Table structure:
- Description - Text
- Body - Text
- URL - URL
- Subject - List of Page, delimiter: ,
- Country - List of Page, delimiter: ,
- Region - List of Page, delimiter: ,
- SDG - List of Page, delimiter: ,
- Tags - List of Page, delimiter: ,
- Media_URL - URL
- File - File
- Image_Caption - Text
This table has 500 rows altogether.
| Page | Description | Body | URL | Subject | Country | Region | SDG | Tags | Media URL | File | Image Caption |
|---|---|---|---|---|---|---|---|---|---|---|---|
| A Grass-mowing Competition (edit) | Among the most important social events in the Kupres municipality of Bosnia and Herzegovina is the annual grass mowing custom that takes place in July. The “Days of Moving” competition involves the manual mowing of grass using a scythe on a specific meadow called Strljanica. The event is judged by the amount of grass mown, the time it took, and the amount of effort required. Because the grass is situated at a high altitude, cutting it takes strength and a particular technique. Mowing day is a centuries-old tradition of the area. It attracts thousands of visitors and followers to this exceptional cultural event every year. The custom of mowing with hand-made scythes and the knightly competition of mowers represent the annual crown of this activity. The top three mowing parties are recognized at the end by the chief mower, who is treated as a leader. His job is to ensure that the hay is gathered in all the fields, which is crucial to agriculture and cattle breeding, both of which have played essential roles in the local economy. Male competitors, beginning at the age of eighteen, are introduced to this custom by their fathers, who also received the same elements from their fathers. Women hand, rake the grass and prepare food for guests. In addition to national costumes, scythes are forged, and cattle are prepared as a part of the competition. People from all ethnic and religious backgrounds are free to participate, as the custom is considered a strong component of Kupres' cultural identity, regardless of background. The Kupres Mowers Association and the bearers themselves are in charge of safeguarding the tradition. | Craftsmanship and Practices • Ritual | Bosnia and Herzegovina | (03) Good Health and Well-being | |||||||
| A Pilgrimage to St. Thaddeus Monastery (edit) | A pilgrimage to St. Thaddeus Apostle Monastery in northwestern Iran is held every year during the month of July for three days. Saint Thaddeus was the first apostle to preach Christianity, and St. Santukhd, the first female martyr of Christianity, is dedicated to the remembrance of their martyrdoms. In Iran, the Armenian population is represented by the Iranian-Armenians living in Armenia, while followers of the Armenian Apostolic Church make up the bearer of this element. Pilgrims gather in Tabriz before their journey to the monastery begins. Each year, pilgrims trek 700 kilometres round the clock from Yerevan to the monastery. As part of the commemoration ceremony, there are special liturgies, processions, prayers, and fasting. The celebration culminates in a Holy Mass which is followed by Holy Communion. There are specific times reserved for traditional Armenian folk performances and they also serve Armenian food during these special times. The pilgrimage is hailed as the premier social and cultural occasion of the year. During the festival, because tents are placed close to one another, there is a greater sense of community among attendees. There is a long history of pilgrimages in this monastery dating back over nineteen centuries. Although it was prohibited for Armenians to participate in the pilgrimage during the era of Soviet power in Armenia. The bearers of the element preserved cultural memories of a pilgrimage and passed them down to the next generation of groups. It was only after Armenia's independence in the 1990s that pilgrims from Armenia began to make the pilgrimage once again. A visit to the monastery is sure to thrill you if you are keen on walking long distances. Though the significance of this pilgrimage has undeniably dwindled over the years, the locals who have been entrusted with the heritage are still very much in love with it, ever so hopeful that it will regain its popularity once again. | Belief • Ritual | Armenia • Iran | (03) Good Health and Well-being | |||||||
| Ahellil of Gourara (edit) | Gourara, found in southwest Algeria, is one of the most picturesque regions of the Sahara desert. It holds more than one hundred oases and is home to approximately 50,000 people who speak Arabic, Berber, and Sudanese dialects whose languages and musical traditions are endangered. The Ahellil, which is specific to the Berber-speaking part of Gourara, is performed as a part of religious celebrations, as well as public events such as weddings and community events. The Ahellil is very closely linked to the Zenete way of life, meaning it symbolizes the cohesion of the community as it lives in a harsh environment. In that same way, it transmits the values and the history of the Zenete population as it is at risk of vanishing in a language that has been endangered. Ahellil refers to the song itself, and to the ceremony in which it is performed. It is a mixed ceremony and is held exclusively at night. Female attendance is declining, especially in large cities. There is no prohibition based on social stratification, and there is no discrimination, regardless of the condition of the participant. Many of the texts are written in the Zenetic language, which is sometimes so archaic that its meaning is no longer understood today. When the time for the festival approaches, religious or profane, men gather to practice Ahellil. This genre can be described as poetry, music, and dance, and is performed by a violinist, a chorus of up to a hundred people, an African flute player, and a singer. Standing in a circle around the singer, the participants slowly move around the music while clapping their hands, which is performed simultaneously with each movement. When an Ahellil performance takes place, the chants are arranged in an order decided by the instrumentalist and follow an age-old pattern. The first part of the performance, the lemserreh, involves everyone and contains well-known, short chants which are sung late into the night. The second, anougrout, concerns only the most accomplished performers and continues until dawn. The tra, the last part, finishes in the morning and is only performed by the most experienced. This threefold structure is also reflected in the performance of the chant, which begins with an instrumental prelude, then the chorus picks up certain verses, and finishes with it whispering in a whisper and gradually building up into a powerful, harmonious whole. Songs and dances of this nature can be performed throughout the night by various groups of musicians and singers. Many of the Ahellil chants are sung in a language without a written system. This language is rapidly disappearing from the area and is threatened with extinction due to the rapid decline of native speakers. Despite its importance in traditional festivities, this tradition is also threatened with extinction due to the dearth of occasions on which it is performed. This decline is linked to traditional festivities being rare. In addition, young people are migrating to cities and prefer to listen to readily available recordings of Ahellil music, rather than actively participate in live performances, which has resulted in a decline in Ahellil's popularity. ==References== [https://ich.unesco.org/en/RL/ahellil-of-gourara-00121] [https://musictales.club/article/traditional-music-gourara-archipelago-oases-features-poetry-endangered-languages] [https://fr.wikipedia.org/wiki/Ahellil_du_Gourara] | Entertainment and Recreation • Music • Ritual • Verbal Arts and Literature | Algeria | (04) Quality Education • (16) Peace • Justice and Strong Institutions | |||||||
| Ainu Dance (edit) | To this day, a small native population of Ainu people are living in Hokkaidō, an island in the northern part of Japan. The indigenous Ainu people have for centuries fostered good relations with the gods through rituals and ceremonies, during which they sing songs and perform dances to them. These are not only a form of entertainment, but also a way for them to express honor, respect, and gratitude to the deities that are found in nature. One of the dances is known as the Ainu Dance, which is centered around the worship of spirit deities or Kamui in the Japanese-Ainu language. The majority of Japanese deities are associated with animals, such as the bear, owl, and turtle, which were all considered significant by ancient Japanese. In the traditional style, dancers are often accompanied by onlookers who sing without musical instruments. Various dances imitate the calls and movements of animals and insects; some, like the sword and bow dances, are rituals; and others, like the show dances, are purely entertainment. These dances are performed at ceremonies and banquets, as part of newly organized cultural festivals, and privately in everyday life. Stories performed by the dancers are mostly based on animals or the lifestyle of the Ainu people. These include the birds dance (chikap rimse), which portrays a flock of birds flying in the sky, as well as the whale dance (fumpenere), which tells the story of a time when the tribe celebrated and shared whale meat for a feast. In the fumpenere, a woman found a sickly whale who beached itself on the shore. They believed the whale was a blessing from their gods, and they began to cut up the whale for everyone to share. The story was turned into dance movements in order to pray for a plentiful hunt each time it was performed. The symbolic act of Ainu dance also plays a central role in some formal ceremonies like Iyomante, where the participants send the bear they ate back to heaven by mimicking what they saw the live bear do and embodying it as a deity. Throughout all of the existence of Ainu dance, a common theme has been an acknowledgement of life, work, and community. As with many other forms of cultural dance, the movements and themes of the Ainu dance are unique to each region. However, many have been lost or forgotten over time, despite its importance as one of the most ancient forms of dance in Japan. Nowadays, the Ainu population is considered scarce. Approximately 80% of the current population come from mixed cultures, which means that there are very few people who celebrate the original culture and traditions of the Ainu. The elderly population of Japan helped to bring the music and dance traditions of the Ainu to the public's attention, but as that generation is dying out, so are the memories and cultural lessons. Ainu dance was enlisted as an Intangible Cultural Heritage by UNESCO in 2009 after being designated an important intangible folk cultural property in 1984. Currently, efforts are being made to recreate ancient dances based on ancient records and to develop new forms of music and dance. People other than preservation society members in Hokkaido are also becoming involved in activities to revive and preserve Ainu performing arts. | Dance | Japan | ||||||||
| Aitysh (edit) | Aitysh is an oral poetry contest consisting of improvised poetry spoken or sung to the accompaniment of traditional Kazakh dombra or Kyrgyz komuz musical instruments. It has significant cultural meanings. The element as an oral dialogic art was a traditional form of Kazakh and Kyrgyz oral heritage and reflected contemporary trends. Two performers (akyns) compete against one another to create verses on topical themes. They alternate between humorous ripostes and philosophical reflections in a battle of wits. An indispensable part of their daily lives, it is very popular among the people, and it is often referred to as a "folk tribune." Most regions of the country have bearers who carry out competitions, discussing the topical and urgent issues of social life and criticizing vices. Two performers (akyns) improvised verses about topical subjects in a battle of wits that alternated between humorous jabs and piercing philosophical reflections. Each performer sits opposite the other, improvising a conversation on a topic chosen by the audience. Performers who demonstrate the best musical skills, rhythm, originality, resourcefulness, wisdom, and wit are considered the winner. Expressions that are meaningful and witty often become popular sayings. Though traditionally held only by men, Aitysh/Aitys is now widely accepted by women, who use it to express their aspirations and opinions. This element is used at local as well as nationwide events, with contestants sometimes using it to address important social issues. It is considered not only a performing art form but also a social communication platform between different residents of communities. And is regarded as a living form of art that embodies the best features of oral dialogic art, and uses modern communication means to respond to life conditions in a globalized world. Furthermore, the poetic improvisations of practitioners of the element, which reflect people's aspirations, dilemmas, and realities, people learn and quote the most meaningful and witty expressions of performers. However, element bearers are considered prominent components of multiethnic societies, and the element is an important part of their communities and their identities. In its life-affirming and optimistic nature, the element reflects the human spiritual world and social relations and embodies the unity of culture and life. Today, Aitysh/Aitys play an important cultural role in Kyrgyzstan's and Kazakhstan's multiethnic cultures. Older performers keep teaching and passing their knowledge and skills to younger generations. | ||||||||||
| Aixan gana ob ǂans tsi khasigu Ancestral Musical (edit) | Aixan /gâna/ôb *ans tsî //khasigu is Nambian ancestral musical that uses traditional instruments. This musical sound knowledge and skills refer to specific traditional music of the Nama people, a native minority group of Namibia. Over 200 years ago, the Nama language group from South Africa migrated to Namibia. They currently live in the Karas, Hardap and Erongo Regions, as well as in the Kunene Region near Fransfontein. Aixan /gâna/ôb *ans tsî //khasigu uses musical instruments such as the khab (traditional bow) and !guitsib (traditional guitar), usually played by men or women, as well as the vlies (harmonica), which is usually played by women, accompanied by humming and ululating. The Nama ancestral music had a specific sound, texture, and rhythm with a leading melody and rhythm played by either a musical bow, accordion, or guitar, and was accompanied by other instruments, which produced a systematic harmony. To play the instruments, musicians needed to be skilled as well as have knowledge of how to tune, maintain, and fix the instruments. The music was also complemented by dances commonly known as ‘Nama-stap’, meaning the dance steps of the Nama people. During major social events such as weddings, rain dances, birthdays, and a girl's transition to adulthood, the music provides entertainment, but it also serves as an educational tool for members of the community, for example in terms of environmental awareness. Previously, the music connected entire communities and villages, but the art faces many threats. It is currently only practiced by a few elders, and only their knowledge and skills have been preserved. There are very few people who are capable of repairing existing instruments as well as building new ones such as the bow and the ramkie (oguitsib). The majority of musicians are over the age of 70 or even over the age of 80 years old. However, modern developments have led to the gradual but steady replacement of traditional instruments with modern sound instruments like electronic keyboards and sound systems. Despite being very popular in all three countries, the 'Nama stap' nowadays is mostly danced to modern music, losing its original connection with traditional music. In an effort to conserve the Nama culture and traditions, UNESCO has pledged some funds for additional research and recordings of aixan /gâna/ôb *ans tsî //khasigu, as well as transferring these traditional skills to young people in the community. | Art • Craftsmanship and Practices • Dance • Music | Namibia | (11) Sustainable Cities and Communities | |||||||
| Ak-Kalpak Craftsmanship (edit) | Ak-kalpak is a traditional handicraft of Kyrgyz. It is a white felt hat traditionally worn by men that has deep religious significance. Through Ak-kalpak, different Kyrgyz tribes and communities are brought together and Kyrgyz people become identifiable to other ethnic groups. Furthermore, it fosters inclusivity when other ethnic groups wear it to express unity and sympathy during holidays and days of mourning. Ak-kalpak comes in more than 80 varieties, each adorned with a design representing a sacred meaning and history. In addition to being environmentally friendly and comfortable, Ak-kalpak resembles a snow peak with four sides to represent the four elements: air, water, fire, and earth. The four edging lines represent life, the tassels symbolize an ancestor's posterity and memory, and the pattern represents a family tree. The process of making Ak-kalpak, which entails the selection of colors, embroidery patterns and fabrics for edges, requires a deep understanding of the cultural context and the personal characteristics of the future owner. There is therefore an invisible link between the maker of Ak-kalpak and the person wearing it. Craftswomen and Ak-kalpak holders are able to strengthen social and cultural ties by understanding each other's traits and status. Ak-kalpak craftsmanship has always been highly respected in the society, as evidenced in the language and traditions. As an example, Ak-kalpak cannot be thrown, played with or thrown on the ground. According to the proverb, the one who neglects Ak-kalpak disrespects themselves. As a symbol of respect, Ak-kalpak cannot be given to others as a gift, but only to the next generation. It is important for women to choose traditional handicrafts as a lifelong vocation, as this generates income and jobs for young women. Ak-kalpak craftsmanship comprises a body of ever-evolving knowledge and skills that has been passed down through generations by craftswomen. Throughout the country, workshops are being held where skills and knowledge are passed down, and in 2013 a national project entitled "From generation to generation" was conducted on traditional Ak-kalpak making techniques, leading to a national exhibition and book. These days, the Ak-kalpak is an essential component of the official Kyrgyz dress at various official events, and as of 2011, the headgear has been recognized as a de facto national symbol. At international competitions and events, Kyrgyz athletes wear Ak-kalpak, and when government officials are elected or appointed, they receive the Ak-kalpak. It is now a part of the official state protocol in the independent Kyrgyz Republic to give Ak-kalpak. | Art • Belief • Craftsmanship and Practices | Kyrgyzstan | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities | |||||||
| Al ‘Azi (edit) | Al ‘Azi is a type of poetic song performed in the northern regions of Oman. The performance of Al Azi will take place, with a special adaptation fit for the occasion, just in time for UAE National Day. Emiratis will be able to showcase their culture, and ex-pats will learn about UAE heritage. At first, the Al Azi served as a celebration of victory on the battlefield. In modern times, it is a time of celebration, highlighting the values of unity, solidarity, and courage that Arabs have held for many centuries. The power of Al-Azi can be found in the powerful voices of the poet and chorus, which 'answers' him. Each chorus member holds a mock rifle in his hands and is arranged in rows behind the poet, who is armed with a sword. At this festival, poets and a choir exchange poetic lines punctuated by sword movements and sword stepping. The poetry contest is one of the key expressions of Oman's musical and cultural identity. Often, a poet leads several people from one tribe or village in reciting improvised and memorized poems in Arabic. The participants must pay attention to their movements and recitation, as well as respond with appropriate responses and movements. These poems express pride in belonging and may honor important people, historical moments, or locations. During Al-Azi performances, the communal bonds are strengthened, traditions are passed on, and a Bedouin way of relating to nature is shared. Performing Al 'Azi on all national and social occasions is recognized as an emblem of social pride, strength, and unity. Furthermore, in Al-Azi poetry, the poet uses both colloquial Nabati and classic Arabic poetry to illustrate a sense of pride in the family, tribe, and rulers. The poem speaks of generosity, courage, and other attributes that symbolize the greatness of the subject matter. The tradition of Al ‘Azi also promotes the communication between society members to overcome disagreement. It is also performed at over a hundred orchestras. However, Al 'Azi contributes to the community's intellectual and cultural life. With support from community members and authorities, as well as increasing interest from Emiratis in preserving heritage, the practice has been revived. As of today, Al-Azi tradition still alive, it is frequently performed at weddings, national celebrations, religious holidays, and special events. ===References=== (https://ich.unesco.org/en/RL/al-azi-elegy-processional-march-and-poetry-00850) (https://virtualexpodubai.com/listen-watch/events/al-azi-cultural-performance) (https://abudhabiculture.ae/en/unesco/intangible-cultural-heritage/al-azi-unesco) | Art • Music • Verbal Arts and Literature | Oman | (11) Sustainable Cities and Communities | |||||||
| Al Aflaj Irrigation Systems (edit) | In traditional irrigation systems, Al Aflaj use underground tunnels to conduct water over long distances from an underground source to an underground basin that communities can access. Aflaj is the plural form of Falaj, which can be translated as "split into parts" in classical Arabic. The falaj irrigation system effectively divided the water among all the inhabitants. In Oman, there are over 11,000 falaj systems. The most popular falaj systems are Falaj Al Khatmayn and Falaj Daris in Al Dakhliya, while the most reputable falaj systems are Falaj Al Jaylah in Sur, Falaj Ayn Al Kasfah in Rustaq, and Falaj Al Hamam in Bawshar in Sharqiyah. As far back as 500 AD, the Aflaj Irrigation System was located in the regions of Dakhiliyah, Sharqiyah, and Batinah of Oman. However, they represent a system as old as 5000 years old originally known as Khariz or Qanat in Persia. Al Aflaj is a source of pride for the associated communities, because of the oral traditions and skills associated with its construction, maintenance, and equitable water distribution. The water flows from a gradual gradient to flatlands, while the underground tunnels reduce the water's evaporation. Al Aflaj also includes a network of surface channels that distribute water to local farms. This system is dependent on inherited knowledge and practices about nature and the universe. It relies on traditional skills of looking for water sources based on the vegetation and other indicators, as well as drilling skills to maintain the irrigation system and ensure its equitable distribution. Al Aflaj community members contribute to the maintenance of Al Aflaj and clearing the tunnels of mud; their knowledge and experience have been passed down for 3,000 years. It also involves instruction and shared experiences, as well as field trips for students. Al Aflajs have served to provide drinkable water for humans and animals for centuries, as well as to irrigate farms in an arid environment, demonstrating the community's creativity in the face of drought and desert conditions. Moreover, there are many other Aflaj systems in the Al Ain oasis, one of the biggest oases in the UAE. The Iron Age Aflaj is found in Al Ain's Hili, Jebeeb, Bida bin Saoud, Thugaiban and Al Madam areas. Sheikh Zayed, as a governor in Al Ain in 1946, restored and renovated the Falaj system as well as other water resources, which helped contribute to the agricultural boom in Al Ain. | Craftsmanship and Practices | United Arab Emirates | (03) Good Health and Well-being • (06) Clean Water and Sanitation • (08) Decent Work and Economic Growth • (12) Responsible Consumption and Production | |||||||
| Al Azi (edit) | Al Azi is a form of poetry recital that is performed by a group of people without the accompaniment of rhythmical or musical instruments. Its rhyme is based on traditional poetry and often has lines of poetry interspersed with sayings and proverbs, with the poet, the performer, the chorus, and the audience all involved. The art form has its origins in a celebration of victory on the battlefield. It was used as a way to promote honor, pride and fortitude. An important characteristic of this form of performance is the powerful voice of the poet and the chorus, which 'answers' him as they hold mock rifles while standing in rows behind the poet, who holds a sword. The call-and-response performance conveys a sense of unity and solidarity, while the symbolic weapons represent courage. The Al Azi acts strengthen communal bonds and serve as ways of passing down traditions, knowledge, and a sense of Bedouin relationship with nature. The main theme of Al Azi poetry, which is inspired by both classic Arabic poetry and colloquial Nabati poetry, is pride in one's kin, tribe, or ruler. In Al Azi verse, the poet talks about generosity, courage, and other qualities which exemplify the greatness of the subject of the poem. In the UAE, Al Azi is considered a significant cultural heritage performance displaying Emirati culture as a whole. It used to be performed regularly by communities until the mid-1900s when performances began to dwindle. The economic boom from 1970 to 1990 led to a decline in traditional sectors and activities associated with them. One of the reasons Al Azi has been on the verge of extinction has been the enactment of State laws instead of traditional tribal customs. The number of poets has significantly decreased over the past twenty years. Despite this, Al Azi has endured thanks to the efforts of some creative people and traditional art troupes. With support from the Emirati government and its growing interest in preserving national heritage, Al Azi has since been revitalized. A few years ago, Al Azi was brought back to national events for the first time, with the introduction of a highly successful production, which made media coverage of Al Azi. Today, Al Azi is performed at weddings, national celebrations, and religious holidays, as well as at other special events. | Verbal Arts and Literature | United Arab Emirates | (04) Quality Education | |||||||
| Al Sadu (edit) | Al Sadu is a traditional form of weaving practiced to produce soft furnishings and decorative accessories for camels and horses by Bedouin women in rural communities of the United Arab Emirates Ancient tribal weaving, Al Sadu, is known to artistically portray Arabian nomadic peoples' rich cultural heritage and sense of natural beauty. Traditional tribal lifestyle, the desert environment, and the weavers' creative self-expression are woven into geometric and figurative patterns and symbols. A weaver's hand can be seen in the camel weaving practice. Their figurative symbolism is important to the textile's production and has been incorporated into highly prized woven Sadu textiles. Shearing and cleaning the wool are done by the women, while men shear the sheep, camels, and goats. Weaving on a warp-faced plain weave floor loom is performed by spinning the yarn on a drop spindle, dyeing it, and then weaving it on a drop spindle. Black, white, brown, beige, and red are traditional colors and patterns, with narrow bands of geometric design woven into the weave. It produces colorful products, such as clothing, camel and horse decorations, Bedouin tents, majlis floor pillows, carpets and mats, and Bedouin tents. Weavers will often gather in small groups to spin and weave, exchanging family news and reciting poetry from time to time. Such gatherings are the traditional transmission method: girls watch and are given tasks to sort the wool, and they then learn the more intricate skills involved in doing so. Since tribal existence is long gone and weaving skills and memories are fading, tribal camel textiles have practically ceased to exist, as well as nomadic animal husbandry, which was once crucial and vital. However, the advent of oil has caused a sharp decline in the practice of Al Sadu due to rapid economic development and social changes. There is a dispersal of rural Bedouin communities among urban settlements, and young women are working outside the home more frequently. Al Sadu bearers (traditional sheikhs) have declined in numbers. Al Sadu Society established the Sadu House in Kuwait in 1980 to protect the interests of Bedouins and Sadu weavers. Currently, through the initiative of Embrace Doha, an independent cultural house located in Souq Al Wakrah, two private galleries were organized to tell the story of Sadu from the perspective of the last few Sadu weavers that remain in the country. However, throughout their efforts, they aim to bring attention to the importance of preserving the intangible heritage of Sadu weaving for the benefit of the wider community. ===References=== (https://ich.unesco.org/en/USL/al-sadu-traditional-weaving-skills-in-the-united-arab-emirates-00517) (https://en.wikipedia.org/wiki/Al_Sadu#Al_Sadu_in_the_United_Arab_Emirates) | Art • Craftsmanship and Practices | Kuwait • United Arab Emirates | (08) Decent Work and Economic Growth • (09) Industry • Innovation and Infrastructure • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | |||||||
| Al-Aragoz (edit) | Al-Aragoz is an ancient Egyptian form of theatre that uses traditional hand puppetry. It is a highly popular event where puppeteers hide inside a small portable stage while an assistant interacts with the puppets and the crowd. It is a wooden marionette puppet that is about to be recognized in the city. The origin of the puppet was not identified in history books, however, this puppet first appeared in Egypt during the Fatimid era when such art was reserved for sultans and the aristocracy. Due to its reflection of the political, cultural, and economic circumstances of the people, this art gained wide popularity in Egyptian society. The puppeteers enact Aragoz's exploits, some of which date back to Ottoman times, relating tales with a thought-provoking morals, and stories that elicit laughter from spectators, mostly children. The name Al-Aragoz comes from the main puppet, whose distinctive voice is derived from a voice modifier. Interaction between performers and audience is dynamic during the show, which has a comic and entertaining atmosphere. Al-Aragoz was formerly presented by groups of traveling performers who traveled from one folk celebration to another. The performers were skilled in manipulating and controlling the puppets, as well as in improv and musical skills. Each show explores a wide range of themes related to everyday life. Over time, the number of performances dwindled, so performers and their assistants settled permanently at fixed places, mainly in Cairo. Over the years, Al-Aragouz spread among a wide range of social classes and became an inseparable part of festivities commemorating the birth of Prophet Muhammad (Moulids). With the advent of television animation shows, its popularity began to fade. In today's modern social, political, legal, and cultural environment, the viability of the practice is threatened due to laws prohibiting public gatherings, religious radicalism, an overall decrease in young people's interest in the practice, and the advanced age of its practitioners. It is estimated that only a few practitioners are left, while many of those who once performed the stories have disappeared. As of now, it is only Wamda Troupe that performs the show at old Cairo's Bayt Al-Suhaymi. Today, all Aragoz sketches are still performed as part of the country's cultural heritage, being passed from one generation of performers to another without proper documentation. Hope in the future the community takes more effort to step up and preserves their culture. | Art • Entertainment and Recreation • Verbal Arts and Literature | Egypt | (11) Sustainable Cities and Communities | |||||||
| Al-Ayyala (edit) | Ayyala is an expressive, popular cultural performance practised in Oman and throughout the United Arab Emirates. Al-Ayyala involves chanted poetry, drum music, and dance, as well as simulating battle scenes. Yawlah dances are considered victory dances, and they were performed after winning a tribal war or returning from successful pearl diving. Al-Ayyala is diverse and inclusive of all social classes, ages, genders, and social roles. The lead performer is usually an inherited role and is responsible for training others. It originated as a Bedouin war dance in which men spun rifles after taking a victory in a battle. This performance involves chanted poetry, drums, and dance to create the impression of a battle scene. Two rows of about 20 people face each other, each carrying thin bamboo sticks to signify swords or spears. Between the rows, musicians play large and small drums, tambourines, and brass cymbals, and move around the performers, who occasionally throw swords or guns up into the air and catch them. Dancers are positioned close to each other in rows to symbolize unity and cooperation. Throughout the performance, all of the performers make alternating movements with their heads, shoulders, arms, and canes that suggest victory or defeat, always moving to a beat from the drums. They chant verse, often from Nabati poetry (a form of ancient Bedouin poetry), about chivalry and valour. During the dance, traditional music is played (drums and other instruments), with men and women performing together in separate groups. In both Oman and the United Arab Emirates, traditional dresses and long hair are worn by girls who perform al-Ayyala and toss their long hair from side to side. A seven-tone melody is chanted in an irregular pattern, and the poetry can vary based on the occasion. The performance of Al-Ayyala is common at weddings and other festive occasions. It is performed by people of different backgrounds and ages. Al Ayyala is fundamental to UAE culture, exemplifying the ethos of the nomadic Bedouin and reinforcing the values of honor, dignity, and unity. It embodies the heritage of the Emirati people and embodies their pride in their heritage. However, the values of the yowlah from one generation to the next are to facilitate respect, understanding, and peace among the people of the UAE. | Art • Dance • Music • Verbal Arts and Literature | Oman • United Arab Emirates | (11) Sustainable Cities and Communities | |||||||
| Al-naoor (edit) | Al-naoor is a traditional water wheel made of wood that revolves around its axis. It is used in Iraq to control water levels on streams flowing from the Euphrates River, which are lower than the nearby fields. In contrast to waterwheels found in watermills, norias do not supply mechanical power to any other process. This is also because many historical norias were hybrids, consisting of water wheels that were assisted by animals. A noria has been known to feed seawater into a saltern around 200 B.C. on the Euphrates River, to irrigate even when the river's levels receded. Through this great invention, agricultural prosperity was achieved in the Fertile Crescent. The community invented the al-naoor wheel to raise river water to the fields. The wheel is formed of twenty-four wooden sticks, each topped with a clay jug, and roped around the outer circumference with palm leaves. It is usually eight to twelve meters in diameter, and is placed vertically between two stone pedestals on the side of the river. While the current forces the wheel to rotate, the water collected from the river flows into the jugs on top of the wheel. This is then poured into the waterways leading to the fields. As well as being a source of livelihood for many artisans involved in its construction, Al-naoor is also a source of income for artisan carpenters, potters, and builders. The day of the al-naoor's mounting is marked by many celebrations, including poetry performances, singing, and dancing. More recently, the energy produced by the al-naoor wheel has also been used to generate electricity and grind flour in the watermills. Al-naoor provides a source of livelihood for many, including the artisan carpenters, pottery makers, and builders involved in its construction. | Art • Craftsmanship and Practices | Iraq | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities | |||||||
| Al-Qatt Al-Asiri (edit) | Al-Qatt Al-Asiri is a form of Arabic art painted by women at the entrance of a house. This art began in the Asir Region of Saudi Arabia; front rooms were painted in murals or frescoes typically featuring geometric designs and bright colors. This art is called "nagash" in Arabic. In Asir, these wall paintings were considered a mark of pride, and an invaluable part of the region's identity. This spontaneous art technique is widely carried out by women in their communities and involves decorating the interior walls of their houses, specifically in rooms for visiting guests. Women invite female relatives of various age groups to visit their houses and participate in this process, transmitting the knowledge from generation to generation. Wealth is often indicated by the skill, color, and complexity of the painting, with less-wealthy neighborhoods having basic straight, simple lines in red, green, yellow, and brown. Women within the neighborhood compete to create the most vivid and extravagant paintings. The women's artwork is heavily influenced by their love for music and culture. For example, conservative women are more likely to paint their artwork in conservative and modest colors. Generally, they paint the interior walls of the home brightly and employ geometric patterns. These patterns are adapted from the fabrics and weaving patterns in the area. Their patterns seem to include geometric patterns, triangles, squares, diagonals, and tree-like patterns. Women from the region sometimes sell miniature 'Asiri houses as souvenirs, which are popular with Saudi city-dwellers who find the colorful houses a source of astonishment. The art, previously only practiced by women, has now been recognized as a popular art form by many. This includes male and female artists, designers, interior designers, and architects, among others. It enhances social bonding and solidarity among the community, and it also enhances the well-being of individuals who practice it. The element is applied in most homes, which ensures its viability within the community, and local individuals have started private galleries inside their homes to exhibit the artwork. The best method for transmitting knowledge and skills is through observation and practice, which helps one generation to the next. Societies, nongovernmental organizations, and individuals all contribute to the process by safeguarding, promoting, and transmitting related knowledge and skills. One notable application of this art can be seen at Abha Airport in Saudi Arabia. At the airport lounge, seating has been arranged in the form of a traditional majlis, and the walls have been painted in a variety of colors that reflect the natural beauty of Asir. | Art • Craftsmanship and Practices | Saudi Arabia | (05) Gender Equality • (08) Decent Work and Economic Growth • (12) Responsible Consumption and Production | |||||||
| Al-Razfa (edit) | Al-Razfa is a traditional performing art that is practiced throughout the United Arab Emirates, as well as the Sultanate of Oman. The folk dance represents the culture and tradition of Oman and combines poetic singing, instrumental accompaniment, and dances. Similar to other Bedouin arts, Al-Razfa dance is not performed with accompanying percussion. Performers form into two lines of dancers facing each other and fill the space between them when performing this dance. It is performed by men of all ages and classes at social events such as weddings and festivals. The two rows of singers form a dual chorus, singing chants in an antiphonal manner, accompanied by drums and other instruments. The chants are verses of Nabati poetry, carefully chosen to suit the occasion. Dancers are choreographed and hold wooden replica rifles in their hands, and in some cases, a girl swings her hair in time to the music. Al-Razfa is traditional art, but it has spread in abundance and is accepted for its practice and performance by the older, youth, and even youth, and has a poetic sea in it that is short to suit the way of performance in Al-Razfa, the people who specialize in lending this type of poetry. It has evolved from military celebrations of victory to festive entertainment in modern times. Folk dance is currently being transmitted in a variety of ways, such as incorporating modern instruments and melodies to preserving the tradition. The institutions that seek to preserve this tradition include some governmental organizations. The practitioners are adapting music, and they are creating new melodies to interest a younger audience, as well as retaining the older expressions and oral traditions. These performances may include heads of state, elders, or even very young children. In today's society, Al Razfa is transmitted through direct participation and observation at social events, where role assignments are learned by practice, while girls receive instruction from their mothers and older sisters. | Art • Dance • Verbal Arts and Literature | United Arab Emirates • Oman | (11) Sustainable Cities and Communities | |||||||
| Al-Sirah Al-Hilaliyyah Epic (edit) | Al-Sirah al-Hilaliyyah Epic is known as the legendary migration story of the Bani Hilal tribe from the Arabian Peninsula through North Africa around the 10th century. Their legendary migration story includes the tale of the tribe claiming a vast territory in Central North Africa until they were wiped out by Moroccan rivals. Twelve major oral epic poems were developed throughout history from the middle ages to the 19th century within the Arabic folk tradition. Al-Sirah al-Hilaliyyah, however, is the only art form that has survived and is performed today in its original musical form. Moreover, this art form, once prevalent throughout the Arab Middle East, has continued to exist only in Egypt. For thousands of years, the Hilali epic has been sung at weddings, circumcision ceremonies, and private gatherings. The Hilali epic is unique literature and musical form which combines Arab folk history, customs, beliefs, symbolism, and traditions. Poets have performed the epic while playing the percussion instrument or the two-string spike fiddle (rabab). The performance can last for days. It can last between 50 and 100 hours. In fact, numerous proverbs and puzzles referring to the epics can be found all over the Middle East today. Furthermore, many regions are named after heroes from the epics. In addition, the epics serve as historical documents, while references to traditional food, customs, and practices serve as sociological documents. Al Sirah Al Hilaliyyah contains poetry and riddles and reflects the art of costume, jewelry, cosmetics, and community interaction through the centuries. It also makes observations on social norms, habits, and rituals throughout the centuries. This epic can be commended for its clear allowance of cultural diversity and its influence on the formation of community ethics. The epic is representative of different geographical locations and ethnicities in the community. Compared to other Sirahs (epics), Al Hilaliyyah remains the only one that is performed orally by the Foll Tradition. The language used in its verse language is highly stylized, and its performers rely on theatrical expressions to enact some difficult parts. This is done by incorporating different vocal sounds, changing their voices to suit the personalities of the various characters, and using hands, facial expressions, and body motions that embody them. In the past, practitioners were trained by family members and performed the epic as a means of income. Generally, professional poets begin their ten-year apprenticeship when they are five. Students are taught memory skills, but also have to master musical instruments. Nowadays, they must also learn how to add improvisational commentary to make plots more relevant to contemporary audiences. Because of competition from contemporary media and the decreasing number of young people who can commit to the rigorous training process, the number of Hilali Epic performers is diminishing. Under pressure from the lucrative Egyptian tourism industry, poets tend to abandon the full Hilali repertory in favor of short passages performed as part of folklore shows. ==References== [https://ich.unesco.org/en/RL/al-sirah-al-hilaliyyah-epic-00075] [http://www.worldepics.org/meeting.php?c=m&id=16&mid=1&lang=en] [http://en.chinaculture.org/focus/focus/2011cdgjfyj/2011-05/25/content_415304.htm] | Verbal Arts and Literature | Egypt | (04) Quality Education | |||||||
| Al-Taghrooda (edit) | The Al-Taghrooda poetry of the Bedouins is composed and recited by camel riders through the deserts of the United Arab Emirates and the Sultanate of Oman. Al-Taghrooda is a form of improvised poetry that originated in the Arab Emirates' deserts, mountainous regions, and rural villages. It was originally practiced by Bedouin camel riders and herders but is now found throughout the country as a respected component of Emirati culture. In addition to passing the time, this kind of chanting encouraged camels to walk in step with one another. The chanters could even increase the pace of the camels by quickening the rhythm of the poem. During Al-Taghrooda's traditional performances, the poems are chanted around campfires, at weddings, at camel races, and at national and heritage festivals. Some forms of Al-Taghrooda poetry are also incorporated into traditional performances such as Al-Ayyala, which is performed by women. Also, women compose and chant Al-Taghrooda poetry while engaged in collective work like Al-Sadu weaving. The Bedouins believe that chanting entertains riders and stimulates the animals to walk in time to the chanting. The poems are usually short, seven lines or less, and they're improvised and repeated between two groups of riders, often in antiphonal singing. In Al-Taghrooda poetry, riders would improvise the words of each poetry recitation during their journeys. These verses were short, with seven or fewer lines. Riders would then alternately recite the verses between two groups of riders. The lead singer would normally chant the first line, followed by the rest of the group. Once again, the second line was chanted, followed by a repeat, and so on. As Al-Taghrooda is straightforward, it does not use complicated metaphors. Al-Taghrooda is known for its use of love and devotion by the singer to loved ones, relatives, friends, and tribal chiefs. In Emirati culture, poetry is commonly cited as a source of wisdom and insight into Emirati history. Other functions of the recitation include settling disputes between individuals or tribes, highlighting historic achievements, and highlighting contemporary issues such as driving safety and health. The performances also offer a chance for the audiences to learn about and see a glimpse of their past history and traditional way of life. People in the community learn how to chant and compose poems from their elders. Al-Taghrooda performances provide Emirati audiences insights into their history and culture. Unlike in the past, Al-Taghrooda performances nowadays are not necessarily accompanied by chanting. They are also enjoyed in a written and recorded form, in addition, to live performances. ===References=== (https://ich.unesco.org/en/RL/al-taghrooda-traditional-bedouin-chanted-poetry-in-the-united-arab-emirates-and-the-sultanate-of-oman-00744) (https://abudhabiculture.ae/en/unesco/intangible-cultural-heritage/al-taghrooda-unesco) | Art • Verbal Arts and Literature | United Arab Emirates • Oman | (11) Sustainable Cities and Communities | |||||||
| Al-Zajal (edit) | Al-Zajal is a form of Lebanese folk poetry that is recited or sung at family gatherings and at social events. Both male and female performing artists explore a wide range of topics, ranging from life, love, nostalgia, death, politics, and daily life, individually or collectively. Near-Eastern, Arabian, and Mediterranean cultures (including Greece, Algeria, Morocco, Spain, and southern France) share some traits with Lebanese zajal, including a rich improvised, semi-sung tradition of colloquial poetry (e.g., the jeu parti of the troubadours), the use of tambourines or other minimalist percussion instruments, and a chanting chorus of men repeating key verses or refrains repeated by the poets. Lebanon's zajal is a semi-improvised, semi-sung, or declaimed form of poetry in the Lebanese dialect. Its roots can be traced to Pre-Islamic Arabic poetry, but some zajals are similar to those which appeared in the 10th-12th centuries in Moorish Spain (Al-Andalus), specifically to Ibn Quzman (Cordoba, 1078-1160). A poetic joust takes place when intrepid poets and musicians gather around a table laden with meze, arrack, and other tasty treats to perform verses in front of an audience of all ages accompanied by the tambourine and derbouka. Zajal has close ties with colloquial poetry traditions such as nabati and troubadour in terms of prosody, delivery, form, and spirit. Declamations by the poets take the form of challenges, which the singers and audience repeat. These verbal exchanges represent the beauty of Lebanon, tolerance, dialogue among religions, and the right to difference. Transmissions of Al-Zajal are largely informal, as they are transmitted and renewed within the family or during spontaneous events through observation, imitation, and participation. In addition to members of troupes and non-governmental organizations, Al-Zajal is an active practice and recreation within the religious community. Poetry jousting serves as a safety valve, which helps resolve conflicts and strengthens community cohesion. In the 19th century, zajal was very popular as a popular art form and numerous poets contributed to its refinement. Now, at a modern evening of Lebanese zajal, the most common format is a debate (verbal duel) between two or more poets followed by a recitation of love poetry. The chorus is accompanied by tambourines and other percussion instruments. The evening usually concludes with a love lament, typically in the Shruqi form. Nowadays, zajal poets tour various Lebanese countryside villages and expatriate communities across the globe performing to audiences of aficionados. | Art • Music • Verbal Arts and Literature | Lebanon | (11) Sustainable Cities and Communities | |||||||
| Alasita (edit) | La Paz is home to the largest regional fair of Alasitas, which begins its month-long celebration on 24 January. The ritual honors the city's god of fertility Ekeko. During the rituals, participants procure miniatures of Ekeko. The activities include searching for and acquiring the figurines, they are consecrated or blessed by the different Andean ritualists or the Catholic Church. Other cultural events include alasitas throughout Bolivia: The Fiesta of the Virgin of Copacabana and the Fiesta of the Virgin of Urkupina. In the pre-Columbian era, the indigenous Aymara people observed a ceremony called Chhalasita when they prayed for good crops and exchanged basic goods. As time evolved, it included elements of Catholicism and Western acquisitiveness to accommodate. The word "Chhalasita" comes from an Aymara word meaning "buy me". It is believed that the Tiwanaku culture used to worship its deities for good luck on 22 December by offering miniatures of what they hoped to achieve or accomplish. Sebastián Segurola reinstituted the celebration during the siege of La Paz in 1781, changing it from October to 24 January as a gift to Our Lady of Peace, the holy figure and La Paz namesake. In this traditional practice, the miniatures have acquired a new meaning, as they carry the bearer's faith, granting wishes. People also exchange miniatures as a way to symbolize paying debts. People from all sectors of society, irrespective of their socioeconomic status, participate in the practice, which promotes social cohesion and intergenerational transmission. Donations and payment of debts are symbolic of how important these rituals are to lowering tensions between individuals and even between social classes. In modern life, the belief is that a miniature version is thought to attract the recipient to the real object in the following year. For example; food and household items can be bought, as well as computers, construction materials, cell phones, houses, cars, diplomas, and even a figure of a domestic worker (whom the recipient may later hope to employ). Since Alasitas are primarily transmitted through families, children usually accompany their parents on their journeys. Many efforts have been made to safeguard Alasitas through primarily civil society. Hopefully, the government's efforts to hold the exhibition of Alasita miniatures in museums and conservatories have created awareness of some of the themes. Also, the organization of contests within the city may encourage the production and development of creativity, fostering an ever-increasing number of participants. | Art • Belief • Craftsmanship and Practices • Ritual | Bolivia | La Paz | |||||||
| Albanian iso-polyphony (edit) | Traditional Albanian polyphonic music can be divided into two major stylistic groups. The Gheg people sing in the northern part of the country, while Tosks and Labs living in the southern part of the country. The term iso is linked to Byzantine church music and refers to the drone accompanying polyphonic singing. Tosk singers usually perform the drone in two ways: continuously, and on the syllable 'e' with staggered breathing. In contrast, lab singers sometimes sing the text of the song in a rhythmic tone. The music is traditionally accompanied by a wide range of social events, such as weddings, funerals, harvest feasts, religious celebrations, and festivals, like the well-known Albanian folk festival in Gjirokastra. Scholars who have studied Albanian iso-polyphony and in general the polyphonic music of the Balkans believe the tradition of Albanian polyphonic music dates back to the Thraco-Illyrian era. However, there is an absence of historical documentation related to Albanian polyphonic traditional music, which most scholars have concluded is the product of oral transmission down many generations. This musical tradition continues to be performed in modern times. Albanian iso-polyphony is characterized by songs consisting of two solo parts, a melody, and a countermelody with a choral drone. Some of the solo parts may vary depending on the way the drone is performed. This can lead to a variety of structures in all the groups performing this music. All these styles of music have fascinated countless international authors, scholars, anthropologists, and poets. Polyphony has become a source of inspiration for all those interested in understanding their roots. Through poetry and music, poets have discovered the dramatic history of the country woven into the sounds and verses of the art form. Their lyrics and sounds are so intimately linked to the country of their birth that they reflect the country's spectacular yet treacherous landscape. Because of its complete authenticity, polyphony has inspired people to delve into ancient history and, as a result, their origins. A modest rise in cultural tourism and growing research interest in Albanian iso-polyphony have contributed to its revival over the last few decades. However, the tradition is adversely affected by poverty, the absence of legal protection, and the lack of financial support for practitioners, threatening to inhibit the transmission of its vast repertoire of songs and techniques. In addition, young people from rural areas are increasingly leaving for the cities and abroad in search of work. Under these circumstances, these traditions are currently being passed down through professional folk artists rather than through the traditional family structure. ==References== [https://ich.unesco.org/en/RL/albanian-folk-iso-polyphony-00155] [https://www.intoalbania.com/whats-hot/iso-polyphony-albanias-one-of-a-kind-contribution-to-the-worlds-cultural-heritage/] [https://en.wikipedia.org/wiki/Albanian_iso-polyphony] [https://elitetravel-albania.com/iso-polyphony-the-pride-of-southern-albania/] | Entertainment and Recreation • Music • Verbal Arts and Literature | Albania | (16) Peace • Justice and Strong Institutions | |||||||
| Almezmar (edit) | Almamezmar is a traditional group performance performed by members of the Hijazi community in Saudi Arabia. It consists of about 15 to 100 people dressed in long white garments, placed in two rows opposite each other. It is performed at festive occasions, such as celebrations of family and nation, religious holidays, or government events. The Almezmar (or mizmar) is a traditional song-dance widely used by communities that migrated to western Saudi Arabia in the last few centuries, outside of the original culture of Hejaz and its tribal native people. It is performed by groups of men standing in two lines or a circle and singing loudly rhythmic songs called "zumaal" or "mizmar". Mizmar is an actual term that refers to almost any wind instrument found in the Hijaz and Asir, ranging from the end-blown flute to the dual-piped boos. But mizmar as a musical name is confusing because the mizmar song-dance doesn't require any wind instruments. There is no mizmar in mizmar, just drums. The first row of performers claps strongly while repeating the song, and then the second row sings antiphonally. During the dance, two performers take the center stage, twirling large sticks in graceful movements around a fire or other objects. Two others then follow them, sometimes accompanied by women who make costumes and take part in the singing and dancing in private gatherings when local craftsmen produce the drums and sticks used. These songs are usually about heroism, praise, chivalry, love, and generosity. They are often associated with battles or competitions, and the tradition is similar to the tahtib dance practiced in Egypt and Sudan. This tradition is passed down through observation and practice by performing arts troupes and heritage centers. Almezmar is primarily carried out by performing arts troupes and heritage centers. This cultural expression is part of community identity, it brings together people from diverse backgrounds, it is an entertainment source, and it offers shared knowledge that contributes to collective memory. As a cultural expression, the Almezmar assembles people from diverse generations and social backgrounds. As a source of amusement, and as a manifestation of skillful play, it promotes the spirit of equality and fair play among the community members. Also promotes good quality and manners among youth despite the alternating lifestyles of urbanization and globalization. | Art • Dance • Entertainment and Recreation • Music • Verbal Arts and Literature | (03) Good Health and Well-being • (04) Quality Education • (05) Gender Equality • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities | ||||||||
| Alpinism (edit) | Alpinism is the art of climbing mountains - whether rocky or icy - in all seasons, using appropriate techniques, equipment, and extremely specific tools, such as crampons. It involves physical, technical, and intellectual abilities. As interest in the natural world heightened in the 1700s, humans began exploring more and more of our planet. People began finding new plants and animals and exploring the science behind their discoveries. One area of particular interest was the mountains. At that time, only a few tall mountains had been climbed. This was because they were dangerous and difficult to conquer and because it was unknown how people could survive the extreme conditions expected at higher altitudes. The numerous legends of evil spirits living in the mountains also kept people from exploring the heights. Climbers such as Michel-Gabriel Paccard, Jacques Balmat, and Horace-Bénédict de Saussure, who first attempted to climb Mont Blanc, the highest peak in Europe at 15,771 feet (4,807 meters), are often cited as the pioneers of modern Alpinism. Word spread about their conquests, and Alpinism became a new sport. People began climbing mountains not for scientific reasons but for the adventure of being the first to reach a new peak. The art of alpine climbing involves having physical, technical, and intellectual abilities, as well as proper techniques, equipment, and tools. Mountain climbing is a long-lasting, physical practice characterized by culture and shared knowledge of the environment of high mountains. Knowledge of the natural environment, changing weather conditions, and natural hazards that are associated with Alpinism are essential. Alpinists are motivated by aesthetic aspects, such as graceful climbing motions, contemplation of the landscape, and harmony with the natural environment. This practice mobilizes ethical principles based on an individual's commitment, such as not leaving any traces behind and helping other practitioners. A key element of the alpinist mindset is the sense of team spirit, as demonstrated by the rope connecting the alpinists. Alpinism has evolved significantly throughout its history. For example, the use of veteran guides to lead parties to the summits of the mountains, and use simple climbing aids, such as rope and ice picks. More advanced gear, including anchors, pitons, and specialized footgear, especially crampons, enabled people to climb previously insurmountable obstacles, even sheer rock faces. Alpinism is popular today, drawing tens of thousands of enthusiasts every year. Most community members belong to mountaineering clubs, which are spread throughout the world. In the 20th century, alpinist clubs in all three countries have cultivated relations through frequent bilateral or trilateral meetings at various levels. The clubs organized group outings, disseminated practical information, and contributed to various publications. | Craftsmanship and Practices | France • Italy • Switzerland | (03) Good Health and Well-being • (05) Gender Equality • (15) Life on Land • (17) Partnerships for the Goals | |||||||
| Andean Cosmovision (edit) | The Kallawaya ethnic group originated from the pre-Inca period. It has been documented in the Northern Interandean Valleys since 1537-1780 AD (early Colonial Period). Today, it is found in the ethnographic region of the North Altiplano and in the department of La Paz. Kallawaya's practices and values evolved through the fusion of native and Christian religions. One of the main activities of the Kallawaya involves practicing ancestral medical techniques. The rites and ceremonies associated with the performance of these techniques provide the basis for their local economy. They are part of the Andean Cosmovision which is composed of myths, ceremonies, values, and artistic expressions that illustrate how the Andean people relate to Nature and the Cosmos. The Andean Cosmovision emphasizes the complementarity of opposites. Additionally, it also empowers individuals to discover how to deal effectively with various aspects of their being. The Kallawaya priest doctors practice in Bolivia, as well as in several South American countries such as Argentina, Brazil, and Chile. Their techniques are based on the beliefs of indigenous people of the Andean region. A ritual body of knowledge is intimately linked to the healing art. It comes from a deep understanding of animal, mineral, and botanical pharmacopeia and a body of knowledge deeply connected to religious beliefs. The Kallawaya healers, an exclusively male group of itinerant healers, are passing down their knowledge about medicinal plants through a complex system of transmission and apprenticeship, one that revolves around the journey. By traveling through widely varying ecosystems, Kallawaya healers expand their knowledge of medicinal plants. Their pharmacopeia rates as one of the world's most comprehensive with approximately 980 species. Kallawaya women participate in a wide range of rites. These include dancing, weaving textiles with motifs and decorations related to the Kallawaya cosmovision, and playing the drum and pan flute during ritual ceremonies. These instruments are used to establish contact with the world of spirits. There is deep respect among villager communities in the Andean areas for their knowledge and skills. These are often passed from generation to generation, using an esoteric language known exclusively to Kallawayas called Machai Juyai. This language is thought to date back to the Incan period. As with other traditional healers from the Andean region, such as Ecuador and Peru, the Bolivian Kallawayas share a common worldview that is based on respect for Mother Earth and the requirement that humans live in harmony with their environment. Unfortunately, in recent times the traditional Kallawaya way of life has come under threat, and the development of acculturation may result in the disappearance of this extraordinary body of medical knowledge. The tradition has also been negatively affected by laws that do not adequately protect indigenous communities, particularly when it comes to policies pursued by large pharmaceutical companies. ==References== [https://ich.unesco.org/en/RL/andean-cosmovision-of-the-kallawaya-00048] [https://www.refworld.org/docid/526fb71e14.html] [http://www.weavingcommunities.org/textile-heritage/case-studies/kallawaya-culture.html] [https://festival.si.edu/2013/one-world-many-voices/language-communities/kallawayas/smithsonian] | Belief • Craftsmanship and Practices • Ritual | Bolivia | (03) Good Health and Well-being • (04) Quality Education • (12) Responsible Consumption and Production • (15) Life on Land | |||||||
| Angklung (edit) | The Angklung is an Indonesian musical instrument made up of two to four bamboo tubes, suspended in a bamboo frame, bound with a rattan cord. The tubes are cut and whittled by a master craftsperson to make specific notes when the frame is tapped or shaken. Each tube produces a single note, so several Angklung players must collaborate in order to play melodies. Music derived from the angklung has become vital to the cultural identity of Sundanese communities. It is popular throughout the world, but it originated in West Java and Banten provinces, and the Sundanese have played it for centuries. Taking part in an orchestra of angklung players promotes teamwork, respect, and harmony, and is accepted as a symbol of social harmony. Dr. Groneman stated that the angklung was already the favorite musical instrument of the entire archipelago before the Hindu period. Dewi Sri, the goddess of fertility, was honored with the angklung in ceremonies during the Hindu period and the Kingdom of Sunda to bring her blessings and protect the land, the people, and nature. The angklung was also played to signal when prayers were to be held, and it has been played since the 7th century in the Kingdom of Sunda as martial music during the Battle of Bubat, according to the Kidung Sunda. Angklung has also been adopted by its Austronesian neighbors, including Malaysia and the Philippines, where it is played as part of bamboo xylophone orchestras. The famous music teacher Daeng Soetigna developed an angklung based on the diatonic scale in 1938 instead of the traditional pélog or sléndro scales. Sutigna's angklung is now used for education and entertainment in addition to accompanying Western instruments in an orchestra. Education is often passed orally from generation to generation, and increasingly through educational institutions. Angklung music promotes cooperation, mutual respect, and artistic and musical feelings, along with discipline, responsibility, concentration, and the development of imagination and memory. Today, angklung has developed into a traditional and modern musical instrument, which is in demand not only in Indonesia but also in other parts of the world. According to the Baduy/Kanekes Tribe, (the last remaining remnant of the old Sundanese), the tradition of playing angklung as a form of asking for fertility and rice prosperity is still carried out. | Art • Craftsmanship and Practices • Entertainment and Recreation • Music | Indonesia | Jawa | |||||||
| Arabic Calligraphy (edit) | Traditionally, Arabic calligraphy is the artistic practice of handwriting Arabic script to convey harmony, grace, and beauty. The early stages in morphology and glyph design were quite simplistic in comparison to the later developments. The expansion of the Islamic civilization is one of the reasons for this development in Arabic calligraphy. However, many cultures from Africa, Asia, and Europe contributed to Arabic calligraphy and its famous calligraphers. There were also early attempts to learn to communicate across this wide area. Many artists and scientists used Arabic scripts to spread their art and scientific theories, and throughout history, Arabic calligraphy continued to develop through the different ruling dynasties in Kufa, Baghdad, and Cairo. It was during this period that different Arabic scripts were developed, including the Kufi, Thuluth, Naskh, Muhaqqaq, Riqa'a, and Tawql. The art is known in Arabic as khatt, which comes from the word line, 'design', or 'construction'. The practice is passed down through formal and informal education and uses the twenty-eight letters of the Arabic alphabet, written in cursive, from right to left. At first, intended to make writing clear and legible, it gradually became an Islamic art form for traditional and modern works. The fluidity of the Arabic script opens infinite possibilities for variations, even within a single word. Different letters can be stretched and changed to achieve various motifs. In traditional calligraphy, natural materials are used for the writing instruments, such as reeds and bamboo stems for the qalam. Ink is made from honey, soot, and saffron, and the paper is handmade and usually treated with starch, egg white, and alum. Modern calligraphy commonly uses markers and synthetic paint, while spray paint is used for calling graffiti on walls, signs, and buildings. Arabic calligraphy is also employed by artists and designers for embellishing their work, such as carving wood and marble, embroidering, and etching metal. A variety of Arabic calligraphy is widely practiced in Arab and non-Arab countries. It is practiced by both men and women of all ages through apprenticeship and formal schools. Arabic calligraphy has been known and acknowledged for its great diversity and potential for development in terms of writing and different forms of innovative art. Arab calligraphy has been fused with Western graffiti, and young Arab artists have re-imagined it in a new light. Many forms, such as the art of expression, have been used to spark interest in millennials, especially in regions such as the Levant, Iraq, and Palestine. | Art • Craftsmanship and Practices • Verbal Arts and Literature | Algeria • Bahrain • Egypt • Iraq • Saudi Arabia • Jordan • Kuwait • Lebanon • Mauritania • Morocco • Oman • Palestine • Sudan • Tunisia • United Arab Emirates • Yemen | (04) Quality Education • (12) Responsible Consumption and Production • (17) Partnerships for the Goals | |||||||
| Arabic Coffee (edit) | Serving Arabic coffee is an integral part of hospitality in Arab cultures and is considered a celebratory gesture of generosity. Throughout the Middle East, most Arab countries developed their own methods for preparing and brewing coffee from Coffea arabica beans. Arab coffee has long been ingrained into the culture and traditions of the Middle East. It originated in Yemen, then traveled to Mecca (Hejaz), Egypt, later the Levant, and finally to Turkey. From there, it migrated to Europe, where it eventually became popular as well. The Arabic culture has long associated coffee with hospitality. To provide good service in Saudi Arabia, the tradition of offering a cup of coffee is important. This coffee is known as Al-Qahwa, and it is served at events, social gatherings, weddings, and other events. The traditional way to prepare coffee is in front of the guests. To make coffee, beans are first roasted in a shallow pan over a fire, then placed into a copper mortar and ground with a copper pestle. Ground coffee and water are placed into a large copper coffee pot and the pot is placed on the fire. Once the water is boiled, it is poured into a smaller coffee pot, and then into small cups. As a tradition, Saudi coffee is either served by the host of the event or the youngest person present. The server holds the Saudi coffee pot in their left hand and must distribute the cups with their right hand. This is considered good manners. The guest of honor or the highest-ranking individual should be served first. The server fills each cup to one third. If there is too much filling, it indicates an inhospitable server. The norm is to drink at least one cup of Arabic coffee, but not more than three. Men and women of all social classes drink Arabic coffee, especially at home. Arabic coffee is traditionally served by tribal and sheikh leaders, elderly Bedouins, and owners of coffee trading businesses. Observation and practice are essential to the transfer of knowledge and traditions within the family. Young family members are also encouraged to accompany their elders to the market to learn how to choose the best beans. | Art | United Arab Emirates • Saudi Arabia • Oman • Qatar | (03) Good Health and Well-being • (05) Gender Equality • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | |||||||
| Arba’in visitation Free Service (edit) | Arba’in Visitation is a social practice of providing services and hospitality across the central and southern regions of Iraq, where visitors and pilgrims converge towards the Holy City of Karbala. Every year, around the time of the Islamic month of Safar, the Iraqi city of Karbala receives millions of pilgrims in one of the most popular religious pilgrimages in the world. The practice is deeply rooted in Iraqi and Arab traditions of hospitality and is a form of charity, including volunteering and social mobilization which is seen as a central element of Iraq’s culture. These pilgrims come from different parts of Iraq and from overseas and walk to the Holy Shrine of Imam Hussein. Many of the people providing services along the pilgrims' route contribute their time and resources. Starting at least two weeks before Arba'in, associations will create temporary facilities or reopen more permanent ones along the pilgrimage routes, including guest houses, prayer halls, and service stands. Residents will also open their homes to accommodate pilgrims for free, providing free overnight accommodation. Among the practitioners and bearers are cooks, hospitality-bearing families, the administration at the two Holy Shrines in Karbala, guides and volunteers who provide medical assistance, and benefactors who provide generous donations. Care of pilgrims is considered a religious duty. There are different flags carried by the pilgrims, but the black flag of mourning for Imam Hussein is the most common. They also decorate the permanent brick buildings of Kerbala as well as temporary tents, which they use for praying, eating, and sleeping. Seven thousand of these mawakebs were built in 2014 in the city of Karbala. Besides Iraqi mawakibs, which are unofficially organized, there are also some Ian mawakibs that are less "specifically targeted," but pilgrims come from all over. Though the Arbaeein is a distinct Shi'a spiritual exercise, Sunni Muslims and even Christians, Zoroastrians, and Sabians also participate. Pilgrims from Europe, including Sweden, Russia, and even a delegation from the Vatican have joined Arbaeein pilgrimages in the past. Though the Arbaeen is a distinct Shi'a spiritual exercise, Sunni Muslims and even Christians, Zoroastrians, and Sabians also participate. Pilgrims from Europe, including Sweden, Russia, and even a delegation from the Vatican have joined Arba*ein pilgrimages in the past. Iraqi Christian religious leaders have also been part of the delegation from the Vatican. Several African countries, including Ghana, Nigeria, Tanzania, and Senegal. | Belief • Ritual | Iraq | Karbalā' | (11) Sustainable Cities and Communities | ||||||
| Ardah (edit) | Alardah is a traditional performance that includes dance, drumming, and chanting poetry to mark the beginning and end of important occasions. Derived from the verb Arabic verb ard (Ardah / ALA-LC: al-'ardah) which means to show or to parade. It is a form of folkloric group dance in the Arabian Peninsula. Historically, it was used to gauge a tribe's fighting capability and boost morale before an armed engagement. Despite regional variations in ardah, it serves a purpose that is nearly identical throughout the Arabian Peninsula. Considered a fundamental component of the cultural expression of the practicing communities, it is performed by drummers, dancers, and poets. Alardah males carry light swords and stand in two rows, shoulder to shoulder, leaving space between them for drummers to move between them. The flag is carried by a performer dressed in full costume. A poet chant verses specific to the occasion in a loud voice, and the participants then sing them antiphonally. Large dance drums then hit swift strokes, followed by smaller drums. While singing, the performers rock back and forth, side to side, and move their swords up and down, in synchrony with the drumbeats and lyrics. the men then gather around the flag. Men may participate in the poem, regardless of social status, age, or professional background. Women also participate by making costumes. The most popular ardah is the Najdi ardah, which is the most practiced and televised male folkloric dance throughout Saudi Arabia. Saudi government renamed it 'Saudi ardah' during the 21st century, but there are still numerous variations throughout the country that vary from Najdi ardah, such as in Najran, Asir, and Jizan. The performance reinforces social cohesion while simultaneously cultivating a sense of mutual respect. Troupes and local citizens, schools, nations, and communities all participate in a variety of teaching, performing, popularizing, and transmitting activities to transmit Alardah. As of today, it is performed by men of all tribes during celebrations, weddings, birth, graduation ceremonies, and national and cultural events, such as the Jenadriyah festival, and religious holidays. However, through this event, people are brought together in unity, and traditions are kept alive, while every participant is shown equality. | Art • Dance • Music • Verbal Arts and Literature | Saudi Arabia | (05) Gender Equality • (11) Sustainable Cities and Communities | |||||||
| Argan Oil (edit) | The argan tree is an endemic woodland species found in Morocco's Arganeraie Biosphere Reserve. Women and, to a lesser extent, men within the reserve extract argan oil from its fruits using traditional methods. Woodlands of argan trees provide forest products, fruits, and fodder, as well as edible leaves and fruits. Morocco's argan tree (Argania spinosa L.) produces oil from its kernels, which is used for dipping bread at breakfast, drizzling over couscous, and as a cosmetic. In addition to traditional medicine and complementary therapies, oil is used in the culinary and cosmetic industries. Despite the unique argan-based agroforestry-pastoral system using only locally adapted species, the system relies on traditional water management provided by the Matifiya, a rainwater storage facility carved into the rock. In this way, it contributes to climate change mitigation and adaptation as well as the conservation of biodiversity. Argon is one of the rarest oils in the world and is named the "liquid gold" of Morocco because of its multiple uses in cooking, medicine, and cosmetics. It has been scientifically proven to prevent cardiovascular diseases and benefit the skin. There are traditional methods used by people in the reserve to extract argan oil from the fruit of the tree. As part of these operations, fruit is harvested, dried, pulped, ground, sorted, milled, and mixed. The hand mills are manufactured by local craftspeople. The mixing involves the gradual addition of warm water in precise amounts. All aspects of the culture pertaining to argan trees contribute to social cohesion, understanding between people, and mutual respect between communities. For example, the cultivation of the tree, oil extraction, the preparation of recipes and derived products, and the crafting of traditional tools for the various tasks. In addition to being used in the preparation of festive dishes, argan oil is given as a wedding gift. For centuries, the argan tree has been a staple of Berber and Arabic-origin rural communities, helping them to develop their own culture and identity. Through non-formal education, they shared traditional knowledge and skills, particularly those specific to the traditional production of argan oil by women. The argan tree greatly improves resilience and plays an important role in achieving sustainable development in terms of economic, social, and environmental dimensions. The sustainable argan production sector is vital to the economic empowerment and inclusion of rural communities, especially women. Cooperatives contribute to local job opportunities and can play an important role in improving food security and ending poverty. | Craftsmanship and Practices • Food | Morocco | (04) Quality Education • (05) Gender Equality • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production • (15) Life on Land | |||||||
| Argungu Festival (edit) | Each year, the Argungu International Fishing and Cultural Festival is held near the Matan Fada River in Nigeria's northwest region as part of the Argungu International Fishing Festival. This four-day festival, which takes place between the middle of February and the beginning of March, features Kabanci, a series of water competitions such as hand fishing, canoe racing, and wild duck catching, as well as traditional practices such as local wrestling and boxing. Men and boys take part in the contests, while women encourage them by performing songs and dancing. There are over 50,000 fishermen from northern Nigeria and surrounding countries who participate in the fishing competitions annually. Although women are not allowed to compete in fishing games, they are included in the drummers' group. The drums are made of cow skin, and they have traditional Kebbawa designs. The festival began in 1934, to mark the end of hostilities between the Kebbi Kingdom and Sokoto Caliphate. The Festival, which has existed since before Nigeria gained independence and is considered an essential contributor to participants' sense of belonging and a way of maintaining peace through the sharing of cultural practices. In preparation the river's custodian 'Sarkin Ruwa' performs sacrifices with the river oracle to ensure the river is safe. The Matan Fada River is a source of pride for the Argungu people. It is about 50 meters wide and about 50 feet deep. It also serves as a source of food and irrigation for their farmland. There can be fish weighing up to 75 kilograms in the Mata Fadan river. The fisherman who catches the largest fish wins the fishing competition. During the festival, Sarkin Ruwa (who oversees the river's sanitation levels) and Homa (chief of the Argungu fishermen) provide knowledge of the river's water quality and fish stocks to their chieftaincy-holding families. This knowledge is an essential factor in the festival's continuation. It is traditionally believed that festivals allow children to experience festival activities and learn their associated skills on both a formal as well as informal level. There are several ways to obtain training, such as apprenticeships, particularly in the case of cultivating specific fishing techniques or demonstrations within a family. Though the hype and vibe have diminished over the years, its main purpose is still achieved; fishing and unity. | Craftsmanship and Practices • Ritual | Nigeria | (08) Decent Work and Economic Growth | |||||||
| Arirang (edit) | Arirang is an ancient form of lyrical singing that is transmitted and recreated orally. It exists in traditional, classical, and modern forms in Korea. There are 60 different versions of the folk song, with 3,600 variations, all of which end with the refrain, "Arirang, arirang, arariyo." It’s believed that the word "Arirang" originated from the region of Jeongseon, Gangwon Province and is more than 600 years old. The term "Arirang" is ambiguous in meaning, but some linguists speculate that "Ari" meant "beautiful" and "rang" meant "beloved one" or "bridegroom" in ancient Korean. When these two words were used together, the term Arirang meant "My beloved.” From 1910 to 1945, when the Japanese occupied Korea, singing was heavily censored, including the national anthem. As a result, Arirang became an unofficial anthem. In 1919, the March 1 Movement was an international Korean demonstration against the Japanese Empire. Protesters sang "Arirang" during the demonstration. During the occupation, "Arirang" was written with themes of injustice, the plight of laborers, and mountain guerrillas fighting against the fascists. A craze for Korean culture developed in Japan when the Japanese occupied Korea. Arirang folk songs enable many people to express their feelings and help them overcome grief. They also contribute to mutual respect and peaceful social development. In the performing arts, cinema, literature, and other works of contemporary art, they serve as a symbol of unity. A popular form of Arirang is transmitted formally, at first: children listen to their parents and neighbors sing the folk song to them at home, on holidays, and in daily life. Students are also trained in performing it at school. Middle school and university curricula include Arirang as a must in all courses, and students like it very much. Professional practitioners are often the ones who teach them, who make regular contributions to the regular school curriculum. Government-sponsored cultural events allow the people to learn and sing folk songs. The Pyongyang Kim Won Gyun Conservatory sponsors Arirang-related cultural events regularly. Today, many institutions and organizations in the country disseminate knowledge and skills related to the element for the benefit of dedicated students. These institutions and organizations include the National Authority for the Protection of Cultural Heritage, the Korean National Heritage Preservation Agency, the Korean Musicians Union, the Korean Traditional Music Research Institute, the Pyongyang Kim Won Gyun Conservatory, and local Arirang safeguarding societies. | Entertainment and Recreation • Music | North Korea | Gangwon-do | |||||||
| Armenian Letter Art (edit) | Armenian letter art and its cultural expressions represent centuries of Armenian letters, Armenian scripts, the rich culture of decorating letters, as well as its different uses. Based on the Armenian alphabet, was created in 405 AD by Mesrop Mashtots based on the one-letter-for-one-sound principle. Armenian ornamental letters are based on Armenian letters and decorated with a wide variety of ornaments. These can include knots, animals, birds, trees, people, mythical creatures, or religious symbols. Most scholars believe that the Georgian script was created around the time of the Christianization of Iberia, a core Georgian kingdom of Kartli. Armenian letters are more than a way to communicate and share information. They have a high cultural value and fall into the category of art, which is, in turn, a fascinating world of its own. Around the 18th and 19th centuries, the alphabet was also widely used in the Ottoman Empire. Originally there were 36 letters; three more were added later. The majority of the Armenian manuscripts were written and illustrated by monks working in the monasteries. Their illustrations are often elaborately colored with gilt. In ancient manuscripts, imaginary creatures and birds were often used as letterheads to attract the eye, as well as to provide mental breaks during which the beauty of the illustration could refresh the mind and spirit. Besides its wide range of ornamental scripts, the element is also distinguished by its various shapes, including knots, birds, animals, people, and mythological or imaginary creatures. Armenian letters have been used not only for creating written traditions but also as numbers, cryptograms, and riddles since their invention. Educational institutions at every level have shown their commitment to transmitting the knowledge and skills of Armenian letter art to future generations. And many youth centers pay great attention to teaching the element, and the Armenian Apostolic Church takes pride in introducing children and youngsters to it. Since 2008, the annual 'Granshan' international design competition has been continuously supported. Today, Armenian letter art is also used in handicrafts. It includes artists, carpet weavers, embroiderers, sculptors, linguists, calligraphists, jewelers, and others. The elements are also used in embroidery. Armenian letter art has today become ingrained in nearly every layer of society, particularly folk art. It is practiced across Armenia's territory and is integrated into the Armenian cultural identity. | ||||||||||
| Art of Akyns (edit) | A typical cultural expression among Kyrgyz nomads is the narration of epics. These are performed by the Akyns, the Kyrgyz epic tellers, who combine singing, improvisation, and musical composition. These epics are performed for religious and private celebrations, religious and seasonal ceremonies, and national holidays. They have survived the centuries by oral transmission. The first part of the Manas trilogy was documented in written form during the 1920s, based on the oral performance of the famous epic singer, Sagynbay. There is a lot of value in the Kyrgyz epics, particularly their dramatic plots and philosophical underpinnings. They are an oral encyclopedia of Kyrgyz social values, culture, and history. The most famous Kyrgyz epic is the Manas trilogy, which was written over a thousand years ago. It is noteworthy both for its lengthy length (16 times longer than Homer’s Iliad and Odyssey) and for its rich content. The Manas blends myth and fact and immortalizes significant events in Kyrgyz history. It is about a solo narration of significant events in Kyrgyz history since the ninth century. The Kyrgyz also have several dozen “smaller” epics preserved that are generally accompanied by the komuz, a two-stringed Kyrgyz lute. Each epic has a distinctive theme, melody, and narrative style. Akyns were highly respected figures who traveled from region to region, performing storytelling contests whenever they were in the area. They were often appreciated for their proficiency in narration, their expressive gestures and intonation, and their lively mimicry. These were all well suited to the emotionally charged content of the epics. Askyn often fully improvises in response to whatever is happening in society or in the situation at the time. On holidays, Akyn competitions are held. Contestants made fun of each other in poetry or chose an arbitrary theme. Sometimes the authorities wanted to impose Aytyus censorship when it came to property and politicians. In the past, the nomadic lifestyle and the speed of the art of Akynov did not allow the artist to produce works on paper. Unfortunately, most of the works of Akyn have been lost. Prior to the Soviet era, Akyns played a very important role in the nomadic lifestyle and illiteracy of most of the rural population in Central Asia. They played an instrumental role in expressing people's thoughts and feelings, calling attention to social vices, and glorifying heroes. There were songs to Lenin in the repertoires of Akyns during the Soviet era. Epics continue to be an integral part of Kyrgyz identity, and they continue to inspire contemporary writers, poets, and composers. Even today, traditional performances of Akyn epics are still tied to a sacred cultural space, even with fewer practitioners nowadays. Recent revitalization initiatives, funded by the Kyrgyz government, allow the masters to continue to train young apprentices. ==References== [https://ich.unesco.org/en/RL/art-of-akyns-kyrgyz-epic-tellers-00065] [https://en.wikipedia.org/wiki/Aqyn] | Music • Ritual • Verbal Arts and Literature | Kyrgyzstan | (04) Quality Education • (05) Gender Equality • (08) Decent Work and Economic Growth | |||||||
| Art of dry stone walling (edit) | Dry stone walling is the art of building stone structures by stacking stones together, without using any other materials except damp soil at times. The use of dry stone construction in neolithic wall constructions can be traced back to the Neolithic Age. One field system of dry stone walls, since covered by peat in Mayo, Ireland, has been carbon-dated to 3800 BC. The Mayan ruin at Lubaantun in Belize offers an example of dry stone construction in the architecture of the 8th and 9th centuries AD. The construction is most commonly associated with stone walls, which traditionally defined the boundaries of fields and churchyards or served as retaining walls for terracing. However, dry stone sculptures, buildings, bridges, and other structures have also been constructed. Historically, the term is rarely used for those styles that used precisely-shaped stone, without mortar, such as Greek temples and Inca architecture. Most rural areas have dry stone structures - mainly on steep terrain - both inside and outside inhabited spaces, and they can be found in urban areas as well. Dry-stone structures are stable due to the careful placement of stones, and they have shaped a wide variety of landscapes, forming various types of dwellings, farms, and herding. In addition to preventing landslides, floods, and avalanches, enhancing biodiversity, and creating suitable microclimatic conditions for agriculture, they prevent erosion and desertification of the land. A dry stone architecture exemplifies a harmonious relationship between human beings and nature. The element is deeply rooted in rural communities, as well as professionals in the construction industry. Structures made with dry stone are always in perfect harmony with the environment. The practice of each place is transmitted primarily by practical application adapted to their particular conditions. From prehistory to today, people have used structures like these to optimize local natural resources and human labor to organize their living and work spaces. Nowadays, skilled stone wallers are a few in number nowadays. Modern wire fencing, however, can be used to fence fields and costs far less than building dykes. The initial cost of building dykes is offset by high durability and a long, low-maintenance lifetime. As of today, the value of dry stone walls' landscape and heritage continue to increase, resulting in a need for wallers as well as for the walls themselves. Currently, by using a four-grade certification scheme, the Dry Stone Walling Association offers an internationally recognized certification program in the UK. ===References=== (https://ich.unesco.org/en/RL/art-of-dry-stone-walling-knowledge-and-techniques-01393) (https://en.wikipedia.org/wiki/Dry_stone#History) | Art • Craftsmanship and Practices | Croatia • Cyprus • France • Greece • Italy • Slovenia • Spain • Switzerland | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | |||||||
| Art of Glass Beads (edit) | The art of making glass beads involves specific knowledge and shared skills about the material (glass) and the element (fire). Beads are classified by the method in which they were made – wound, drawn, or molded beads. Millefiori beads, for example, are composites of drawn glass canes applied to a wound glass core. It involves traditional tools and processes and includes multiple steps. Technical knowledge related to the production of glass beads takes two forms in Italy. 1) lume beads (with a blowtorch) and 2) da canna beads, which are made in sections, by softening and polishing hollow canes. In France, solid beads are made by torching hot glass and then rounding it with gravity, and hollow beads are made either by blowing into a hollow cane or by making them on a mandrel, or in the hot glass. A more complex production of murine is made when multicolored glass canes are assembled around a core. They are then decorated and used in a variety of different ways. The oldest known beads date over 3,000 years old, dating back to Roman times. In archaeology, the earliest glass-like beads are Egyptian faience beads, which are clay beads with a vitreous coating. These beads are significant because the presence of glass beads indicates that this technology was spreading. Additionally, the composition of the glass beads can be analyzed to help archaeologists understand the source of the beads. The practice of glass beads is mostly transmitted informally in workshops, where apprentices acquire knowledge and experience by watching, experimenting, and practicing under the supervision of experts. It is also taught through formal education in technical establishments. Gifts made with glass beads are used to mark specific events and social occasions, promoting social cohesion and dexterity in manual and craftwork. Collective identities based on shared memories and spaces are recognized by bearers and practitioners. This ancient practice is a living heritage that communities, in response to the environment and interaction with nature and history, continuously recreates. Glass bead making is a beautiful reminder of the duty to protect man's creativity and ingenuity, and is linked inextricably to their extreme fragility. However, only by protecting this art can it be passed on to future generations. | Art • Craftsmanship and Practices | France • Italy | (04) Quality Education • (08) Decent Work and Economic Growth • (12) Responsible Consumption and Production | |||||||
| Art of miniature (edit) | Miniature art is a type of two-dimensional artwork that involves the design and creation of small paintings, which may be painted on books, papier-mâché, rugs, textiles, walls, ceramics, and other items. Miniatures have existed in Uzbekistan, Turkey, Azerbaijan, and Iran for centuries. Persian art was popular in the Ottoman Empire, and the Sultans were avid collectors of Persian miniatures. Soon, a distinctive Ottoman style emerged with an increasing interest in narrative and historical recording. Ottoman illumination was also widely used in court manuscripts. As the Ottomans spread throughout the world, those who were proficient with the craft became known as miniaturists. Historically, the miniaturists’ styles varied with the regions and schools of art, evolving further after the introduction of Islam. Over the centuries, miniatures were used visually to illustrate manuscripts. There was also a visual language used to express cultural diversity, geographical diversity, and principles of expression. The craft expanded throughout the 19th century and started to appear more often on walls, canvasses, wood, ceramics, and leather. In the past, miniaturists usually painted with quills and organic pigment, rather than the industrial materials used today. The artist took a cotton piece of unrefined paper, spread it over a marble surface, and straightened it with an ivory press to make the paper appear luminous. The artist then decided what they wanted to paint, and then drew the image in pencil, and then outlined it with India ink. Filling in the outlines was then done with madder dye, which is known to keep its vivid color. The miniature has been historically seen as supporting the text visually in book paintings but has evolved to embellish public spaces and architecture as well. Despite stylistic differences, the art of miniaturization as practiced by the submitting States Parties shares crucial features. The patterns of miniaturized patterns are symbolic of beliefs, worldviews, and lifestyles and have gained a new character as a result of the Islamic influence. All of the miniatures in public display a particular perspective of each scene in which the size of the figures changes according to their importance. This is a key difference between realistic and naturalistic styles. The miniature displays an integral part of each society's social and cultural identity, as it is traditionally transmitted through mentor-apprentice relationships. This art has existed for centuries yet continues to evolve, thereby strengthening the bond between the past and the present. Traditional painting principles and techniques are preserved, but artists also incorporate their own unique creative vision into the process. | Art • Craftsmanship and Practices | Azerbaijan • Iran • Turkey • Uzbekistan | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities | |||||||
| As-Samer (edit) | As-Samer is the traditional folk music and dance commonly performed at wedding ceremonies in Jordan mostly done by young to older individuals, with children encouraged to take part during the performance. This ancient art is a treasure of Jordan. It has been performed in various cities throughout the country. As the Bedouins of Sinai practiced simple forms of artistic expression that reflected their customs and traditions in clothing and music, as well as dances such as the "Samer Sinawi", they established a unique way of life. Samer sinawi is associated with the customs of the people of Sinai. It is practiced during celebrations, such as marriages, births, holidays, or when members of a tribe have achieved a victory. It uses several different forms of poetry, associated with various forms of collective dances. There are multiple parts to the dance, the first of which is 'El-Riz'ah' or 'El-Razi', in which the men stand at a distance away from a tent while the women enter. The men form two opposite rows, each with a poet in the middle, and clap their hands slowly together with the women, who sit and chant over and over again words such as 'dahia. In the second part of the play, called El-Hashi, a woman wearing a black shawl, holding a stick in her hand and waving it, enters the scene and walks between the two rows pointing at the poets with the stick. A third step, called 'El-Dahia,' is where the music and rhythm of the dance pick up. The two poets on opposing sides begin a debate and share poetry verses for the approval of the hashi, who stands in front of the better poet. Everyone claps in hopes of winning the approval of the hashi, who stands in front of the better poet. Later in the dance, the men chant loudly to gain the interest of more women, and the rhythm of the dancing and singing again begins to pick up in speed. El-Marbouah is the last phase in which more women join. The lines uttered during the performance are integral parts of the tradition and express feelings of joy, peace, intimacy, and empathy among attendees. In 1979, the Arish Folklore Troupe was founded by people interested in preserving Sinai's customs and traditions. In order to transmit the skills and knowledge related to As-Samer, people of all ages are encouraged to participate spontaneously, consolidating social bonds and promoting cohesion until today. | Art • Dance • Ritual • Verbal Arts and Literature | Jordan | (11) Sustainable Cities and Communities | |||||||
| Askiya (edit) | Askieya is a genre of Uzbek verbal folk art that takes the form of a dialogue between two or more participants, who eloquently talk about a particular topic. The speakers must master the Uzbek language, and improvise and reason quickly, using humor and banter, so as not to damage the honor or dignity of a rival during dialogue or discussion. Across Uzbekistan, askiya is performed at festivals, get-togethers, family celebrations, and other occasions. Presently, over thirty forms of Askiya are known, some professional, some amateur, all with their distinctive characteristics. In addition, it is important to have great life experience, skills, creativity, tact, intelligence, sensitivity (in perceiving relevant answers), and worthy behavior. Despite being humorous, the dialogues play an invaluable role in increasing awareness of social trends and events, drawing attention to important issues through acute observation in daily life. Askiya is a spiritual treasure house that reflects the way Uzbek people think and how they regard the world. It is the kind of humor that is inextricably tied to social traditions and it is a genre that shows observations of life. Askiya demonstrates language and culture-related peculiarities of Uzbeks. Throughout this event, Askiya unites people from different communities irrespective of age and background. Also, humor is used to teach people to be more attentive, and to analyze flaws and shortcomings in everyday life, thus nurturing cultural and social development. Typically, every askiya is based on payrov, a theme that creates an independent artistic creation. It emerges thanks to the consistent expression of thoughts and the spontaneous creation of wits. Certain themes are developed from beginning to end by the participants. In doing so, they are not allowed to go beyond it. Askiya-related skills and knowledge are primarily transmitted verbally among individuals, groups and communities, using traditional master-apprentice teaching methods. As part of the efforts to preserve and promote askiya art, the following measures have been undertaken: organizing contests and festivals of askiya performers; the creation of TV programs; the production of films, books and collections, scientific studies, etc. Currently, the traditional methods of mastering askiya are being used through the "ustoz-shogird" ("master-apprentice") method. In addition, relevant knowledge about the genre is integrated into the educational process of Uzbekistan's Institute of Arts and Culture. | ||||||||||
| Avalanche Risk Management (edit) | Avalanche knowledge and avalanche protection have been a vital tradition in the Swiss and Austrian Alps for centuries. In Alpine populations, avalanche awareness has shaped their identity, as they deal with the threat avalanches pose to inhabitants, tourists, means of communication, and other vital infrastructure. Avalanche origin and protection techniques have been handed down and preserved throughout the years in the Alps. Due to the densely populated nature of the Alps, avalanches are a prime concern and collective responsibility. For centuries, inhabitants and highlanders have developed avalanche information, management, and risk-avoidance strategies to guard against avalanche hazards. For example, the inhabitants of Leukerbad built a massive 80-meter wall in 1600 to divert avalanches. As the number of avalanche incidents developed, so did avalanche risk management. In 1887/1888, more than 1,000 avalanches occurred in Switzerland, leading to the death of 49 people and over 600 animals. The regions most severely affected were Graubünden and Ticino, as well as the Goms region of Valais. Following the disaster, galleries, tunnels, and avalanche barriers were built. From the early 19th century onward, avalanche defense structures were constructed in avalanche starting zones. Those structures included walls and earthen terraces. Some individuals, such as foresters, pioneered the practice of observing and recording avalanches. During the 1930s, the Federal Expert Commission for Avalanche Research was founded, and ten years later, the institute's first home was built on Weissfluhjoch, establishing a national platform for scientific research. Its most well-known service, the avalanche bulletin, became a public mission, as did the planning of sustainable land use with the aid of avalanche danger maps. Combined with the latest technology and cutting-edge science, knowledge handed down for centuries continues to play a significant role in the evaluation of avalanche danger. The use of modern tools, such as measurement instruments and risk mapping, complements traditional knowledge, which is continually developed and adjusted by knowledge bearers on the ground. This emphasizes the importance of solidarity during crises. There is increasing demand to provide better protection at a lower cost, as well as to produce more precise forecasts. Understanding avalanche risks requires a deep understanding of nature, especially the terrain, snow, weather conditions, and previous avalanches. While this information was once transferred verbally, it is now based on a dynamic process combining empirical knowledge and practical experience: knowledge is transferred from science to practice, and from the ground to research. Training activities are available, and any interested parties have access to numerous media sources such as avalanche bulletins, the media, checklists, websites, media, manuals, and exhibitions. | Craftsmanship and Practices | Austria • Switzerland | (11) Sustainable Cities and Communities • (13) Climate Action • (15) Life on Land • (17) Partnerships for the Goals | |||||||
| Awajun Pottery (edit) | For the Awajun people of northern Peru, pottery is a means of expressing their harmonious relationship with nature. The pottery preparation process includes five stages: the collection of materials, modeling, firing, decorating, and finishing. Each stage of the process has a meaning and associated values that they tell through their oral traditions The real origin of the Aguaruna people is still unknown. Some anthropologists believe the Aguaruna people probably came down from the Andes centuries ago and adapted themselves to the geographical conditions of the region. Others believe the Aguaruna people are migrants from Central America who arrived along the coast or down rivers. They were influenced by cultural groups that were immigrants from Melanesia, including present-day Jaén. In the north of Peru, the Awajun people consider pottery to be a symbol of their harmonious relationship with nature. To make pottery in the Awajun universe, knowledge, ritual, and mythical narration are intertwined, creating a dynamic relationship. Three powerful beings are considered in their worldview: Nugkui (spirit of the earth), Etsa (spirit of the forest), and Tsuqki (spirit of water). Chachamamu, or designs painted on ceramics, usually depicts some geometric pattern that reflects elements of nature. Learning this such an art is part of the dékamu or ancestral knowledge of the Awajun women that gives them the ability to make pottery. Various tools are used by artists to make the pots, including grinding and polishing stones, wooden boards, modelling tools, and paintbrushes made of human hair. The preparation process involves collecting materials, modeling, firing, decorating, and finishing. Each stage is associated with the people's oral traditions and includes the necessary skills to create and decorate the pots. The material used in Awajun ceramics includes various types of river clay or duwé, bark and tree ashes, leaves, natural latex, tree resin, and plant fruits and seeds, all of which are used to reinforce the clay and reduce porosity. This fortified clay creates vibrant colors and a natural sheen. For this reason, Awajun ceramics are both decorative and safe for use with food and beverages. They serve as cooking vessels, drinking vessels, and eating vessels, and are also used for rituals and ceremonies and also hold social importance. In addition to expressing personal attributes like generosity and intimate life, the thousand-year-old practice has been empowering Awajun women. The ones who look after and sow the plants they use to decorate and make pottery until today. As the main carriers of Awajun pottery knowledge and traditions are the Dukug wise women, female elders who pass on the knowledge and tradition to younger women in their families. | Art • Belief • Craftsmanship and Practices • Ritual | Peru | (01) No Poverty • (03) Good Health and Well-being • (04) Quality Education • (05) Gender Equality • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production • (13) Climate Action | |||||||
| Baba Marta (edit) | In Bulgaria, cultural practices associated with the 1st of March are transmitted from ancient times to celebrate the beginning of spring. Baba Marta involves making, offering, and wearing a red and white thread, which is then untied when a blossom tree, swallow, or stork is seen. Several versions of the Baba Marta tale exist in folklore, but the most common version is of a feisty and temperamental lady named Baba Marta. This lady seems always in a bad mood with her two brothers, January and February, when the sun only comes out when she smiles. An old shepherd decided during the final days of March to erect her flocks in the mountains, thinking that Baba Marta would grant her good fortune since she was as old as Marta. Baba Marta was angry when her younger brother, April, granted her wish of borrowing a few days. These are called "borrowed days", "zaemnitsi", in the Bulgarian folk tradition. In the mountains, Marta let out strong snowstorms that froze the shepherd and his flocks. A few local cultural practices are also part of a larger spring celebration, such as purification actions in Moldova. The main practice involves making, offering, and wearing a red and white thread (martenitsa), which then unties when the first blossom tree, swallow, or stork is seen. A wish may be made while the martenitsa is tied around their hand. As a matter of tradition, you can't throw it away until you see a stork or a sparrow. Both bird species spend the winter in Africa and return to Bulgaria in mid-March. Tying it up to a blossom tree is another possibility. This artefact provides symbolic protection against capricious weather, with the practice of helping individuals, groups, and communities safely pass from winter to spring. All members of the community involved, participate in this practice, which contributes to social cohesion, intergenerational exchanges, and interaction with nature, which fosters diversity and creativity. A majority of transmission occurred through informal education: in rural areas, young girls were taught by older women how to make the thread, while in urban areas apprentices learned through teachers, craftspeople, and informal education. There are also Martenitsa workshops organized by ethnographic museums were another occasion for transmission. Hopefully, communities can be concerned and actively participate in inventorying, researching, documenting, and promoting the element, and numerous cultural projects are being undertaken to preserve it. | Art • Ritual | Bulgaria | ||||||||
| Bagpipe (edit) | The music of Slovakia has been influenced by the native Slovak people as well as the music of neighboring countries. The country has a rich heritage of folk music and liturgical music and was influenced by Austria-Hungary, particularly in the 18th century. The bagpipe culture of Slovakia encompasses a wide range of expressions, including music repertoire, style, ornamentation, songwriting, dancing, instrument-making, and special verbal expressions. The bagpipe is a woodwind instrument that uses enclosed reeds and an air reservoir in the form of a bag to provide a constant supply of air. The early development of folk instruments in the region was in existence in the 15th century. They included the fujara (the Slovak version of bagpipes) and the jaw harp (the Slovak version of the bagpipes). As a result of Slovakian bagpipes, the term bagpipe culture is widely used not only to refer to the instrument itself but to every type of cultural or knowledge manifestation related to the production and use of the instrument. Among the peasant and shepherd population in Slovakia, Gajdy and Gajdos culture represent a long and continuous tradition that dates back to the 14th century and has survived to this day on the basis of intergenerational exchange. Throughout Slovakia, the bagpipe tradition exists with regional variations regarding technical details, tuning, ornaments, and knowledge, as well as corresponding songs and dances. It is mainly represented by bagpipe players and makers, as well as other musicians, singers, and dancers performing in groups. Bagpipe culture has many of the characteristics of traditional folk culture in Slovakia, such as construction methods (using goatskin) and aesthetic forms of instruments (in other words, local folk art), and a range of local and individual ways of interpreting songs and repertoire. The bagpipe has been handed down from generation to generation through family, community, and formal and non-formal education. A community is proud to have a bagpipe player at its social events. When the bagpipes are played at these events, the music evokes a sense of identity shared by all community members. Bagpipe culture is a long-standing tradition in Slovakia that was largely represented by peasants and herders. The culture has been maintained, promoted, and developed by The Slovak Bagpipe Players Guild which has registered more than 40 towns in which the tradition of bagpipe culture is still alive. | Art • Dance • Music | Slovakia | (11) Sustainable Cities and Communities | |||||||
| Bai Choi (edit) | The game Ha Bai Choi is a diverse art of combining music, poetry, acting, painting, and literature. It is well known in Central Vietnam, especially in Quang Nam Province, where it has played an important role in Hoi An residents' spiritual lives for centuries. Bai Choi is a card game similar to bingo that's played with songs and music performed by Hieu artists during the lunar new year of Tet. Originally, the rules of Bai Choi were quite strict. The speaker could not mention a chess piece’s name directly – players had to guess. For example, if the piece’s name is ngheo (poor), the speaker would describe how poor they are, but could not mention the word directly. However, the rules have since been relaxed so more people could be involved and win prizes. Performers in Bai Choi games move from place to place, or they perform privately for families. The bearers and practitioners of the art of Bai Choi are Hieu artists, solo performers, card-makers, and traditional hut-makers. Bai Choi has originally developed hundreds of years ago from land reclamation. At that time, people built huts on newly reclaimed forest land to guard wild animals and protect crops. They used instruments such as wooden fish and drums to frighten them off, which is why Bai Choi was birthed as a pastime and is still prevalent in the central region of Vietnam from Quang Binh to Binh Dinh. The lyrics of most Bai Choi games reflect the compassionate nature of Vietnamese people. They convey human emotions and are highly educational. Among other things, the lyrics usually praise patriotism, parental and conjugal affection, good human nature, and criticize social evils and outdated customs and habits. Bai Choi song originated from players shouting out their cards. Gradually, it evolved into a musical chant. As Bai Choi became more creative and elaborate over the years, it became an independent folk song. The art of Bai Choi has an important cultural role within village communities, and it is crucial to practice and preserve it. Performers and their families have set up nearly 90 Bai Choi teams, groups, and clubs to practice and transmit the art, which attracts wide community participation. They teach song repertoires, singing skills, performance techniques, and card-making methods. Performers of the art typically acquire their skills within the family and mainly pass them down orally, but artists who specialize in Bai Choi also transmit knowledge and skills through clubs, schools, and associations. | Art • Entertainment and Recreation • Verbal Arts and Literature | Vietnam | ||||||||
| Bailes Chinos (edit) | Bailes Chinos are a brotherhood of musicians that express their faith through music, dance, and singing. Most of the practices can be found from the Norte Chico area to the central region of Chile, and there are five fully differentiated styles that are named after the valleys or basins in which they are most prevalent. The ritual musical-dance brotherhoods, express the religious fervor of peasant farmers and artisan fishermen during religious fiestas celebrated in small villages. They often gather with groups from neighboring towns. These inland fishermen and farmers depend strongly on nature and themselves and are especially fervent in their religious devotion. The Bailes Chino play flutes and sing as a means of helping secure their basic necessities; health, rain, and abundant fish in the inland valleys; protection and abundant fish in the coastal waters. Additionally, their fiestas strengthen the social and family bonds that bind the inhabitants of the area. Originally, this tradition originated in the pre-Columbian period, during the time of the Aconcagua Culture in central Chile between the years 900 and 1400. The inhabitants created stone musical instruments similar to the current flutes, which are used in Chinos dances. Native American contributions to the Bailes Chino are mostly dances and instruments. These practices incorporate a relationship with the supernatural through ritual and include special states of consciousness. Other elements of Christian expression include prayers, the Holy Scriptures, sacred images, and the Catholic ritual calendar. Rural men perform these dances to a rhythm of pre-Columbian drums and flutes played in isometric. Baile Chino dances are composed of five different styles, each named after the valley where they are most prevalent. Baile Chino is organized by men from the Norte Chico region and consists of jumps and leg flexing movements. During the dance, leaders sing memorized or improvised rhyming couplets in stanzas containing stories of sacred stories and spiritual subjects. Equal numbers of musicians and dancers are arranged in two symmetric columns. In this culture, the drum controls the tempo of the music and leads the choreography. The flag bearer and guards, who are usually women, guard the flag at the parade. The music, dances, and couplets are learned through observation, imitation, and transmission in the family. The Baile Chino Dance function as a social participation tool providing prestige to those involved. They provide a model of social integration and community cohesion to which almost every member of the local community subscribes out of a sense of belonging and solidarity. In Central and Northern Chile today, there are about 60 cofradias that celebrate religious holidays by dressing in colorful clothing, and then dancing with wild leaps and jumps as they perform the Bailes. | Dance • Music | Chile | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities | |||||||
| Bakhshi Art (edit) | Bakhshi is an epic poem that has played an integral role in the musical and literary heritage of the Uzbeks and Karakalpaks of Uzbekistan throughout history. These centuries-old poems, also called Doston, are based on myths, legends, folk tales, and legendary chants, and are popular for various purposes. These include patriotism, commitment, love, friendship, and solidarity. Bakhshi refers to the tradition of narrating epic stories with the accompaniment of musical instruments and incorporating cultural practices and practices into the story. The storyteller, often known as a Bakhshi, performs the stories from memory, as well as incorporating melodies and originality into the stories. The Bakhshis must captivate listeners with their melodies and tell stories in an interesting and original manner. They must also use creative language, word games, proverbs, and phrases to tell those stories, and they must recite those stories from memory. It should be noted that Doston is more than just a verbal performance. It is also a work of art that is prosaic, poetic, and musical. Indeed, Bakhshi does not only read Doston but sings it as well. The singer is accompanied by a dombra or an instrumental ensemble during a performance. Every element of Doston's artistic composition has been designed to enhance listeners' perception of the work. The combination of music, poem, and story enhances the listener's perception of the work by focusing on words. The words play an extremely significant role in Doston, but not exclusively. In Doston, a word, a verse, and a text nonetheless carry most of the semantic and artistic burden. They also sound more natural, emotional, and expressive when accompanied by music. While traditionally Bakhshis were men, a group of female Bakhshis emerged in the nineteenth century and continues to play an important role in the tradition. Today, Bakhshi is an influential part of Uzbek culture, as it is used for family ceremonies, rituals, holiday celebrations, and local festive events. The storytellers are always welcoming guests, and to this day, Bakhshi enjoys significant popularity. The government of Uzbekistan holds high regard for the creative activity of folk narrators. As such, it has provided the honorable title of 'People's Bakhshi of Uzbekistan' for many folk narrators. As with most traditions associated with epic literature, the traditions have been passed on from master to apprentice, from father to son. One piece of evidence that these traditions are continuing and flourishing is the organization of competitions such as the Bakhshi competition, which was conducted in Uzbekistan in 1975. In addition, the art of Bakhshi is also being studied in various colleges of art (in Karshi, Termez, Urgench, and Nukus) and pedagogical universities throughout the country. | Verbal Arts and Literature | Uzbekistan | (04) Quality Education • (05) Gender Equality | |||||||
| Balafon (edit) | Balafon is a pentatonic xylophone in the Senufo communities of Mali, Burkina Faso, and Côte d'Ivoire. Guinea is historically home to solo balafon players. Kouyaté family members have been referred to as keepers of balafon culture since it is a caste-based culture. They helped spread it worldwide in the twentieth century. Balafon is one of the oldest and most iconic instruments in African musical history, dating back to the 12th century, and is the most performed instrument along the V&A Waterfront in Cape Town. Known locally as ncegele, the common name, balafon, is likely a European coinage combining the Mandinka name bala with the word fôn 'to speak' or the Greek root phono. It is found across West Africa from Guinea to Mali, and is closely tied to the neighboring Mandé, Senoufo, and Gur peoples. It is closely associated with the Guinean branch of the Mandinka ethnic group. The Balafon is made from a wide variety of woods, however, Bene wood and bamboo are highly popular, as they are strong and flexible. Secondly, the Balafon is made up of calabashes. The ncegele is composed of between eleven and twenty-one wooden keys of varying lengths that are set on a trapezoidal frame. The resonators are made from calabash gourds in varying sizes and are arranged underneath the frame in proportion to the length of the keys. The holes on the ncegele are covered by spider's egg-sac filaments or plant sap. The tuning of this string instrument is based on the division of the octave into five equal intervals. The ncegele is played with wooden sticks and a rubber beater attached to the end. The ncegele is an instrument that is played solo or as part of an ensemble. The musical discourse of the ncegele is based on multiple rhythms and melodies. The ncegele is used for entertainment during festivals, to accompany prayers in the parish or sacred woods, as well as to stimulate enthusiasm for work. It also provides support for teaching value systems, traditions, beliefs, customary law, and ethical rules governing society. Players begin learning to play children's balafons, eventually moving on to full-size balafons under the instruction of a teacher. Balafon is still being played today by South African artists. In spite of new instruments coming into fashion every few years, the Balafon (or xylophone as it is known in other parts) remains a popular musical instrument. No matter the name--Balafon, Balaphone, in Guinea--it carries the pride of African music with each note played. ===References=== (https://ich.unesco.org/en/RL/cultural-practices-and-expressions-linked-to-the-balafon-of-the-senufo-communities-of-mali-burkina-faso-and-cte-d-ivoire-00849) (https://en.wikipedia.org/wiki/Balafon) (https://www.firestone.co.za/firestone-musical-instruments-balafon) | Art • Music | Burkina Faso • Mali | (11) Sustainable Cities and Communities | |||||||
| Baltic Song and Dance Celebrations (edit) | The Baltic Song Festivals (Estonian: laulupidu, Latvian: dziesmu svētki, Lithuanian: dainų šventė) are traditional song and dance festivals in the Baltic states. They culminate in large-scale festivals every fifth year in Estonia and Latvia and every fourth year in Lithuania. These events attract up to 40,000 participants, most of whom belong to amateur choirs and dance groups. They feature a wide range of music, ranging from the most ancient folk songs to contemporary compositions. Directed by professional musicians and choir conductors, these choirs practice throughout the year in community centers and cultural institutions. Singers and dancers wear linen clothing, while nature is often emphasized as singers weave symbolic flowers and wreaths into their hair. Baltic Song and Dance Celebrations were initiated in Estonia in 1869, Latvia in 1873, and Lithuania in 1924 with the participation of the most active choirs from various regions of the countries. Their origins are rooted in similar historical events - in the late 18th century, the three Baltic States of Estonia, Latvia, and Lithuania suffered a similar fate. During the period of nationalism revival in the 19th century, ethnic culture and folk songs became very popular in the Baltic States. As a result of the growing popularity of choral music, singing societies, and festivals in Western Europe, choir singing soon spread throughout the Baltic nations. The mass song and dance celebration movement was an influential element in developing national identity among the three Baltic nations. This was especially after breaking away from the Russian Empire and after the Second World War. Historically, the country's practice of song and dance celebrations has served as an expression of national identity. They are based on the mass movement of art lovers – choirs, dancers, and musicians. Songs and dances have nurtured the idea of statehood as well as learning about their own culture and heritage. The celebration of the Baltic Festival, which has become a tradition, honors national culture and love, as well as human solidarity, and artistic expression. It brings generations together and helps foster ethical values. Since gaining independence in 1991, the Baltic States have taken various measures to ensure the preservation of this tradition. They are also concerned about the impact that major economic and social changes will have on the future. Rural exodus and the consequent dissolution of local amateur groups have become today's primary threats. ==References== [https://ich.unesco.org/en/RL/baltic-song-and-dance-celebrations-00087] [https://en.wikipedia.org/wiki/Baltic_song_festivals] [https://m.atostogoskaime.lt/en/unesco/the-baltic-song-and-dance-celebrations/] | Dance • Entertainment and Recreation • Music | Estonia • Latvia • Lithuania | (16) Peace • Justice and Strong Institutions • (17) Partnerships for the Goals | |||||||
| Barkcloth Making (edit) | Barkcloth is an ancient craft among the Buganda people living in the Buganda kingdom in southern Uganda. For generations, the Baganda royal family and the rest of the community have produced barkcloths which were made by craftsmen of the Ngonge clan. This clan is headed by a kaboggoza, the hereditary chief craftsman. To prepare the barkcloth, the Ngonge clan uses one of the oldest forms of craftsmanship known to humankind; a prehistoric technique that predates the invention of weaving. Many Buganda witches and mediums wear these veils every day since they are regarded as a magnet for ghosts. Some of these mediums wear elaborate headbands with pieces of barkcloth that cover their eyes. These arboreal veils are believed to act as a portal into the spirit world. In the wet season, bark from the Mutuba tree (Ficus natalensis) is harvested and then beaten for hours with various types of wooden mallets to get a fine texture and a uniform terracotta color. The barkcloth is typically produced in an open shed to keep the bark from drying out. Both sexes are permitted to wear the barkcloth like a toga, but women usually add a sash around the waist. In contrast to the common barkcloth which is terracotta in colour, the barkcloths of kings and chiefs are dyed white or black and are usually worn in a different style in order to emphasize their status. Traditionally kings and chiefs wear the cloth during coronation or healing ceremonies, funerals, and cultural gatherings, but the cloth can also be used as curtains, bedding, mosquito screens, and storage. In the Buganda kingdom, barkcloth was widely produced in almost every village. However, the introduction of cotton cloth by Arabian traders in the nineteenth century slowed its production and limited its use to spiritual and cultural functions. Despite this, it still remains recognized as a marker of specific cultural and social traditions among the Baganda people. Additionally, recent years have seen the production of barkcloth greatly promoted and encouraged in Buganda. Today, barkcloth is commonly known to be a thick, soft, slightly textured fabric, owing to its resemblance to the bark of a tree, and emerging designers believe the barkcloth will become the next eco-friendly fabric. | Art • Craftsmanship and Practices | Uganda | (08) Decent Work and Economic Growth | |||||||
| Basel Carnival (edit) | For 3 wonderful days every year, the town of Basel descends into color and chaos during the Basel Carnival ("Basler Fasnacht"). Beginning on Ash Wednesday and lasting exactly 72 hours, Basel Carnival is the largest carnival in Switzerland. The roots of Basler Fasnacht are obscure, as the disastrous earthquake of 1356 destroyed substantial parts of the city and many official archives. One of the earliest records of the carnival refers to Ash Wednesday in 1376. The event took place on the Münsterplatz and involved two arguments between citizens and knights that escalated into a bloodbath. Citizens chased the noblemen and killed four of them in the process. Retribution was harsh: 12 citizens were beheaded and the Holy Roman Empire banned the city. In Basel's history, this fateful day is known as the Böse Fasnacht ("evil carnival"). Throughout the years, the Fasnacht evolved into what we know today. On the first day of the carnival, on the Monday after Ash Wednesday, locals and visitors gather early in the dark and spooky city center. Thousands of costumed drummers and piccolo players celebrate with thousands of drum majors marching forward. Two parades are held on Monday and Wednesday, bringing together 11,000 costumed carnivalists in parades of fife and drum cliques, floats, and carriages. Tuesday is dedicated to the children's carnival and the performance of Guggenmusik (cartwheels) by carnival marching bands. Schnitzelbank groups, who present satirical texts with illustrations in restaurants and cellars, are very special at the Basler Fasnacht. A further highlight is the lantern exhibition at the Münsterplatz, which displays around 180 different lanterns that light up the medieval square and its beautiful artwork. A total of approximately 20,000 people of all ages, social statuses, origins, and political persuasions are actively involved in the festival, which attracts about 200,000 visitors from Switzerland and abroad. Both bearers and practitioners form associations of various kinds, composed equally of men and women. In a very traditional and unique way, the Basler Fasnacht is both a themed carnival and a family celebration. Through colors, music, and good company, the carnival promotes togetherness and friendship. It also contributes to the promotion of social cohesion, promotes tolerance for social criticism, and helps safeguard the local dialect. Transmission occurs formally in families across several generations. Many of the ‘cliques’ have sections dedicated to encouraging the next generation, and several pre-carnival events are also organized, allowing for the transmission of this carnival to take place beyond the carnival. These measures have served the carnival well over the past decade thanks to community efforts as well constant support from authorities. | Entertainment and Recreation | Switzerland | ||||||||
| Batana (edit) | It is a popular type of Croatian traditional fishing boat found in Rovinj. Kuca o Batani (House of Batana) is represented the main interpretation and documentation centre. It is also known as muostra. It the first eco-museum that was established in Croatia in 2004 next to Rovinj's large pier, at Obala Pina Budicina 2. Batana is one of the most widespread traditional vessels in Rovinj, and their use in the local community reflects a continuity of local traditions, particularly as they reflect the continuity of everyday life. Batana is an important part of the town's a trade and heritage, these methods have been handed down by families. However, the popularity of industrial models led to them becoming scarce until 2004, when local enthusiasts created an association to help safeguard the traditional practice of hand-crafting, with an old dialect and traditional songs. With support from the City of Rovinj, the Heritage Museum of Rovinj, the Rovinj Historic Research Centre, the Italian Community of Rovinj, and an eco-museology expert, the House of Batana created the Batana Ecomuseum, which raises public awareness and provides training in batana practices. Dragana Lucija Ratkovic Aydemir was the expert head of the eco-museum from 2004 to 2012. Batana Museum is a special way of managing heritage in the hands of the local community. It is dedicated to the Batana fishing boat and the local heritage community, which recognizes it as their symbol. The museum organizes professional gatherings and participates in international projects to cooperate in the field of heritage protection and preservation throughout the year and especially during the summer months. And it also responsible for the production of instructional materials, presenting workshops in schools, and informing the youth about how intangible heritage is important and why it should be protected. However, the key task of the Rovinj Eco-museum is to develop and innovate eco-museum principles, and apply them in the local community by promoting innovative cultural tourism, participatory, and various programs to strengthen the cultural competency of communities for sustainable development. As important as the objective to raise awareness of the role of the batana boat in creating an intercultural dialogue with Rovinj's local communities, it is also important to raise awareness of the batana boat as an important asset in the larger family of traditional vessels and to how it connects to its local communities on the Adriatic and Mediterranean, and how it actively contributes to initiatives to protect the maritime heritage and culture of Europe and the world. ===References=== (https://ich.unesco.org/en/BSP/community-project-of-safeguarding-the-living-culture-of-rovinj-rovigno-the-batana-ecomuseum-01098) (https://hr.wikipedia.org/wiki/Ekomuzej_batana) (http://www.batana.org/en/the-batana-eco-museum/info-about-the-eco-museum/) | Art • Craftsmanship and Practices | Croatia | (04) Quality Education • (08) Decent Work and Economic Growth • (09) Industry • Innovation and Infrastructure • (11) Sustainable Cities and Communities • (16) Peace • Justice and Strong Institutions | |||||||
| Batik (edit) | The techniques, symbolism, and culture associated with woven garments called Indonesian Batik permeate Indonesian culture from start to finish: infants wear batik slings designed with symbols for good luck, and the dead are encased in funerary batik. According to G. P. Rouffaer, the technique might have been introduced in India or Sri Lanka during the 6th or 7th centuries. He found that the gringsing pattern originated in Java around the 12th century, and concluded that only the canting, an etching tool containing a reservoir of hot wax, could create this delicate pattern. The 13th century carvings depicted on East Javanese Prajnaparamita statues' clothes show intricate floral patterns surrounded by rounded margins. This type of pattern represents the lotus in Hindu-Buddhist beliefs and is similar to today's traditional Javanese batik motif, ceplok. This evidence suggests intricate batik fabric patterns applied with the canting existed in 13th-century Java or even earlier. Ambatik is a Javanese word that means "wide" or "large" with the nitik or tik meaning "dot" or "make a dot". Bathikan is another word that means "drawing" or "writing" in Javanese. In the beginning, Indonesian batik made use of the "written batik" (batik Tulis) techniques. These are known in Indonesia as the original batik. The process and workmanship remained traditional and manual until a stamping technique was discovered (batik cap) which made the production of batik faster. The garments are often the focal point in rituals, such as the ceremonial casting of royal batik into a volcano. Batik is intertwined with the cultural identity of Indonesians and, through its symbolic colors and patterns, creativity and spirituality is expressed. The craft is often passed down within families through generations and intertwined with Indonesian identity. The contemporary practice of batik now allows people to choose patterns that are suitable for a variety of situations, be they casual, formal, or semi-formal. Batik makers have made many modifications to well-known patterns or invented new designs. Besides that, batik has become a daily dress whether it’s worn at work, school, or formal or semi-formal events in Indonesia. Many young designers have taken batik as their inspiration for creating clothes. These young designers have been creative in their designs of batik clothes that are elegant and match the demands of today's lifestyle. As a tribute to this ancient tradition, Indonesians wear batik today. | Art • Craftsmanship and Practices | Indonesia | Jawa | |||||||
| Bauhüttenwesen (edit) | Bauhütten, also called Dombauhütten or Hütten, was the workshop associated with Gothic cathedral construction in Europe. Among the major Gothic huts were those in Bern (later Zurich), Vienna, Cologne, and, most important of all, Strasbourg, which also claimed other side huts in its catchment area. The construction of Romanesque churches developed from the building of churches by monks through the organization of Gothic cathedrals, which included a wide variety of crafts. Special features included the organizational form of stonemasons in the stonemason brotherhood. Since the guilds only organized masters of other trades, the journeymen were organized separately. Thus, a major distinction must be made between the Steinmetz Brotherhood, the Bauhütte, and the guild. The workshop organization, or Bauhüttenwesen, began in the Middle Ages on the construction sites of European cathedrals. Now, as then, these workshop networks are home to various trades collaborating closely. The term Bauhüttenwesen refers to both the organization of a workshop network or Bauhüttenunternehmen as a place of work, as well as the actual workshop itself. As the Middle Ages came to an end, these workshops have become a supra-regional network, extending far beyond national borders. The workshops preserve the traditional customs and rituals of their respective professions, as well as a wealth of knowledge that has come down through generations, orally and in writing. Due to a progressive shortage of technical skills and increasing mechanization and cost optimization, workshops that were established or revived in the nineteenth and twentieth centuries have become institutions that preserve and transmit traditional techniques and know-how. As a result of their efforts to safeguard and promote living heritage, they have achieved a high level of awareness-raising, information and communication measures. They have also worked closely with investors in the field of politics, the church, monument conservation, business, and research. This can serve as an example that can be adapted and implemented internationally. Using their organization and training system for on-site practice, the workshops can be considered a model for building and maintaining all types of buildings. Another more recent establishment is the Jugendbauhütten of the German Foundation for Monument Protection, which owns the trademark for the brand name "Jugendbauhütte". This was registered on January 5, 2000. By completing the voluntary year in the preservation of monuments (FJD), young people develop historical craft techniques. Furthermore, they gain knowledge of the history of architecture and become familiar with the work associated with the preservation of monuments. | ||||||||||
| Baul songs (edit) | Bauls are mystic minstrels who live in rural Bangladesh and West Bengal, India. Their music and way of life helped shape a large segment of Bengali culture, especially the compositions of Nobel Prize laureate Rabindranath Tagore. Baul music is a form of folk song that has been influenced by both Hindu bhakti movements and the writing of shuphi, a form of Sufi devotional song. They are used by the spiritual leader to instruct disciples in Baul philosophy, and are transmitted orally by the spiritual leader. The Baul movement, which reached its zenith in the late nineteenth and early twentieth centuries, has regained popularity among the rural Bangladeshi's. Bauls belong to a non-orthodox devotional tradition, which is influenced by Hinduism, Buddhism, Bengali, Vasinavism, and Sufi Islam, but is distinctively different from each of them. In the Fal Kingdom, balus live either near a village or wander from place to place and earn their livelihood by singing to the accompaniment of the ektara, the lute dotara, a one-stringed instrument, and a drum called the dubki. The Bauls do not identify themselves with any organized religion. This means that they do not identify themselves with a caste system, with any special deities, temples or sacred sites. They emphasize the importance of the physical body as the place where God resides within every human being. Baul music and way of life have gained a lot of popularity among farmers in Bangladesh. Bauls are admired for this freedom from convention as well as their music. There is no doubt that baul poetry, music, song and dance are devoted to finding humanity's relationship with God as well as achieving spiritual liberation. The devotional songs can be traced back to the fifteenth century when they first appeared in Bengali literature. It is fair to say that the language of the songs has been continuously modernized throughout the centuries, making them feel more relevant to today's audiences. The preservation of Baul song repertoires and the general context in which they are performed are mainly affected by the social and economic situation of their practitioners, who have always been a relatively marginalized group of people. Due to the general impoverishment of rural Bangladesh in recent decades, their condition has deteriorated even more in recent decades. | Belief • Music | Bangladesh | ||||||||
| Bećarac (edit) | Bećarac is a popular humorous genre of folk music in eastern Croatia. This song is deeply rooted in the cultures of Slavonia, and Croatia, and eventually spread into southern Hungary as well as the Vojvodina region of Serbia. The word is derived from becar (Turkish: bekâr), which means "bachelor, reveler, or carouser." Becarci is often lascivious, ironic, or teasing, and is usually sung by male groups in villages. Communication between its performers is essential: the lead singers compete by exchanging vocal lines and imitating, combining, and emulating dasyllabic verses and shaping the melody -- all with the accompaniment of a cast of singers and tambura groups. In addition to conveying community values, the music also enables singers to express feelings and thoughts that might be inappropriate in other contexts. Lead singers must be able to sing both powerfully and fluently, know many old and new couplets, and be adept, quick, and clever in selecting and combing them. The couplets in Becarac are sung to the same music, played either by a tamburitza orchestra or by a choir every time. The choir leader sings the first verse, which is repeated in the choir of gathered men. The second verse consists of a humorous antithesis, repeated also by the choir (but often punctuated by laughter). Bećarci are often performed as a drinking song at the peak of a party after people have been sufficiently warmed up by wine and music. Becarci can last for an indefinite period of time. The lyrics are often made up on the fly or improvised, and the best ones are spread and reused for subsequent parties. Currently, men and women share the role of tradition bearers almost equally. Throughout eastern Croatia, the Becarac continues to be part of everyday life – whether performed in fully informal settings, or in contemporary festive occasions. Aside from particularities introduced by lead singers, Becarac also includes many other sub-types. Hence, Becarac is a remarkably vivid, dynamic genre that is recreated in each performance. In 2017, a museum dedicated to becarac is opened in Pleternica, Croatia. The concept of the museum was described as a contemporary museum, which would emphasize the traditional heritage of Becarac in a modern setting. Since becarac is an important part of Croatia's intangible cultural heritage, the European Union provided 85% of the funds for the museum project, expecting it to have a positive impact on the town and the region as well. ===References=== (https://ich.unesco.org/en/RL/bearac-singing-and-playing-from-eastern-croatia-00358) (https://en.wikipedia.org/wiki/Be%C4%87arac) | Music | Croatia | (09) Industry • Innovation and Infrastructure • (11) Sustainable Cities and Communities | |||||||
| Beer Culture (edit) | Belgian beer culture encompasses the traditional craftsmanship of beer production and is an integral part of the Belgian diet, playing a prominent role in daily life, as well as festive occasions. Brewing beer in Belgium has a long history dating back to the Gallo-Roman period (third to fourth century AD) when this was a mainly female domain. As with the rest of the European continent, beer was considered a healthy drink alternative to water. The average consumption of beer in medieval Europe reached up to 1.5 liters per capita per day. Until the 1960s, children eating lunch at school could choose among tea, coffee, or beer (a type of sour brown or blond beer that contains very little alcohol). Almost every week, there is a beer festival somewhere throughout Belgium, attracting thousands of people. Many festivals have a global reputation while others are simply intended to celebrate the local beer culture. Throughout their history, the Belgians' love of beer has left a mark on their history books and has inspired legends that endure to this day. According to one legend, the saint of beer, St. Gambrinus, is credited with introducing hops. He is buried just meters away from the Brewers House on the Grand Place in Brussels. Belgian beer is known throughout the globe for its wide variety of flavors, ranging from extremely sour to bitter, and is produced in numerous cities, towns, and villages across the western European nation populated by 11 million people. Almost 1,500 types of beer are produced in the country using various fermentation techniques, and traditional knowledge that has been passed through generations. While certain areas are known for their particular varieties, some Trappist communities have also been involved in beer production, contributing the profits to charity. Additionally, beer can be used in cooking – for example, in the production of beer-washed cheese – and as with wine, it can be paired with foods to enhance their flavor. In Belgium, beer consumption is a social event, both in private and in public. Beer is offered to guests in homes or enjoyed with friends at a pub or restaurant. Most everyday activities begin or end with a beer. Even though the number of pubs in Belgium has fallen over the last few decades, every village has at least one local café. Beer embodies both the joys of life and is the perfect remedy against the gloom of society. Belgian beer culture was added to the UNESCO list of intangible cultural heritage on 30 November 2016. Several brewers have formed organizations working on a broad basis to promote the consumption of beer responsibly. In addition to this, sustainable practices have been integrated into the culture, with recyclable packaging being encouraged, and the introduction of new technologies to help reduce the use of water in production processes. Aside from being passed down through the home and among social circles, knowledge and skills are also passed down from master brewers who teach classes in breweries and universities focusing on courses for those involved in the field of brewing. Some programs also target those involved in the hospitality industry, offering public training programs for entrepreneurs and small test breweries for amateur brewers. | Craftsmanship and Practices | Belgium | ||||||||
| Beliefs In The Mother Goddesses (edit) | Those living in Vietnam worship three goddesses: the Mother Goddesses of Heaven, Water, Mountain, and Forest in order to fulfil their spiritual needs, and day-to-day wishes, and achieve good health and success. One of the Mother Goddesses is Lieu Hanh (a nymph who lived as a human and became a Buddhist nun), among the four immortals of the Viet, she is referred to as the Mother of the World as well as other spirits considered legendary. Women from Van Cat village in Nam Dinh Province created Lieu Hanh as a personality cult. The cult seems to have been created by rice farmers who needed water and land. It was at its height extremely popular. Under the Communist Party of Vietnam's early leadership, the cult was mostly suppressed, as it was viewed as Taoist in nature and an instrument of oppression. Traditional rituals, practices, and celebrations such as Phu Day, take place in temples dedicated to Mother Goddesses. Daily worship at temples is supervised by temple guardians. Main practices include spirit possession rituals and traditional festivals, the most notable of which is the Phu Day festival held in Kim Thái commune, Nam Dinh province. Some of the activities associated with the practice are maintaining part of the community's history, culture and identity by wearing traditional costumes and dancing. A bearer and practitioner can be an individual from the public, a temple guardian, a ritual priest, a spirit medium, an assistant, or a musician who will pass knowledge orally to newcomers and family members. During the festival, which lasts between the third and tenth day of the third lunar month, rituals, folk performances, a procession of Buddhist scripture, and word arrangement are all performed. The Viet express themselves through folk cultural expressions in festivals and show their views on history, cultural heritage, and gender roles. Practices of sharing values and belief in the compassion and grace of the Mother Goddesses provide a basis for social relationships and also support the appreciation of women's roles in society. Belief in the Mother Goddesses is a basis for worshipping them and connecting members of participating communities. As early as the 16th century, those devoted to the Goddess made an impact on social life and consciousness. Today, beliefs about the Goddess are both spiritual and cultural. Ultimately, the Beliefs exist to meet both the spiritual needs and everyday desires of the people, as well as to help them achieve good fortune in health, work, and business. | Belief • Dance • Music • Ritual | Vietnam | Nam Định | (03) Good Health and Well-being • (11) Sustainable Cities and Communities • (15) Life on Land | ||||||
| Bhacata Music (edit) | Bachata is a type of danceable music from the Dominican Republic, deriving from a fusion of the rhythmic bolero with other Afro-Antillean genres such as the Son, Cha-cha-cha, Merengue, and Son. The Bachata genre originated in the Dominican Republic in the first half of the 20th century. It combines the southwestern European influences, as well as African and Sub-Saharan influences. It is considered a vernacular cultural expression, omnipresent in community celebrations and social gatherings. The lyrics of Bachata are often filled with deep, visceral feelings of love, passion, nostalgia, etc. According to etymology, the term bachata is derived from an African word meaning “lively gathering”, not a genre of music specifically. The Bachata is traditionally performed by one or two guitarists (electric guitars are widely used nowadays), as well as percussion composed of bongos, maracas, and a guiro, accompanied by a bass. A Bachata tune has four tempos per beat, usually with a lead singer. The dance is equally passionate, with a sensual hip movement and a simple eight-step structure. While the bachatas recorded in the 1960s had a distinctly Dominican flavor, they were regarded at the time as a variant of the bolero, as the term bachata had not yet become widely used, it originally referred to an informal rustic party. As an expression of cultural backwardness, the Dominican government launched a campaign to brand bachata in this negative light. Despite the fact that it was not always legal, listening to this kind of music was considered "vulgar and sensual" and the upper class did not want to tarnish their reputations so they did not dance or listen to bachata. It was not long before, by the early 1980s, bachata's popularity couldn't be denied. Increasingly, radio stations began playing bachata, and bachateros soon began performing on tv as well. By the early 1990s, the sound had been further modernized, and two new young stars dominated the bachata scene: Luis Vargas and Antony Santos. Both singers performed bachata-merengues as part of their repertoires. Led by lead singer Anthony "Romeo" Santos, the Aventura bachata group, in the early 21st century, took the bachata envisioned by Juan Luis Guerra in the early 1990s to new heights. Since the element has been part of every traditional celebration in the Dominican Republic for years, it is taught spontaneously from a young age, but there are over a hundred academies, studios, and schools that teach the dance today | Art • Dance • Music • Verbal Arts and Literature | Dominican Republic | (11) Sustainable Cities and Communities | |||||||
| Bigwala (edit) | It is a type of traditional ceremonial dance and music of the Busoga Kingdom. This music and dance form is a cultural practice of the Basoga people in Uganda that is performed during royal celebrations in recent decades. Bigwala trumpets have such a long history because they are made from a long-necked gourd. The trumpets have a pleasing tone while their simplicity is stunning. They are simply rustic gourds that are glued together. The term "Bigwala" in local Lusoga refers to the gourds (a set of five trumpets blasted in a hocket that produces a tune) and the accompanying dance as well as the music itself. It is commonly known that gourds were used for drinking water, storing beer, and preserving cereals, but they were also considered a royal emblem. Normally a solo trumpet is accompanied by four or more other trumpets, which play in hocket together; these are accompanied by singers and dancers who circle the instrumentalists while swaying. Women spectators ululate as the performance nears its climax. Singers and dancers move in a circular formation around the five drummers, gently swaying their waists and raising their hands during the performance. Likewise Bigwala, the music is both elite and democratic. While associated with the king, it provides a sense of selfhood for the Basoga, and ordinary people also can hire performers for weddings and housewarmings. Bigwala plays a significant role in strengthening the unity of the Basoga people. The song's lyrics remind people of the history of the Basoga people, focusing specifically on the king. This symbolically reasserts their identity and provides a means of addressing issues like leadership, marriage problems, and acceptable social practices. Currently, there are only four remaining older master bearers with the skills of making and playing Bigwala, which originally took place during royal celebrations like coronations and funerals, and are performed less frequently during social occasions. Also, the recent attempts to transmit this have been frustrated by financial obstacles, which threaten the survival of the art form. However, Bigwala is primarily a story of history and national identity, with lyrics narrating stories about the King (a symbol of Busoga identity) as well as other social issues addressed. Godfrey Alibatya, who helped promote Bigwala to the UNESCO list, noted that there may be an extinction of Bigwala, which will weaken the kingship and kingdom. In contrast to many items on the list, which are cherished by the local community, David Pier argues that Alibatya is helping preserve the genre despite its obscurity. ===References=== (https://ich.unesco.org/en/USL/bigwala-gourd-trumpet-music-and-dance-of-the-busoga-kingdom-in-uganda-00749) (https://en.wikipedia.org/wiki/Bigwala) (https://www.atlasobscura.com/articles/ugandan-music-bigwala) | Craftsmanship and Practices • Dance • Music | Uganda | (11) Sustainable Cities and Communities | |||||||
| Biosphere Reserves Of Montseny (edit) | The project was started by the UNESCO Center in Catalonia, a non-governmental organization, and aims to identify intangible cultural heritage within a biosphere reserve and create inventories of it. Ethnology and traditional Catalan culture project were undertaken in collaboration with local stakeholders and institutions within an area of the Montseny Biosphere Reserve and National Park in the Autonomous Community of Catalonia. There were three objectives of the project: developing a method for establishing the presence and nature of intangible cultural heritage, preparing an inventory, and preparing a document detailing the contributions of intangible culture to sustainable development. A nature reserve is a protected area in a natural or wilderness preserve that is specifically established and managed with the purpose of preserving and managing the flora, fauna, or features of geological or other interest. A nature reserve is also known as a wildlife refuge, wildlife sanctuary, biosphere reserve or bio reserve, or natural or nature preserve. Governmental institutions may designate nature reserves in some countries, or private landowners, such as research institutions or charities. A methodology developed for this project will be useful for countries with a natural and intangible heritage that want to improve their conditions without compromising the opportunities for future generations. This methodology is suitable for developing countries, as it can be applied at the regional and international levels. The observations about intangible cultural heritage and sustainable development are also helpful for countries that have a natural and intangible heritage and are looking for ways to improve their conditions. Montseny, however, is a massif of great historical-cultural value, as man has taken part in shaping its landscape full of masias, the predominant architectural type in this area. Currently, there are sixteen national parks in Spain: eleven in the Iberian Peninsula, four in the Canary Islands, and one in the Balearic Islands. Twelve of the seventeen autonomous communities of Spain have national parks. Nowadays, forestry and agricultural, animal, and farming activities have lost considerable weight in the area in favor of the services sector (rural tourism, restaurants, and hotels), which has become one of the main economic driving forces of the area. The park offers a whole series of activities related to nature (itineraries on foot, guided horse-riding excursions, climbing walls, quad bike, and 4-wheel drive routes, paintballing, and mountain bike routes. ===References=== (https://ich.unesco.org/en/BSP/methodology-for-inventorying-intangible-cultural-heritage-in-biosphere-reserves-the-experience-of-montseny-00648) (https://en.wikipedia.org/wiki/List_of_national_parks_of_Spain) (https://www.catalunya.com/montseny-nature-reserve-8-1-92?language=en) | Spain | (03) Good Health and Well-being • (09) Industry • Innovation and Infrastructure • (11) Sustainable Cities and Communities • (13) Climate Action • (15) Life on Land | ||||||||
| Bisalhaes Black Pottery (edit) | In Portugal, the village of Bisalhes in Vila Real municipality is known as 'the land of pot and pan producers' or, more specifically, as a town where black pottery is made in open earthen ovens. The black pottery is used for decorative or cooking purposes and has been an ancestral traditional practice featured on the village's coat of arms since ancient times. There is a lengthy process relating to the process of obtaining the 'embolized', which includes storing and separating the clay in the ‘granary’ and adding water to it until the ‘peis’ are created and kept in humid places, but they must still be softened and remove excess air. The ‘embolized’ is then placed in the center of the low wheel at the pace intended by the potter, who then gives birth to the pieces we admire today. They're allowed to dry in the air, where women use small stones to decorate the sacks by drawing flowers, leaves, lines, or other designs tailored to the moment's inspiration. The next step is cooking, which is one of the most defining characteristics of Bisalhes Pottery. After this challenging task, the wonders are removed and cooled, one by one, and with skill and knowledge, are cleaned of dust, using carefully woven rags. During the next step, the women place them into baskets and transport them to their homes for preparation for the sales stalls. In this way, two types of crockery are created: "Churra" (utilitarian) crockery, such as oven bowls, baking dishes, and cutlery, and "Fina" crockery, either decorative or functional, such as secret jars, donut jars, plates and so on. Clay now comes from local tile factories instead of being sourced from pits. With only a few bearers left, waning interest in the tradition from younger generations, and popular demand for industrially made alternatives, the future of the practice looks bleak. The main problem is the aging of potters. There are currently five who make this their main activity; they are all over 75 years old, and they use processes dating back to at least the 16th century. Over the decades, the transference of knowledge has not been fully safeguarded either within village families or in the training courses held by the local community. It is this fact that prevents new artisans from entering this industry. | Art • Craftsmanship and Practices • Entertainment and Recreation | Portugal | Vila Real | |||||||
| Bistritsa Babi (edit) | Bistritsa Babi (Bulgarian: Бистришките баби, "The Bistritsa Grannies") is a multi-generational women's choir in the Shopluk region of Bulgaria carrying on the traditions of traditional dance and polyphonic singing. The choir was founded in 1939, and in 1978 they won the European Folk Art Award. In 2005, they were declared a Masterpiece of the Intangible Cultural Heritage of Humanity by UNESCO. Their performances of three-part polyphony, which is "retained from pre-Christian times," have toured the world, and they are known for their practice of Shop polyphony, costuming, ring dancing, and their performances of the Lazarouvane (a springtime initiation ritual). Their inheritors, their granddaughters, have been trained to perform the difficult vocal technique of close-harmonized antiphonal singing by listening and practicing with the elderly women. Instruments in the orchestra include bagpipes, rebecks, pandoras, wooden flutes, and accordions. A recognizable characteristic of the Shope genre is diaphony and parallel voicing. Diaphony is an art form that consists of one or two voices performing a melody constructed from the words izvikva, which means "to shout out," and bouchi krivo, which means "crooked rumbled roars". Other singers hold a monotone drone, sometimes doubled or trebled, to add a sonorous presence to the lead singers. A circle of dancers dressed in traditional costume moves counter-clockwise in a circle holding each other by the waist or belt while stepping lightly. Several variations are performed within this structure depending on the song and ancient ritual purpose. For the last 20 years, the Bistritsa Grannies have been preparing younger singers to carry on the musical heritage. They work as a group called "Bistritsa Grannies and Their Granddaughters" and have more than 300 songs in their repertoire. These songs have been handed down without the use of notation or recordings. Despite the fact that polyphonic singing has changed in social function over the twentieth century and has become primarily performed on stage, the Bistritsa Babi is still considered an integral part of the region’s culture and plays a significant role in the promotion of traditional expressions among young generations. These women are among a very small number of representatives of traditional polyphony in Bulgaria, with Bistritsa being one of the last areas that have preserved this cultural expression. Due to its location near the Bulgarian capital Sofia, which offers a wide range of cultural attractions, young people are now disengaging from their community-based traditions. Throughout the years, the rich repertoire of songs and dances has been progressively refined to include only the most popular highlights that can be performed on stage. ==References== [https://ich.unesco.org/en/RL/bistritsa-babi-archaic-polyphony-dances-and-rituals-from-the-shoplouk-region-00095] [http://english.cctv.com/2016/04/20/VIDE7lFGZd0iff2KeZcliKL7160420.shtml] [https://www.lauksnos.lt/bistritsa] [http://www.kitka.org/events/2021/6/6-bistritsa-babi] | Dance • Music • Verbal Arts and Literature | Bulgaria | (05) Gender Equality • (16) Peace • Justice and Strong Institutions | |||||||
| Blaudruck/Modrotisk/Kékfestés/Modrotlač (edit) | It is a form of blue-dyeing or blueprinting, where a dye-resistant paste is printed onto a cloth before it is dyed with indigo dye. In the 18th century, blueprinting was also called porcelain printing because of the blue and white decor. It is a dyeing process for linen or cotton fabrics. It consists of a pattern of white on a blue background. These are reserve prints with so-called models, which have a protective compound printed on them, and dyed with indigo. As a result, the applied design remains white after dyeing since the resist paste prevents the dye from penetrating. Handcrafted blocks up to 300 years old are used by practitioners to apply designs to cloth, including regional patterns as well as generic designs and Christian themes. It is important to understand that traditional indigo blue dyeing is closely related to the local culture of the region. The textile process involves preparing the raw materials, spinning them, weaving them, finishing them, printing them, and dyeing them. A large amount of traditional knowledge is derived from (usually family-owned) journals dating back to the nineteenth century and is passed on through observation and hands-on experience. Stakeholders feel a strong bond with the products they make, and the element embodies pride in a long-lasting family tradition. Manufacturing and mechanical roller printing meant that blueprints are no longer produced in workshops. Only a few small handicraft businesses in Europe produce models and use the old printing techniques. Industrialization and mechanical roller printing is the end for most blueprints. Currently, mostly small and family-owned, run by the second to the seventh generation of printers. Each family studio requires cooperation from all family members, regardless of gender. Each member of the family takes part in every step of the production. In Germany, there are twelve blueprinting workshops. The oldest still operating blueprint shop in Europe is located in Einbeck in Lower Saxony. There are also blueprinting workshops in Scheeßel and Jever in Lower Saxony. Among Bavarian master craftsmen are the hand print and dyeing Fromholzer in Ruhmannsfelden, which was founded in 1640, as well as the blueprinting business Henkenjohann & Sander in Bad Aibling. The Czech Republic and Slovakia each have three family-owned blueprinting firms, and Hungary has six. There are two traditional Austrian companies that produce blueprints - the Gutau Dyer Museum in Bad Leonfelden (also in the Mühlviertel region of Upper Austria) and the Blaudruck Wagner in Bad Leonfelden (also in the Mühlviertel region). ===References=== (https://ich.unesco.org/en/RL/blaudruck-modrotisk-kkfests-modrotla-resist-block-printing-and-indigo-dyeing-in-europe-01365) (https://de.wikipedia.org/wiki/Blaudruck#Heutige_Verbreitung) | Craftsmanship and Practices | Austria • Czech Republic • Germany • Hungary • Slovakia | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | |||||||
| Bob Marley (edit) | '''Robert Nesta Marley''', OM (6 February 1945 – 11 May 1981) was a Jamaican singer and songwriter. Considered one of the pioneers of reggae, his musical career has been marked by blending elements of reggae, ska, and rocksteady, as well as forging a smooth and distinctive vocal and songwriting style. Marley's contributions to music increased the visibility of Jamaican music worldwide, and made him a global figure in popular culture for over a decade. Born in Nine Mile, British Jamaica, Marley began his professional musical career in 1963, after forming Bob Marley & The Wailers. The group released its debut studio album The Wailing Wailers in 1965, which contained the single "One Love/People Get Ready"; the song was immensely popular, peaking in the top five on worldwide music charts, and established the group as a rising figure in reggae. The Wailers subsequently went onto release eleven additional studio albums; while initially employing louder instrumentation and singing, the group began engaging in rhythmic-based song construction in the late 1960s and early 1970s, which coincided with the singer's conversion to Rastafarianism. During this period, Marley relocated to London, and the group typified their musical shift with the release of the album The Best of The Wailers (1971). The group attained international success after the release of the albums Catch a Fire and Burnin' (1973), and forged a reputation as touring artists. A year later, The Wailers disbanded, and Marley continued to use band's name for which to release his solo material. His debut studio album, Natty Dread (1974), received positive reception, as did its follow up Rastaman Vibration (1976). A few months after the album's release, Marley survived an assassination attempt at his home in Jamaica, which prompted permanent relocation to London soon after. There, he recorded the album Exodus (1977); it incorporated elements of blues, soul, and British rock and enjoyed widespread commercial success, and is widely considered one of the best albums of all-time. Over the course of his career, Marley became known as a Rastafari icon, and the singer sought to infuse his music with a sense of spirituality. He is also considered a global symbol of Jamaican culture and identity, and was controversial in his outspoken support for the legalization of marijuana, while he also advocated for Pan-Africanism. In 1977, Marley was diagnosed with acral lentiginous melanoma, and in 1981, he died as a result of the illness. Marley's fans around the world expressed their grief, and he received a state funeral in Jamaica. The greatest hits album, Legend, was released in 1984, and subsequently became the best-selling reggae album of all-time. Marley also ranks as one of the best-selling music artists of all-time, with estimated sales of more than 75 million records worldwide, while his sound and style have influenced artists of various genres. He was posthumously honored by Jamaica soon after his death, as he was designated the nation's Order of Merit award. | ||||||||||
| Bobbin Lacemaking (edit) | Bobbin Lacemaking is a handicraft skill used in Slovenia that involves weaving lace by crossing and twisting thread – wound on a special wooden stick known as a bobbin. Local patterns and names are used by the bobbin lacemakers to create lace in bands or finished shapes. When the bobbin lacemakers sew lace in bands or finished shapes a specific pattern is followed: a drawing is attached to the fabric, and the lace is then sewn on. The lace serves as an inspiration for visual arts as well as architectural and culinary design and is used to embellish clothing and fashion accessories, church and home textiles, and decorative spaces. In northwest Slovenia, Idrija, Cerkno, and Kofja Loka are the most famous lacing regions. The yearly Lace Festival is also celebrated there. A century ago, the same know-how in making bobbin lace was introduced to the nearby village of Ziri, where there is a school that has been making bobbin lace for more than 100 years. In all, Idrija is considered the cradle of Slovenian bobbin lace making. While the Idrija Lace festival preserves the rich history of its handmade bobbin lace, it also encourages innovation in design and use. During the Festival in June, Idrija becomes one of the liveliest lace centers in the world, where the knowledge and experience of this refined craft are exchanged, knowledge and friendships are forged through experience that is passed onto new generations, and thousands of invisible threads are formed connecting people across the globe. Bobbin lacemaking has notable therapeutic functions and is an environmentally friendly and sustainable activity whose creative expression is contributed by all parties involved. There are about 120 bobbin lacemaking societies, sections, and groups in Slovenia today, with both trained and untrained bobbin lacemakers. The bearers of knowledge and skills related to bobbin lace making are mostly women, with knowledge and skills passing down from grandmother to granddaughter. The socializing of female bobbin lacemakers in neighborhood communities is important for transmitting knowledge and skills. Currently, making lace has become a favorite pastime for retired women, children, and youth, often with men helping to make the lace-making tools. As Bobbin lace-making used to be an important economic activity, which is it has survived. Making lace has become popular. Even it has been an inspiration for countless fashion designers, industrial designers, contemporary visual artists, architects, and chefs. | Art • Craftsmanship and Practices | Slovenia | Idrija | (04) Quality Education • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities | ||||||
| Boka navy kotor (edit) | The Boka Navy is an independent, non-profit maritime organization founded in Kotor, Montenegro in AD 809. No doubt exists that Kotor owes its emergence to the arrival of St. Tryphon’s relics, who is now the city's patron saint. As well as performing military functions, the Boka Navy also has economic, educational, and humanitarian functions on its agenda. The organization has played a vital role for over two hundred years, safeguarding and preserving its maritime history and culture. It is not mandatory to join and is open to everyone. Men, women, children and teens of all ages are all welcome to join. It was established in order to respect human rights and the diverse beliefs, nationalities, and cultures that make up the human race. The circle kolo is a key part of the clan's festive celebrations, where members wear colorful uniforms and carry weapons. The members also perform other necessary rituals in conjunction with the circle kolo dance. Boka Navy forms an important part of the celebrations of Saint Tryphon. These celebrations are held from the 13th of January to the 3rd of February and include processions, rituals, and then a feast. The outdoor festivities ignite with the Boka Navy’s traditional kolo circle dance and are followed by a procession carrying the relics of St. Tryphon through the streets and central town squares. During the processions in the historic center, hundreds, and sometimes thousands, of spectators attend and observe the festivities taking place. A large number of women, men and children would always be found preparing for the activities and participating in the preparations. Although the Boka Navy festival has since deviated from its original function, it has evolved into somewhat of a tool for entertainment and fun. The government has done well in this regard and thousands of children eagerly await the festival, because with it comes the inspiration to serve their county in a military capacity. Every year, little children below the age of ten vie for the seat of an admiral, even though temporarily. This festival is now a major channel of revenue for the government as it attracts tourists from all over the world. | Belief • Entertainment and Recreation | Montenegro | (11) Sustainable Cities and Communities | |||||||
| Buddhist chanting of Ladakh (edit) | It is a practice of the two main types of Buddhists, there— Mahayana and Vajrayana, as well as four major sects. In Ladakh, Buddhist lamas (priests) chant sacred texts reflecting the spirit, philosophy, and teachings of the Buddha. Sacred texts that have been preserved by monks living in the monasteries in Ladakh have been passed along to future generations, ensuring that the practice of Buddhist Chanting continues for generations to come. Sacred texts are preserved in the libraries of the monasteries and represent the spirit, philosophy, and teachings of the Buddha. Chanting is performed by the monks at a variety of events, such as annual festivals, agrarian cycles, life cycles, for general wellbeing, and for attaining Buddhahood. On various occasions, including family functions and important days in the agrarian calendar, the villagers invite the monks to their houses for chanting. Every day, the sound of chanting can be heard in the villages throughout Ladakh. Chanting is done in groups, either sitting indoors or accompanied by a dance in monastery courtyards or private houses. The chanting is aimed at appeasing evil spirits or invoking the blessing of various Buddhas, Bodhisattvas, deities, and Rinpoches. It is performed with a special costume and hand gestures for the Buddha, and instruments such as bells, drums, cymbals, and trumpets make the chanting sound. The chants are practiced in a monastic assembly hall every day. Acolytes are trained under the rigorous supervision of the senior monks, repeating texts until they are memorized, and practicing the chants as a prayer to the deities for world peace and their personal growth. Historically, ancient Ladakh was considered to be culturally richer than it is today. Buddhist Ladakh is struggling to reinterpret its entire Buddhist culture that has evolved over 2000 years. Some visionary leaders had foreseen the cultural apathy seen today, and a number of steps have been taken to preserve that unique culture. Several steps were taken about 50 years ago to preserve this unique cultural identity. Currently, the young people of Ladakh seem to find the vocation of monkhood rather old-fashioned, and they opt for modern jobs instead. Continuing the monastic traditions, including chanting, is vital for the preservation of Ladakhi culture and the spiritual heritage of the region. Because Ladakh is a remote region in India, it remains cut off for a substantial period of time every year, due to its extreme weather. The culture and beliefs of the region are little known to the general public. ===References=== (https://ich.unesco.org/en/lists?text=&inscription[]=00007&multinational=3&display1=inscriptionID#tabs) (https://www.ichlinks.com/archive/elements/elementsV.do?nation=undefined&page=1&elementsUid=13829896117982900102&mode=grid) | Belief • Ritual | India | (03) Good Health and Well-being • (11) Sustainable Cities and Communities | |||||||
| Budima Dance (edit) | The Budima Dance is a warrior dance performed all year round by the inhabitants of Zambezi/Gwembe Valley in the Southern Province. | Among the cultural dances that have endured in the Gwembe Valleys, Southern Province, one stands out, the traditional war dance called Budima. The Tonga Wee people perform this dance distinctively. The movement of the tribe from the Zambezi River banks to the highlands of Lusitu, Pambazana, Chirundu, and Siavonga during the construction of the Kariba Dam has not stopped them from performing the Budima dance. Budima dance is performed all year round especially for sombre and spiritual occasions, also often during traditional ceremonies, funeral processions, weddings, initiation ceremonies, thanksgiving, harvest celebrations, and ritual activities. The performers use spears, whistles, walking sticks, knobkerries, flutes, ceremonial axes, shields, horns/trumpets, drums, and rattles during the dance. During the performance, men, women, and children act as skilled soldiers or fighters with long spears, leaping up and down while running in and out of danger, flourishing their spears in mimic war, while others blow the sets of one-note antelope horn flutes or trumpets and chant while others play big and small drums. The women wear beaded necklaces and bracelets, with rattles, as well as dance energetically. As the music begins, they follow along passionately, beating the drums in their hands, vibrating with beats and rhythm. It was a powerful performance, full of vitality and power from the African savannah. The girls twist their hips and rotated their bodies during the performance, and they slap the beads on their hands, arms, and skirts in a way to create sounds. The young people in the community are taught these skills and know-how through observation and participation in the Budima dance. During the initiation ceremonies, they also learn more about the importance of the dance, how to perform it, and how to make some of the instruments. Budima dance serves as a unifying factor for the community, which takes great pride in the dance and enjoys joining in with the dancers at any point during the performance. It is as if the indigenous people here are possessed by this dance. This is a dance that used to be performed by warriors during the war and also to celebrate conquests. Currently, the dance is mainly performed for entertainment, funerals, the installation of traditional leaders, and public gatherings. According to Chief Chipepo's cultural director of the Budima Cultural Association, Patrick Makukisi, who lives in Lusitu, the dance was practiced by his forefathers and has been passed on from generation to generation. | Art • Belief • Craftmanship and Practices • Dance • Music • Ritual | Zambia | (11) Sustainable Cities and Communities | Performing arts | A group of people performing Budima Dance. | ||||
| Buklog Ritual (edit) | Buklog is an elaborate thanksgiving ritual performed by the Subanen people in the Zamboanga Peninsula of Southern Philippines. The Buklog tradition is known to have originated from rice farmers who regularly move from one location to another to clear more forest for planting fields. They also raise pigs, chickens, cattle, and water buffaloes. A Buklog is performed to appease and express gratitude to the spirits for many reasons, which might include a bountiful harvest, recovery from illness, or admonishment of a newly appointed leader. The Buklog has mythological origins and is mentioned in age-old epics. Buklog is usually conducted together with various attendants led by the "Timuay", head of the village, who plans the rituals to express gratitude to spirits. Known for its elevated, flexible platform, there is a structure that serves as a sacred and social space for rituals and community merriment. In a typical Buklog performance, gongs are beaten, songs are rendered (both traditional ones and those which are improvised for the occasion), and people take turns sipping "basi" rice beer through reeds in the jars. Other activities include offering coin offerings, inviting the spirits of the departed to feast, invoking spirits of water and land, and performing music and dance. Afterwards, participants dance on an elevated wooden structure called the Buklog, which is considered a sacred space since it resonates with a sound believed to please the spirits. This dance marks the renewal of spiritual and interpersonal relationships. All community members, regardless of age, gender, social status, education, and mental and physical capability, are encouraged to participate in the rituals and festivities that continue for several days. The ritual system is the most compelling cultural marker of the Subanen, as well as the strongest unifying force of the community. It is through the Buklog system that the Subanen's knowledge is respected, preserved, and transmitted. It is the most compelling symbol of their individual and collective identity, and the strongest force pulling the community together. Buklog rituals and their practices strengthen and enforce all human rights ratified by the Philippines, including economic, social, cultural, and political rights. Although the Subanen is extremely capable of adapting to ensure their culture survives, the Buklog have become extremely vulnerable. Throughout the years, the frequency and extent of the practice of their ritual system have become irregular and have diminished drastically. Today, the ritual is only conducted once every seven to nine years. | Ritual | Philippines | (03) Good Health and Well-being • (04) Quality Education • (05) Gender Equality • (12) Responsible Consumption and Production | |||||||
| Bumba-meu-boi (edit) | Bumba-meu-boi is an expression of musical, choreographic, performing, and ludic expression, in which practitioners' relationship with the sacred is mediated through the figure of the ox. The Cultural Complex is a ritualistic practice, which features certain key characteristics including the cycle of life, the mystical-religious universe, and the ox itself. The popular Brazilian play was conceived in the 18th century and became a nationwide festival. Essentially, it is a form of social criticism, where lower-class Brazilians mock those of higher social status through a comedic folklore story told in song and dance. During the festival, Sao Luis, the capital of Maranhao, is decorated with colors and becomes an open stage where different folkloric groups perform different rhythms. Divided into five main accents, each has particular characteristics. The custom has evolved for more than 200 years and involves the devotion to saints June S. Joao, Pedro, and Marçal. One of the most popular manifestations of popular culture, it attracts thousands of people. The ox was placed as a centerpiece because the ox was considered a valuable animal for farming. Since oxen were used in agricultural practice, they were also heavily involved in colonial culture, including bullfighting and calf-dancing. It is believed that these were passed down by Portuguese lower-class families since similar social activities can be traced much further back in Portugal. "Bumba my ox" could be translated literally as "dance my ox". Bumba-meu-boi can be seen in other Brazilian states, but in Maranhao, Bumba-meu-boi is distinctive by the various styles and groups it includes, and also by the inherent relationship between faith, festivals, and art. Every year, the Bumba groups of Maranhao have reinvented this celebration. It is heavily charged with symbolism: the practice reproduces the cycle of birth, life, and death, and serves as a metaphor for human existence itself. For about four to eight months after the festival cycle reaches its peak, including rehearsals, the pre-season, baptisms, public performances, and rituals around the ox's death, it culminates in the festival cycle, which has the following stages: rehearsals, the pre-season, baptisms, public performances, and rituals. Currently, Bumba Meu Boi is divided into traditional and modern styles. This practice is a period of renewal of energies, which is transmitted by children's groups, dance workshops, and organically within the group. | Art • Craftsmanship and Practices • Dance • Entertainment and Recreation • Music | Brazil | Maranhão | |||||||
| Byzantine Chant (edit) | The Byzantine chant has existed as a living art for over 2000 years. This comprehensive music system has significant cultural traditions and forms part of the musical traditions that developed during the Byzantine Empire. The chant uses liturgical texts of the Greek Orthodox Church to enhance and highlight the sound of the liturgy, which is inextricably linked with spiritual life and religious worship. In the Middle Ages, the Byzantine Empire was composed of the eastern provinces of the Roman Empire. And while the music of the Patriarchate was often regarded as "post-Byzantine", Christian religious chant practices in the Ottoman Empire, including Bulgaria, Serbia, and Greece, came from historical roots traced back to the Byzantine Empire. As a result, chants practiced during the Ottoman period were deemed "post-Byzantine". Due to this, Byzantine music relates to several Orthodox Christian chant traditions of the Mediterranean and Caucasus that are practiced today, as they were in the past. Despite the spread of Christianity in the Greek-speaking areas of the Eastern Roman Empire by Byzantine music, it derives mostly from Christian liturgies that originated in the Hebrew and Syriac Churches. Various types of hymns are among the most significant, including those known as troparion, kontakion, and kanon (q.v.). Greek music and Byzantine music are not related. The earliest documents with neumatic notation are from the 10th century. There was previously “ecphonetic” notation, which was based on Greek accent marks from Alexandria, Egypt, but showed only the vague direction of upward or downward voice movements; readings were intoned, and then the signs were added. As a vocal art form, the chant primarily aims to convey the ecclesiastical text. Perhaps even more importantly, it exists because of the word ('logos'), since every element of the tradition is designed to spread the sacred message. This chanting art has been transmitted from generation to generation, its main characteristics have remained the same: it's solely vocal music, monophonic; it's codified into an eight-tonne system, and different rhythms are employed to emphasize specific syllables. Even though chants of the Psaltic Art are traditionally associated with the male voice, women are common in nunneries and take part in parishes to some degree. In addition to being passed down in churches, the Byzantine chant is flourishing due to the contributions of professionals and non-professionals alike. These professionals include musicians, choir members, composers, musicologists, and scholars. They perform the chants, study them, and perform them. | ||||||||||
| Ca trù (edit) | Ca trù is a complex form of sung poetry using lyrics written in traditional Vietnamese poetic forms found in the north of Viet Nam. Ca trù, also known as hát cô dau or hát nói (tally card songs), is a Vietnamese musical genre that started in northern Vietnam. It is a way of telling stories, which features a female vocalist, and originated in a pansori-like entertainment that entertained both the wealthy and the royal court. Ca trù groups typically consist of three performers: a female singer using breathing techniques and vibrato to create rich vocal ornamentation, playing wooden clappers or striking a wooden box, and two musicians playing a three-stringed lute and a praise drum. In some Ca trù performances, dance is also performed. The different forms of Ca trù have different uses, such as in worship, entertainment, singing in royal palaces, and competitions. The music in Ca trù is divided into fifty-six different melodies called the cáchs. Ca trù music and poetry are transmitted orally and technically by folk artists, formerly only within the family line, but now to all who wish to learn. Ca trù fell into disuse during the 20th century due to continuing wars and insufficient awareness. Although the artists made great efforts to pass on Ca trù to younger generations, the practice is still threatened by fewer and older practitioners because the number and age of practitioners are decreasing. The genre was preserved through efforts, and now it appears in much of the recent Vietnamese pop culture, including in movies. For the first time in the 1997 year, the song "Trên Dinh Phù Vân" was made public by My Linh. Modern folk music, with its ups and downs, is never easy for a soft musician such as this one. However, My Linh chose this song very bravely in her early career. She used the color of ca trù to bring out the magic in every song. The Bich Câu Dao Quán Club was founded in 1969 and has 90 members, with around 30 or 40 gathered every Saturday evening. The youngest member is 88 years old. The director, Nguyen Vân Mai, is 48 years old, and trains younger singers and introduces them to classical songs. Although it is hard to find people who are enthusiastic about learning this art form and to find teachers who can impart technical knowledge and enthusiasm to young singers, however, these traditional songs are still playing in Vietnam. ===References=== (https://ich.unesco.org/en/USL/ca-tr-singing-00309) (https://en.wikipedia.org/wiki/Ca_tr%C3%B9#In_modern_Vietnamese_media) | Music | Vietnam | (11) Sustainable Cities and Communities | |||||||
| Căluş (edit) | Căluş ritual dance originated in the Olt region of southern Romania but has also been part of the cultural heritage of the Vlach people, of Bulgaria and Serbia. The dance likely originated from ancient purification and fertility rites using the symbol of the horse, which was worshipped as an embodiment of the sun. The name of the ritual comes from the Căluş, which is the wooden part of the horse's bridle. It is believed that the Călușari were groups of dancing and chanting people who were thought to possess magical healing powers, wandering from house to house, promising good health and prosperity to the villagers. As a Romanian tradition, the practice later spread to Bulgaria and North Macedonia. Călușari traditionally travelled to all the villages in Romania during the period that runs from three weeks after Easter until Pentecost, a festival called Rusalii in Romania. For a period of two weeks, they danced with the fiddles in their localities. As well as the Căluş ritual dance, the Căluş dance has also been preserved as a part of the cultural heritage of Vlachs of Bulgaria and Serbia as well as the Olt region of southern Romania. The oldest documented music used in this dance dates back to the seventeenth century. As part of the Căluş ritual, local men enacted a series of games, skits, songs and dances to the accompaniment of two violins and an accordion, accompanied by an all-male troupe of Căluşari dancers. In the past, young men used to be initiated into the magical ritual by a vataf (master) who had inherited the knowledge of descántece (magical charms) and the dance steps from his predecessor. Căluşari dancers wear a variety of colourful hats, embroidered shirts, and bell-encrusted trousers which are worn to perform a range of complex dances consisting of stamping, clicking of heels, leaping, and swinging of the legs, which are performed by a group of them. The Căluşari have been gathering on Whit Sunday since ancient times to celebrate their dancing and musical prowess. The Căluş ritual, in addition to illustrating the rich cultural diversity of Romania, has also been widely supported by folklore festivals, such as the Caracal Festival in the region of Olt, becoming a symbol of the country. | Dance • Music • Ritual | Romania | (03) Good Health and Well-being | |||||||
| Camel Racing (edit) | Camel racing is similar to horse racing and is especially popular among the Arabs of the Arabian Peninsula. It is an official, professional sport that includes track facilities, specialized farms to raise camels, and intensive training programs. Camel racing has evolved into a sport that uses new technologies. The tradition of camel racing dates back to Medieval times and can be traced to the Arabian Peninsula, where it was a folk sport played at social gatherings and festivals. Camels have always played an integral part in UAE traditions and practices, and the practice of camel racing is a popular social practice in the communities concerned. Racing camels involves several stages. Camels are selected based on their type, origin, and age, and they are fed a special diet. The camels are put on the racetrack in groups, and they are trained to take part in the races. The races are held on specially designed fields under the supervision of community committees. Between fifteen and twenty racing camels take part in each round, and the distance of racing is based on the age of the camel. There are local customs, traditions, and principles that govern the races, and an organization is set up to verify the origins of the camels. Camel racing is a fundamental part of the nomadic lifestyle and a source of inspiration in poetry and singing. The related knowledge and skills are transmitted by a number of organizations, including community representatives, local governments, specialized centers, and racing and club organizations. Children and young people gradually acquire the knowledge and skills related to the practice through observation, simulation, and oral expression. Camels play a significant role in the desert environment, which explains their importance and continuity in Bedouin society which considers camels to be status symbols. Camels were a source of food for Bedouins who lived off camel meat and milk. In the past, there were no cars or other modes of transportation and so they were used to transport supplies from one place to another. Similarly, camel wool was quite popular among nomads as well. They used it to make clothes, rugs, and tents. In fact, an Arab square cotton scarf is known as Agal. In the past, Bedouin tribes organized races and beauty contests for camels as a form of entertainment. Today, this tradition is preserved, with many races taking place throughout the UAE under the patronage of the ruling Sheikhs. | Entertainment and Recreation | United Arab Emirates • Oman | (11) Sustainable Cities and Communities | |||||||
| Cante Alentejano (edit) | Cante Alentejano is a Portuguese genre of vocal music without instruments from the southern Alentejo region. The traditional two-part song is usually performed by amateur choral groups. It is based on a similar popular song genre that originated in the region of Minde that is common in bull herding as a means to coordinate efforts among the campinos. Typically, gatherings consist of up to thirty singers divided into groups. The ponto, in the lower range of the voice, begins the singing, followed by the alto in the higher range, which often duplicates the melody. Once the choral group takes over, all the remaining stanzas are sung in parallel thirds. The alto voices guide the group throughout the song. Lyrics speak of everyday moments and feelings. It is mainly associated with the rural classes but is not specific to any social stratum. The topics are usually about nature, rural life, motherhood, religion, and social change. Usually, the lyrics are sad, like "saudade" (missing someone or something), and nostalgia for their birthplace, but they can also be joyful. Cante has a long history in Alentejano communities. It is a fundamental aspect of social life and can be heard in both public and private spaces. The traditions of Cante were handed down by peasants from generation to generation while they worked in the fields of Alentejo, as well as when men joined together to relax and sing in public during parades. Traditionally, Cante was mainly sung by women at home. For its practitioners and amateurs, cante embodies a strong sense of belonging and identity. It also promotes a sense of dialogue and collaboration among individuals from different generations and backgrounds, contributing to social cohesion. There are still places where you can hear spontaneous Cante, although it is becoming increasingly rare. There are also official groups that gather frequently to rehearse their repertoires for later performances at festivals, fairs, and competitions. In addition to being cultural, Canto Alentejano also has a very strong social component. It can unite older and younger singers, contributing to a stronger identity and sense of belonging. | ||||||||||
| Canto a Tenore (edit) | The Canto a Tenore is one of the most popular poetic-musical practices of central-northern Sardinia. It is a type of polyphonic singing performed by a group of four men using four different voices, called bassu, contra, boche, and mesu boche. The most distinctive feature of this style of singing is the presence of guttural vocalizations of bassu and contra, tuned between them in a fifth interval. Vocalizations like these give it a unique feel. The Boghe is the band's soloist. He sings the main musical line, while the other three singers follow in accord, supporting his song with deep tones. The Boghe is always the only one to pronounce the lyrics, instead of causing the other singers to utter nonsense syllables, turning the other singers' voices into musical instruments, creating chords and timbres. The term tenore is used to describe the entire quartet, but the term can also be used to describe the trio of guttural voices that support the tenore. Traditionally, Canto a Tenore is part of the Sardinian pastoral culture. The majority of practitioners live in the region of Barbagia and other parts of central Sardinia. This art of singing has been incorporated into the daily life of the local communities, often in local bars called su zilleri, but they are also performed at more formal occasions, such as weddings, shearings, and religious festivities or the Barbaricino carnival. There are several melodies of Canto a Tenore, such as the Serenade Boche e Notte ('the voice of the night'), and dance songs, such as mutos, gosos, and ballos. These are usually either ancient or contemporary poems that discuss present-day issues, such as emigration, unemployment, and politics. In this sense, they can be regarded as both traditional and contemporary cultural expressions. Throughout the centuries, the musical culture of Cantu a Tenore has developed and been transmitted through oral tradition as a musical poetic expression of the Sardinian agro-pastoral culture, referred to as Pastoralism, which was prevalent in large areas of the regional territory. In the last century, as it happened throughout the world to both local cultures and to European ones, both pastoralism and Cantu a Tenore have undergone a significant decline due to technological, economic, social, and cultural revolutions. The interior of the island could be the best area to preserve pastoralists' cultural and social practices. In Sardinia, the pastoral culture remains widely practiced, and pastoralism still represents one of the key sources of income and sustainability for the community. Unfortunately, the Canto a Tenore is especially vulnerable to socio-economic changes, including the decline of the pastoral culture and increase in tourism, as well as the decrease in the traditional intimate manner in which the music was performed. While tourists have performed it on stage, this has also affected the diversity of the repertoire and the intimate manner in which it has been performed in its original context. ==References== [https://ich.unesco.org/en/RL/canto-a-tenore-sardinian-pastoral-songs-00165] [https://en.wikipedia.org/wiki/Cantu_a_tenore] [https://a-tenore.org/en/canto_a_tenore.html] [http://www.contosesonos.com/en/canto-a-tenore/] | Music • Verbal Arts and Literature | Italy | (16) Peace • Justice and Strong Institutions | |||||||
| Capoeira (edit) | Capoeira is a Brazilian cultural practice that combines fighting and dancing in a way that can be viewed as a tradition, a sports activity, or even an art form. Several historians have documented the early history of capoeira, like Dr. Desch-Obi. Originally, it originated from the Kongo Kingdom and was called N'golo/Engolo (Angola). Known for its acrobatics and complex moves involving hands on the ground and inverted kicks, it emphasizes flowing instead of fixed stances; a rocking step known as ginga is the focal point. The practitioner of capoeira is called a capoeirista. The word capoeira comes from the Tupi words ka'a ("forest") and pau ("round"). The word refers to low areas of vegetation in the interior of Brazil where fugitive slaves sought refuge. The purpose of the dance was also religious, as it connected people to the afterlife (which was the opposite of the living world) as well as allowed them to channel their ancestors into their performance. The capoeira players form a circle in the center where two players are engaged in a physical struggle. The movements are complex, and the players around the circle sing, chant, clap, and play percussive instruments. Capoeira circles consist of a master and a counter-master, with a group of followers. In the circle, the master is the bearer of the knowledge and guardian of the repertoire, and is responsible for teaching and maintaining the group's cohesion, as well as for observing a ritual code. He plays a single-stringed percussion instrument, starts the chants, and controls the timing and rhythm of the game. Participants are expected to be familiar with making and playing the instrument, singing chants from a shared repertoire, improvising songs, following the code of ethics and conduct, and performing the movements, steps, and strikes. A capoeira circle is a place where participants can observe and practice their newly learned skills. This also serves to affirm mutual respect between communities, groups, and individuals, support social integration, and promote the awareness of historical oppression. However, Brazilian culture is actively exported via capoeira. Since the early 1970s, capoeira instructors began to emigrate and teach it in foreign countries. Every year, capoeira attracts thousands of tourists and foreign students to Brazil from countries all over the world. To better understand and participate in the capoeirista art, foreigners strive to learn Portuguese. As of today, several renowned capoeira masters teach abroad and own their own schools. Capoeira performances, which are usually theatrical, acrobatic, and lack any martiality, are popular all over the world. ===References=== (https://ich.unesco.org/en/RL/capoeira-circle-00892) (https://en.wikipedia.org/wiki/Capoeira) | Art • Craftsmanship and Practices • Dance • Entertainment and Recreation • Ritual | Brazil | Acre • Alagoas • Amapá • Amazonas • Bahia • Ceará • Distrito Federal • Espírito Santo • Goiás • Maranhão • Mato Grosso • Mato Grosso do Sul • Minas Gerais • Paraná • Paraíba • Pará • Pernambuco • Piauí • Rio Grande do Norte • Rio Grande do Sul • Rio de Janeiro • Rondônia • Roraima • Santa Catarina • Sergipe • São Paulo • Tocantins | (03) Good Health and Well-being • (11) Sustainable Cities and Communities | ||||||
| Caretos De podence (edit) | In some regions of Portugal, such as Podence, a pre-historical Celtic religious ritual known as the Careto is still celebrated, serving as a commemoration for Shrovetide. As the winter ends and spring begins, local residents, known as Caretos, dress up in colorful wool fringes, with leather masks and heavy cowbells, impersonating the devil, wearing costumes of colorful wool fringes. The Careto tradition dates back to prehistorical Celtic civilizations settled in the region 800 years ago. Typically, three days are marked by raucous mayhem, for the Caretos raid taverns, stealing wine, a ritual much aligned to the coming of spring, and hitting women with their bells, granting them fertile wombs. They possibly represent fertility rites by interacting with others anonymously as they dance around the women. A theatre play is staged on Monday night, when a group of men presents a fictional list of married couples, mocking them and making everybody laugh. On Shrove Tuesday, some people mask themselves as matrafonas. These are the women who were safe from the caretos. They wore masks made from layered clothes, similar to old rag dolls, and threw ash at anyone who was near them. The burning of a Shrovetide figure takes place on Tuesday afternoon. The group of Caretos then visit their friends and relatives' houses. The village is barely populated during the rest of the year. Most buildings are sealed, and there are only two restaurants open. However, during the Carnival season, visitors flock from all over the country and abroad to take part in the festivities. In abandoned wine cellars, makeshift taverns are set up to serve local cuisine and wine. The Caretos are a relatively mild bunch when compared to years ago. At the time, shenanigans sometimes involved breaking into closed doors and stealing food, and it was sometimes the only way boys were able to get close to the girls they secretly wooed. Today's Caretos de Podence are mostly composed of young men working abroad. These men are proud of being from the village that birthed the Caretos and thoroughly enjoy wearing their costumes, which preserve their anonymity while they have fun. According to one villager, "the mask allows you to show off your inner lunacy in a happy way." Couple that with the fact that Caretos are offered free drinks wherever they go, and it's easy to see why the activity appeals to the younger generation. However, taking part in the Carnival starts in childhood, and the activities of the Group of Caretos Association have significantly enlarged opportunities for its transmission. | ||||||||||
| Carillon (edit) | It is a musical instrument that can be played on a keyboard, and it consists of at least 23 cast bronze bells. In some cases, carillons include an automatic system through which the time is announced and simple tunes are played throughout the day. Clappers are played with wooden batons and foot pedals, and wooden batons are used to strike the bells. Carillonneurs create music out of bells (carillonnerie) traditionally on the market and on festival days. There are programs to preserve carillon culture in over seventy-six cities and villages in Belgium as well as thirty other countries around the globe. Often housed in bell towers, carillons are owned by churches, universities, or municipalities. In North America, a carillon is pronounced "Kerr-lon" or "ka-Rilj-yan". From the 16th century, the carillon evolved in the Low Countries - today's Belgium, Netherlands, and French Netherlands - as a musical instrument. It was Jacob van Eyck and the Hemony brothers who cast the first tuned carillon in 1644 that gave rise to the modern carillon. It reached a peak during the late 18th century. During the Middle Ages, bellringers would attach ropes to the clappers of swinging bells and ring them while stationary in a process known as chiming. This gave the ringer greater control than swinging bells and was used to communicate to those nearby. The carillon originated from the use of bells for two earlier purposes: sending messages and indicating the time of day. Historical carillons have also been preserved, with many historically silent carillons now once again active. In securing transmission, several educational initiatives have been established, of which the Mechelen carillon school is the most important. Efforts are also being made to revive the carillon, including the promotion of new arrangements, genres, and compositions. Since there has been a lack of interest in traditional performances for carillonneurs, they have been involved in musical collaboration and experiments, collectively referred to as "Carillon Plus". These collaborations and experiments have been explored since the mid-20th century. The main objectives of this project are to preserve historic carillon culture (practices, repertoire, instruments, music, oral and written history) as a living heritage that supports cultural identity, and social cohesion, and to ensure the continuity of carillon music. Currently, in an effort to safeguard carillon culture in contemporary society, the program strives to combine respect for tradition with a willingness to innovate. Also emphasized is the promotion of best practices and the respect for local players in the field, based on cooperation among multiple actors. ===References=== (https://ich.unesco.org/en/BSP/safeguarding-the-carillon-culture-preservation-transmission-exchange-and-awareness-raising-01017) (https://en.wikipedia.org/wiki/Carillon) | Music | Belgium | (11) Sustainable Cities and Communities | |||||||
| Carnival of Barranquilla (edit) | The Carnival of Barranquilla, also known as Carnaval de Barranquilla in Spanish, is one of the most important folkloric celebrations in Colombia, and one of the biggest carnivals in the world. The traditions associated with the carnival date back to the 19th century. Many people believe that it marks the arrival of spring and is a celebration of birth and renewal. The carnival is created from pagan ceremonies, Catholic beliefs, and the ethnic diversity of Europe, Africa, and India. It began as a slave holiday and grew into a region-wide celebration. According to local beliefs, the first documented mention of the Carnival is in 1888 when a figure known as King Momo was found in the documented history of the Carnival. The Carnival de Barranquilla, held during the four days before Lent every year, includes a collection of dances and musical performances from different Colombian subcultures. Since the city of Barranquilla is situated on the Caribbean coast and developed during the colonial period, it has become one of the busiest trading centers in the country, with European, African, and indigenous cultural peoples and peoples converging there. A typical Carnival begins on the Saturday before Ash Wednesday (La Batalla de Flores), which is considered one of the main activities. Sunday's Great Parade (La Gran Parada) is marked by a Caribbean and Latin Band Orchestra Festival. In the afternoon on Tuesday, the end of the carnival is announced by the burial of Joselito Carnaval, who is mourned by all. Various instruments like the tambora and allegre drums, the maraca, and the clave are also featured. Carnival music is played by drum ensembles or by groups playing different wind instruments. There are a lot of handcrafted objects, including floats, costumes, head ornaments, and animal masks. The crowds are delighted by performances by masqueraded dancers, actors, singers, and instrumentalists based on historical events as well as current events. Through mocking speeches and song lyrics, the carnival satirizes contemporary political life and figures. Since the early twentieth century, Barranquilla's carnival has taken on a professional aspect, received wide media coverage, and has been generating economic benefits for many low-income families. Growing commercialization of the event may also pose a threat to many traditional expressions. As the slogan of Barranquilla's Carnival, “Quien lo vive, es quien lo goza, means those who live it, enjoy it,” however, the joys of the carnival always come to an end. ===References=== (https://ich.unesco.org/en/RL/carnival-of-barranquilla-00051) (https://en.wikipedia.org/wiki/Barranquilla%27s_Carnival#La_Guacherna) | Belief • Craftsmanship and Practices • Dance • Entertainment and Recreation • Music • Verbal Arts and Literature | Colombia | (08) Decent Work and Economic Growth • (09) Industry • Innovation and Infrastructure • (11) Sustainable Cities and Communities | |||||||
| Carnival of Binche (edit) | The Carnival of Binche takes place every year in the Belgian town of Binche during the Sunday, Monday, and Tuesday preceding Ash Wednesday, and is an event with a long history. The carnival is one of several events that happen at the same time in Wallonia, Belgium and it is the best-known of them all. The Belgian Hainaut province is where Binche, a town located in south of Brussels, is located. It is home to one of the oldest street carnivals in Europe that is held over a three-day period during the period preceding Lent. Each year, the town holds a carnival that mobilizes the historic center and attracts throngs of people. This celebration has its roots in the Middle Ages, making the town's famous street festival one of Europe's oldest street carnivals still surviving today. An air of merry industriousness has been permeating Binchois village since the beginning of January, as hundreds of thousands of Binchois participate in drum rehearsals and themed ball celebrations together. It is on Shrove Sunday (aka Shrove Tuesday), which marks the official beginning of the carnival, that Binche's streets and cafés come to life with roving hordes of masqueraded merrymakers. This day is particularly noteworthy for the Mam'selle, a group of males who dress up in elaborate female apparel. At the end of the carnival, on Mardi Gras, the legendary Gille characters will appear, bringing the carnival to a grand close. After an elaborate ceremony of ceremonial dressing, several hundred Gilles dressed in red, yellow and black costumes, complete with ostrich feather hats, wooden clogs and wax masks with small spectacles, parade through the town to the beat of the drum. As the processions move, pierrots, harlequins, and peasants follow them, mingling with local brass and clarinet bands and costumed revellers. Dancers, accompanied by traditional music played on the viola and drums, perform an assortment of steps that includes the pas de Gille, which is perfectly apt in the circumstances, a perennial favourite. On the evening of the 25th, the Gilles family danced in the Grand Place under the light of fireworks to culminate the day's events. There is no doubt that the Carnival of Binche is a truly popular festival, renowned for its spontaneity as well as the sizeable financial contributions of its participants. With great pride, the townspeople of the town participate in the carnival celebration every year, eagerly preserving the precious craftsmanship and expertise associated with the carnival’s traditional costumes, accessories, and performances and music. References: https://en.wikipedia.org/wiki/Carnival_of_Binche https://ich.unesco.org/en/RL/carnival-of-binche-00033 | Craftsmanship and Practices • Ritual | Belgium | (08) Decent Work and Economic Growth • (16) Peace • Justice and Strong Institutions | |||||||
| Carnival of El Callao (edit) | In Venezuela, the Carnival of El Callao is associated with cannes brulées emancipation celebrations in French-speaking Caribbean islands. It is practiced from January to March and consists of parades with people dressed as characters from history and fantasy as well as calypso music, dancing, and concerts throughout town streets. Calypso is performed in February and March during carnival month, with the winners being crowned Calypso King and Queen. During Calypso's performance, includes instruments such as drums, four, maracas, guitar, bandolin, violin, and the steel drum. The festival attracts up to 3,000 participants. The El Callao Carnival celebrates old cultural traditions brought to Venezuela by the English-speaking and French-speaking Caribbean islands. Calypso music from Trinidad and Tobago blended with Caribbean traditions, and Venezuelan folklore influenced the carnival when many migrated to El Callao around 1850 for the gold rush. El Callao Carnival is the largest carnival in Venezuela and last four days. El Callao has an African culture and influence due to the influence of Africans brought by European explorers during the colonial era. During the 19th century, Trinidadians and other Caribbean islanders started migrating to Venezuela. In particular, they started migrating to El Callao to work in the gold mines. While there, they brought Calypso music with them. The first official parade was in 1914. People danced to Calypso music of Trinidad and Tobago while wearing extravagant costumes as historical and fantasy characters. The parades begin with the madams (pillars of Callaoense identity representing Antillean matronesses who wear colorful dresses and dance in order to communicate values to the audience); the medio-pintos (young people who entertain audiences by smudging charcoal on those who don't donate); and the devils (people who wear masks, dance in order to maintain order). In Callaoense, the carnival emphasizes the past and diversity of the community by honoring their African-Antillean links and other community influences. It reinforces their cultural identity, promotes unity, and encourages younger generations to learn about their heritage. The practice is typically passed along within families and schools run by tradition bearers where young people learn skills, such as writing tunes, playing instruments, singing, dancing, or making masks, so they can participate in the carnival. Today it is hard to imagine that this tiny town with 39,000 residents, which is surrounded by ramshackle tin roofs and tiny gold shops, was once a rich town. As the carnival approaches, El Callao swells four times in size, giving a snapshot of what the town used to look like. | Art • Dance • Entertainment and Recreation • Music • Verbal Arts and Literature | Venezuela | (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | |||||||
| Carnival of Granville (edit) | Carnival of Granville is a four-day celebration that occurs before Shrove Tuesday and is organized by the community and nearby communes in the city of Granville, France. Historically, this carnival traces its roots back to the maritime heritage of the town. The first organized Granville Carnival took place on February 7, 1875. Each year around Mardi Gras local fishermen would depart the port for Newfoundland's Grand Banks, off the coast of Canada, to fish for cod. As part of their final celebration before setting out on the voyage across the Atlantic, they hosted a farewell party. A lot of preparation is required before the Granville Carnival actually happens. The 2,500 member planning committee is referred to as a carnivalier and works on building the floats about six months in advance of opening night. The local government helps with the logistics of the event as well as constructing the floats, which are typically satirical references to current events, celebrities, and political figures. A few days before Mardi Gras the first official celebration takes place with an opening concert and the Mayor of Granville presents the ‘Carnival King’, a paper-mâché figure that serves as a mascot. The next day is the children's parade, where young kids can celebrate by marching through the streets as the Carnival King perches on his chariot. On Sunday, there is another parade with fanfare, costumed townspeople, and the floats mentioned above. The next big event is Bris des Carnavaliers, where organizers gather for a ball and celebrate the outcome of their efforts. The carnival's final day is Shrove Tuesday, which involves many rituals that wrap up the event. The Carnival King is sentenced and cremated in the port and a confetti battle takes place in Cours Jonville, Granville's main square. The evening is referred to as the 'night of intrigues,' as masked carnival-goers make their way through the streets and bars. They tell jokes, share gossip, and settle disputes among their fellow citizens. This serves as a kind of platform for public free speech, allowing people to air their grievances in a fully costumed setting. Today, the Carnival of Granville is one of three major carnivals that survive in French port cities. It attracts 100,000 spectators annually. The festival contributes to community unity and a sense of belonging. Inherent knowledge is passed down through families and committees. | Entertainment and Recreation | France | ||||||||
| Carnival of Oruro (edit) | In the Bolivian city of Oruro, there is a religious and cultural festival known as the Carnival of Oruro, which has been celebrated since the 18th century. This festival has its origins in an indigenous celebration, but it has since been incorporated into a Christian celebration by the Virgin of Candelaria (Virgin of Socavón) as part of a Christian ritual. The town of Oruro is located at an altitude of 3,700 metres in the mountains of western Bolivia and was once a pre-Columbian ceremonial site. The area was also a vital mining area in the nineteenth and twentieth centuries. Since its colonization by the Spanish in 1606, it has been a sacred site for the Uru people who often travel long distances for their ritual performances, especially during the principal festival of Ito. It was the Spanish who banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy, where the Andean gods were veiled behind Christian icons and divinities were regarded as saints. In ancient times the Ito festival was celebrated as a Christian ritual on Candlemas, which is observed every year on 2 February. During the Carnival of Oruro, the Diablada is the main dance of worship of the Uru god Tiw, which is a traditional dance of llama llama. In conjunction with the annual Carnival, which has been happening for more than 100 years, there are a number of popular arts on display such as masks, textiles, embroidery, puppets and more. The Carnival is dominated by a procession, or entrance, held at the end of the parade. For the duration of the ceremony, the dancers walk the four kilometres of the procession route and repeat the journey from start to finish twenty times without interruptions. About two hundred thousand dancers and ten thousand musicians are organized into fifty groups to take part in the procession, which still retains many of the features of medieval mystery plays. There is a substantial acculturation process that has resulted in both a decline in mining and agriculture and increased desertification on the Andean high plateau, which is affecting both the Oruro population as well as creating a generational gap. There is also uncontrolled financial exploitation of this Carnival. Currently, there are over 28,000 dancers, 15,000 musicians in 150 bands, and over 400,000 visitors. On Monday before Carnival weekend, there's a national festival for those bands that are televised on Bolivian television; the Bolivian President, government officials, and authorities attend the festival. As UNESCO proclaimed, the Carnival is one of the Masterpieces of the Oral and Intangible Heritage of Humanity, hopefully, there are more opportunities for the city to attract tourists to its carnival. | Belief • Ritual | Bolivia | (08) Decent Work and Economic Growth • (09) Industry • Innovation and Infrastructure • (11) Sustainable Cities and Communities | |||||||
| Carolinian Wayfinding And Canoe Making (edit) | Canoe making and wayfinding are both parts of the centuries-old tradition of building and navigating long-distance canoes. Communities in Micronesia, especially in Yap State's outer islands, continue to build ocean-voyaging sailing canoes using local materials and find their way without maps or instruments. Using an indigenous system of direction finding (wayfinding), star-path bearings are used for finding neighboring islands. These bearings vary from island to island. Navigators have to learn a different set of directions for each destination they visit. One example of such a system is how a master navigator knows over 100 systems of bearings, one for every island. Since the repression of indigenous wayfinding during colonization, the range of indigenous wayfinding has diminished. Micronesian wayfinders are trying to reopen these traditional seaways with each major voyage. The whole community plays an active role in building the canoe, which begins with the selection and felling of a tree, and is then measured using an accurate and verifiable system based on indigenous mathematics. Almost exclusively, the carving is done with indigenous adzes. It includes an asymmetrical design that facilitates high-speed sailing and can access shallow water. Traditional navigation relies on atmospheric phenomena as well as environmental cues. Indigenous navigation is based on concepts and procedures that are not western. The tradition has no fixed point in its moving world and only a navigator as a reference point. The way one views one's relation to the world makes 'maps' both unnecessary and irrelevant. Community members are often in a desperate struggle against economic, environmental and social forces that threaten to eradicate this knowledge. In many cases, this knowledge has been lost to dwindling numbers of elderly members. Their leaders recognize the importance of these traditions for their communities' cultural identities and their livelihoods. Communities in the Federated States of Micronesia concern themselves with the making of canoes and seamanship and are teaching their younger generations about these arts, as well as oral traditions, methods, songs and stories. It is in fact within this region where a high concentration of the few living knowledge bearers of how to make canoes and learn traditional navigation. These traditions are also found elsewhere in the FSM, including Mokil, Kapingamaringa, and Mortlock. | Art • Craftsmanship and Practices | Federated States of Micronesia | (01) No Poverty • (04) Quality Education • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (13) Climate Action • (15) Life on Land | |||||||
| Castell (edit) | During Catalonian festivities, human towers are built by amateur groups as part of a tradition known as Castell. In Catalan, the word Castell means castle, but in English, it means human tower. The traditional setting for a Castell is the square in front of the town hall balcony. The first documented appearance of Castells was during a religious festival in Tarragona in the eighteenth century. With the industrialization of the nineteenth century, they became a traditional practice, central to nationalist celebrations. Toward the end of the nineteenth century, a period known as the "Golden Era of Castells," human towers were built on up to nine levels, with people standing on one another's shoulders. Castellers build the towers by standing on the shoulders of one another. These towers consist of six to ten stages (three levels to the second level) of heavier men supporting smaller, lighter-weight boys and girls. The tronc, or second level, of the tower, generally contains two to five older men supporting younger, lighter-weight boys or girls. The pom de dalt, or third level, comprises young children. Anyone may make up the pinya, or throng, which serves as the base of the tower. Each group can be identified by its costume, primarily the colors of its shirts, while the cummerbund protects the back as it is gripped by Castellers to climb up the tower. Before, during, and after the performance, musicians play a variety of songs on a wind instrument known as a Gralla, which is used to set the rhythm by which the tower rises. For a castell to be considered successful, it must be assembled and disassembled in order. The assembly is complete once all Castellers have been assigned their place, and the enxaneta climbs to the top of the castell. The enxaneta raises one hand before climbing down the other side of the castell, descending in order from the highest to lowest level until all Castellers are reached safely. A typical Castellers' uniform is white trousers, a black sash (faixa), a bandana (mocador), and a shirt in a characteristic color of a specific colla, frequently bearing the team's emblem. Castellers de Barcelona wear red shirts, whereas Castellers de Vilafranca wear green shirts and are called "els verds" due to their uniforms. Eventually, this traditional practice became more enthralling in urban settings, rather than just rural ones. Team members gained social prestige, and also underwent a process of internal democratization, allowing women into the groups. They also received professional training, with regular team practices and a study of technique. Towns began to financially support a growing number of groups. Previously visible only in southern Catalonia, the tradition has spread across the entire country. It has become one of the most representative Catalan cultural practices. Today, the traditions are practiced by more than 15,000 people in over 100 groups across Catalonia. With such transformations, this Catalan culture has demonstrated its ability to evolve and adapt to new situations, bringing both tradition and modernity together. ===References=== [https://ich.unesco.org/en/RL/human-towers-00364] [https://en.wikipedia.org/wiki/Castell] [https://festival.si.edu/blog/human-towers-a-visual-history-of-a-catalan-tradition] [https://www.barcelona.de/en/barcelona-castellers-human-towers.html] | Entertainment and Recreation | Spain | Catalunya | (11) Sustainable Cities and Communities • (16) Peace • Justice and Strong Institutions | ||||||
| Ceebu Jën (edit) | A popular traditional Senegalese dish, the Ceebu Jën comes from the fishing communities on the island of Saint-Louis in Senegal. Typically, the dish consists of fish steak, dried fish, molluscs, broken rice, and seasonal vegetables such as onions, parsley, and peppers. A glue of national unity, the origin of this dish is attributed to Penda Mbaye, a 19th-century cook from the city of Saint-Louis. It is important to determine the number of people who will be eating before going to the market to get ingredients. In addition to the fish, the vegetables include a garlicky paste (called the rof), chilli pepper, tomatoes, carrots, eggplant, white cabbage, cassava, sweet potato, okra, and bay leaf. Tradition dictates that the quality and type of fish served, as well as the vegetables served, are determined based on the importance of an event or the degree of affection the guests have for them. Mothers are entrusted with recipes and techniques to pass down from generation to generation. In rural areas of the West African nation, Ceebu Jën is eaten with the hands, but spoons and forks are used in urban areas. It is believed that this particular dish tastes better when eaten with your hands rather than with a fork and knife. Despite the local superstition – only available in rural areas (particularly where Wolof is spoken), restaurants offer customers a set of cutlery when they order this dish. It might be a good idea to try both methods and see which works best for you! Nonetheless, it is very interesting to note that the Ceebu Jën is not just found in Senegal. In fact, it is a sub-continental dish found in Nigeria, Ghana, Ivory Coast, and Benin. Each country has its own variation in the cooking process and color. As a matter of fact, one of the hottest topics of discussion on social media is who makes the best Jollof (Ceebu Jën). Ceebu Jën symbolizes terranga (hospitality) in Senegal, since the whole family gathers around a single dish (called a bolus) from which they eat with spoons (coudou pulaars) or bread. In addition to its culinary significance, the Ceebu Jën dish is also associated with specific cultural practices. For instance, it is wrong to sit with a raised knee, the bowl must be held with your left hand, and grains of rice should not be dropped when eating. The Ceebu Jën dish and other similar practices are core pillars of the Senegalese culture. | Art • Food • Ritual | Senegal | (03) Good Health and Well-being | |||||||
| Chakan Embroidery Art (edit) | The Tajik people are one of the oldest cultures in the Central Asian region, with many multifaceted cultural expressions and elements that have been influenced by their neighboring nations for centuries. One of the most important traditions from Tajikistan is the Chakan embroidery, which is the practice of stitching ornaments, images of flowers, and symbolic drawings on cotton or silk fabrics with colorful threads. The tradition is very widespread among women and girls. The etiological meaning of Chakan is connected to the Russian words 'chekanit' (call) and 'chekanka' (calking), which means to stitch designs on wood and cloth. In the old days, the stitching was done using karabos, a handicraft cotton cloth. An archaeological discovery in Tajikistan revealed the body of a seven-year-old girl in a grave; she was wearing a Chakan dress with pictures of Lifetree, and branches in pairs with two nightingales. The art of Chakan embroidery is spread throughout the Khatlon region of Tajikistan, especially in Kulob city which is the center of Chakan crafters. In the 1930s and 1940s, hundreds of families moved from Kulob to western Khatlan, resulting in the distribution of Chakan embroidery art among the population of Vakhsh valley, Khatlon. Throughout the past two decades, the craft of Chakan embroidery and embroidered products have become available in other regions of Tajikistan as a result of the development of information and communication technologies. Chakan embroidery is not only used for women's clothing, but also for household items such as curtains, pillows, bedspreads, and coverlets for cradles. These designs feature symbolic depictions and mythological images related to the surrounding nature and cosmos. The embroidery involves selecting the fabric and thread, creating needlepoint images, and sewing the clothes into place. Traditionally, threads were made from cotton or silk fibers and dyed with natural pigments made from plants and minerals. Nowadays, Chakan dressmakers use threads made from fabric for their needlework. Chakan shirts are a common bridal garment in the Khatlon region. Chakan embroidery appears on the taqi skullcap, worn by Tajik grooms, and Chakan dresses are commonly worn by Tajik women during traditional holidays and celebrations. The Chakan embroidery symbolizes a unity between humans and nature. Children learn the art through their mothers, grandmothers, and older sisters, and it is also passed on in groups through so-called ‘ustod-shogird’ (master-student) transmission methods. Individual craftswomen sell their products through bazaars and in dress shops, which provide an important source of income. | Craftsmanship and Practices | Tajikistan | (05) Gender Equality • (08) Decent Work and Economic Growth | |||||||
| Chamamé (edit) | Chamamé is a folk music genre that is typically practiced in the Corrientes province. It comes from the rural communities of northeast Argentina, which attracted many Eastern European migrants. The immigrants brought with them European music, which merged with local music and African rhythms to create chamamé. The migrants' history is reflected in the melancholy melodies. Throughout the 1950s and 1960s, migrants moved to Buenos Aires seeking work and brought with them Chamamé. The Chamamé attracted wider attention in the city’s dance halls and cultural centers. Chamamé is influenced by Guaraní music, Spanish guitar, and European accordion. Their arrival in Argentina began at the beginning of the 20th century, and group members typically include accordion, guitar, and bass guitar. Chamamé artist Raul Barboza enjoyed popularity and success in the 1990s. A national festival recognizing the Chamamé has been held for 30 years in the province of Corrientes. Every year, the 10-day festival is one of the longest of its kind in the calendar of summer festivals in South American countries. It showcases the performance of the chamamé. One of Chamamé's key components is the close embrace, in which participants hold each other's chests to their chests and follow the music without choreography. Other elements include “musiqueada”, which consists of a party, a prayer, and “sapukay”, a typical phonation or cry accompanied by gestures and movements to convey various emotions such as joy, sadness, pain, and bravery. The violin and the vihuela were the original instruments in Chamamé music. Later, the guitar, harmonica, the two-row diatonic button accordion, the bandoneon, and the double bass were incorporated. The lyrics and poetry were originally in Guarani, the regional native language. However, oral traditions of transmission have been passed on to the Yopará dialect. This is a combination of Spanish and Guarani. Chamamé music and dancing are extremely prominent parts of the cultural identity of the region. They are social elements in community and familial gatherings, religious celebrations, and other types of events. Together, they form a shared culture that is shared by 30 million people. Chamamé encapsulates human values such as love for one's land, living in harmony with other animals and plants, and a way of being. The Guarani expression of this tradition is based on points to the harmony between the human, natural, spiritual, and natural worlds. Chamamé is more than a dance. It also represents social values such as friendship, caring about nature, and living together in harmony. | Dance • Entertainment and Recreation • Music | Argentina | (04) Quality Education • (05) Gender Equality | |||||||
| Chanson (edit) | A chanson (UK: /ˈʃɒ̃sɒ̃/,[1] US: /ʃɑːnˈsɔːn/,[2] French: [ʃɑ̃sɔ̃] (About this soundlisten); lit. 'song') is generally any lyric-driven French song, though it most often refers to the polyphonic French song of late medieval and Renaissance music.[3][4][5] The genre had origins in the monophonic songs of troubadours and trouvères, though the only polyphonic precedents were 16 works by Adam de la Halle and one by Jehan de Lescurel.[6] Not until the ars nova composer Guillaume de Machaut did any composer write a significant amount of polyphonic chansons.[6] A broad term, the word "chanson" literally means "song" in French and can thus less commonly refers to a variety of (usually secular) French genres throughout history. This includes the songs of chansonnier, chanson de geste and Grand chant; court songs of the late Renaissance and early Baroque music periods, air de cour; popular songs from the 17th to 19th century, bergerette, brunette, chanson pour boire, pastourelle, and vaudeville; art song of the romantic era, mélodie; and folk music, ''chanson populaire''. Since the 1990s, the term may be used for Nouvelle Chanson, a French song that often contains poetic or political content. | Music | France | Alsace • Aquitaine • Auvergne • Brittany • Burgundy • Centre-Val de Loire • Champagne-Ardenne • Corsica • Franche-Comté • Languedoc-Roussillon • Limousin | |||||||
| Chapei Dang Veng (edit) | Chaapei Dang Veng is a musical tradition that is closely linked to the lives, customs, and beliefs of the Cambodian people. It is performed during cultural festivals, often with singing, using a Cambodian two-stringed, long-necked guitar called a chapei. Lyrics involve traditional poems, folktales, and even Buddhist stories as well as social commentary and satire. The tradition is considered to have multiple functions in Cambodian communities. For example, it safeguards traditional ceremonies, transmits social, cultural, and religious knowledge and values to future generations, provides exposure to the old Khmer language, creates a space for political commentary, and entertains. It also connects generations and builds social cohesion. Apart from talent, chapei players also need to have wit, the ability to improvise, and good storytelling abilities to accompany poetry, narrated folk stories, vocal duets of an argumentative style and riddle telling. Even though performers are generally male, there are no gender restrictions on who can play the chapei as part of an orchestra. It is transmitted orally within families through informal master-apprentice relationships. The book, “A Brief Introduction to Khmer Music”, by Buddhist scholar Mrs. Peac Sal, published in 1969, portrays the making of the Chapei Dang Veng. The Chapei Dang Veng was made utilizing carefully chosen wood so that it would make a pleasant sound when played. This sound will draw in listeners and extraordinary creatures (spirits). Pouthav Dai is a well-known old Chapei vocalist in Cambodia. His legacy is hard to find since he passed away earlier, some believe he was killed during the Khmer Rouge era, which ruled Cambodia during the 1970s. Pouthav Chhuon’s legacy still lives on, but today’s vocal style differs. Many of his stories feature characters who seem exaggerated to the point that they make people laugh. The Khmer Rouge regime severely impacted the bearer population and disrupted the transmission of the practice, creating long-term implications for communities. The art form has lost a great deal of popularity, and people rarely practice it nowadays, so the government is concerned about its potential disappearance. ===References=== (https://ich.unesco.org/en/USL/chapei-dang-veng-01165) (https://en.wikipedia.org/wiki/Chapei_dang_veng) (https://news.un.org/en/audio/2016/12/620192) (https://intocambodia.org/content/chapei-dang-veng) (https://www.cambodiancommunityday.org/index.php?option=com_content&view=article&id=265&Itemid=732) | Art • Craftsmanship and Practices • Entertainment and Recreation • Music | Cambodia | ||||||||
| Charfia Fishing (edit) | Charfia, which literally translates as the “House of Death,” is a Tunisian traditional method of fishing that catches fish alive. Fishermen work with the tide to prevent destroying their natural habitats and killing them unnecessarily. Charfia is a unique method to the Kerkennah islands, though it can sometimes be seen in Chebba and Dejerba. It belongs to the local culture and represents a deep knowledge of the environment. The traditional fishery system of the Kerkennah Islands depends on the hydrographic conditions, seabed contours, and natural resources on land as well as in the water. The system uses palm fronds embedded in the seabed to create a triangular barrier, blocking the way for fish drawn in by the ebb tide and channelling them into capture chambers and eventually a net or trap. As opposed to bottom trawling systems that scrape the seabed, charfia traps keep fish alive and fasting until they are raised. Charfias are typically installed and operated between the autumn equinox and June to give marine wildlife a biological rest period. Charfias are rebuilt each year, accompanying social practices such as sharing a meal or offering rogatory prayers to the marine gods. Knowledge of underwater topography and marine currents is necessary to practice charfia. A lot of Kerkennah residents learn to fish when they are young, and it is common for people to pass their fishery on to their eldest son in order to perpetuate ownership. Vocational training centers provide indirect training, and charfia fishing is their main fishing technique. In the different phases of the process, from installing the charfia and the accompanying rituals to raising the traps, the entire community takes part in varying degrees, making it a unifying element for all Kerkenians. Unfortunately, there are several threats to the ancient technique of fishing today. These include the collapse of fishery resources, pressure from the fishing industry, a shortage of palm tree leaves, the abandonment of this method by the younger generations in favor of easier techniques, and the increasing monopolization of ownership of sea plots. Various measures have been taken in order to preserve and protect the Kerkennah Islands and its fishing community. This has been accomplished by taking measures and initiatives to protect marine biodiversity and to support indigenous sustainable fisheries, including the charfia. For example, the certification label, marked "Fish from Charfia," promotes and preserves the fishery. | Craftsmanship and Practices | Tunisia | (03) Good Health and Well-being • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities | |||||||
| Charrería (edit) | Charrera is a traditional practice in livestock herding communities in Mexico. It was initially used to help herders manage livestock from different estates better coexist. New generations learned the methods and then passed them on to younger generations within families. These days, charrera associations and schools assist in continuing transmission of the tradition, also considered to be a sport, by training members of the community up to a competition level. The Mexican traditional practice of livestock herding was first utilized to help herders coexist with livestock from different estates. It is a tradition acquired through horseback riding, rodeo, equestrian activities, and traditional forms of cattle. This practice is part of Mexican culture and is a source of pride. The charreada is a Spanish equestrian event that was previously confined to men. The escaramuza or skirmish is now the final and tenth event and involves women's teams competing in precisely choreographed patterns for horses. The event involves women dressed in a style reminiscent of the nineteenth century. It is believed that the Adelitas, or women of the revolution, were the immediate antecedents of the present Escaramuzas. It is thought that the women would ride off on horseback, raising a cloud of dust, which would fool the Federales into thinking an attack was coming from that direction. Charreria is performed in front of an audience, referred to as charreadas. Spectators to view livestock herding skills, such as reining and roping using wild bulls and mares. Herders display their skills on foot or on horseback while wearing traditional clothing that includes a wide-brimmed hat for the charro (male herder), and a colorful shawl for the charra (female herder), as well as equipment such as saddles and spurs made by local artisans. Charrerla is considered an essential element of the identity of bearer communities. It can also be seen as a way of transferring critical social values to the younger generations, such as respect and equality among the community members. At present, purpose-built charreria associations and schools contribute to preserving the tradition, which is also considered a sport, by training members of the community, including up to competition levels. Since the Charreria was registered in the National Sports Commission as the nation's sport of excellence, it's practiced in "Lienzos Charros", which are specially designed for use in the competition, along with a horse and rider. These days, the charreada is predominantly associated with the state of Jalisco in western Mexico. This is not surprising, since charreria developed alongside mariachi, which is also culturally significant music in this state. | Entertainment and Recreation | Mexico | (05) Gender Equality • (11) Sustainable Cities and Communities | |||||||
| Chedda Of Tlemcen (edit) | Chedda is an Algerian traditional wedding dress, specifically in the city of Tlemcen, but also worn in the west of the country, particularly in Oran and Mostaganem. This city is the capital of Tlemcen Province in north-western Algeria. In addition to leather, carpet, and textile production, the city has developed a large economy based on agriculture and tourism. One of the most popular traditions in Tlemcen province is the wedding rituals of Tlemcen. The practice begins at the parents' home, where the bride wears a chedda, surrounded by her friends and married female relatives, each wearing her own wedding costume. The wedding dress called chedda, is designed by the local craftsmen and is worn by brides in Tlemcen for their wedding ceremony. Traditionally the chedda consists of a silk kaftan with gold thread. This dress is considered the most beautiful and expensive attire worn by the bride on her wedding day, but it is also worn by the other women attending the wedding. These jewels include other garments on the bride such as meskia hanging necklaces, djouhar cultured pearls, and kholkhal rings and kholkhal rings around the ankle, in addition to the bracelets. Conical chechias embroidered with gold thread cover the head that also embroidered with gold thread, which is hung with khorsa (earrings that fall from the temples) and large earrings, and they are topped with mendilles de mensoudj, a kind of scarf decorated with seven or nine diadems, including zerroufs, djebels, and other ornaments. An older woman applies symbolic henna designs to her hands and helps her wear a caftan of embroidered velvet, jewelry, and a conical hat. She is protected from evil spirits by rows of baroque pearls. As she leaves, she is covered with a golden veil of silk. Before the wedding feast takes place, a married woman from the bride's inner circle draws red and silver designs beneath the veil on her cheeks and under her lower lip to purify and protect the bride. The bride takes off her veil, once she has been protected by her caftan and jewels, and is ready to be married. In this practice, girls are taught the costumes at an early age, and the skills involved in making the precious wedding costumes are passed on from generation to generation. A major role of craftsmanship in perpetuating the creativity and identity of the Tlemcen community is to symbolize the alliance between families and continuity between generations. ===References=== (https://ich.unesco.org/en/RL/rites-and-craftsmanship-associated-with-the-wedding-costume-tradition-of-tlemcen-00668) (https://en.wikipedia.org/wiki/Chedda_of_Tlemcen) (https://en.wikipedia.org/wiki/Tlemcen#Culture) | Craftsmanship and Practices | Algeria | Tlemcen | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | ||||||
| Chidaoba (edit) | The ancient art of Chidaoba is performed by a large proportion of the male population throughout all of Georgia's regions, villages, and communities. The history of Chidaoba dates back to the 9th century, and tales suggest that Georgian knights were practising this form of folk wrestling in a chivalrous manner. This grappling art was also mandatory for aristocratic warriors during the middle ages. An interesting fact about Chidaoba is that the word comes from a term that means “to wrestle against a beast”. A trite description of what Chidaoba is. The first description of Chidaoba was found in the writings of Shota Rustaveli and other ancient authors. The practice started in early childhood and continued through local fairs, holidays, and community gatherings. Those who practice the tradition include young people, city residents, sports clubs, educational institutions, and amateur organizations. The practice is a complex phenomenon combining elements of wrestling, music, dance, and special outfits known as 'chokha', which are traditional Georgian costumes. Chidaoba was first used for battle until the late Middle Ages. Eventually, it developed into a spectacular sport. Matches will take place in what is known as a "krug", an outdoor traditional arena. The match is either held on grass or a specific type of sand or sawdust, or in certain circumstances on a wrestling mat. A defining feature of a "krug" is the presence of musicians who perform unique Chidaoba music. This music is so important to Chidaoba that musicians are given honorable seating at all times. The musicians play the traditional Georgian drum called doli. They also perform on the Georgian flute called "zurna", or the Georgian bagpipe called "chiboni". The music during the wrestling match is designed to match the intensity of the Mochidave (wrestlers), so when the match is slow, the music will be slow, and when the match is fast-paced, fast-paced music will be played. As the wrestlers attempt to defeat each other using special holds, the vibrant music enhances the dynamic of the match. There is a chivalric code of conduct, and occasionally the wrestlers leave the arena performing a Georgian folk dance. Chidaoba is a wrestling style that uses many special wrestling holds and counter-holds. An estimated 200 hold variations and counter-hold variations are used; the combination of which speaks to the wrestlers' creativity. Chidaoba has such a cultural significance to Georgia that matches are frequently organized at religious and celebratory events. The practice encourages a healthy lifestyle as well as encourages intercultural dialogue. Throughout the spring to autumn, young people practice wrestling outdoors, mastering skills they learned from watching matches. Georgia has several clubs dedicated to wrestling. Chidaoba was influential in modern development and determined the success of many notable Georgian wrestlers. It is more than a style of wrestling; it represents an entire people. | Entertainment and Recreation | Georgia | ||||||||
| Children’s Wooden Toys Manufacturing (edit) | Children’s wooden toys are recognizable traditional products of Hrvatsko Zagorje with a long history. The town of Marija Bistrica in Hrvatsko Zagorje in northern Croatia is known for its Marian shrine of Our Lady of the Snow. The villagers on the pilgrimage route have developed a method of producing children’s wooden toys that have been passed down for generations. This part of Croatia developed a peculiar toy production in the 19th century, which can still be seen in some villages such as Laz, Stubica, Tugonica, and Marija Bistrica. These are all on the way to the greatest pilgrimage site in Croatia, Marija Bistrica. The assortment of reed toys widened into something more complicated. Today there are about one hundred and twenty different types of toys available. When they were produced, the method was handed down from generation to generation, and some families have kept the method of production to this day. The distinctive thing is that they are handmade and mostly painted by women. The men from a family take the soft willow, lime, beech, and maple wood found in their region and dry, hew, cut, and carve it using traditional tools; women then apply ecologically-friendly paint in improvisational floral or geometric patterns, creating a new toy from their imagination. Since each of the toys is handmade, there can never be two completely identical ones. The eco paint used in the toys is typically red, yellow, or blue. The ornamentation is usually floral or geometric. Previously, the popular toy was reeds called "žveglice" and simple whistles known as "jedinke" (one pipe whistle) and "dvojnice" (two pipe whistles). Toymakers are usually referred to as "žveglači" because of this popular toy. Approximately fifty kinds of toys are made today, ranging from various types of reed, tamburitza, toys for animals, and objects of common use. They are sold around the world, including in parish fairs, markets, and specialty shops. Many of these toys have evolved with the times since traditional shapes such as horses, carts, and airplanes have been replaced with new shapes like cars, trucks, and airplanes. The world surrounding modern-day children also influences these toys. Toy instruments, which are carefully tuned as they are being made, remain an integral part of the musical education of rural children. A significant role in preserving this toy-making tradition is placing the items at community events, such as fairs, markets, and specialized shops. A number of museums in Hrvatsko Zagorje are part of the Craftattract project, which promotes various activities such as workshops, seminars, school meetings, and exhibitions to promote traditional crafts. These local museums are also part of the Ethnographic Museum in Zagreb. Their exhibit has more than 600 valuable items, including some toys with a date of production dating back to the mid-19th century. All of the institutional support for this craft creates an additional impetus for locals who have already been motivated to continue practicing it. ==References== [https://ich.unesco.org/en/RL/traditional-manufacturing-of-childrens-wooden-toys-in-hrvatsko-zagorje-00233] [https://www.total-croatia-news.com/made-in-croatia/17637-unesco-intangible-heritage-in-croatia-wooden-toys-of-hrvatsko-zagorje] [https://en.wikipedia.org/wiki/Wooden_toys_of_Hrvatsko_Zagorje] [https://min-kulture.gov.hr/kulturna-bastina/nematerijalna-dobra-upisana-na-unesco-ov-reprezentativni-popis-nematerijalne-kulturne-bastine-covjecanstva/traditional-manufacturing-of-children-s-wooden-toys-in-hrvatsko-zagorje/16465] | Craftsmanship and Practices | Croatia | (04) Quality Education • (08) Decent Work and Economic Growth • (12) Responsible Consumption and Production | |||||||
| Chinese Shadow Puppetry (edit) | Chinese shadow puppetry is a form of Chinese theatre that consists of colorful silhouettes made from leather or paper, accompanied by music and singing. Chinese shadow puppetry describes the story of the beloved concubine of Emperor Wu of Han (156 BCE - 87 BCE) who died and magician Shao-weng promised to raise her spirit. There are several myths and legends about the origins of Chinese shadow puppetry. The best-known legend claims that Chinese shadow puppetry originated when Shao-weng raised the spirit of the queen's favorite concubine (156 BCE - 87 BCE). Even though there are many early records of all types of puppetry in China, the first mention of Chinese shadow play only occurs during the Northern Song dynasty (960-1127). According to a book from 1235, the puppets were initially made of paper but were eventually made of colored leather or parchment. The stories were partly about the history and partly about fiction, but there were also comedies. In the early days, the screens were made of mulberry paper. The storytellers usually used the art to tell stories from the various war kingdoms of various nations or from Buddhist sources. Puppeteers manipulate the puppets by using rods, creating the illusion that they are moving images on a translucent cloth screen that is illuminated from behind. Some older shadow puppeteers can perform dozens of traditional plays, which they have received orally or written down. These artists also use special techniques, such as singing spontaneously, falsetto at the same time, and playing different instruments. Talented puppeteers even can make figures appear to walk, dance, fight, nod, and laugh by managing to move them in unpredictable ways. Most puppeteers also carve their puppets and most have up to twenty-four moveable joints. Shadow plays are performed by larger troupes of seven to nine performers, as well as smaller troupes of two to five primarily during slack farming seasons. Some puppeteers are professional, while others are amateurs. They perform for entertainment, religious rituals, weddings, and funerals, as well as other special occasions. Shadow puppetry is passed down from family to family, in troupes, and from master to pupil. Chinese shadow puppetry also promotes cultural values, social beliefs, and oral traditions. It is especially popular with the youth, as it spreads cultural values, promotes knowledge, and entertains the community. Nowadays, puppets made of leather and moved with sticks are used to present dramatic versions of traditional myths and fairy tales. In Gansu, they are accompanied by Daoqing music, while in Jiangxi, the accompaniment is Huanglong music that forms a basis for modern opera. ===References=== (https://ich.unesco.org/en/RL/chinese-shadow-puppetry-00421) (https://en.wikipedia.org/wiki/Shadow_play#China) | Art • Craftsmanship and Practices • Entertainment and Recreation • Verbal Arts and Literature | China | (11) Sustainable Cities and Communities | |||||||
| Chinese Wooden Arch Bridges (edit) | China is home to a variety of traditional wooden arch bridges. These wooden arch bridges were built using unique construction techniques and skills by master carpenters. Fujian Province and Zhejiang Province are known for their wooden arch bridges. In the old days, architects were carpenters and the construction work was usually done by a master carpenter. The carpenters followed a stringent technical procedure during the construction process. This method is passed down orally from mentor to pupil, or from father to son, as these carpenter families are instrumental in the construction, maintenance, and restoration of arch bridges. Of the 100 woven arch bridges in China, 19 of the bridges are found in Shouning County in the Fujian province alone; these bridges include the Luanfeng bridge in the village of Xiadang and the Yangmeizhou bridge in nearby Kengdi. The Qiancheng Bridge in Tangkou village, which is in the Fujian province, is even older. It was constructed during the Southern Song Dynasty, which lasted from 1127 to 1279. This impressive bridge, measuring 62.7 meters in length and 4.9 meters in width, has been rebuilt several times but remains one of the most emblematic examples of ancient Chinese construction techniques. Woodworkers design bridges with various types of arches to fit the surrounding environment. Depending on the purpose of the bridge, a passageway may be designed in a variety of styles. Arch supports may be created through beam-weaving, in which three rows of wood are joined and intertwined. The upper layer consists of five shorter rows of wood connected to upper-arch supports. The wood then joins the entire bridge together, creating a solid whole. Traditional tools including Lu Ban rulers, sawhorses, axes, and chisels were used in the construction of the bridges. Experienced woodworkers need to be familiar with the environment and understand the necessary structural mechanics. The carpentry is directed by a master carpenter and executed by other carpenters. Traditionally, the craftsmanship is passed on orally, or through personal demonstration, by masters teaching their apprentices or relatives within a clan according to strict procedures. These clans play an instrumental role in the building, maintaining, and protecting of the bridges. As a vessel for traditional craftsmanship, arch bridges function as communication tools and venues. Chinese arch bridges have long been used as a place for the exchange of information, entertainment, worship, and the deepening of relationships and cultural identity. Traditional Chinese arch bridges provide cultural space that encourages communication, understanding, and respect between people. However, this traditional practice has declined in recent decades due to rapid urbanization, a lack of timber, and a lack of available construction sites, which have all contributed to its decline and potential extinction. ==References== [https://ich.unesco.org/en/USL/traditional-design-and-practices-for-building-chinese-wooden-arch-bridges-00303] [http://www.cits.net/china-travel-guide/chinese-wooden-arch-bridges.html] [https://www.dailymail.co.uk/news/article-2253793/The-1-000-year-old-wooden-bridges-modern-China-moving-Stunning-timber-structures-withstood-test-time.html] | Craftsmanship and Practices | China | (04) Quality Education • (09) Industry • Innovation and Infrastructure • (11) Sustainable Cities and Communities • (16) Peace • Justice and Strong Institutions | |||||||
| Chinese Zhusuan (edit) | Zhusuan is the Chinese oldest way of performing mathematical calculations with an abacus. It was developed in China around the end of the 2nd century CE, and its peak was between the 13th and 16th centuries CE. In the 13th century, Guo Shoujing used Zhusuan to determine how many days an orbital year is, and determined 365.2425 days. In the 16th century, Zhu Zaiyu (zhu Zaiyu) used Zhusuan to calculate the musical Twelve-interval Equal Temperament. At the end of the 16th century, Wang Wensu and Cheng Dawei published Principles of Algorithms and General Rules of Calculation which, respectively, summarized and refined Zhusuan's mathematical algorithms. This further boosted the popularity of Zhusuan and helped introduce it to neighboring countries. Zhusuan has a profound impact on many areas of Chinese culture, such as culture, language, literature, art, architecture, etc., creating a broader cultural phenomenon that is related to Zhusuan. A term such as 'Iron Abacus' (Iron Abacus) signifies a person who is good at calculating. Abacus users can add, subtract, multiply, divide, exponentially multiply, divide root, and perform more complicated calculations by moving beads along the rods according to defined formulas. In Chinese Zhusuan, oral formulas play an important role in the advancement of mathematical studies as they promote algorithmic practices and foster intelligence. The formulas have easy-to-learn rhymes representing specific calculation rules and summarize arithmetic operations. In Chinese culture, Zhusuan, or mental arithmetic, is widely used. After some fairly basic training, practitioners can quickly make calculations, while an agile mind develops in proficient practitioners. Chinese Zhusuan is often used in everyday life and is an important symbol of traditional Chinese culture, providing a strong sense of cultural identity. It has been taught to generations through oral methods and self-learning. Children who participate in abacus-based mental arithmetic are thought to have improved attention span, memory, and mental abilities. According to the Intergovernmental Committee, Chinese Zhusuan is considered both a cultural symbol for their identity and a useful tool for daily life and is passed from generation to generation. It is a calculating technique that offers the world an alternative knowledge system. The Chinese Abacus and Mental Arithmetic Association spearheaded the movement to get Chinese Zhusuan listed. In today's world, it has a far-reaching influence on various forms of creative expression, including folk customs, language, literature, sculpture, and architecture. It also contributes to calculating techniques, cognitive schemas, educational psychology, and intellectual development. ===References=== (https://ich.unesco.org/en/RL/chinese-zhusuan-knowledge-and-practices-of-mathematical-calculation-through-the-abacus-00853) (https://en.wikipedia.org/wiki/Chinese_Zhusuan) | China | (04) Quality Education | ||||||||
| Chitalishte (edit) | The chitalishte is a typical Bulgarian public institution, where people of different ages can enroll in a foreign language, dance, music, and other courses. The word chitalishte derives from the verb "to read" or "reader," and it's used as a community center, library, and theater. The first library opened in Lom, on the Danube, in 1848, when a teacher set up his personal library in one of the classrooms and named it chitalishte above the door. A similar phenomenon happened in 1856, in Svishtov, another town on the Danube. Within months, the phenomena spread throughout Bulgaria, from the Danubian Plain to the Valley of Roses, to Macedonia. Lom and Svishtov continue to argue which chitalishte was responsible for the phenomenon. After five centuries of Ottoman domination, which resulted in Bulgaria being isolated from the rest of Europe, change was finally in the offing, as the Ottoman Empire was slowly modernizing. As a result of this trend, chitalishta began to open in mass after 1856. Chitalishta remained a critical source of culture and education for Bulgarians as it was rapidly modernizing, after the restoration of the Bulgarian state in 1878. The Communist Party took power in 1944, which forced the Chitalishta to adapt to a new over-regulated society. State funding and control replaced local initiatives and donations. Bulgarian folk artistry was a must, promoting a sanitized version of traditional music and dance in the villages, which were dying out due to migration to the cities, as well as discouragement of "backward" traditions. In 1989, the collapse of Communism had a significant impact on chitalishta. There was a massive migration to new cities as well as abroad. Most of the hardest-hit communities had long-standing traditions of chitalishta. Centralized control over their activities occurred, as well as the promotion of propaganda for the socialist order. As a way to promote, Chitalishta organizations are central to the process of transmitting intangible cultural heritage, and their elderly members help in encouraging young people to get involved. In addition to the growing number of participants in their activities, chitalishte has demonstrated its effectiveness by its increasing numbers over the years. With the goal of making intangible cultural heritage more popular, Chitalishta organizes festivals, celebrations, gatherings, and exhibitions. They have also established local centers for documenting, archiving and passing on the information and skills they have accumulated over the years. Now we can learn from this kind of an excellent example of how local traditions can overcome the limitations of political systems and funding. |
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