, republican and contemporary periods. Today, the practice remains closely associated with the peasant communities of Maras and Pichingoto, where knowledge of the ponds, techniques of extraction and forms of productive organization continue to be transmitted between generations. The continuity of these practices led Peru's National Institute of Cultu

When Ayacucho Walks in Faith: Semana Santa (Holy Week)

Semana Santa de Ayacucho is one of the most significant religious and cultural celebrations in Peru. Held annually according to the movable Catholic calendar, the celebration extends across eleven central days between March and April and brings processions, liturgical ceremonies, music, devotional practices, collective meals, festive gatherings and the decoration of religious images into the streets and churches of Ayacucho. The celebration has been associated with the city's colonial religious history, while its contemporary form is particularly connected to a continuity of more than 150 years. In 2022, the Ministry of Culture declared it Cultural Heritage of the Nation, recognizing it as the most important expression of faith and cultural identity within Ayacucho's festive calendar.What makes Ayacucho's Semana Santa especially significant as intangible cultural heritage is the way Catholic liturgy has become intertwined with popular forms of devotion and local cultural expression. The celebration is not exp

Pisco: Grapes, Craft and Memory in Ica

Pisco is a distilled spirit made from grapes and one of the most recognizable cultural products associated with Peru. Its identity is closely connected to the country's history of viticulture, coastal agriculture and distillation, but also to the people who have cultivated grapes, maintained bodegas and transmitted production knowledge across generations. Unlike a beverage defined only by its ingredients, pisco encompasses a wider body of knowledge concerning grape varieties, harvesting, fermentation, distillation, maturation, sensory evaluation and the appropriate conditions for producing the spirit.In Peru, pisco has acquired significance far beyond its role as an alcoholic beverage. It is present in national celebrations, gastronomy, hospitality, tourism and regional identity, and has become an important symbol through which Peruvians represent their cultural heritage. Its production also connects different periods of Peruvian history: the introduction of European grapevines during the colonial period, the

Ayni in Huilloc: Reciprocal Work and Community Life

Ayni is a traditional system of reciprocal labor in which a person or household provides work to another with the expectation that the assistance will later be returned under comparable conditions. In Huilloc, a Quechua community located in the Sacred Valley of Cusco, in the Patacancha Valley of Ollantaytambo, ayni remains associated with agricultural activities and other forms of mutual assistance among families and community members. The practice is grounded in relationships of trust, kinship and mutual obligation rather than monetary payment. The principle is considerably older than the Inca Empire. Historical research identifies reciprocal labor as a pre Inca practice that was incorporated into the social and economic organization of the Inca period. Within the ayllu, reciprocal exchanges supported household production and agricultural activities, while other labor systems such as minka and mit'a fulfilled different communal or state functions. Ayni therefore should not be understood as an exclusively Inc

Ch'arki: The Living Tradition of Andean Dried Meat

Ch'arki is one of the Andes' oldest food preservation traditions: meat is reduced to a durable form through drying, traditionally taking advantage of the combination of intense daytime sunlight, dry air and cold nighttime temperatures at high elevations. The technique allowed meat to remain usable for extended periods without refrigeration and transformed a highly perishable resource into food that could be stored, transported and consumed later.The tradition is particularly associated with the highlands of Peru and with camelid meat, especially llama and alpaca. However, ch'arki has never been a completely fixed product. Different regions have developed variations in the type of meat, size and preparation of the pieces, use of salt, drying conditions and ways of incorporating the finished product into local cuisine. Today, charqui remains consumed and produced in several Andean regions, including Puno, Cusco, Arequipa, Ayacucho and Huancavelica. In April 2026, Peru's National Institute of Quality approved a

Apus: The Cultural Tradition of Sacred Mountains in the Andes

Across the Andes, mountains can be understood as more than physical features of the landscape. In many Quechua communities, particular mountains are regarded as powerful beings with whom people maintain relationships of respect, reciprocity and communication. These mountains are commonly known as Apus.The Apu tradition encompasses a living body of knowledge and practice rather than a single ceremony. It includes oral narratives, sacred geography, offerings, prayers, agricultural and pastoral practices, ritual specialists, pilgrimage routes and ways of interpreting the relationship between people, mountains, water, animals and the wider landscape. In Cusco, mountains such as Ausangate, Pachatusan and Picol continue to occupy important places within local understandings of territory and ritual life.The concept should not be presented as a uniform belief shared identically by all Andean people. Each community has its own sacred geography, names, narratives and relationships with particular mountains. What connec

The Saqra Dance of Paucartambo

The Saqra Dance is one of the distinctive masked dance traditions performed during the Festival of the Virgin of Carmen in Paucartambo, Cusco. Its dancers appear as mischievous, supernatural beings with animal and human characteristics, moving through the streets, balconies and rooftops of the town while interacting theatrically with the sacred procession.The tradition combines dance, music, mask making, costume knowledge, theatrical character, religious devotion and community organization. The Saqra is not simply a representation of evil. Within the festive world of Paucartambo, the character occupies an ambiguous space between the sacred and the mischievous, the frightening and the humorous, and the human and the supernatural. The masks themselves transform the dancer into another social and symbolic being. The Peruvian Ministry of Foreign Affairs describes the Saqras as playful devils whose anthropomorphic forms combine human and animal characteristics.The dance is practiced as part of the annual Festival

Adoration of the Three Kings in San Blas

The Adoration of the Three Kings is a religious theatrical tradition of San Blas in which the biblical story of the Magi and the Massacre of the Innocents is transformed into a community performance. Developed in the early twentieth century and traditionally presented in late December, the celebration brings together theatre, music, dance, children’s performance, religious devotion and neighborhood participation.More than a representation of a Christian story, the tradition embodies the cultural memory of San Blas. Its distinctive combination of Spanish and Quechua songs, local performance practices, costumed characters and community participation has made the event one of the most recognizable expressions of the historic artisan neighborhood.

Cooking with the Earth: The Living Tradition of Pachamanca in Peru

Some meals are prepared in kitchens.Others are prepared over fire.Pachamanca begins with the earth itself.Practiced for centuries throughout the Peruvian Andes and now celebrated across many regions of the country, pachamanca is a traditional method of cooking food beneath the ground using stones heated by fire. Its name derives from the Quechua words pacha (earth, world, or universe) and manka (pot), often interpreted as "earth oven." More than a culinary technique, pachamanca represents a living body of knowledge that integrates agriculture, ecology, engineering, seasonal cycles, and collective celebration. Families, neighbors, farmers, cooks, and entire communities continue preparing it during festivals, harvests, patron saint celebrations, family reunions, and other important social occasions where sharing food strengthens social bonds.Preparing a pachamanca begins long before cooking. Suitable stones must be carefully selected because not every type can safely withstand intense heat. A pit is prepared in

Rhythm Beyond the Wood: The Living Tradition of the Peruvian Cajón

Among Peru's most recognizable cultural symbols, the Peruvian cajón occupies a unique place because its origins reflect both resilience and artistic ingenuity. Today it accompanies concerts, family celebrations, dance performances, schools, and international stages, yet its history began with Afro-Peruvian communities that transformed ordinary wooden crates and shipping boxes into instruments capable of expressing identity, memory, and joy. From these humble beginnings emerged a musical tradition that demonstrates how creativity can flourish even under difficult historical circumstances.The cajón developed primarily along Peru's central and southern coast, where Afro-Peruvian communities cultivated rich musical traditions through singing, dancing, improvisation, and percussion. Without relying on elaborate instruments, musicians discovered that everyday wooden boxes could produce a remarkable range of sounds through different striking techniques, body position, and rhythmic patterns. Over generations, these p

Elegance in Motion: The Living Tradition of the Peruvian Paso Horse

Few cultural traditions express harmony between humans and animals as gracefully as the Peruvian Paso Horse. Developed over centuries on Peru's coastal valleys and rural estates, this unique equestrian tradition represents far more than the breeding of a distinguished horse. It encompasses specialized knowledge of horsemanship, careful animal care, craftsmanship, ceremonial presentation, and a style of riding that values smoothness, elegance, and mutual understanding above speed or competition. Through generations of breeders, riders, trainers, artisans, and families, the Peruvian Paso Horse has become a living symbol of Peru's rural identity and equestrian heritage.The origins of the tradition date back to the arrival of Iberian horses during the colonial period. Over time, the particular geography of Peru's coast, together with selective breeding and local riding practices, gave rise to a horse renowned for its naturally smooth gait, known as the paso llano. This four-beat lateral gait provides exceptional

When Maize Becomes Ceremony: The Living Tradition of Chicha de Jora in Peru

Long before the rise of the Inca Empire, communities across the central Andes had already discovered that maize could be transformed through fermentation into a beverage that nourished not only the body, but also social relationships. Known in Quechua as aqha, chicha de jora emerged from centuries of accumulated agricultural knowledge, observation of natural fermentation, and an intimate understanding of maize cultivation. Archaeological evidence demonstrates that fermented maize beverages were already prepared by pre-Hispanic societies long before the Incas, making chicha one of the oldest continuously practiced culinary traditions in Peru.Rather than remaining an everyday drink, chicha de jora gradually became one of the most significant ceremonial beverages of the Andes. During the Inca period, its preparation, distribution, and consumption acquired important religious, political, and social functions. It accompanied major state ceremonies such as Inti Raymi, agricultural rituals, communal work, diplomatic

Where the River Gives Life: The Feast of San Juan in the Peruvian Amazon

Every year on 24 June, communities throughout the Peruvian Amazon celebrate the Feast of San Juan, one of the region's most significant cultural events. Observed in Loreto, San Martín, Ucayali, Amazonas, Huánuco, and Madre de Dios, the celebration combines religious devotion, community gatherings, music, dance, traditional foods, and river rituals that reflect the close relationship between Amazonian societies and the waterways that sustain them. While honoring Saint John the Baptist, the festival has also become a broader celebration of life, nature, and community identity in the Amazon.The celebration involves families, neighborhood associations, Indigenous communities, musicians, cooks, artisans, market vendors, religious groups, and local authorities. One of its most recognizable traditions is the preparation and sharing of juane, a festive dish made of rice, chicken, spices, and other ingredients wrapped in bijao leaves. Rivers also play a central role in the festivities. Many participants gather along r

Where the Harvest Sings: The Vendimia Festival of Ica

Every year, as the vineyards of the Ica Valley reach maturity, communities gather to celebrate one of the most anticipated moments of the agricultural calendar: the Vendimia, or grape harvest. More than a seasonal festival, the celebration marks the culmination of months of cultivation, irrigation, pruning, and patient care devoted to the vineyards that have shaped the cultural landscape of southern Peru for centuries. Farmers, winemakers, families, artisans, musicians, and visitors come together to celebrate not only the harvest itself but also the collective effort that made it possible.The Vendimia is celebrated throughout the Ica Region, particularly in areas with a long tradition of grape cultivation and pisco production. Among its most emblematic moments is the traditional grape stomping, during which participants enter large wooden vats and crush freshly harvested grapes using their feet, recalling one of the oldest methods of extracting juice before modern technology. Music, dance, parades, local gast

The Tree That Belongs to Everyone: The Yunza Celebration

Across many regions of Peru, particularly in the central Andes, the northern highlands, and parts of the Amazon, communities celebrate a festive tradition known by different names, including Yunza, Cortamonte, and Umisha. Although local customs vary, they all share a common practice: a tree is decorated with gifts, ribbons, fruits, household items, toys, and colorful ornaments, becoming the symbolic center of Carnival festivities. Throughout the celebration, music, dance, laughter, and communal participation transform the tree into a temporary gathering place where prosperity is shared rather than possessed.The celebration is practiced by entire communities, including families, neighbors, musicians, dancers, local authorities, and Carnival organizers. Participants dance in circles around the decorated tree while couples or individuals take turns striking its trunk with an axe or machete. As each participant makes only a few symbolic cuts before passing the tool to the next, the activity becomes a collective e

The Wisdom of Water: The Amunas of the Andes

High in the central Andes of Peru, communities have safeguarded for centuries an ingenious system for managing one of their most precious resources: water. Known as amunas, these ancestral hydraulic systems capture rainwater and seasonal runoff during the wet season, guiding it through carefully constructed stone-lined channels into permeable mountain soils. Rather than transporting water directly to fields, the system allows it to infiltrate underground, where it is naturally stored before reappearing months later through springs that sustain agriculture and communities during the dry season.The knowledge associated with the amunas continues to be practiced principally in the province of Huarochirí, in the Lima Region, where local communities organize the annual maintenance, cleaning, and operation of the canals through collective labor. Elders, farmers, communal authorities, and younger generations work together to inspect channels, remove vegetation, repair stone structures, and monitor water flow accordin

One Melody, Many Voices: The Sikuri Musical Tradition

Across the highlands surrounding Lake Titicaca and throughout southern Peru, the sound of the siku, the traditional Andean panpipe, has accompanied community celebrations, agricultural cycles, religious festivities, and social gatherings for centuries. The musical tradition known as Sikuri is practiced in regions such as Puno, Cusco, Moquegua, Tacna, and parts of Arequipa, where groups of musicians perform collectively during festivals and communal events. More than a musical genre, Sikuri represents a distinctive philosophy of making music together, in which harmony can only be achieved through cooperation among performers.Unlike many musical traditions where one performer is capable of playing an entire melody, Sikuri is based on a complementary system. The notes of a melody are divided between two different types of panpipes, commonly known as ira and arka. Each musician performs only part of the musical phrase, requiring constant coordination with others to complete the melody. This interdependence transf

Threads That Speak: The Textile Art of Taquile Island

Rising from the waters of Lake Titicaca, Taquile Island is home to one of Peru's most distinctive textile traditions, where weaving and knitting serve not only as artistic practices but also as a means of communication, identity, and social organization. For centuries, the island's inhabitants have developed sophisticated textile techniques that express community values, family heritage, and individual responsibilities. Every garment carries meanings that extend beyond decoration, reflecting a living cultural system in which textiles function as symbols understood by members of the community.The textile tradition is practiced collectively by the inhabitants of Taquile Island, located in the Puno Region. Men are renowned for knitting finely crafted chullo hats and other knitted garments from an early age, while women specialize in weaving and embroidery using techniques transmitted within their families. The colors, patterns, materials, and styles of each textile often communicate information such as marital s

Reawakening the Sun: Inti Raymi of Cusco

Every year on 24 June, the city of Cusco becomes the stage for Inti Raymi, the Festival of the Sun, one of Peru's most emblematic cultural celebrations. Inspired by descriptions recorded in early colonial chronicles and rooted in the ceremonial traditions of the Inca civilization, the event commemorates the winter solstice in the Southern Hemisphere, a moment that historically marked the renewal of the agricultural cycle and reaffirmed the relationship between society, nature, and the Sun, revered as a life-giving force.Today, the celebration unfolds across several of Cusco's most significant historical spaces, including Qorikancha, the Plaza de Armas, and the archaeological complex of Sacsayhuamán. It brings together performers, musicians, traditional artisans, historians, cultural practitioners, local authorities, students, residents, and visitors who collectively recreate one of the most important public ceremonies associated with the Inca world. Through carefully prepared costumes, ceremonial speeches in

From Sea to Table: The Living Heritage of Ceviche

Along Peru's Pacific coast, the preparation of ceviche represents far more than the creation of one of the country's most iconic dishes. It is a living body of knowledge that brings together artisanal fishing, the careful selection of fresh ingredients, culinary techniques, and social customs that have been transmitted across generations. Although recipes vary among coastal regions, the essential principles remain the same: respect for the freshness of the fish, balance of flavors, and the skill required to transform simple ingredients into a dish that reflects Peru's rich maritime heritage.The preparation of ceviche is practiced throughout Peru's coastal communities by artisanal fishers, market vendors, cooks, families, culinary professionals, and local residents. Knowledge is transmitted in homes, traditional eateries, fishing communities, culinary schools, and public markets, where experience teaches how to identify suitable fish species, prepare citrus marinades, slice ingredients correctly, and achieve t

Voices of the Forest: The Esuwa Oral Tradition of the Harakbut People

Deep within the tropical forests of the Madre de Dios Region, the Harakbut people have safeguarded for generations a remarkable oral tradition known as the Esuwa. These ceremonial sung prayers are performed on specific occasions and express a profound relationship between people, nature, spirituality, and collective memory. Unlike many forms of intangible cultural heritage that depend on physical objects or public performances, the Esuwa exist entirely through the spoken and sung word, making them one of Peru's most delicate and valuable forms of living heritage.The Esuwa are practiced by members of Harakbut communities, particularly among the Wachiperi people, where elders and individuals recognized for their cultural knowledge serve as the principal bearers of the tradition. The sung prayers are closely associated with traditional beliefs, healing practices, social values, and the transmission of ancestral knowledge. Their performance requires not only linguistic fluency but also a deep understanding of the

Guardians of the Vicuña: The Communal Chaccu

High in the Andean puna, where vast grasslands stretch across the mountains of Peru, communities continue to practice the Chaccu, an ancestral communal roundup of wild vicuñas that combines environmental stewardship, traditional knowledge, and collective organization. Practiced in regions such as Ayacucho, Huancavelica, Apurímac, Cusco, Arequipa, and Puno, the Chaccu follows techniques that have existed since pre-Hispanic times, allowing communities to harvest the valuable fiber of the vicuña without harming the animals before releasing them back into their natural habitat.The practice involves entire communities, including local authorities, herders, families, students, conservation specialists, and volunteers. Participants form long human chains that gradually guide vicuñas toward temporary enclosures, where trained personnel carefully shear the animals before returning them to the wild. The event is often accompanied by traditional ceremonies expressing gratitude to nature and respect for the vicuña, reinf

Echoes of Freedom: Hatajo de Negritos and Las Pallitas of the Southern Coast

Every year during the Christmas season, towns across the regions of Ica and southern Lima come alive with the rhythmic sounds of violin, bells, songs, and zapateo as groups perform the Hatajo de Negritos and Las Pallitas. These two complementary cultural expressions combine music, dance, poetry, and religious devotion in celebrations dedicated to the Nativity. Although each has its own distinctive style, they are traditionally performed as part of the same festive cycle, reflecting the cultural diversity and historical experiences of Peru's southern coast.The Hatajo de Negritos is practiced primarily by Afro-Peruvian communities, while Las Pallitas is traditionally performed by women's groups from the same localities. Together, they represent a remarkable example of how different sectors of society participate in a shared celebration while maintaining their own artistic identities. Participants include singers, dancers, violinists, community leaders, families, and local residents who prepare throughout the ye

Wititi Dance of the Colca Valley

Across the dramatic landscapes of the Colca Valley, in the Arequipa Region, the Wititi Dance continues to unite communities through music, movement, and traditional dress. Performed during religious festivities, agricultural celebrations, and civic events, the dance represents one of the most recognizable cultural expressions of southern Peru. Its origins reflect centuries of interaction between Indigenous Andean traditions and later historical influences, resulting in a dynamic practice that has remained deeply rooted in the everyday life of the Colca Valley. Rather than existing solely as a staged performance, the Wititi forms part of a broader cultural system that celebrates local identity and reinforces community relationships.The dance is practiced by community members, traditional musicians, dancers, families, and local cultural groups throughout the Colca Valley. Distinctive costumes, including carefully embroidered hats, colorful skirts, woven garments, and traditional accessories, identify participan

Sarhua Painted Boards (Tablas de Sarhua)

In the Andean district of Sarhua, located in the Ayacucho Region, a newly built house is traditionally welcomed with a remarkable painted wooden board that tells the story of the family who will inhabit it. Known as the Tablas de Sarhua (Sarhua Painted Boards), this artistic tradition combines painting, storytelling, genealogy, and community memory into a single cultural expression. The custom dates back several centuries and originated as a symbolic gift presented during the construction of a new home. Rather than serving solely as decoration, each board documents important aspects of family life, portraying relatives, occupations, shared responsibilities, religious beliefs, agricultural work, and significant events through colorful illustrations accompanied by written descriptions.The tradition is preserved by local artists, artisan families, apprentices, and community members, who continue to produce painted boards using techniques refined over generations. A typical board is created on a long wooden plank

Retablo Ayacuchano Craft Tradition

Behind the colorful doors of a retablo ayacuchano lies a miniature world that tells stories of faith, daily life, history, and celebration. These handcrafted wooden boxes, filled with carefully modeled and painted figures, are among the most distinctive artistic traditions of the Ayacucho Region in the central Peruvian Andes. Their origins can be traced to colonial-era portable altars brought by Spanish missionaries, which gradually merged with Indigenous artistic traditions. Over time, local artisans transformed these religious objects into expressive cultural narratives that portray not only sacred themes but also agricultural activities, festivals, family life, markets, and significant historical events.The tradition is maintained by artisan families, craftspeople, apprentices, and local communities, many of whom acquire the necessary skills through years of observation and practical experience. The creation of a retablo involves multiple stages, including woodworking, sculpting miniature figures from a mi

Marinera Dance Tradition

Graceful movements, elegant attire, and the rhythmic waving of white handkerchiefs define the Marinera, Peru's national dance and one of the country's most celebrated cultural expressions. While several regional styles exist, including Marinera Norteña, Marinera Limeña, and Marinera Serrana, the tradition is especially associated with the city of Trujillo, in the La Libertad Region, where it occupies a central place in local cultural life. The dance emerged during the nineteenth century from the fusion of Indigenous, Spanish, and Afro-Peruvian cultural influences, reflecting Peru's diverse historical heritage. Its current name, Marinera, was adopted in honor of the Peruvian Navy following the War of the Pacific, replacing the earlier designation Zamacueca.The Marinera is practiced by dancers, musicians, instructors, students, families, and cultural communities throughout Peru. It is performed during civic celebrations, regional festivals, cultural events, competitions, and family gatherings, with participatio

Festival of the Virgin of Candelaria

On the shores of Lake Titicaca, the city of Puno hosts one of the largest and most elaborate cultural celebrations in South America: the Festival of the Virgin of Candelaria. Celebrated annually during the first half of February, the festival honors the Virgin of Candelaria, the patron saint of Puno, while reflecting the deep interaction between Catholic traditions introduced during the colonial period and longstanding Andean beliefs. Over centuries, these influences have merged into a celebration where religious devotion, music, dance, craftsmanship, and community participation are inseparable. Today, the festival is recognized as one of Peru's most significant expressions of living cultural heritage.Preparation for the celebration extends throughout the year. The festival is sustained by dance groups, musicians, artisans, embroidery workshops, neighborhood associations, local residents, and pilgrims, all of whom contribute to different aspects of the event. Thousands of performers participate in choreograph

Caballitos de Totora Reed Boat Tradition

Along the Pacific coast of northern Peru, the shoreline of Huanchaco, in the La Libertad Region, is characterized by the presence of slender reed boats resting on the sand after a day at sea. Known as caballitos de totora ("little reed horses"), these handcrafted vessels have been used for fishing for more than two thousand years, making them one of the oldest continuously practiced maritime traditions in the Americas. Archaeological evidence indicates that similar reed boats were already employed by pre-Columbian coastal societies long before the rise of the Inca Empire. Despite technological advances in modern fishing, the tradition remains an enduring symbol of the relationship between coastal communities and the Pacific Ocean.The knowledge required to build and operate the boats is preserved by traditional fishermen, artisan families, and coastal residents of Huanchaco. Each vessel is carefully handcrafted using totora reeds harvested from nearby wetlands, where the plants are cultivated and managed accor

Qoyllur Rit'i Pilgrimage

Long before reaching the sanctuary, thousands of pilgrims begin a journey through the high Andes toward the Sinakara Valley, at the foot of the snow-capped Ausangate Mountain in the Cusco Region. Known as the Qoyllur Rit'i Pilgrimage, this annual event is among the largest religious gatherings in the Peruvian Andes, bringing together participants from numerous provinces and communities. Celebrated each year between May and June, shortly before the Catholic feast of Corpus Christi, the pilgrimage reflects the coexistence of Indigenous Andean beliefs and Christian traditions. The name Qoyllur Rit'i, often translated as "Star of the Snow", evokes the close relationship between the surrounding glaciers, the night sky, and the spiritual significance attributed to the mountain landscape.The pilgrimage attracts pilgrims, Indigenous Quechua communities, musicians, dancers, and traditional ritual specialists who travel on foot, often covering long distances over several days. Organized groups known as naciones represe

Huaconada Ritual Dance

Every year during the first days of January, the quiet district of Mito, located in Peru's central Junín Region, becomes the setting for the Huaconada Ritual Dance, a ceremonial tradition distinguished by its imposing wooden masks, solemn choreography, and strong symbolic character. At the heart of the celebration are the huacones, masked figures who temporarily assume the role of moral guardians within the community. Their presence represents authority, wisdom, and justice, embodying ancestral principles that encourage respect for social order and communal values. While the celebration is closely linked to the local New Year festivities, its origins are believed to predate the colonial period, preserving elements of pre-Hispanic ceremonial practices that have endured through centuries of cultural continuity.The tradition is maintained by local residents, traditional dancers, musicians, mask makers, and artisan families who prepare for the celebration well in advance. One of the most distinctive elements of t

Scissors Dance (Danza de las Tijeras)

The sharp metallic sound produced by two polished steel blades striking together is the defining feature of the Scissors Dance (Danza de las Tijeras), a centuries-old cultural expression that has become one of the most recognizable symbols of the Peruvian Andes. Far more than an exhibition of agility, the dance combines music, ritual, endurance, and artistic excellence into a single performance. It is practiced mainly in the Andean regions of Ayacucho, Huancavelica, Apurímac, and parts of Arequipa, where it forms an essential part of local cultural life. The dance originated during the colonial period, when Indigenous ritual specialists adapted ancestral ceremonial traditions within a changing social and religious environment. Over time, these practices evolved into a unique artistic expression that continues to reflect Andean beliefs, values, and identity.Performances are commonly held during patron saint festivals, religious celebrations, harvest festivities, and other important communal events throughout t

Cajamarca Carnival Parade

The Cajamarca Carnival Parade is one of Peru's most celebrated festive traditions and is widely regarded as the country's most representative carnival celebration. It takes place in the city of Cajamarca, located in the northern Peruvian Highlands, where neighborhoods, families, musicians, dancers, artisans, and visitors collectively transform the city into a vibrant cultural space filled with music, costumes, dance, and public celebrations. Although carnival festivities have European origins associated with the period preceding Lent, the Cajamarca Carnival has evolved into a distinctive cultural expression that blends Spanish colonial influences with local Andean traditions. The modern form of the festival became firmly established during the early twentieth century and has since become one of the strongest symbols of Cajamarca's regional identity.The celebration is held every year between February and early March, depending on the Christian liturgical calendar. Preparations begin several weeks in advance as

Bohada: Masks, Myths and Community Rituals of Tribal Maharashtra

Bohada is a masked ritual theatre practiced by tribal communities living in Palghar, Thane and Nashik districts of Maharashtra state in western India. The tradition is sustained by the Kokna, Warli, Mahadev Koli, Malhar Koli, Dhor Koli, Thakar and Katkari communities. living in villages like Pimpalsond, Barhe, Mokhada and many others. The festival occurs after harvest , usually between the months of March to May. It lasts for three days in most villages, extending up to a fortnight in some. Ritually, Bohada is performed to please Goddess Adimata or Bhavani to protect the village from calamities, to invoke auspiciousness, ensure good rains and harvest, and to reaffirm collective well-being. The core performance re-enacts the victory of Goddess Jagdamba over Mahishasura, embodying the triumph of protective forces. Her mask is venerated on the third day and presented with a grand feast. Through night long processions, music, oral narration and stylised movement, the village becomes a shared ritual space whe

Warli Painting of Maharashtra, India

Warli painting is a traditional visual art practice of the Warli indigenous community inhabiting the western coastal region of India, particularly in the Palghar district of Maharashtra. In the tribal belts of Palghar, Warli extends beyond art; it is a way of life. The community’s folklore, rich with deities such as Palghat Devi, the goddess of fertility and the protector of the community, and Waghoba—the tiger god—finds expression through both painting and storytelling. Village scenes—depicting farming, dancing, and communal life—form central themes within this practice. Using a vocabulary of basic geometric shapes, the paintings reflect everyday routines, where each figure can signify fertility, harvest, or celebration.Rituals are central to Warli identity, and their visual language brings these sacred moments to life. The sacred Chawk, a ritual square composition, is created to invoke the happiness and harmony of conjugal life. Marriage ceremonies are marked by the Chawk, featuring Palghat Devi, surrounded

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

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 vicio

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 m

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 traditiona

2020 JIAPICH Finalist- ASAMA of Burkina Faso

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

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

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

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, wit

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 k

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. Re

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 lea

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. Referenc

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 1,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 Cultur

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(www.toursinvietnam.com)

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

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

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 cer

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 loca

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

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

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

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 partic

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 elde

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

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

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

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 o

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 accord

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 rhyt

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 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 the

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

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. Y

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

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 Chha

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 man

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 craf

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

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 crud

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 app

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

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

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: https://www.youtube.com/watch?v=embqg-yKHNQ Reference Treasure quest https://heriquest.com/?p=37&l=2&c=9&id=288

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

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

Tango

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.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.Tango is also incorporated into celebra